Navigation – Plan du site

AccueilNuméros124MiscellanéesSirens’ Songs and Music: Their Re...

Miscellanées

Sirens’ Songs and Music: Their Representations and Significance on Archaic and Classical Attic Vase-Paintings

Chants et musique des sirènes : leurs représentations et leur signification sur les peintures de vases attiques archaïques et classiques 
Angeliki Liveri
p. 135-170

Résumés

Dans la religion grecque antique, les sirènes étaient souvent associées à l’au-delà et aux rituels funéraires. Leur rôle dans la littérature et la philosophie de la Grèce antique était également très important. Le motif des sirènes peut être interprété de plusieurs points de vue, a de nombreuses significations différentes et est associé à diverses divinités. Cet article présente les sirènes dans leur rôle de chanteuses et musiciennes, individuellement ou en groupe. Des représentations choisies de sirènes, principalement sur des vases attiques, sont combinées avec des sources littéraires, en se concentrant sur les périodes archaïque et classique (vie-ve siècles avant notre ère). Nous tentons d’examiner l’évolution de leur iconographie et de leur signification, soit dans des scènes mythologiques inspirées des épopées (Odyssée ou Argonautique), soit dans des scènes différentes, où les sirènes anonymes sont liées à divers concepts (par exemple, religieux-eschatologique). Les sirènes sont représentées sur des vases à figures noires et rouges de formes et d’usages divers. En général, elles chantent ; parfois, elles tiennent des instruments de musique, généralement l’aulos et la lyre, rarement la crotale. La comparaison avec des thèmes similaires représentés sur des peintures de vases montrera les similitudes et les différences dans leur iconographie et leur symbolisme.

Haut de page

Texte intégral

In memoriam Veronika Mitsopoulos-Leon
† Athens, 09.July.2023

Introduction1

  • 1 This article is a revised version of a paper entitled “Music and Songs of the (...)
  • 2 Buschor,1944, p.11-18; Neils,1995, p. 175-182; Tsiafakis, 2003, p. 74-78; Kehajas, 2014, (...)
  • 3 Lebessi, 2014, p.168-175, figs. 1-4, 8: for the emergence of the Sirens in Crete see p.  (...)
  • 4 Ibid., p. 178.
  • 5 See Böhm, 2020.
  • 6 Hofstetter, 1997, p. 33; Kopf-Wendling, 1989; Böhm, 2020.

1The Sirens, human-headed birds/bird-women, known for their melodious seductive voices, were mythical beings imported from near eastern cultures (Egyptian, Assyrian or Babylonian)2. Their forerunners appear probably in the Late Mycenaean period. Human-headed birds are represented in Greek art at the turn of the 8th to the 7th century BCE: e.g., an askos like male Siren from Knossos, a Siren depicted on an amphora from Praissos/Crete3, bronze Sirens as parts of cauldrons from the sanctuaries in Olympia and Delphi and in the Acropolis of Athens4. Similar hybrid beings appear on vase-paintings of the Orientalizing period of Greek art, including both bearded bird-men and bird-women5; they were used in animal friezes and in various other scenes (e.g., komos, symposia, dances, processions and as companions of travelers or sailors in sea-voyage ) on Corinthian and others vase-paintings around the middle of the 7th century BCE as well6. The Sirens’ motif was diffused in ancient Greece and in Greek colonies. The Sirens as singers and musicians decorated Late Corinthian and Attic vases from the Archaic period (early 6th century) onwards, associated either with Ulysses’ adventures, or seldom, with a singer (Orpheus?) or, they are depicted in other association or symbolism, individually or collectively, as we will see below.

  • 7 Breglia Pulci Doria, 1987, p. 74-86; Hofstetter, 1990, p. 22-26.
  • 8 Eur., Hel., 167-179; Ap. Phod., Argon., 4. 892 ff.; Ov., Met., 551-564.
  • 9 Hofstetter, 1990; Böhm, 2020, p. 58-60.

2The Sirens’ iconography and symbolism vary and develop following the religious and philosophical beliefs and times’ trends. In ancient Greek religion the Sirens were often associated with the cult of various deities (e.g., Hera, Athena, Dionysus, Demeter and Persephone/Kore), burial rituals and afterlife beliefs7. They were Persephone’s companions, before her abduction by Pluto and sung to her as a chorus8. Therefore, they appear frequently in Archaic and Classical Greek funerary art, such as on plastic vases and vase-paintings, grave stelai and grave offerings or in the decoration of funerary monuments9.

  • 10 Apollod., Epit., E.7.19.
  • 11 Ap. Rhod., Argon., 4. 909 ff.; Orphic. Argon., 1288 ff.

3The Sirens’ role in ancient Greek literature and philosophy was very important. The bird-women were associated with sailors’ voyages, who met them in difficult sea crossings. In such cases, according to Greek mythology, the Sirens’ seductive songs were dangerous, because these mythical creatures killed the sailors approaching to hear them, or the travelers forgot to eat enchanted by the Sirens’ melodious voices. However, Jason and the Argonauts (among them Orpheus) and Ulysses and his companions managed to survive, in a different way each one: Orpheus was able to do so with the magical power of his songs and music and his musical victory over the Sirens’ songs; Ulysses with a trick: “by Circe’s advice he stopped the ears of his comrades with wax, and ordered that he should himself be bound to the mast. And being persuaded by the Sirens to linger, he begged to be released, but they bound him the more, and so he sailed past”10. - Both, Argonauts and Ulysses approach the Sirens’ Island during their return to Greece. - Another version mentions also the contrary for the Argonauts’ route. We must underline that the Argonautic expedition occurred a mythological generation before the Trojan one. Nevertheless, we draw information from later writers11. - It is established by comparing the literary sources that some Argonautica motifs have influenced the Homeric epics, as shown by some common elements in the narration, such as the episode with the Sirens.

  • 12 Hom., Od.,12.39-54; 158-200; 23, 326.
  • 13 Hes., Fr. 27f. MW.
  • 14 Alcm., PLouvre, 1.96-98 (Fr. 30 PMGF); West, 1965, p. 200; West, 1967, 11, 14- (...)

4Sirens-singers appear around the middle-end of the 8th century in the epic poetry (Homer, Odyssey12; Hesiod, Catalogue of the Women/Γυναικῶν Κατάλογος or Ehoiai/ Ἠοῖαι13), and then in the lyric poetry (Alcman, Louvre Partheneion14). - Perhaps, Sirens-musicians existed already in the pre-Homeric period. Τhis means that literary references precede philosophical and perhaps also the artistic ones.

  • 15 Weickert, 1909-1915, col. 604.
  • 16 Hom., Od., 12. 52, 167: this indicates the dual number/form Σειρήνοιιν.
  • 17 Soph., fr. 777.

5Various stories regarding the Sirens’ origins are preserved15. They were daughters of Phorkys or Achelous; their mother was Chthon (Earth), Sterope or a Muse (Terpsichore, Melpomene or Calliope). According to Homer16 the Sirens were two and they inhabited a flowery meadow on the mythical island Anthemoussa/Ἀνθεμοῦσσα or Anthemoessa/ Ἀνθεμόεσα (Flowery); Sophocles17 mentions three Sirens, and Plato eight (see below).

  • 18 Weickert, 1909-1915, col. 603.
  • 19 Alcm., fr. 7: ἁ Μῶσα, κέκληγ’ ἁ λίγεια Σειρήν; cf. Bowie, 2021, p. 527-558.
  • 20 See n. 70 below.
  • 21 Hes., Cat., (fr. 47); Ap. Rhod., Argon., 4. 892.
  • 22 Apollod., Epit., E.7.18: αἱ δὲ Σειρῆνες ἦσαν Ἀχελῴου καὶ Μελπομένης μιᾶς τῶν Μ (...)
  • 23 Hyg., Fab., praef. 30.
  • 24 Lycoph., Alex.,712; Strab., 5.4.7 (Parthenope); 6.1.1 (island Leucosia, eponymous of the (...)

6The Sirens have names that characterize their melodious voices and songs18. Homer does not mention the Sirens’ names; - only their number and island. However, later authors names them: Thelxiope/Θελξιόπη (the one with enchanting voice) or Thelxinóē/Θελξινόη (the one with charming/captivating mind or spirit), Molpe/Μολπή (the one who sings with music and dances or moves rythmically), Aglaophonos/Ἀγλαόφωνος (the one with the nicer voice); other variants are: Thelxiepeia/Θελξιέπεια (enchanting), Peisinoe/Πεισινόη (persuasive), Aglaopheme/Ἀγλαοφήμη (sweet speech), Parthenope/Παρθενόπη (girl’s voice), Leucosia/Λευκωσία (the white one), Ligeia/or Λιγεία (the bright-sounding one)19, Aglaope/Ἀγλαόπη (gorgeous voice), Himeropa/Ἱμερόπα (soft/gentle voice). The latter name occurs only once on an Attic stamnos (see below)20. Sirens’ names as chorus are also mentioned: a) Thelxiope or Thelxinoe, Molpe and Aglaophonus21; b) Thelxiepeia, Aglaope and Peisinoe22; c) Thelxiope, Molpe and Peisinoe23; and d) Leukosia, Ligeia and Parthenope24.

  • 25 Weickert, 1909-1915, col. 604 with more information about the Sirens’origins.
  • 26 Ap., Fr. Sabb., 7, 18; Apollod., Epit., E.7.18, as in n. 22 ab. (daughters of (...)
  • 27 Verg., G., 1.8 / or Serv. G. 1.8:… hic cum de Melpomene vel, ut quidam dicunt, (...)
  • 28 Hom., Il. 2.484 ff.
  • 29 Hes., Theog., 27-28.
  • 30 Hom., Od., 12. 189-191: ἴδμεν γάρ τοι πάνθ᾽ ὅσ᾽ ἐνὶ Τροίῃ εὐρείῃ/190Ἀργεῖοι Τρῶές τε θεῶ (...)
  • 31 Pucci, 1979, p. 126-128. -Their grandmother was Mnemosyne/Μνημοσύνη, the goddess of memo (...)

7The Sirens’ birth, but also their death are connected with the Muses. According to Greek Mythology they are daughters of one Muse (Terpsichore25, Melpomene26, Calliope27). Therefore, Sirens inherited all their musical gifts (voice, singing, music, movements) from their Muse-mother. The Muses (in Iliad28 and Theogony29) and the Sirens (in Odyssey30) possessed the same attributes: power of memory, omniscience and pleasure31.

  • 32 Pollard, 1952, p. 60-63, esp. 60; cf. Doherty, 1995, p. 81-92. (This topic is multifacet (...)
  • 33 Paus., 9. 34. 3. Pausanias transmits this legend, describing a Hera’s statue with Sirens (...)
  • 34 Lycoph., Alex., 712 ff.; Naukratis frag. (BM, B 103, 19).
  • 35 Apollod., fr. Sabb. 7, 18.
  • 36 Ap. Rhod., Argon., IV, 909 ff.; Orphic Argon., 1288 ff.; Guhtrie, 1993, 44, n. 20 (...)
  • 37 Lycoph., Alex., 712-729.
  • 38 Stephanus of Byzantium, a Byzantine grammarian and author of the 6th century AD; see Wei (...)

8However, the natures of Muses and Sirens were opposed, despite their common characteristic as female singers: e.g., “the Muses were the divine inspirers of poesy, whereas the Sirens charmed only to destroy. The Muses were represented anthropomorphic in art, whereas the Sirens were depicted as woman-headed birds.”32 Τhe rivalry between them is also seen in their mythical music competition, including an aetiological myth of Boeotia described by Pausanias33. According to it, “the Sirens were persuaded by Hera to compete with the Muses in singing. The Muses won the competition, plucked out all the Sirens’ feathers and made crowns for themselves out of them”. Here, the close relationship of Hera and Sirens is also emphasised. However, the Sirens’ suicide in the sea because of their defeat by the Muses is already mentioned by Lycophron34 and later by others35. It is also associated with their defeat by Orpheus’ music and songs during the Argonautic expedition (see below)36. Occasionally, their suicide’s location and transformation into islands or rocks have been identified in Tyrrenean sea (Parthenope, Leucosia, Ligeia)37; later sources mention the small islands, called Aptera (featherless) and the islands Leukai (white), identified with modern Souda on Crete38.

  • 39 The celestial Sirens have been interpreted differently by various authors: e.g. Plutarch (...)
  • 40 See selected bibliography: Burkert, 1972; Huffman, 1999; Dillon, 2003; Bonds, 2014, p. 1 (...)
  • 41 Iambl., VP 82 = VS 58 C4 (I, 464): τί ἐστι τὸ ἐν Δελφοῖς μαντεῖον; τετρακτύς· ὅπερ ἐστὶν (...)
  • 42 Cf. Arist., Metaph., 1, 986a.
  • 43 Pl., Resp., X, 616b-617d; cf. Viltanioti, 2015, 2-3.
  • 44 Pl., Resp., X, 617b: Ἐπὶ δὲ τῶν κύκλων αὐτοῦ ἄνωθεν ἐφ’ ἑκάστου βεβηκέναι Σειρῆνα συμπερ (...)

9The Sirens’ eschatological significance is highlighted in the works of Greek philosophers, who placed them in the air/ether39. The celestial Sirens had an important place in the mystical teachings of Pythagoras (Pythagoreanism) and of Orphism, which influenced the doctrines of other philosophers or ancient Greek thinkers (e.g., the Pythagoreans, i.e. followers of Pythagoras, as Philolaus of Croton, Archytas of Tarentum, Plato, Aristotle and others)40. The tetraktys/τετρακτύς41, Pythagoras’ famous cosmological theory, is a system consisting of the first four numbers and their sum, the perfect Pythagorian number 1042. It was related to the harmony sung by the Sirens, which in turn may be related to the notion of the harmony of the spheres. Pythagoras believed that the tetraktys constituted the universal truth and harmony, with which the oracle of Delphi was identified, because it revealed it. It is primarily harmony music. The four first numbers that make it up, and on the basis of which the world is governed harmoniously, form a system of three harmonious musical intervals, the fourth, the fifth, the eighth, and the double eighth, the proportions of which are inherent in the first four numbers. This harmony governs the music of the celestial spheres, on which, according to Plato43, stands a Siren who sings a certain tone. Their song creates a unique harmony, the ideal harmony that arises from congruent numbers, from the harmonizing of the regular motions of the planets in the cosmic spindle. Therefore, in the myth of Air, we do not hear of spheres, but of concentric rings (κύκλους), on which the Sirens are located, which emit harmonious sounds: on the upper part of each circle stood a Siren, who was engaged in the circular movement with each one and which emitted a single sonority, a single tonality, and from all of these eight voices resounded a single harmony44.

  • 45 Buschor, 1944, passim.
  • 46 Huber, 2001, p. 159-166, figs. 21, 269-294.
  • 47 Buschor, 1944, p. 57-77, figs. 47-59.

10Ernst Buschor considers the Sirens as Muses of the Underworld, spirits of the beyond, the embodiment of nostalgia for a paradise, where humans enjoyed a happy afterlife45. Mourning Sirens, in various positions, decorate often funeral monuments, mourning for the dead46 or playing music and dancing47. Sirens as singers of death, with or without musical instruments, decorate vases of various shapes, sizes and uses.

 

  • 48 Liveri, forthcoming 1, with all references.

11In this article, I chose mainly Attic vases from the Archaic to Classical periods (6th - 5th c. BCE), in which Sirens are depicted singing and playing musical instruments. Sometimes, when there is only one Siren, she can be silent, as her closed mouth indicates, or, when two or three are depicted, we could imagine that they are conversing with each other due to their posture. Towards the end of the 5th century the Siren’s image disappears from the repertoire of the Attic vase-painters. Nevertheless, in the Greek colonies in Sicily and South Italy (in Apulia, Campania and Paestum) vase-painters continue to use Sirens as decoration’s motif in great variety and symbolic. Due to the evidence volume and their particular eschatological significance, South Italian vases with Sirens’ representations were excluded from this article. They are exposed in a separate study48. Therefore, this exposition according to the Sirens’ motifs includes the following sections: 1. The Homeric Sirens or Ulysses’ adventure with the Sirens; 2. The Orphic Sirens or the Argonaut Orpheus and the Sirens; 3. Anonymous, non-Homeric, Sirens without musical instruments (attending dances, singing, talking (?) or silent); and 4. Anonymous Sirens singing and playing musical instruments.

1. Homeric Sirens or Ulysses and the Sirens

1.1. Singing without Musical Instruments

  • 49 Homer provides three versions of the Sirens’ story: Hom., Od., 12.39-54 (p (...)
  • 50 The Sirens’ invitation to Ulysses to stop his ship and to listen to their voice so tha (...)
  • 51 Böhm, 2020, p. 50-51, figs. 19 (in text), 37a-c (aryballos); fig. 36a-b (kylix); addit (...)

12Ulysses’ adventure with the Sirens described by Homer in Odyssey was a very popular motif in literature49. Ulysses met them, while returning home after meeting Circe, who had warned him about the Sirens. Therefore, vase-painters of the Archaic period were also inspired by the Homeric Sirens decorating vases. The artists could not represent the sounds of the Sirens’ singing and their “unsung” or “promised” song50. They contributed in their own pictorial way to the description of this fictional event; i.e., depicting Ulysses’ ship with his companions sailing ahead of their island. They represented the mythical beings either singing or talking without musical instruments or singing and playing musical instruments. The “song’s performance” is represented by the open mouth of the Sirens. The problem of playing musical instruments was solved by adding hands to their human part. - Sirens as companions of sea travelers are already depicted on both Corinthian and Attic vases at the last quarter of the 7th c. BCE, as show scenes on a Corinthian aryballos and the black-figure Attic Nikosthenes’ kylix in Louvre51.

 

  • 52 Basel, Antikenmuseum und Sammlung Ludwig, no. BS 425: Gropengiesser, 1977, p. 600-601, (...)

13The first representations of Ulysses and the Sirens appear on two Corinthian vases (aryballoi), around the beginning of the 6th century BCE. However, only the second is identified with certainty. The first aryballos (ca. 590 BCE) represents perhaps an earlier abbreviated version of Ulysses’ adventure with the Sirens52. Only a Siren flying on the right over Ulysses’ ship is visible. The hero is not tied to the mast of his ship, but he seems to walk towards the right, avoiding the large bird flying over him. The Ulysses ˗ Sirens (?) scene is combined with a Herakles-Hydra scene.

  • 53 Boston, Museum of Fine Arts, no. 01.8100: Schefold, Hirmer, 1964, p. 91, fig. 46; (...)
  • 54 Perhaps the number two of the Sirens is also selected by the epic author to describe t (...)
  • 55 Eur., Hel., 167-169: πτεροφόροι νεάνιδες,/παρθένοι Χθονὸς κόραι/Σειρῆνες, (...)
  • 56 Schefold et al., 1993, p. 338; cf. Aston, 2011, p. 71.
  • 57 Hom., Od., 12. 39-54.

14The second example depicts the Homeric text more closely. It appears (fig. 1a, b) on a late black-figure Corinthian aryballos (ca. 575-550 BCE)53. Two Sirens sing without instruments, standing on a rocky cliff on the right of the ship, whereas a woman, sits on their right observing them. Ulysses is tied to the mast of the ship, when it sails near the Sirens’ island. The heads of his crew are visible as they row past. Two huge birds hover above the ship, menacing the sailors. On the ship’s left a ladder hangs; on the right, behind the ship, a large building is visible. The following decorative motifs correspond to literary ones: a) the number two of the Sirens54, and b) the black ship of the hero and his companions. The Corinthian artist added the birds, a ladder, a building and a woman who could be identified either as Sirens’ mother Chthon55 or as Circe in her palace; latter interpretation seems also possible56, since Circe had warned Ulysses about the Sirens and given him her advice to save himself and his companions57. The scene is perhaps the first verified illustration of the episode, enriched with some motifs.

Fig. 1a. Ulysses, two Sirens and a woman. Black-figure aryballos, Corinth (575-550 BCE). Boston, Museum of Fine Arts, no. 01.8100. (Drawing from Schefold, 1964, fig. 46.).

Fig. 1a. Ulysses, two Sirens and a woman.             Black-figure aryballos, Corinth             (575-550 BCE). Boston, Museum of Fine Arts, no. 01.8100. (Drawing             from Schefold, 1964, fig. 46.).

Fig. 1b. Two Sirens and a woman on a rocky cliff. Detail of the aryballos (Photo from Mazet, 2019, fig. 1a).

Fig. 1b. Two Sirens and a woman on a rocky             cliff. Detail of the aryballos (Photo from             Mazet, 2019, fig. 1a).
  • 58 Berlin, Antikensammlung, no.1993.216: BAPD, no. 9404; Brommer, 1983, p. 84-85, pls. 33 (...)

15Ulysses’ iconography is diffused in neighboring Attica, where Attic vase-painters used the same motif for the decoration of black-figure vases. However, they depicted it differently. For example, on a black-figure oinochoe (fig. 2, ca. 520 BCE) the ship has already passed the island58. Three Sirens are cloistered together on a rock crevice. They only flap their wings, but they are represented unsuccessfully. Ulysses is painted large, covering almost the entire height of the image area, with an outstretched left arm, whilst his two other arms are chained together - the design is not very successful. It seems that the hero has three hands; two dutifully tied to the mast, while with the other gesturing, as he addresses the Sirens. Perhaps it is a conversation gesture (?), although, according to the text, only the Sirens spoke inviting him to listen to their heroic and prophetic song. Perhaps in this expressive way the vase-painter seeks to give liveliness to the scene. The two rowers hurry to move forward. In both the aforementioned examples, the Sirens do not have arms. The bird characteristics outweigh the human ones that are limited to the head only.

Fig. 2. Ulysses and three Sirens. Black-figure oinochoe, Attica (ca. 520 BCE). Berlin, Antikensammlung der Staatlichen Museen zu Berlin, - Preußischer Kulturbesitz, no. 1993.216. (© Berlin, Antikensammlung der Staatlichen Museen zu Berlin, Stiftung Preußischer Kulturbesitz. Photograph by Ingrid Geske-Heiden).

Fig. 2. Ulysses and three Sirens.             Black-figure oinochoe, Attica             (ca. 520 BCE). Berlin, Antikensammlung der Staatlichen Museen zu             Berlin, - Preußischer Kulturbesitz, no. 1993.216. (© Berlin,             Antikensammlung der Staatlichen Museen zu Berlin, Stiftung             Preußischer Kulturbesitz. Photograph by Ingrid Geske-Heiden).
  • 59 See n. 17 above.
  • 60 Weickert, 1909-1915, col. 603-604; cf. Harrison, 2003, p. 56; cf. Kakridis, 1986a, p.  (...)

16In the second scene appear three Sirens and no the Homeric two. Three are mentioned by Sophocles later (497/496- 406/405 BCE)59. It is possible that the artist of the late 6th century preferred to depict three Sirens, because mythical, chthonic beings and group/trinitarian deities (e.g., Moires, Charites, Hores) were usually customarily three60. The scenery is truly eerie with the tall black rocks to the right and left, the hybrid beings to the right and the huge figure of the hero on the ship dominating. The setting does not resemble the idyllic description of the Sirens’ island Anthemoussa in the epic, like a paradise place, full of blossoming meadows.

1.2. Sirens Singing with Musical Instruments

  • 61 Athens, National Archaeological Museum, no. 1130: Haspels, 1936, p. 87, Appendix IX, n (...)

17On other depictions, the Sirens hold or play musical instruments. This was made possible with the addition of human hands, as mentioned above. Such images decorate the next two black-figure vases. The first is an Attic black-figure lekythos in white background from Eretria (fig. 3a), attributed to the Edinburgh Painter (late 6th c. BCE, before 500 BCE)61. He uses the Homeric Sirens’ pair, nevertheless, in a different composition. Ulysses is again placed in the middle of the scene, in profile, bearded, wearing a short white with thin black stripes chiton and a petasos on his head and standing on a column that indicates the mast of his ship; his arms are withdrawn and tied behind at the wrists. His ship with his companion is omitted. This central motif is surrounded by two dolphins which happily jump and dive into the sea, swimming on the inner side, and after them by two Sirens, each of them standing on a high rock island; the one on the left (fig. 3b) plays chelys/χέλυς lyre with plectron and the other on the right aulos (fig. 3c). Both have long hair decorated by ribbons and wear fine necklaces.The scene seems more innovative than the previous ones, including new iconographic elements.

Fig. 3. Ulysses and two Sirens. Black-figure lekythos, Eretria. Edinburgh Painter (Late 6th c. BCE). Athens, National Archaeological Museum, no. 1130. (© Athens, National Archaeological Museum, Hellenic Ministry of Culture and Sports/Archaeological Receipts Fund, photograph by the Museum.) a. Ulysses. b. The left Siren playing lyre chelys with plektron. c. The right Siren playing aulos.

Fig. 3. Ulysses and two Sirens.             Black-figure lekythos, Eretria. Edinburgh             Painter (Late 6th c. BCE). Athens, National             Archaeological Museum, no. 1130. (© Athens, National             Archaeological Museum, Hellenic Ministry of Culture and             Sports/Archaeological Receipts Fund, photograph by the Museum.)             a. Ulysses. b. The left Siren playing lyre chelys with plektron.             c. The right Siren playing aulos.
  • 62 For Homeric Singing see: West, 1981, p. 113-129; Scodel, 1998, p. 171-94; cf. Schur, 2 (...)
  • 63 For the history of the Homeric lyre/phorminx see: Maas-Snyder, 1989, p. 3-14; Hagel, 2 (...)
  • 64 Hagel, 2008, p. 106.
  • 65 Roberts, 1981, p. 303-312; Bélis, 1985, p. 201-220; Mathiesen, 1999, p. 237-248. On th (...)

18The painting’s atmosphere is more cheerful than in the previous picture. The colors are more pleasant, the happy dolphins give a playful and realistic touch to the scene, the branches suggest vegetation on the small rock islands.The placement of the Sirens separately from each other may increase their pressure on the hero to accept their musical invitation. The challenge is greater, since their rhetorical eloquence and enchanting song are accompanied by lyre and aulos music. The Sirens, following the Homeric bards (ἀοιδοί), narrators or contemporary singers – both have a close relationship62 – appear playing musical instruments, in particular two of the most important and widespread, which dominate in the music of the Antiquity. In this illustration the string instrument is large with six strings. Lyre is mostly named by Homer phorminx/φόρμιγξ63. Τhis instrument differs from the cithara/κιθάρα in the shape of the sound box, which is round at the bottom and forms almost a semicircle, while the citharas base is flat64. The invention of chelys lyre is attributed to Hermes, who formed it on the back of a tortoise shell, over which oxhide is stretched and pinned to the shell by stalks of reed etc.65.

  • 66 New York, Callimanopoulos: BAPD, no. 351329: Brommer, 1983, p. 84-85, pl. 33a; Kakridi (...)
  • 67 For the origin and meaning of the word Σειρήν see: Marót, 1960, 142-149: he assumes th (...)

19A choir of three Sirens is depicted on an Attic black-figure oinochoe (fig. 4a, b), which belongs to a private collection in New York (500-475 BCE)66. They stay on their rocks on the scene’s left part looking the ship’s approach. They are represented with very beautiful human heads and faces; their long hair is held back by a red ribbon; their beautiful faces and necks are adorned with jewellery (earrings and necklaces). The first (from left to right) Siren plays the aulos, the third a seven-stringed chelys with plectrum, held by red ribbon from the instrument, which is also decorated with bands; and the middle one gestures vigorously. From the right comes a ship with a boar’s head; three crew members can be seen rowing and bearded Ulysses, once again a large figure, is bound to the mast, with a white sail billowing before him. All figures are named: the word ΣΕΡΕΝ/SEREN (=SIREN)67 is written twice, over the heads of the central and right Siren, vertically, next to the band of the plectrum (Σ(Ε)ΡΕΝ; the inscriptions ΟΛΥΤ[Τ]ΕΥΣ starting from Ulysses’ mouth and ΛΥΣ[Ο]Ν/loose (me) to right of the sail are visible.

Fig. 4a. Ulysses and three Sirens. Detail of an Attic black-figure oinochoe (500-475 BCE). New York, Callimanopoulos Collection. (Photo from Kakridis, 1987, fig. 193).

Fig. 4a. Ulysses and three Sirens. Detail             of an Attic black-figure oinochoe (500-475 BCE). New York,             Callimanopoulos Collection. (Photo from Kakridis, 1987,             fig. 193).

Fig. 4b. Three Sirens’ choir. Detail of the previous vase-painting. (Photo from Kakridis, 1986a, fig. 125).

Fig. 4b. Three Sirens’ choir. Detail of the             previous vase-painting. (Photo from Kakridis, 1986a,             fig. 125).
  • 68 For choruses, see Calame, 2001.
  • 69 Liveri, 2023.

20Here another version of the subject is represented. The figures are almost equally divided in the available space. Ulysses is placed on the far right edge looking to the left, in a much larger size than his companions, to emphasise his importance as a hero. From this position he can better observe and hear the Sirens that dominate the upper left half of the scene. Despite their closed mouths, we imagine that the middle and the third Siren could sing, flooding the air with captivating melody. Their role as a female chorus is emphasised, associated with the great growth and development of choral poetry, music and song from the Archaic period onwards68. At the same time other female choirs are depicted either alone or with a male musician, e.g. the Muses with Apollo69. A fact that indicates the role and participation of women in the musical life (music, song and dance) of their time, but also the creation of such choirs, female, male or mixed.

1.3. The Sirens’ Suicide

  • 70 London, British Museum, no. GR 1843.1103.31:
    https://www.britishmuseum.or (...)

21Another Attic vase-painter, the so-called Siren Painter, inspired the death or suicide of the Sirens, decorating a red-figure stamnos (ca. 480-470 BCE), which was found in Vulci (fig. 5)70. It is a unique, very beautiful and imposing scene dominated by Ulysses’ ship, placed in the center sailing from right to left, whose fore part is formed like the snout of a boar, decorated with a large eye, propelled by six rowers and one steersman. The mast with the sails up is placed almost in the center of the ship. Ulysses naked, wreathed and bearded, as his companions, is bound to the mast, facing the stern. His head is thrown back, looking upwards towards the Sirens. The inscription ΟΔΥΣΕΥΣ/ ULYSSES is near the hero. The central scene is surrounded by high rocks that projects over the sea and one Siren stands on their top.Their hair are fastened with a dotted stephane, a single tress hanging beside the ear (parotis): their lips are parted as though singing. The one on the left flaps her wings: over her is inscribed ΙΜΕΡΟΠΑ/ΗΙΜEROPΑ. The one on the right stands still with folded wings. In front of her a third Siren flings herself down from the edge of the cliff, and falls headlong/seawards with closed eyes, as though already dead. The suicide of the Sirens is associated with the legend according to which, if a ship passed safely, they must commit suicide. The same is happens, when the Argo/Ἀργώ (with the Argonauts and Orpheus) was passing by their island (see below). It is also very interesting that the scene of the vessel’s back side represents three Erotes flying over the sea. The first one is identified by the inscription as ΙΜΕΡΟΣ/ΗΙΜΕRΟΣ (Desire); beside the second and third Eros is the word ΚΑΛΟΣ/KALOS. This suggests a symbolical connection between Sirens and Erotes. The name Himeropa means the woman who has a voice inspiring nostalgia. -see the meaning above. Οn the other side of the stamnos, the love gifts (fillet, tendril/branch, hare) that Himeros and the other Erotes carry, contribute to the desire’s fulfillment.

Fig. 5. Sirens’Suicide. Red-figure stamnos (ca. 480-470 BCE). London, British Museum. (Photo from wikimedia commons, public domain: https://commons.wikimedia.org/​wiki/​File:Odysseus_Sirens_BM_E440.jpg (30.06.2023).

Fig. 5. Sirens’Suicide. Red-figure stamnos (ca. 480-470 BCE). London, British             Museum. (Photo from wikimedia commons, public domain:             https://commons.wikimedia.org/​wiki/​File:Odysseus_Sirens_BM_E440.jpg             (30.06.2023).
  • 71 See interpretations of various scholars on this topic: Schur, 2014, p. 6, notes 10-11.

22The iconography of this vase is unique, fascinating, associating the significance of both scenes. The vase’s surface scene represent the end of the Homeric Sirens in a spectacular way. It includes a lot of different information; from the construction of the ship, the sailing or navigation’s way, to the Sirens and their supposed end that perhaps is associated with folktales. Τhe setting, the environment that surrounds the Ulysses’ ship is dreamlike. Ulysses was able to satisfy his desire, to hear the magical song or the sweet voice/μελίγηρυν/λιγυρή ὄψ of the Sirens, describing him their song; but without accepting/obeying their invitation; only with his own self-protective rules. Thus, while the two Sirens are still singing, the third has already committed suicide. Why is the Sirens’ seductive song simultaneously labeled dangerous and Ulysses and his men had to avoid it? Is it because the Sirens knew everything about their past and their future? In other words, they combined knowledge and prophetic ability with magical singing, including seductiveness of narrative and female eroticism71. Perhaps that is, why the magical power of their song was emphasised.

 

  • 72 Maas, Snyder, 1989, p. 91.

23Summarizing this part, we note that despite the popularity of the Ulysses-Sirens’ motif in ancient literature, it has not been often depicted by Attic vase-painters. Regarding the instruments’ combination in our examples, the most common one appears; i.e. chelys-lyre with aulos that is found in both mythological (e.g., except Ulysses and the Sirens, in Apollo and the Muses, Apollo and Marsyas, Dionysus and satyrs) and human scenes (e.g., symposia, dances, processions)72. In our third example of the second group (Callimanopoulos vase) the singing with clapping hands by the middle Siren is also included to the lyre and aulos music.

2. Orphic Sirens? or The Argonaut Orpheus and the Sirens

  • 73 For a modern identification and explanation of the Argonaut’s itinerary and es (...)
  • 74 Ap. Rhod., Argon., 4., 891-92; Orphic Argon., 1288 ff.
  • 75 Kakridis, 1986b, p. 166-169 with ancient references; cf. p. 155 on (Clashing R (...)
  • 76 Gresseth, 1970, p. 217.
  • 77 Hom., Od., 12. 69-72: οἴη δὴ κείνη γε παρέπλω ποντοπόρος νηῦς,/70Ἀργὼ πᾶσι μέλουσα, παρ᾽ (...)
  • 78 Meuli, 1921, p. 25.
  • 79 Ap. Rhod., Argon., 1.23-34.
  • 80 This reference exists in a scholion of Appolonius Rhodius: Gropengiesser,1977, (...)
  • 81 Pind., Pyth. 4, 176-177: ἐξ Ἀπόλλωνος δὲ φορμικτὰς ἀοιδᾶν πατὴρ/ ἔμολεν, εὐαίνητος, Ὀρφε (...)
  • 82 Ap. Rhod., Argon., 4. 905-911: εἰ μὴ ἄρ᾽ Οἰάγροιο πάις Θρηίκιος Ὀρφεὺς /Βιστονίην ἐνὶ χε (...)
  • 83 Orphic Argon., 1291-1297.

24The Sirens’ suicide is also associated with Orpheus and his musical victory over their songs, when he was sailing with Jason and the other Argonauts either to Colchis for carrying the Golden Fleece or according to another version returning from Colchis to Iolkos with it and Medea. Thus, during the Argonauts return from the Colchis expedition73, they met Anthemoessa, the Sirens’ island74, then Scylla and Charybdis and Planctae/Πλαγκταί; or according to another version, Circes’ island, Scylla-Charybdis, Sirens’ island, Creta, Anaphi, Iolkos75. In accordance to the latter version, Ulysses and his companions met firstly the monsters Scylla and Charybdis and then the Sirens. Perhaps, the number two of the Homeric Sirens can be explained: i.e., if in pre-Homeric stories/folktales the Sirens were located on two cliffs/rocks at the entrance to the Planctae, separately from each other76. Orpheus is not mentioned by Homer, although Circe states Argo in connection with Scylla77. The Argonautic expedition took place a mythological generation before the Trojan war. Therefore, some scholars, as e.g., Karl Meuli argue that parts of the Odyssey (in particular the Sirens’ episode and the Planctae), and the Argonautic saga belonged to the same pre-Homeric Sagenkreis78. We draw information about this expedition from later authors: a complete description by Apollonius Rhodius, who includes Orpheus in the Argonauts crew79; Orpheus’ participation in the expedition is already mentioned by Herodotus80 and Pindar (4th Pythian Ode)81. The wise centaur Chiron suggested his participation in the Argonautic expedition, because of the Sirens; that is, to help with the magical power of his music and songs to pass unscathed the narrow passage, where the Sirens resided. And he succeeded. So, when the Argonauts arrived at the island of the Sirens82, Orpheus played his lyre (phorminx) and sang; thus overpowering the maiden song of the Sirens (παρθενικὴν δ᾽ ἐνοπὴν ἐβιήσατο φόρμιγξ), who then committed suicide. The Orphic Argonautica add that they stopped their singing (ἀοιδή), threw away their musical instruments, aulos (λωτούς) and lyre (χέλυς), and they themselves fell into the sea, where they were transformed into stones, rocks83.

  • 84 Delphi, Archaeological Museum: Guthrie, 1993, p. 27, pl. 2; Schefold, Hirmer, 1964, p. 7 (...)
  • 85 Heidelberg, Antikes Museum des Archäologischen Instituts der Ruprecht-Karls-Universität, (...)

25The oldest undeniable representation of Orpheus as Argonaut occurs on the limestone metope of the Sikyonian Treasury at Delphi (ca. 570-560 BCE)84. Remains of the Argonauts’ ship Argo, the Dioskuri with their horses and two lyre-players are visible; an inscription (ΟΡΦΑΣ/ORPHAS) names one of the lyre-players as Orpheus; the second one is perhaps Linus. However, the Sirens are omitted. On the other hand, on vase-paintings there is no a certain representation of the aforementioned episode of Orpheus with the Sirens. A draped singer playing chelys lyre between two Sirens on an Attic black-figure lekythos (ca. 580 BCE) could be perhaps identified with him85. Nevertheless, it is uncertain, whether the singer is Orpheus or another anonymous musician.

3. Anonymous Sirens without Musical Instruments

  • 86 Böhm, 2020, p. 54-58, figs. 46-54.
  • 87 Ibid., p. 50-58.

26Anonymous Sirens are represented on Attic vase-paintings in various activities, including musical ones, mainly from the 6th century onwards. An interesting activity of Sirens is to participate at various cult rituals and dances, either accompanying the dancers, usually women, or observing their performances. Such scenes appear in both Corinth and Athens, showing the mythical beings either alone with the human figures or also with sphinxes and owls, attending a variety of rituals (e.g., wedding processions) and dances (e.g., circular, ecstatic, with “padded dancers” (Dickbauchtänzers) and during komos)86. The Sirens either are placed on the same scene flanking the human participants or walking behind them, or they are in another vase zone. Their presence in these scenes can be explained, since hybrid creatures, as symbols of ambivalence, accompany every status or change of state and mood87.

27Anonymous Sirens are also represented singing, as their open mouth indicates, without musical instruments, on Attic red-figure vessels of the Classical period (5th - 4th c. BCE) that in these cases are small, usually cups/kylices or squat lekythoi. Sometimes they are depicted in a strange composition that seems to be conversing with each other, as indicated by their posture. Occasionally, they are silent, as their closed mouths indicate.

 

28I selected some examples of each case.

  • 88 Paris, Musée du Louvre, G 268; BAPD, no. 205546; Beazley, 1963, p. 492.161, 1655; Hofste (...)
  • 89 Weill, 1962, p. 86, fig. 15.

29A beautiful, but rare and strange scene has been painted by Hermonax decorating an Attic red-figure cup/kylix, the so-called cup of Hermonax (ca. 470 BCE)88. He used three Sirens in each side, who stay on branches with flowers or on rocks, singing (?) or maybe talking each other. A pair positioned antithetically, seems conversing, whilst the third Siren looks and listens to their conversation. One of the Sirens couple stands on volute branches and the other on a rock, like the lonely one. On one side the talking couple is depicted first, whereas on the other side it is placed after the single Siren. The Sirens seem like bird-girls. They consist of an oval bird’s body, which imitates rather sea-birds than songbirds, and a beautiful girl’s head; their hair is long, held by laurel wreaths. Volute branches and palmettes decorate the spaces between the scenes. On the kylix interior a Siren alone on a branch with flower is depicted, surrounded by a meander medallion89. These scenes with the Sirens in an idyllic, paradisiacal landscape combined with the kylix are perhaps associated with Dionysus cult and views of a happy afterlife.

  • 90 New York, Metropolitan Museum of Art, no. 41.162.123: BAPD, no. 208506: Chase, (...)
  • 91 Munich, Antikensammlungen, no. 5248: BAPD, no. 208439; Beazley, 1956, p. 702.5; Hofstett (...)

30On vases dated between the middle and the end of the 5th century the Sirens’ motifs are boring and repetitive with little differences. For instance, one Siren is the main decoration’s motif, represented on a rock, in profile or in three quarter position singing, as her open mouth indicates. For instance, this motif is used by the Seiriniske Painter in the decoration of two vases: a) on a miniature red-figure squat lekythos (fig. 6) (middle of the 5th c. BCE)90; and b) on a red-figure lekythos (ca. 450-440 BCE)91. Both Sirens are turned to the right and their hair are covered by a kekryphalos or sakkos.

Fig. 6. A Siren with head cover. Attic red-figure miniature squat lekythos. Seireniske Painter (Mid. 5th c. BCE). New York, Metropolitan Museum of Art, Rogers Fund 1941, no. 41.162,123. (Photo from the museum’s website in Public Domain).

Fig. 6. A Siren with head cover. Attic           red-figure miniature squat lekythos.           Seireniske Painter (Mid. 5th c. BCE). New York,           Metropolitan Museum of Art, Rogers Fund 1941, no. 41.162,123. (Photo           from the museum’s website in Public Domain).
  • 92 Munich, Antikensammlungen, no. 7522: BAPD, no. 208566; Beazley, 1956, p. 707.1 (...)
  • 93 London, British Museum, no. E669/or 1864, 1007.171: BAPD, no. 208508; Beazley, (...)
  • 94 Bologna, Museo Civico Archeologico, PU 280; BAPD, no. 212975; Beazley, 1956, p. 957.41; (...)

31In the same Athenian workshop, a series of vases is created, which are decorated with variations in Sirens’ representations that shows the popularity and commercial success of the subject. For instance, “silent” Sirens appear alone on a rock, on a branch, on a podium or on the ground, as in the next examples: a) a Siren stands on a rock, turned to the right on a red-figure lekythos, attributed to a Follower of the Seireniske Painter (ca. 430-420 BCE)92;
b) a similar motif is visible on a red-figure squat lekythos from Rhodes in the British Museum, depicted by the Seireniske Painter (ca. 430-400 BCE)93. Comparing these Sirens’ motifs, we find iconographic and stylistic similarities and differences. For instance, their hair are different or new motifs are added or omitted in the same scene: e.g., the first Siren wears a hair-cover (kekryphalos or sakkos) and on the right a thyrsos, a Dionysiac symbol, is painted. On the other hand the Siren in the British Museum has combed her hair in a bun (Krovylos/κρωβύλος), without a headgear and on the right is placed a column. Differences are also visible on the rocks, on the representation of the Sirens’ bodies, wings and facial features. A variant of a Siren in profile turned to the right, decorates the main side of an Attic red-figure pelike, attributed to the Comacchio Painter (2nd half of the 5th c. BCE)94. She stands on a podium; her hair is also covered by a sakkos or kekryphalos. She is larger than the other Sirens with similar iconography. The back side of the pelike decorates a youth in front of a stele. The aforementioned Siren illustrations could be interpreted in the same Dionysiac context as on the Hermonax cup. This is indicated not only by the landscape, but also occasionally with the addition of Dionysian symbols, as the thyrsos. Their connection with eschatological concepts is confirmed by their choice as a decorative motif for burial vessels, as lekythoi and pelikai and their placement on a podium or on the ground (see below).

4. Sirens singing and playing musical instruments

32The Sirens on Attic vase-paintings are depicted playing musical instruments, usually aulos and lyre; rarely crotala.

33On black- and red-figure vases, the Sirens appear as aulos-players, either alone or as member of a Dionysian thiasos, in the following variants:

    1. On a black-figure oinochoe, attributed to a painter of the Class of London B 495 (ca. 500-480 BCE)95. The only decoration’s motif of the vase is a Siren in profile, staying on a rock and playing the aulos, while two dolphins swim on the left and right side. It is a very nice scene, representing probably a summarized version of the “Homeric Sirens”.
    2. On a red-figure lekythos (500-450 BCE), attributed to the Pan Painter, the Siren stands, almost vertically, on a rock, turned to the left. She has her hair combed in a bun 96.
    3. On a red-figure fragment (ca. 430 BCE) is depicted a Siren in profile to the right, playing a small aulos, holding it with both hands97.
    4. Similarly, a Siren on a plate fragment in the Agora of Athens (425-375) is visible98. Both latter painters represented her inflated cheek from the whistle of the musical instrument realistically, but somewhat excessively. Female and male aulos-players with inflated cheeks are likewise depicted on numerous vase-paintings99. According to Greek mythology, the goddess Athena invented the aulos and the aulos “multi-headed law”100, but she threw the instrument away because it disfigured her face/distorted her features. These instruments were eventually found by the satyr Marsyas101; and these myths were important for the development of music and particularly of the aulos in ancient Greece102. In 5th and 4th centuries Athens the music of chordophones prevailed over that of aulos103. The professional auletes/or auletris wears a kind of mouth band with a slit or hole for each mouth piece, the phorbeia/φορβειά, with an unclear actual function; perhaps to regulate the air and to protect their lips104.
  • 105 London, British Museum, no. E14/1836, 0224.41: Beazley, 1963, p.125, 21; Hofstetter, 199 (...)

34The painter Nikosthenes, according to the inscription, from the Pamphaios’ School of style, decorating the exterior side of a red-figure kylix (510-500 BCE) included four Sirens musicians in a Dionysian thiasos105. The mythical beings play aulos, wearing earrings and hair bands and wreathed with vine. On the one vase’s surface, two Sirens, Dionysus and two Sileni, wreathed with ivy, are visible; on the other side, two similar Sirens, a maenad and a Silenus are placed. The maenad moves to the right looking back and swinging her thyrsos to repel a Silenus, whose legs and a basket are preserved. The Sirens on this vase are associated with the god Dionysus and belong to his thiasos. Sileni or Satyri and one maenad are dancing under the sounds of the Sirens’ music. Comparing the cup of Nikosthenes in Louvre, mentioned above, we see his rich repertoire and the development in Sirens’ representation and significance, from sailors’ companions to members of a Dionysian thiasos with eschatological associations.

  • 106 London, British Museum, no. B 651/1842,0728.802: BAPD, no. 6418; Haspels, 1936, p. 150-1 (...)
  • 107 London, British Museum, no. 1920.315.1: Haspels, 1936, p. 255, no.27 (Appendix (...)
  • 108 Schauenburg, 1988, p. 67-85, figs. 1-6, 8, 10-11, 13, 17, 30.
  • 109 Bloomington, Indiana University, no. 65.66: BAPD, no. 351616; Hofstetter,1997, (...)
  • 110 Delos, Archaeological Museum, no. A. 3995: Hofstetter, 1990, p. 213, no. Ky 7; Böhm, 202 (...)

35Representations of Sirens as lyre-players are also included on vase-paintings. The so-called Athena Painter used a Siren lyre-player and one or two onlookers listening to her magical/seductive music in order to decorate black-figure lekythoi. For example, such a motif is visible on an Attic black-figure lekythos from Melos (500-480 BCE)106 and on other similar vases from the same period; e.g., on a black-figure lekythos from Gnathia (ca. 500-480 BCE)107. In the first example, the large Siren is depicted in profile to the right standing on a column (?) or on a tomb (?) consisting of a high block on a high plinth. She has long hair held by a fillet and a large wreath. Two bearded men, draped in himation, the right leaning on a staff, with their dogs surrounded her. In the second example, the Siren lyre-player stands on a three-stepped base, surrounded by two owls standing on tendrils – the base and the owls are probably associated with an Athena sanctuary. It is also worth noting that Sirens and owls, belong both to the funeral sphere. Owls often decorate vases from Athens and South Italy, either alone, as the main motif, or with other symbols (louteria or boukrania), which are linked with the goddess Athena108. The Athena Painter decorated another black-figure lekythos (ca. 490 BCE), used a version of the first example, i.e. a Siren in profile to the right, staying on a column with capital and playing a lyre between two standing men in himation, holding a stick and branches and followed by their dogs109. Sirens as other hybrid creatures (sphinxes) belong to a sanctuary or a grave as a sema/σῆμα. Votive statues of both (Sirens and Sphinxes) on columns were placed in sanctuaries; e.g., the headless marble statue of a Siren in the Apollo sanctuary on Delos (2nd half 6th c. BCE)110. Therefore, since the sanctuary is a “liminal zone between This World and the Other World”, the presence of mixed creatures including the Sirens in his territory could be explained as a σῆμα/ hallmark (Markzeichen). “They mark the boundary between the humans and the naos, the earthly realm of the divinity.” Sirens images in funerary monuments, graves or as decoration’s motifs on funerary vases could be similarly interpreted. They function as intermediaries between This and the Other World, this side and beyond/Diesseits/Jenseits), the mortal and the divine. In addition, the Sirens singing and playing music create hopes for a happy afterlife.

  • 111 Eleusis, Archaeological Museum, no. 458: BAPD, no. 9040423; Hofstetter, 1990, (...)
  • 112 London, British Museum, no B 682/or 1864,1007. 269: Hofstetter, 1990, p. 100, 118-119, n (...)
  • 113 Cf. Graf 1974; Liveri, forthcoming 2.
  • 114 There is extensive bibliography; see e.g. Bérard, 1992; Metzger, 1995; Tiverios, 2004.

36The next two examples are attributed to the Theseus Painter. The first one is associated with the Eleusinian sanctuary, where it was found as an offering, the second one perhaps with Athena’s cult on the Athenian Acropolis, according to the depicted scene. The first vase is a mesomphalos votive phiale/libation’s bowl (fig. 7a, b, c), dated between to the end of the 6th to the early 5th c. BCE111. Its interior bears a very interesting representation, made by the Six’s technique, i.e. the figures are painted white on a black background and some details are added in red color. Two Sirens are placed between white large anthemia with spiral stems/tendrils. They walk to the right, but looking back, holding the large musical instrument, a seven-string lyre, almost horizontally with the left hand and the plectrum with the right. They have birds’ features and only their hands and head are human. Their head and face are depicted in profile with a red band around their hair. The letters, which are incised on the back phiale’s side, indicate that they also sing, because they are not build/make up words. The Eleusinian phiale has a counterpart, in another Attic phiale in the British Museum, which was found in a necropolis in Kameiros of Rhodes (500-480 BCE)112. It is decorated with similar Six’s technique and similar Siren’s lyre-players motif, that indicates that both are created by the same artist. The only difference is that in the second phiale, in front of each Siren and the anthemia, a dove to right looking back is placed. The dove is an Aphrodite’s attribute; therefore, the aphrodisiac-erotic character or aspect of the Sirens’ music and songs is emphasised. Obviously, the first votive phiale is associated with the Eleusinian Mysteries and with rituals including music in the Eleusinian sanctuary113. The Eleusinian Mysteries included various cults and theological ideas. They were associated, not only with the great Eleusinian deities (Demeter and Core/Persephone), but with others gods (e.g., Aphrodite, Dionysus, Apollon, Hermes, Artemis) and Pythagorian and Orphic perceptions114.

Fig. 7a, b, c. Two Sirens lyre-players. Mesomphalos phiale in the Six’s technique (end 6th or early 5th c. BCE). Eleusis, Archaeological Museum, no. 458. (Ephorate of Antiquities of West Attica © Hellenic Ministry of Culture/Hellenic Organization of Cultural Resources Development, photograph by the Ephorate).

Fig. 7a, b, c. Two Sirens lyre-players. Mesomphalos phiale in the Six’s technique (end           6th or early 5th c. BCE).           Eleusis, Archaeological Museum, no. 458. (Ephorate of Antiquities of           West Attica © Hellenic Ministry of Culture/Hellenic Organization of           Cultural Resources Development, photograph by the Ephorate).

 

  • 115 San Antonio/Texas, Museum of Fine Arts, no. 86.134.54: BAPD, no. 6417; Borgers, 2004, p. (...)
  • 116 Fritzilas, 2006, as in previous n. Perhaps aulos and lyre accompany a sacrific (...)
  • 117 Zschätzsch, 2002, p. 18-24, 27, pl. 3; Roumpi, 2012, p.52-53, nos. 30-31. On t (...)
  • 118 Naples, National Archaeological Museum: BAPD, no. 208385; Beazley 1963. p. 699 (...)

37The second creation of the Theseus Painter belonging to this group is a black-figure on white background lekythos (495-490 BCE)115, decorated with a Siren in profile to the right playing lyre with plectron and staying on a rock. The musician is flanked by two standing men in mantles and leaning on a stick. On the left, a goat under a tree turning her head back is placed; on the right of the Siren’s rock, a column is visible. Fritzilas’ interpretation of this scene seems very interesting and plausible116. He suggests that the Siren accompanies with her music the forthcoming sacrifice of the goat on the Acropolis of Athens in honor of the Goddess Athena. Therefore, it is a ritual sacrifice, which took place during the feast of Panathenaia, in the sanctuary of the goddess under her holy tree, probably an olive tree. The column symbolizes the sanctuary of Athena, as in examples mentioned above. However, the preserved illustrations of sacrifices’ processions in honor of Athena during the Panathenaia include music of aulos and cithara and not lyre: e.g., on a black-figure amphora, attributed to the Berlin Painter (550-540 BCE), on a fragment of a red-figure kantharos, attributed to the Pan Painter (ca. 480 BCE), and on the Parthenon frieze117. A version of a Siren standing on a rock and playing lyre before a column on the right is depicted on a red-figure lekythos found in Cuma, attributed to the Ikaros Painter (460-450 BCE)118. In these examples, the same ideas, mentioned above for the Sirens-sanctuary-grave connection must apply. Additionally, if the interpretation with the sacrifice is correct, the presence/participation of the Siren would justify, since it is an ambivalent situation, a change from everyday life to celebration.

38The Athena Painter and Theseus Painter had a rich Sirens’ repertoire for their vase-paintings. They created also Sirens’ choruses, consisting usually of three members, both singers and musicians. Such musical choirs appear in the next examples:

  • 119 Greifswald, Collection of Ernst-Moritz-Arndt-University, no. 197: BAPD, no. 330678; Hasp (...)
  • 120 Bari, Museo Provinziale, no. 2732: BAPD, no. 6419; Haspels, 1936, p.158-159, 257, pl. 48 (...)

39On a black-figure skyphos from Boeotia, attributed to the Theseus Painter, a Sirens’ choir is visible (ca. 510 BCE or according to Fritzilas 505-495 BCE)119. Three with ivy wreathed Sirens in profile to the right play their musical instruments before a standing man holding a stick and a branch; he seems to be the only listener of their music. The first two Sirens play aulos and the third a chelys lyre. It is worth noting that in this illustration Sirens and man are placed on the same level. b) On a black-figure lekythos, attributed to the Athena Painter (490/480 BCE) a variation of the motif appears120. Three Sirens musicians in profile stand on a rock in the shape of a wave. The middle one plays a chelys lyre and she is larger than the other two aulos-players at the edges. Below, a lion and a lioness are placed in the front of the rock.

  • 121 New York, Metropolitan Museum of Art, no. 1957.57.12.5: Kilinski, 1990, p. 32, (...)
  • 122 On crotala: Paquette, 1984, p. 205, 208-209, figs. P1-4; Mathiesen, 1989, p. 163-166, fi (...)

40The anonymous painter of our last example (fig. 8a, b), decorating the exterior surface of a Boeotian black-figure kylix (early 5th c., 500-475 BCE), uses similar motifs as the previous painters by creating a special musical set of two Sirens’ choruses121. Each ensemble consists of three Sirens musicians and singers, depicted in profile staying on rocks, which are separated with plants/branches: in the first choir the lyre-player, turned to the right, is surrounded by two aulos-players. The second chorus is similar to the first one, with the difference that here the right aulos-player Siren is replaced with a long crotala-player ‒ this scene is perhaps a unique representation with a Siren playing crotala holding them in each hand. Crotala were used to give the rhythm in both singing and dancing122. Therefore, the Sirens could use them only by singing, since the lower part of their body was that of a bird. Their Dionysian nature is emphasised again.

Fig. 8a. A Sirens’choir with musical instruments (aulos, lyre and crotala). Boeotian black-figure kylix, exterior surface. New York, Metropolitan Museum of Art, Gift of Ernest Brummer, 1957, no. 1957.57.12.5. (Photo from the museum’s website in Public Domain).

Fig. 8a. A Sirens’choir with musical           instruments (aulos, lyre and crotala). Boeotian black-figure kylix, exterior surface. New York, Metropolitan           Museum of Art, Gift of Ernest Brummer, 1957, no. 1957.57.12.5.           (Photo from the museum’s website in Public Domain).

Fig. 8b. A Sirens’choir with musical instruments (a lyre-player framed by two aulos-player). Other side of the same kylix.

Fig. 8b. A Sirens’choir with musical           instruments (a lyre-player framed by two aulos-player). Other side of the same kylix.
  • 123 Hdt., Hist., 2.60.1: ἐς μέν νυν Βούβαστιν πόλιν ἐπεὰν κομίζωνται, ποιεῦσι τοιάδε. πλέουσ (...)
  • 124 See e.g. Castaldo, 2000, p. 123-129, 133-138, pls. 131-139; Perrot, 2021, p. 47-64; cf. (...)
  • 125 Liveri, 2018, p. 39.
  • 126 London, BM, E38: BAPD, no. 200460; Schaffer, 1997, pl. 33.2; Bundrick, 2005, p (...)
  • 127 Liveri, 2021b, p. 70-71, 79-82, figs, 1a,b, 4a,b (also other combinations with crotala).

41Herodotus “describes men and women playing aulos, singing and clapping - both with their hands and with the crotala – while they sail to the festival at Bubastis”123. With clapping hands accompanies the singing the middle Siren in a previous example. Numerous representations on Archaic and Classical vase-paintings show dancing women (Muses, Nymphs, Charites or anonymous), satyrs or occasionally young men playing crotala alone or in chorus124. The crotala as other percussion’s instruments (cymbals and drums) were associated with mysteries cults (Cybele, Demeter, Dionysus). Their invention was attributed to Athena125. Aulos- and crotala-players are visible in numerous scenes on black- and red-figure vases, accompanied ecstatic dances; for instance, at komos (e.g. kylix of Epiktetos)126, or in various rituals and festivals (e.g. in Adonia and Dionysian)127.

Conclusions

42In conclusion we can remark the following:

43We presented a variety of Sirens’ representations on Attic black- and red-figure vases (Homeric and non-Homeric) from the Archaic to the Classical times. It was found that the Sirens’ motif is multifaceted and can be interpreted from various aspects:

44Regarding the Homeric Sirens, they evolved from anonymous imaginary beings or demons, depicted on animal friezes of the Orientalizing period, into mythical Homeric Sirens, female singers, playing also musical instruments. In addition to the superhuman strength shared by all demons, the Sirens received special features: the gift of magical singing with their melodious and seductive voice and possession of knowledge, as the Muses. In the early Archaic period, most Sirens’ depictions come from Corinth; later from Attica. Also Homeric Sirens are depicted firstly on Corinthian vases and then on Attic ones. Attic vase-painters used the Sirens motif to decorate vases of various shapes, sizes and usages, usually for burial offerings (e.g. lekythoi, hydriai, loutrophoroi) and also others, for simple household use or at banquets or other celebrations or rituals (e.g. kylikes, oinochoae, bowls, amphorae, stamnoi, phialae). Occasionally, the usage cannot be distinguished, unless we know the context or we are helped by the motif, depicting a visit to a tomb or burial customs.

45Sirens usually decorate black-figure and, rarely, red-figure Attic vases. Despite the popularity of the Homeric episode of Ulysses and the Sirens, in poetry, philosophy and music, the vase-painters have not often depicted it, or corresponding scenes have not survived. New motifs appear; e.g., the suicide of the Sirens, Sirens’ choruses, Sirens musicians. We can see an iconographical and stylistic variety in their illustration: in their birds-woman body, their wings, human features (head, hands). The body of red-figure Sirens is usually small, compact and spherical with a couple exceptions. Both, black- and red-figure Sirens have beautiful hairstyles and wear hair covers or bands and jewellery.

46Regarding the songs and music, Sirens’ songs are associated with choral songs in general. The songs of the Pre-Homeric and Homeric Sirens are magical, seductive. These of the anonymous “Post-Homeric” Sirens are different, depending on the deity with which they are associated and the state they symbolize. In our examples they are associated with Aphrodite, Apollo, Athena, Dionysus, Demeter and Persephone, and Hermes), as indicated by the musical instruments being played (aulos, lyre, crotala) and other elements mentioned above: e.g., dove and Erotes for Aphrodite, participation at a thiasos and playing percussion instruments for Dionysus, the aulos, the Doric columns and the owls on lekythoi, probably a reminiscent of an Athena sanctuary and the Sirens would then decoration images before the sanctuary, and the lyre for Apollo and Hermes.The instruments and the art of singing might suggest certain magical powers of the Sirens, which they can exert over others, and characterize them in contrast to equivalent demons, such as griffons. The Sirens’ voices and songs have also erotic power, are seductive, and therefore, dangerous. Aulos and lyre, the instruments, which they play, show also their ambivalent nature; contrast in everything.

  • 128 Bélis, 1999, p. 37-60; cf. male aulos-player, p. 66-89 and passim.
  • 129 Ibid., p. 42-48.
  • 130 See e.g. : a) the famous Euphronios psykter: St. Petersburg, Hermitage State Museum, no. (...)
  • 131 Goulaki-Voutira, 2012, p. 67-68; Roumpi, 2012, p. 90-95, nos.77-85.

47The Siren singers and musicians motif indicates perhaps also the role of female musicians in Ancient Greek music and social life, where men dominate128. For instance, representations of women auletrides, who were hetairai, appear usually in symposia scenes on red-figure vase-paintings around the beginning of the 6th c. (500 BCE) onwards, and in some cases their names are also mentioned (e.g. Sekline, Syko, Helike)129. They decorate usually vases used by symposium, as psycteres and stamnoi130. In general, women prefer playing stringed instruments, or alternating aulos and stringed instruments, as numerous representations show131.

  • 132 For musical contests see: Bélis, 1999, p. 123-155; see the contributions in Castaldo, (...)

48Perhaps the alleged musical contest of Orpheus with the Muses or of the Sirens with the Muses also indicates actual musical contests132.

49The anonymous Sirens are beings in chthonian-vegetable area, depicted in a blissful atmosphere, which can be associated with various gods (Dionysus, Persephone). Perhaps the Sirens play an intermediary role between these enraptured climes and the human sphere, expressing the hope for a happy afterlife. They are beings whose ethereal music connotes another world. The Sirens as hybrid creatures accompany people’s status changes and function as mediators between this and the Other world.

  • 133 Shapiro, 1989, p. 19-20; id., 1993, p. 92-107; West, 1994, ; cf. Liveri, 2021a (...)

50Athens was a great religious and cultural centre in Metropolitan Greece, including the Eleusinian sanctuary, residence of great philosophers and thinkers (e.g. Aristotle, Plato, Sophocles, Euripides etc.), who mentioned Sirens in their works. Therefore, the public was familiar with associating myths and their meaning. The Eleusinian mysteries, associated with Orphism, Dionysus and other deities, had an important role in the life of the Athenians. Let’s not forget that the Peisistratids renewed music in Archaic Athens in the second half of the 6th century, turning it into the most important center of the time. Peisistratus’ φιλόμουσος son Hipparchus seems to be associated with the renewal of the rhapsody contests; “relays of rhapsodes were organized into performing the complete Iliad and Odyssey at the Great Panathenaia held every four years”)133.

  • 134 See West, 1994, ch. 12.
  • 135 Roumpi, 2012, p. 88-95, nos. 77-85.
  • 136 Goulaki-Voutira, 2012, as in n. 131; cf. previous n.

51Towards the end of the 5th century the Siren’s image disappears from the Attic vase-painters’repertoire. Perhaps this fact is due to various reasons; it is connected e.g., with the political-social situation during this period in Athens and Attica (Peloponnesian war and its results), the evolution of music (“New music”)134, the dynamic presence of women (mainly hetairai) in the musical “dromena”/events of the time (symposia, komos, religious rituals and private feasts.), and change in artistic taste using other motifs. It is worth noting that at the end of the 5th century the role of women is upgraded. This is visible also in female iconography, which approaches that of the Μuse, the ideal of the educated woman. Therefore, it is difficult to distinguish whether she is a Μuse, an educated woman or a courtesan135. This influence and spread of music and literary education is also seen in the hetairai’s world that often have Muses or Muse-like names (Choro/Χορώ, /Cleio/Κλειώ, Kallinike/Καλλινίκη)136.

  • 137 Taylor, 2014, p. 183-187; cf. Liveri, forthcoming1, 2.

52Nevertheless, in the Greek colonies, especially in Sicily and South Italy (in Apulia, Campania and Paestum) vase-painters continue to use Sirens as decoration’s motif in great variety and symbolic, especially in the 4th c. BCE, that can be explained because of the Mysteries cults (Eleusinian, Dionysian, Orphic, Pythagoreanism), which flourished there137. In Athens plastic or relief Sirens kept decorating grave columns and monuments, singing rather lamentations for the dead (threnoi), a reminiscent of their chthonic character as daughters of Chthon and companions of Persephone in Hades.

Haut de page

Bibliographie

Primary Sources138

Alcman: Alcm.
Louvre Partheneion: PLouvre
West, M. L., 1965, Alcmanica, Classical Quartely (CQ) 15, p. 188-202.
West, M. L., 1967, Alcman and Pythagoras, CQ 17, p. 1-15.
West, M. L., 1993, Greek Lyric Poetry, Oxford.

Apollodorus: Appollod.
Apollodorus, The Library, with an English Translation by Sir James George Frazer, F.B.A., F.R.S. in 2 Volumes. Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1921. Includes Frazer’s notes.
http://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.01.0021 (30.06.2023)

Ap. Phod., Argon.
Argonautica. Apollonius Rhodius. George W. Mooney. London. Longmans, Green. 1912. http://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.01.0227 (30.06.2023)

Aristotle, De Caelo: Arist., Cael.
Aristotle’s Metaphysics, ed. W.D. Ross. Oxford: Clarendon Press. 1924. http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0051% 3Abook%3D1%3Asection%3D986a (30.06.2023)

Aristotle, Metaphysica: Arist., Metaph.
Aristotle’s Metaphysics, ed. W.D. Ross. Oxford: Clarendon Press. 1924.
http://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.01.0051 (30.06.2023). [= add full stop]

Euripides, Helen: Eur., Hel.
Euripidis Fabulae, vol. 3. Gilbert Murray. Oxford. Clarendon Press, Oxford. 1913.
http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0099%3Acard %3D167 (30.06.2023)

Herodotus, The Histories: Hdt., Hist.
Herodotus, with an English translation by A. D. Godley. Cambridge. Harvard University Press.1920. http://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.01.0125 (30.06.2023)

Hesiod, Theogonia: Hes., Theog.
Hesiod. The Homeric Hymns and Homerica, with an English Translation by Hugh G. Evelyn-White. Theogony. Cambridge, MA., Harvard University Press; London, William Heinemann Ltd. 1914.
http://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.01.0129 (30.06.2023)

Hesiod, Catalogus mulierum: Hes., Cat. Hesiod, Catalogue of Women from Homeric Hymns, Epic Cycle, Homerica translated by Evelyn-White, H G. Loeb Classical Library Volume 57. London: William Heinemann, 1914.

Hesiods, Fragments:
West, M. L., 1967, Fragments of Hesiod, Theogony, The Oxyrhynchus Papyri XXXII, 1967, p. 163-179.

Homer, Odyssey: Hom., Od.
Homer. The Odyssey
with an English Translation by A.T. Murray, PH.D. in two volumes. Cambridge, MA., Harvard University Press; London, William Heinemann, Ltd. 1919.
http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0136%3Abook%3D12%3Acard%3D36 (30.06.2023)

Homer, Iliad: Hom., Il.
Homeri Opera in five volumes
. Oxford, Oxford University Press. 1920.
http://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.01.0133 (30.06.2023)

Homer. The Iliad with an English Translation by A.T. Murray, Ph.D. in two volumes. Cambridge, MA., Harvard University Press; London, William Heinemann, Ltd. 1924.
http://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.01.0134 (30.06.2023)

Hyginus, Fabulae: Hyg., Fab.:
Hygini, Fabulae, ed. Mauritius Schmidt, apud H. Dufft, Jenae, 1872. urn:cts:latinLit:phi1263.phi001;
https://catalog.perseus.org/catalog/urn:cite:perseus:author.755 (30.06.2023)

Iamblichus: Iambl.
58 C 4 = Iamblichos, De vita Pythagorica, 82-86:
Hermann Diehls, Die Fragmente der Prosokratiker, Berlin, 1906.
https://remacle.org/bloodwolf/philosophes/pythagoriciens/diels.htm (30.06.2023)

Early Greek Philosophy, vol. IV, Pythagoras, Testimonia, Part C: Attributed Doctrines (D), LCL 527, p. 118-119. https://www.loebclassics.com/view/pythagoras-attributed_doctrines/2016/pb_LCL527.119.xm (30.06.2023)

Lycophron, Alexandra: Lycoph., Alex.
Lycophron.
Alexandra. A.W. Mair. London: William Heinemann; New York: G.P. Putnam’s Sons. 1921.

Orphic Argonautica:
Abel, E. (ed.), 1885, Orphica, Sumptibus Fecit G. Freytag, Lipsiae, Pragae. https://el.wikisource.org/wiki/Ορφέως_Αργοναυτικά_(30.06.2023)

Orphics:
Bernabé, A., 2004-2007, Poetae Epici Graeci. Testimonia et fragmenta. Pars. II, fasc. 1-2, Orphicorum et Orphicis similium testimonia et fragmenta (Munich-Leipzig 2004-2005); II 3, Musaeus · Linus · Epimenides · Papyrus Derveni · Indices (Berlin-New York 2007).

Bernabé, A., 2010, The Derveni Papyrus: Problems of Edition, Problems of Interpretation, Proceedings of the Twenty-Fifth International Congress of Papyrology, Ann Arbor 2007, American Studies in Papyrology, p.79-86.

West, M. L., 1983, The Orphic Poems, Oxford.

Ovid, Metamorphoses: Ov., Met.
Ovid. Metamorphoses. Hugo Magnus. Gotha (Germany). Friedr. Andr. Perthes. 1892.

Pausanias: Paus. The Orphic Poems, Oxford.
Pausanias, Description of Greece: Pausanias. Pausaniae Graeciae Descriptio, Pausanias. Pausanias Description of Greece with an English Translation by W.H.S. Jones, Litt.D., and H.A. Ormerod, M.A., in 4 Volumes. Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1918. 3 vols. Leipzig, Teubner. 1903.
http://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.01.0159 (30.06.2023)

Pindar: Pind.
Pindar. The Odesof Pindar including the Principal Fragments with an Introduction and an English Translation by Sir John Sandys, Litt.D., FBA. Cambridge, MA., Harvard University Press; London, William Heinemann Ltd. 1937.
http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0161%3 Abook%3DO.%3Apoem%3D1 (30.06.2023)

C. Morgan and S. Hornblower (eds.), 2007, Pindar’s Poetry, Patrons and Festivals, from Archaic Greece to the Roman Empire, Oxford.

Pindar (ed. B. Snell and H. Maehler, 1987-1988).

Plato, Respublica: Pl., Resp.
Platonis Opera, ed. John Burnet. Oxford University Press. 1903.
http://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.01.0167 (30.06.2023)

Plutarch, Quaestiones convivales: Quaest, conv.
Plutarch. Moralia. Gregorius N. Bernardakis. Leipzig. Teubner. 1892. (30.06.2023)
http://www.perseus.tufts.edu/hopper/searchresults?q=Plutarch%2C++Quaestiones +convivales%3A (30.06.2023)

Plutarch, Moralia: Plut., Mor.
Plutarch. Moralia. 16 vols. (vol. 13: 13.1 & 13.2, vol. 16: index), transl. by Frank Cole Babbitt (vol. 1-5) et al., series: “Loeb Classical Library” (LCL, vols. 197-499). Cambridge, Massachusetts: Harvard University Press et al., 1927-2004.

Sophocles, fragments: Soph.
https://www.loebclassics.com/view/LCL483/1996/pb_LCL483.429.xml (30.06.2023)

Stephanus Byzantius or Byzantinus, Ethnika: Steph. Byz.
urn:cts:greekLit:tlg4028.tlg001 (30.06.2023)

Strabo, Geography:
Strabo. ed. A. Meineke, Geographica. Leipzig: Teubner. 1877.
http://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.01.0197 (30.06.2023)

The Geography of Strabo. Literally translated, with notes, in three volumes. London. George Bell & Sons. 1903.

Vergil, Georgics: Verg., G.
Vergil, Georgika: Maurus Servius Honoratus. In Vergilii carmina comentarii. Servii Grammatici qui feruntur in Vergilii carmina commentarii; recensuerunt Georgius Thilo et Hermannus Hagen. Georgius Thilo. Leipzig. B. G. Teubner. 1881.
https://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:2007.01.0092 (30.06.2023)

Secondary References

Andreae, B. (ed.), 1999, Odysseus. Mythos und Erinnerung, Exhibition catalogue (Haus der Kunst, München, 01. Oktober 1999 bis 09. Januar 2000), Mainz am Rhein.

Andrikou, E., Goulaki-Voutira, A., Lanara, Ch. and Papadopoulou, Z. (eds.), 2003, Geschenke der Musen. Musik und Tanz im antiken Griechenland. Μουσών Δώρα. Μουσικοί και χορευτικοί απόηχοι από την αρχαία Ελλάδα, Exhibition catalogue (Berlin, Musikinstrumenten-Museum 10.06. - 31.08. 2003), Athens.

Aston, E., 2011, Mixanthrôpoi: Animal-Human Hybrid Deities in Greek Religion, Kernos, Supplément 25, Liège.

Beazley, J. D., 1956, Attic Black-Figure Vase-Painters, Oxford.

Beazley, J. D., 1963, Attic Red-Figure Vase-Painters, vols. I and II, Oxford (2nd ed.).

Bélis, A., 1985, À propos de la construction de la lyre, BCH, 109, p. 201-220.

Bélis, A., 1986a, La phorbéia, BCH, 110, p. 205-218.

Bélis, A., 1986b, L’Aulos phrygien, Revue Archéologique, 48, p. 21-40.

Bélis, A., 1999, Les Musiciens de l’ Antiquité, Paris.

Bellia, A., 2012, Il canto delle vergini locresi. La musica a Locri Epizefirii nelle fonti scritte e nella documentazione archeologica (secoli VI-III a.C.), Nuovi saggi CXVI, Pisa-Roma.

Benson, C., 1995, Sirenen, in E. D. Reeder (ed.), Pandora. Frauen im klassischen Griechenland, Mainz am Rhein , p. 415-418.

Bérard, C., 1992, Polythéisme éleusinien, in Chr. Bron and E. Kassapoglou (eds.), De l’Antiquité à Paul Klee. L’image en jeu, Lausanne, p. 35-46.

Blatter, R, 1984, s.v. Argonautai, LIMC II, p. 591-599.

Böhm, S., 2020, Sphingen und Sirenen im archaischen Griechenland, Symbole der Ambivalenz in Bildszenen und Tierfriesen, Regensburg.

Bonds, M. E., 2014, Absolute Music: The History of an Idea, Oxford.

Borgers, O., 2004, The Theseus Painter. Style, Shapes and Iconography, Allard Pierson Series 16, Amsterdam.

Boyancé, P. 1966, L’influence pythagoricienne sur Platon, in Filosofia e scienze in Magna Grecia, Atti del quinto convegno di studi sulla Magna Grecia, Taranto 10-14 ottobre 1965, Napoli, p. 73-113.

Bowie, E., 2021, Alcman’s First Partheneion and the Song the Sirens sang, in Essays on Ancient Greek Literature and Culture, Cambridge, p. 527-558.

Bundrick, S.D., 2005, Music and Image in Classical Athens, Cambridge.

Breglia Pulci Doria, L., 1987, Le Sirene: il canto, la morte, la polis, Annali di Archeologia e Storia Antica IX, p. 65-98.

Brommer, F., 1983, Odysseus. Die Taten und Leiden des Helden in Antiker Kunst und Literatur, Darmstadt.

Burkert, W., 1972, Lore and Science in Ancient Pythagoreanism, Cambridge (Ma.).

Burkert, W., 1982, Craft Versus Sect: The Problem of Orphics and Pythagoreans, in B. F. Meyer and E.P. Sanders (eds.), Jewish and Christian Self-Definition 3: Self-Definition in the Graeco-Roman World, London, p. 1-22 and 183-189 (= Burkert 2006, p. 191-216).

Burkert, W., 2006, Kleine Schriften III: Mystica Orphica, Pythagorica, F. Graf (ed.), Göttingen.

Buschor, E., 1944, Die Musen des Jenseits, München.

Calame, C., 2001, [Choeurs de jeunes filles en Grèce archaïque. 1, Morphologie, fonction religieuse et sociale], Choruses of young women in ancient Greece : Their Morphology, Religious Role, and Social Functions, translated by D. Collins and J. Orion, Lanham, Boulder, New York, Oxford (New and revised ed.)

Castaldo, D., 2000, Il Pantheon musicale. Iconografia nella ceramica attica tra VI e IV secolo, Ravenna.

Chase, G. H. and Pease, M. Z., 1942, Corpus Vasorum Antiquorum, United States of America: Fogg Museum and Gallatin Collections, Facs. 8, Cambridge, Mass.

Cohen, B. (ed.), 1992, The Odyssey in Ancient Art. An Epic in Word and Image, New York.

Colonia, R., 2006, The Archaeological Museum of Delphi, (John S. Latsis Public Benefit Foundation), Athens.

D’Anna, N., 2010, Da Orfeo a Pitagora. Dalle estasi arcaiche all’armonia cosmica, Roma.

Demargne, P., 1984, s.v. Athena, LIMC II, p. 955-1044.

Denoyelle, M., 1994, Chefs-d’œuvre de la céramique grecque dans les collections du Louvre, Paris.

Dietrich, N., 2010, Figur ohne Raum? Baume und Felsen in der attischen Vasenmalerei des 6. und 5. Jahrhunderts v. Chr., Image & Context 7, Berlin.

Dillon, J., 2003, The Heirs of Plato, Cambridge.

Doherty, L. E., 1995, Sirens, Muses, and Female Narrators in the Odyssey, in B. Cohen (ed.), The Distaff Side: Representing the Female in Homer’s Odyssey, Oxford, p. 81-92.

Fenet, A., 2011, Voyages en mer dans le monde Grec et Roman, ThesCRA, VI, p. 407-414, s.v. Voyages en mer.

Ferrari, G., 2004, Alcman and the Cosmos of Sparta, Chicago - London.

Fritzilas, St., 2006, Ο ζωγράφος του Θησέα. Η αττική αγγειογραφία στην εποχή της νεοσύστατης αθηναϊκής δημοκρατίας, Library of the Athens Archaeological society 245, Athens.

Fritzilas, St., 2010, Χθόνια γοργόνα, Tripoli.

Galt, C. M., 1917, A marble fragment at Mount Holyoke College from the Cretan city of Aptera, Art and Archaeology, 6, p. 143-154.

Garezou, M.-X., 1994, s.v. Orpheus, LIMC VII, p. 81-105.

Genovese, G., 1999, I santuari rurali nella Calabria greca, Roma.

Graf, F., 1974, Eleusis und die orphische Dichtung: Athens in vorhellenistischer Zeit, Berlin/Boston.

Greco, E., 1992, Nel golfo di Napoli: tra Sirene, Sirenusse e Athena, Annali di Archeologia e Storia Antica del istituto Universitario di Napoli, Dipartimento di Studi del mondo classico e del mediterraneo antico, Sezione filologico-letteraria XIV, p. 161-170.

Gropengiesser, H., 1977, Sänger und Sirenen. Versuch einer Deutung, AA, 92, p. 582-610.

Guthrie, W. K., 1993, Orpheus and Greek Religion: A Study of the Orphic Movement, rev. Ed., Princeton.

Hagel, St., 2008a, Die Sänger aus musikarchäologischer Perspektive, in Latacz et al. (eds.), p. 106-111.

Hagel, St., 2008b, Re-evaluating the Pompeii auloi, JHS 128, p. 52-71.

Hagel, St., 2010, Understanding the aulos Berlin Egyptian Museum 12461/12462, in R. Eichmann, E. Hickmann and L.- Ch. Koch (eds.), Musical Perseptions - past and present; On ethnographic analogy in music archaeology, Studien zur Musikarchäologie, Orient-Archäologie 25, p. 67-87.

Hagel, St., 2010-2011, The aulos sŷrinx, in D. Castaldo, F. G. Giannachi and A. Manieri (eds.), Poesia, musica e agoni nella Grecia antica/Poetry, Music and Contests in ancient Greece, Atti del IV convegno internazionale di MOIΣA, Lecce, 28-30 ottobre 2010, RUDIAE, vol. 2, p. 489-518.

Harrison, J. E., 1922, Prolegomena to the Study of Greek Religion, 3rd ed., Cambridge.

Harrison, J. E., 2003, Prolegomena to the Study of Greek Religion, transl. by E. Papadopoulou, Athens.

Haspels, E. C. H., 1936, Attic black-figured Lekythoi, École française d’Athènes, Fascicule IV, Paris.

Hatzivassiliou, E., 2010, Athenian Black Figure Iconography between 510 and 475 B.C., Tübinger Archäologische Forschungen 6. Rahden/Westf.

Hofstetter, E., 1990, Sirenen im archaischen und klassischen Griechenland, Beiträge zur Archäologie 109, Würzburg.

Hofstetter, E., 1997, s.v. Seirenes, LIMC VIII, p. 1093-1104 (für das Etruskische, Krauskopf, I.).

Ηuber, I., 2001, Die Ikonographie der Trauer in der griechischen Kunst, (Peleus, Studien zur Archäologie und Geschichte Griechenlands und Zyperns 10), Mannheim und Möhnesse-Wamel.

Huffman, C. A., 1999, The Pythagorean Tradition, in A. A. Long (ed.), The Cambridge Companion to Early Greek Philosophy, Cambridge, p. 66-87.

Kakridis, I. (ed.), 1986a, Ελληνική Μυθολογία.Οι Θεοί, vol. 2, Athens.

Kakridis, I. (ed.), 1986b, Ελληνική Μυθολογία. Ηρακλής-Πανελλήνιες εκστρατείες, vol. 4, Athens.

Kakridis, I. (ed.), 1987, Ελληνική Μυθολογία.Τρωικός πόλεμος. vol. 5, Athens.

Karoglou, K., 2018, Dangerous Beauty: Medusa in Classical Art, Bulletin of the Metropolitan Museum of Art, 75.3, p. 36-40.

Kehajas, D., 2014, Πήλινα ειδώλια Σειρήνων από την περιοχή του Αιγαίου: μιξογενή πλάσματα εξ Ανατολής, in A. Jannikouri (ed.), Κηροπλαστική και μικροτεχνία στον αιγαιακό χώρο από τους γεωμετρικούς χρόνους έως και τη ρωμαϊκή περίοδο. Proceedings of the International Conference in memory of Io Zervoudaki, (Rhodos, 26-29 November 2009), vol. II, Athens, p. 195-206.

Kéi, N., 2022, L’esthétique des fleurs: kosmos, poikilia et kharis dans la céramique attique du vie et du ve siècle av. n. ère, Image & Context 22, Berlin - Boston.

Kilinski, K., 1990, Boeotian Black Figure Vase Painting of the Archaic Period, Mainz am Rhein.

Kopf-Wendling, U., 1989, Die Darstellungen der Sirene in der griechischen Vasenmalerei des 7., 6. und 5. Jahrhunderts v. Chr., Meier.

Kurtz, D. C, 1975, Athenian White Lekythoi. Patterns and Painters, Oxford.

Latacz, J., Greub, T., Blome, P. and Wieczorek, A. (eds.), 2008, Homer. Der Mythos von Troja in Dichtung und Kunst, exhibition catalogue, Antikenmuseum Basel und Sammlung Ludwig, 16. März -17. August 2008 und Reiss-Engelhorn-Museen mit Curt-Engelhorn-Zentrum, Mannheim, 13. September 2008 - 18 Januar 2009, München.

Lebessi, A, 2014, Ο θρήνος στην κρητική κοινωνία της 1ης χιλιετίας (Mourning in Cretan Society of the First Millennium BC), in A. Jannikouri (ed.), Κηροπλαστική και μικροτεχνία στον αιγαιακό χώρο από τους γεωμετρικούς χρόνους έως και τη ρωμαϊκή περίοδο, Proceedings of the International Conference in memory of Io Zervoudaki, (Rhodos, 26-29 November 2009), vol. II., Athens, p. 169-184.

Liveri, A., 2018, Musical Instruments and their Miniatures Models as Votive Offerings to Female Deities in Sanctuaries in Ancient Greece, in A. Bellia and S. Bundrick (eds.), Musical Instruments as Votive Gifts in the Ancient World, Telestes 4, Pisa, Roma, p. 39-50.

Liveri, A., 2021a, Soundscape of Public Festivals in Athens (Panathenaia and City Dionysia), Telestes, 1, p. 27-46.

Liveri, A., 2021b, Percussion Music in Athenian Religious Rituals and Festivals, Pallas, 115, p. 67-92.

Liveri, A., 2023, The Magic of Molpe. Muses’ Choruses on Black-Figure Vase-Paintings, in E. Giudice and G. Giudice (eds.), Studi Miscelanei di Ceramographia Greca VIII, in memoriam F. Lissarrague, p. 111-143.

Liveri, A., forthcoming 1, Music, Songs and Dance in Ancient Greek Afterlife.

Liveri, A., forthcoming 2, Musical Performances in Ancient Greek Mystery Cults.

Maas, M. and McIntosh Snyder, J., 1989, Stringed Instruments of Ancient Greece, New Haven.

Mathiesen, T. J., 1999, Greek Music and Music Theory in Antiquity and the Middle Ages, vol. 2, Lincoln and London.

Mazet, Chr., 2019, La « sirène » d’Orient en Occident comme exemple de la sélection culturelle des hybrides féminins en Méditerranée orientalisante (viiie-vie siècle av. J.-C.), in M. Besseyre, P.-Y. Le Pogam et F. Meunier (eds.), L’animal symbole, Actes du 141e Congrès nationaux des sociétés historiques et scientifiques, tenu ὰ Rouen en 2016, Paris. Disponible sur Internet : <http://books.openedition.org/cths/5065>.

Metzger, H., 1995, Le Dionysos des images éleusiniennes du ive siècle, RA, p. 3-22.

Meuli, K., 1921, Odyssee und Argonautica, Berlin/Sächingen.

Moutsopoulos, E., 2010, Η μουσική στο έργο του Πλάτωνος, Athens.

Neils, J., 1995, Les Femmes Fatales: Skylla and the Sirens in Greek Art, in B. Cohen (ed.), The Distaff Side: Representing the Female in Homer’s “Odyssey”, New York-Oxford, p. 175-184.

Niniou-Kindeli, V. and Tzanakaki, K., 2018, ΄Απτερα πόλις Κρήτης, in Ν. Chr. Stampolidis, E. Papadopoulou, I. G. Lourentzatou and I. Phappas (eds.), Κρήτη. Αναδυόμενες πόλεις: ΄Απτερα, Ελεύθερνα, Κνωσσός, Exhibition catalogue (Museum of Cycladian Art, 12 Dec. 2018 - 30 April 2019), Athens, p. 37-61.

Nugent, P. B., 2008, The Sounds of Sirens; Odyssey 12.184-191, College Literature, 35.4, p. 45-54.

Paquett, D.,1984, L´instrument de musique dans la céramique de la Grèce Antique. Études d´Organologie, Paris.

Papadopoulou, E., 2018, A-pa-ta-wa: οι πρώτες εγκαταστάσεις, in N. Chr. Stampolidis, E. Papadopoulou, I. G. Lourentzatou and I. Phappas (eds.), Κρήτη. Αναδυόμενες πόλεις:΄Απτερα, Ελεύθερνα, Κνωσσός, Exhibition catalogue (Museum of Cycladian Art, 12 Dec. 2018 - 30 April 2019), Athens, p. 29-33.

Papangeli, K., 2002, Eleusis. The Archaeological Site and the Museum, (John S. Latsis Public Benefit Foundation), Athens.

Psarudakes, St., 2010-2011, The Hellenistic side Flute and the Koilē-Athens Instrument, in Castaldo et al. (eds.), p. 519-554.

Perrot, S., 2017, Les Révolutions Musicales des Cités Grecques, in S. Emerit et al. (eds.), Musiques! Échos de l’Antiquité, Exhibition catalogue (Louvre-Lens - 13 sept. 2017-15 jan. 2018), Paris, p. 71-72.

Perrot, S., 2021, Faire l’archéologie d’un idiophone grec disparu : les cas des crotales, Pallas 115, p. 47-65.

Pomey, P. (ed.), 1997, La Navigation dans l’Antiquité, Aix-en-Provence

Pollard, J. R.T., 1952, Muses and Sirens, The Classical Review, 2.2, p. 60-63.

Pucci, P., 1979, The Song of the Sirens, Arethusa, 12.2, p. 121-131.

Pucci, P., 1998, The Song of the Sirens: Essays on Homer, Lanham, p. 1-9.

Pugliese Carratelli, G., 1952, Sul culto delle sirene nel golfo di Napoli, La Parola del Passato 7, p. 420-426.

Pugliese Carratelli, G. (ed.), 1996, I Greci in Occidente, Exhibition catalogue (Palazzo Grassi in Venise), Venezia.

Roberts, H. D., 1981, Reconstructing the Greek Tortoise-Shell Lyre, Word Archaeology 12, p. 303-312.

Roumpi, A., 2012, Η μορφωμένη Αθηναία, in A. Goulaki-Voutira (ed.), Μουσική Παιδεία και Δημοκρατία στην Κλασική Αθήνα, Catalogue Exhibition, Athens, p. 88-95.

Schauenburg, K., 1988, Eulen aus Athen und Unteritalien, Jahrbuch des Deutschen Archäologischen Instituts, 103, p. 67-85.

Schefold, K., Bignasca, A., Wiese, A., and Yaluris, A. (eds.), 1993, Götter- und Heldensagen der Griechen in der Früh- und Hocharchaischen Kunst, München.

Schefold, K. and Giuliani, L., 1978, Götter- und Heldensagen der Griechen in der spätarchaischen Kunst, München.

Schefold, K. and Hirmer, M., 1964, Frühgriechische Sagenbilder, München.

Schur, D., 2014, The Silence of Homer’s Sirens, Arethusa, 47.1, p. 1-17.

Shapiro, H. A., 1989, Art and Cult under the Tyrants in Athens, Mainz.

Shapiro, H. A., 1993, Hipparchos and the Rhapsodes, in C. Dougherty and L. Kurke (eds.), Cultural Politics in Ancient Greece, Cambridge, p. 92-107.

Spathari, E.,1995, Sailing through time, the ship in Greek art, Athens.

Szeliga, G. N., 1986, The Composition of the Argo Metopes from the Monopteros at Delphi, AJA, 90, p. 297-305.

Taylor, R., 2014, The Cult of Sirens and Greek Colonial Identity in Southern Italy, in B. Alroth and Ch. Scheffer (eds.), Attitudes towards the Past in Antiquity Creating Identities, Proceedings of an International Conference held at Stockholm University, 15-17 May 2009, Stockholm, p. 183-189.

Tiverios, M., 2004, Artemis, Dionysos und Eleusinische Gottheiten, AM, 119, p. 147-162.

Touchefeu-Meynier, O., 1968, Thèmes odysséens dans l’art antique, Paris.

Touchefeu-Meynier, O., 1992, s.v. Odysseus, LIMC VI, p. 962- 964 (Ulysse et les Sirènes), p. 943-970 (whole).

Tsiafakis, D., 2003, “ΠΕΛΩΡΑ/PELORA”: Fabulous Creatures and /or Demons of Death?, in M. Padgett (ed.), The Centaur’s Smile: The Human Animal in Greek Art, Princeton N.J., p. 73-104.

Viltanioti, I.-F., 2015, L’harmonie des Sirènes du pythagorisme ancien à Platon, Studia Praesocratica 7, Berlin.

Weickert, G., 1902, Die Seelenvögel in der alten Literatur und Kunst. Eine mythologisch-archäologische Untersuchung, Leipzig.

Weickert, G., 1909-1915, s.v. Seirenen, Roscher, W. H., Ausfürliches Lexikon der griechischen und römischen Mythologie, vol. IV, p. 602-639.

Weill, N., 1962, Un cratère d’Hermonax, BCH, 86, p. 64-94.

West, M. L., 1994, Ancient Greek Musik, Oxford.

Wissova, G. and Pauly, A. F., 1927, s.v. Sirenes, RE III, A1, col. 288-308.

Zachartzi, Ou., 2012, Ο μορφωμένος Αθηναίος, in A. Goulaki-Voutira (ed.), Μουσική Παιδεία και Δημοκρατία στην Κλασική Αθήνα, Catalogue Exhibition, Athens, p. 78-87, nos. 63-76.

Zschätzsch, A., 2002, Verwendung und Bedeutung griechischer Musikinstrumente in Mythos und Kult, Internazionale Archäologie 73, Rahden/Westf.

Websites

British Museum: http://www.britishmuseum.org

Metropolitan Museum of New York: http://www.metmuseum.org

Literary sources: http://www.perseus.tufts.edu; https://www.loebclassics.com

Haut de page

Notes

1 This article is a revised version of a paper entitled “Music and Songs of the Sirens from the Archaic to Classical Times. Representations and Interpretations on Vase-Paintings of Metropolitan Greece and the Greek Colonies in South Italy and Sicily”, presented in MOISA’S (International Society for the Study of Greek and Roman Music and its Cultural Heritage) annual meeting in Athens, 11-15 July 2016, about Music and the animal world in Hellenic and Roman antiquity.

2 Buschor,1944, p.11-18; Neils,1995, p. 175-182; Tsiafakis, 2003, p. 74-78; Kehajas, 2014, p.196-197. For the Sirens generally see: Weickert, 1902; Weickert, 1909-1915, col. 602-637; Harrison, 1922, p. 197-207; Wissowa, Pauly 1927, col. 288-308; Breglia Pulci Doria, 1987, p. 65-97; Hofstetter, 1997, p.1093-1104; Aston, 2011, p. 68-75.

3 Lebessi, 2014, p.168-175, figs. 1-4, 8: for the emergence of the Sirens in Crete see p. 176-177.

4 Ibid., p. 178.

5 See Böhm, 2020.

6 Hofstetter, 1997, p. 33; Kopf-Wendling, 1989; Böhm, 2020.

7 Breglia Pulci Doria, 1987, p. 74-86; Hofstetter, 1990, p. 22-26.

8 Eur., Hel., 167-179; Ap. Phod., Argon., 4. 892 ff.; Ov., Met., 551-564.

9 Hofstetter, 1990; Böhm, 2020, p. 58-60.

10 Apollod., Epit., E.7.19.

11 Ap. Rhod., Argon., 4. 909 ff.; Orphic. Argon., 1288 ff.

12 Hom., Od.,12.39-54; 158-200; 23, 326.

13 Hes., Fr. 27f. MW.

14 Alcm., PLouvre, 1.96-98 (Fr. 30 PMGF); West, 1965, p. 200; West, 1967, 11, 14-15; Ferrari, 2008, p. 6-7: In the last fragmentary lines the chorus compares its song with that of the Sirens, which is superior: tranls. “[the song ] of the Sirens indeed more harmonious, for they are goddesses”.

15 Weickert, 1909-1915, col. 604.

16 Hom., Od., 12. 52, 167: this indicates the dual number/form Σειρήνοιιν.

17 Soph., fr. 777.

18 Weickert, 1909-1915, col. 603.

19 Alcm., fr. 7: ἁ Μῶσα, κέκληγ’ ἁ λίγεια Σειρήν; cf. Bowie, 2021, p. 527-558.

20 See n. 70 below.

21 Hes., Cat., (fr. 47); Ap. Rhod., Argon., 4. 892.

22 Apollod., Epit., E.7.18: αἱ δὲ Σειρῆνες ἦσαν Ἀχελῴου καὶ Μελπομένης μιᾶς τῶν Μουσῶν θυγατέρες, Πεισινόη Ἀγλαόπη Θελξιέπεια. τούτων ἡ μὲν ἐκιθάριζεν, ἡ δὲ ᾖδεν, ἡ δὲ ηὔλει, καὶ διὰ τούτων ἔπειθον καταμένειν τοὺς παραπλέοντας. [Now the Sirens were Pisinoe, Aglaope, and Thelxiepia, daughters of Achelous and Melpomene, one of the Muses. One of them played the lyre, another sang, and another played the flute, and by these means they were fain to persuade passing mariners to linger.]

23 Hyg., Fab., praef. 30.

24 Lycoph., Alex.,712; Strab., 5.4.7 (Parthenope); 6.1.1 (island Leucosia, eponymous of the siren). Parthenope was the Siren in Naples, where her tomb was shown, and a torch race was held every year in her honour.

25 Weickert, 1909-1915, col. 604 with more information about the Sirens’origins.

26 Ap., Fr. Sabb., 7, 18; Apollod., Epit., E.7.18, as in n. 22 ab. (daughters of Achelous and Melpomene).

27 Verg., G., 1.8 / or Serv. G. 1.8:… hic cum de Melpomene vel, ut quidam dicunt, de Calliope musa sirenas habens filias amisisset et maerore conficeretur, auxilium matris oravit, ut sibi seni luctus remedium praestaret.

28 Hom., Il. 2.484 ff.

29 Hes., Theog., 27-28.

30 Hom., Od., 12. 189-191: ἴδμεν γάρ τοι πάνθ᾽ ὅσ᾽ ἐνὶ Τροίῃ εὐρείῃ/190Ἀργεῖοι Τρῶές τε θεῶν ἰότητιμόγησαν,/ἴδμεν δ᾽, ὅσσα γένηται ἐπὶ χθονὶ πουλυβοτείρῃ. [For we know all the toils that in wide Troy [190] the Argives and Trojans endured through the will of the gods, and we know all things that come to pass upon the fruitful earth.’]

31 Pucci, 1979, p. 126-128. -Their grandmother was Mnemosyne/Μνημοσύνη, the goddess of memory.

32 Pollard, 1952, p. 60-63, esp. 60; cf. Doherty, 1995, p. 81-92. (This topic is multifaceted and the literature is vast, which goes beyond this research.)

33 Paus., 9. 34. 3. Pausanias transmits this legend, describing a Hera’s statue with Sirens in her hands that he saws in Coronia of Boeotia.

34 Lycoph., Alex., 712 ff.; Naukratis frag. (BM, B 103, 19).

35 Apollod., fr. Sabb. 7, 18.

36 Ap. Rhod., Argon., IV, 909 ff.; Orphic Argon., 1288 ff.; Guhtrie, 1993, 44, n. 20 to ch. iii.

37 Lycoph., Alex., 712-729.

38 Stephanus of Byzantium, a Byzantine grammarian and author of the 6th century AD; see Weickert, 1909-1915, col. 606, 616; Galt, 1917, p. 150; Breglia Pulci Doria, 1987, p. 78. On Aptera: Papadopoulou, 2018, p. 29-33; Niniou-Kindeli, Tzanakaki, 2018, p. 37-61: cf. p. 70, no.14 (a cult-vessel in form of a statuette-siren 2nd-1th c. BCE).

39 The celestial Sirens have been interpreted differently by various authors: e.g. Plutarch interprets them as celestial psychopomps who lead the souls towards their heavenly abode by means of the song (Plut., Quaest., conv., IX, 14, 745 E 5 - 745 F 1). Therefore, some scholars suggest that the adventures of Ulysses were an allegory for the celestial journey of the soul; others disagree.

40 See selected bibliography: Burkert, 1972; Huffman, 1999; Dillon, 2003; Bonds, 2014, p. 19-29; Viltanioti, 2015. For the influence of Pythagoras to Plato cf. Boyancé, 1966; On Orphics and Pythagorians: Burkert, 1982; id., 2006; D’Anna, 2010; Moutsopoulos, 2010. On Orphism: Harrison, 1922, p. 473-673; West, 1983; Guthrie, 1993; Bernabé, 2004-2005; id., 2007; id., 2010. For the Orphic theogony in the Derveni papyrus (3rd qu. 4th c. BCE), a poem composed in the 5th c. BCE, displayed in the Archaeological Museum of Thessaloniki see additionally:
https://web.archive.org/web/20170730073044/https://chs.harvard.edu/CHS/article/display/5418 (17.06. 2023).

41 Iambl., VP 82 = VS 58 C4 (I, 464): τί ἐστι τὸ ἐν Δελφοῖς μαντεῖον; τετρακτύς· ὅπερ ἐστὶν ἡ ἁρμονία, ἐν ᾗ αἱ Σειρῆνες: LCL 527, p. 118-119.

42 Cf. Arist., Metaph., 1, 986a.

43 Pl., Resp., X, 616b-617d; cf. Viltanioti, 2015, 2-3.

44 Pl., Resp., X, 617b: Ἐπὶ δὲ τῶν κύκλων αὐτοῦ ἄνωθεν ἐφ’ ἑκάστου βεβηκέναι Σειρῆνα συμπεριφερομένην, φωνὴν μίαν ἱεῖσαν, ἕνα τόνον· ἐκ πασῶν δὲ ὀκτὼ οὐσῶν μίαν ἁρμονίαν συμφωνεῖν. On harmony cf. Arist., Cael., 2.9.

45 Buschor, 1944, passim.

46 Huber, 2001, p. 159-166, figs. 21, 269-294.

47 Buschor, 1944, p. 57-77, figs. 47-59.

48 Liveri, forthcoming 1, with all references.

49 Homer provides three versions of the Sirens’ story: Hom., Od., 12.39-54 (prediction of Circe); Hom., Od., 12.154-165 (Ulysses’ journey from Circe to the Sirens’ island); Hom., Od., 12. 166-197 (arrival to the Sirens isle); 12. 197-202 (leaving the Sirens’ island). Touchefeu-Meynier, 1968; Benson, 1995, p. 415-416 with bibliography in n. 6; Andreae, 1999, p. 288-290; cf. Nugent, 2008, 46-50 and passim.

50 The Sirens’ invitation to Ulysses to stop his ship and to listen to their voice so that he may enjoy their song and return wiser: Hom., Od. 12. 184-191. See the analysis and interpretation of Pucci, 1979, p. 121-132; id., 1998, p. 1-9; cf. Shur, 2014, p. 1-17.

51 Böhm, 2020, p. 50-51, figs. 19 (in text), 37a-c (aryballos); fig. 36a-b (kylix); additionally to the kylix: Paris, Musée du Louvre, no. S1291/ previous F 123 (attributed to Nikosthenes by signature): BAPD, no. 301239; Denoyelle, 1994, p. 88-89, no. 39; on voyage in sea: Spathari, 1995, p. 93-94, fig. 107; Pomey, 1997, p. 69; Fenet, 2011, p. 401-414.

52 Basel, Antikenmuseum und Sammlung Ludwig, no. BS 425: Gropengiesser, 1977, p. 600-601, figs. 25-26; Schefold, Giuliani, 1978, p. 267-268, fig. 360; Touchefeu-Meynier, 1992, p. 962, no. 150; Schefold et al., 1993, p. 237-238, 338-339, figs. 252a-c, 389-390; Neils, 1995, p. 178-179, pls. 44, 45; Andreae, 1999, p. 391, fig. 112; Tsiafakis, 2003, p. 77, fig. 3; Latacz et al., 2008, p. 426, no. 183 (E. Van Der Meijden).

53 Boston, Museum of Fine Arts, no. 01.8100: Schefold, Hirmer, 1964, p. 91, fig. 46; Brommer, 1983, p. 84, 88, fig. 40; Schefold et al., 1993, p. 338-339, fig. 338; Touchefeu-Meynier, 1992, p. 962, no. 151; Neils, 1995, p. 179, pl. 39; Pugliese Carratelli, 1996, p. 210-211, 661, cat. no.11.

54 Perhaps the number two of the Sirens is also selected by the epic author to describe the rocky passage, at the entrance of which stood a Siren to the right and left, according to the description in the Argonautic saga, which precedes Odyssey (Od., 12.52): ὄφρα κε τερπόμενος ὄπ᾽ ἀκούσῃς Σειρήνοιιν."/ that with delight thou mayest listen to the voice of the two Sirens; cf. Hom., Od., 167-168: “τόφρα δὲ καρπαλίμως ἐξίκετο νηῦς ἐυεργὴς/νῆσον Σειρήνοιιν: ἔπειγε γὰρ οὖρος ἀπήμων. [Meanwhile the well-built ship speedily came to the isle of the two Sirens, for a fair and gentle wind bore her on.]

55 Eur., Hel., 167-169: πτεροφόροι νεάνιδες,/παρθένοι Χθονὸς κόραι/Σειρῆνες, εἴθ᾽ ἐμοῖς γόοις. [Winged maidens, virgin daughters of Earth, the Sirens, may you come to my mourning.]; cf. Ov., Met., 5.554-555: an quia, cum legeret vernos Proserpina flores,/in comitum numero, doctae Sirenes, eratis?

56 Schefold et al., 1993, p. 338; cf. Aston, 2011, p. 71.

57 Hom., Od., 12. 39-54.

58 Berlin, Antikensammlung, no.1993.216: BAPD, no. 9404; Brommer, 1983, p. 84-85, pls. 33b, 34; Hofstetter, 1990, p. 117, no. A 140, pl. 9,2; Touchefeu-Meynier, 1992, p. 962, no. 152, fig. 152; Andreae, 1999, p. 391, fig. 117; Dietrich, 2010, p. 171, fig. 145.

59 See n. 17 above.

60 Weickert, 1909-1915, col. 603-604; cf. Harrison, 2003, p. 56; cf. Kakridis, 1986a, p. 267-269.

61 Athens, National Archaeological Museum, no. 1130: Haspels, 1936, p. 87, Appendix IX, no. 27, pl. 29.3; Buschor, 1944, p. 51, fig. 38; Gropengiesser, 1977, p. 601-602, fig. 27; Brommer, 1983, p. 85, fig. 32; Kakridis, 1987, p. 232, pl. 192; Hofstetter, 1990, p. 94-95,117-118, no. A 90; Touchefeu-Meynier, 1992, p. 962, no. 153, fig. 153; Neils, 1995, p. 180, pls. 49,50; Andrikou et al., 2003, p. 206, no. 92; Hatzivassiliou, 2010, p. 61, 145, no. 525; Dietrich, 2010, p. 25, fig. 3.

62 For Homeric Singing see: West, 1981, p. 113-129; Scodel, 1998, p. 171-94; cf. Schur, 2014, p. 4-7 and passim; in n. 8 references for singers and narrator.

63 For the history of the Homeric lyre/phorminx see: Maas-Snyder, 1989, p. 3-14; Hagel, 2008a, p. 106- 111, figs. 1a, 2-10; cf. Paquette, 1984, p. 86-89 (phorminx), 145-169, pl. VII with numerous examples; West,1992, p. 48-70, pls. 11-13 (various lyre types); Mathiesen, 1999, p. 253-258, figs. 41-42. The phorminx was associated with Apollo and the Muses, the Homeric heroes, and the bards Phemius and Demodocus.

64 Hagel, 2008, p. 106.

65 Roberts, 1981, p. 303-312; Bélis, 1985, p. 201-220; Mathiesen, 1999, p. 237-248. On the terms lyre and chelys: Maas, Snyder, 1989, p. 34-36; see also p. 36-39 (the chelys-lyre in the visual arts of the Archaic period); p. 79-112 (Classical period); cf. p. 89-90 (women as lyre-players, usually Muses, maenads and mortals).

66 New York, Callimanopoulos: BAPD, no. 351329: Brommer, 1983, p. 84-85, pl. 33a; Kakridis, 1986, p. 268, fig. 125; Kakridis, 1987, p. 233, figs. 193-194; Hofstetter, 1990, p. 116-117, no. A139; Touchefeu-Meynier, 1968, pl. 23.3-4; Touchefeu-Meynier,1992, p. 962, no. 154; Cohen, 1992, p. 116, no. 38; Neils, 1995, p. 180, pls., 2,3; Andreae, 1999, p. 101, no. 5.

67 For the origin and meaning of the word Σειρήν see: Marót, 1960, 142-149: he assumes that Homer’s Siren story, name and all, came from Phoenician mariners, following the theory that the first word’s syllable derives from Phoenician šir that means “Zaubergesang”/magic song or singing; “the second syllable comes from another semitic word meaning “tying” in a magical sense”: Gresseth, 1970, p. 204, 214, n. 5; however, this theory is controversial.

68 For choruses, see Calame, 2001.

69 Liveri, 2023.

70 London, British Museum, no. GR 1843.1103.31:
https://www.britishmuseum.org/collection/object/G_1843-1103-31 (accessed 10.05.2023): BAPD, no. 202628; Buschor, 1944, p. 52, fig. 39; Brommer, 1983, p. 85, 88, pl. 35; Kakridis, 1987, p. 231, fig. 191; Hofstetter, 1990, p. 122, 130-131, no. A 178, pl. 27, 2; Touchefeu-Meynier, 1992, p. 962, no. 155, fig. 155; Benson, 1995, p. 417-418; Neils, 1995, p. 179-180, pls. 47, 48; Andreae, 1999, p. 391, fig. 118; Dietrich, 2010, p. 170, fig.144; Tsiafakis, 2003, p. 77, fig. 4; Latacz et al., 2008, p. 426-427, no. 184 (L. Fitton); Aston, 2011, p. 71, fig. 10; Karoglou, 2018, p. 36-37, fig. 53.

71 See interpretations of various scholars on this topic: Schur, 2014, p. 6, notes 10-11.

72 Maas, Snyder, 1989, p. 91.

73 For a modern identification and explanation of the Argonaut’s itinerary and especially of the Sirens’ island and the underwater volcanic eruption that took place there, see the innovative article: Kalachanis et al., 2017, p. 90-92; cf. the route in Kakridis, 1986, p. 186-187.

74 Ap. Rhod., Argon., 4., 891-92; Orphic Argon., 1288 ff.

75 Kakridis, 1986b, p. 166-169 with ancient references; cf. p. 155 on (Clashing Rocks/ Symplegades: in the Homeric circle the Planctae confused with them. Apollonius (Argon., 2. 537-719) clearly distinguishes them mentioning that Argo passes through Symplegades on her way to Colchis and through Planctae returning to Greece.

76 Gresseth, 1970, p. 217.

77 Hom., Od., 12. 69-72: οἴη δὴ κείνη γε παρέπλω ποντοπόρος νηῦς,/70Ἀργὼ πᾶσι μέλουσα, παρ᾽ Αἰήταο πλέουσα./καὶ νύ κε τὴν ἔνθ᾽ ὦκα βάλεν μεγάλας ποτὶ πέτρας,/ ἀλλ᾽ Ἥρη παρέπεμψεν, ἐπεὶ φίλος ἦεν Ἰήσων. [One seafaring ship alone has passed thereby, [70] that Argo famed of all, on her voyage from Aeetes, and even her the wave would speedily have dashed there against the great crags, had not Here sent her through, for that Jason was dear to her.]

78 Meuli, 1921, p. 25.

79 Ap. Rhod., Argon., 1.23-34.

80 This reference exists in a scholion of Appolonius Rhodius: Gropengiesser,1977, p. 608.

81 Pind., Pyth. 4, 176-177: ἐξ Ἀπόλλωνος δὲ φορμικτὰς ἀοιδᾶν πατὴρ/ ἔμολεν, εὐαίνητος, Ὀρφεύς. [And from Apollo came/ the master lyrist, father of songs,/ [315] renowned Orpheus.]

82 Ap. Rhod., Argon., 4. 905-911: εἰ μὴ ἄρ᾽ Οἰάγροιο πάις Θρηίκιος Ὀρφεὺς /Βιστονίην ἐνὶ χερσὶν ἑαῖς φόρμιγγα τανύσσας /κραιπνὸν ἐυτροχάλοιο μέλος κανάχησεν ἀοιδῆς,/ ὄφρ᾽ ἄμυδις κλονέοντος ἐπιβρομέωνται ἀκουαὶ /κρεγμῷ: παρθενικὴν δ᾽ ἐνοπὴν ἐβιήσατο φόρμιγξ./ 910 νῆα δ᾽ ὁμοῦ ζέφυρός τε καὶ ἠχῆεν φέρε κῦμα /πρυμνόθεν ὀρνύμενον: ταὶ δ᾽ ἄκριτον ἵεσαν αὐδήν. ; cf. Orphic Argon., 1270-1297.

83 Orphic Argon., 1291-1297.

84 Delphi, Archaeological Museum: Guthrie, 1993, p. 27, pl. 2; Schefold, Hirmer, 1964, p. 72, pl. 63a; Gropengiesser, 1977, p. 608-609, fig. 31; Blatter, 1984, p. 593, no. 2*; Szeliga, 1986, p. 297-299, pl. 18.1; Garezou, 1994, p. 84, no. 6*; Colonia, 2006, p.78-81.

85 Heidelberg, Antikes Museum des Archäologischen Instituts der Ruprecht-Karls-Universität, no 68.1: BAPD, no. 2434; Gropengiesser, 1977, p. 582-587,602-604, 610, figs. 1-2, 28; Maas, Snyder, 1989, p. 50, fig. 14d; Schefold et al., 1993, p. 267, fig. 289; Garezou, 1994, p. 98, no. 187.

86 Böhm, 2020, p. 54-58, figs. 46-54.

87 Ibid., p. 50-58.

88 Paris, Musée du Louvre, G 268; BAPD, no. 205546; Beazley, 1963, p. 492.161, 1655; Hofstetter, 1990, p. 122, 124-128, 133-135, no. A 174, pls. 25,1.2; Kéi, 2022, p. 518, pl. 31.

89 Weill, 1962, p. 86, fig. 15.

90 New York, Metropolitan Museum of Art, no. 41.162.123: BAPD, no. 208506: Chase, Pease, 1942, pl. 60,2; Beazley, 1963, p. 487, 704. 68; Karoglou, 2018, p. 38, fig. 56;
http://www.metmuseum.org/art/collection/search/254295 (accessed, 30.4.2023).

91 Munich, Antikensammlungen, no. 5248: BAPD, no. 208439; Beazley, 1956, p. 702.5; Hofstetter, 1990, p. 121, 124, 126-128, no. A 163, pl. 26,2.

92 Munich, Antikensammlungen, no. 7522: BAPD, no. 208566; Beazley, 1956, p. 707.11; Hofstetter, 1990, p. 121,125, 127-128, no. A 167, pl. 26,1; Andreae, 1999, p. 391, fig. 110; Dietrich, 2010, p. 446, fig. 371.

93 London, British Museum, no. E669/or 1864, 1007.171: BAPD, no. 208508; Beazley, 1956, p. 704.70; https://www.britishmuseum.org/collection/object/G_1864-1007-171 (accessed 2.5.2023).

94 Bologna, Museo Civico Archeologico, PU 280; BAPD, no. 212975; Beazley, 1956, p. 957.41; Hofstetter, 1990, p. 123, no. A 180, pl. 26,3.

95 London, British Museum, no. B510/ 1850, 0715.4: BAPD, no. 303291; Beazley, 1956, p. 429.6; Hofstetter, 1990, p. 118, no. A. 141, pl. 14, 2; https://www.britishmuseum.org/collection/object/G_1850-0715-4 (accessed 2.05.2023).

96 Athens, National Archaeological Museum, no. CC1364: BAPD, no. 206364; Beazley, 1963, p. 557.120.

97 Paquette, 1984, p. 36, 38-39, no. A2.

98 Athens, Agora Museum, no. P18997: BAPD, no. 25234.

99 Paquette, 1984, p. 33-59; cf. Zachartzi, 2012, 84-85, no. 72.

100 Pind., Pyth. 12, 22-27.

101 For Athena and aulos see: Mathiesen, 1999, p. 181, fig. 19 ( a Roman copy of the bronze statue group of Athena and Marsyas, made by Myron around 450 BCE); Castaldo, 2000, p. 54-59, pl. 26; Zschätzsch, 2000, p. 1-14, pl. 1a-b (a. Athena playing aulos and b. throwing it away); Demargne, 1984, p. 1014, no. 620*, pl. 764 (Apulian bell crater in Boston, MFA, no. 00348); Goulaki-Voutira, 2012, 66-67, figs. IV.55-56 (Marsyas playing aulos); for aulos as votive offering to the goddess see Liveri, 2018, p. 39-41.

102 On aulos see: Bélis, 1986, p. 21-40; West, 1994, p. 81- 82; pls. 25-27; Bélis, 1999, passim; Mathiesen, 1999, p. 177-222; see some selected publications of Hagel, 2008b; id., 2010, id., 2010-2011; Psaroudakes, 2010-2011.

103 Goulaki-Voutira, 2012, p. 66.

104 According to Plutarch, Mor., 6. 112, Marsyas used the phorbeia while playing aulos. On phorbeia see: Paquette, 1984, p. 44, 48, 50, 54, 56, 58, nos. A23, 31, 32, 44, 51, 55, 56; Bélis, 1986, p. 205-218; West, 1994, p. 89, pl. 25; Bélis, 1999, p. 182; Mathiesen, 1999, p. 218-222, fig.30; he mentions (p. 221) that “ contrary to the common conjecture, the phorbeia does not provide special support for cheeks, enabling them to act like a bellows, except in the sense that it allows the facial muscles to relax because they are not needed to maintain a sealed embouchure”.

105 London, British Museum, no. E14/1836, 0224.41: Beazley, 1963, p.125, 21; Hofstetter, 1990, p. 121, 128-129, no. A 173, pls. 24, 1.2; https://www.britishmuseum.org/collection/object/G_1836-0224-41 (accessed 2.05.2023).

106 London, British Museum, no. B 651/1842,0728.802: BAPD, no. 6418; Haspels, 1936, p. 150-151, 256, no. 48, pl. 45, 5 (Appendix XV, no. 48); Buschor, 1944, p. 59, fig. 46; Hofstetter, 1990, p. 95, 118-120, no. A 92; https://www.britishmuseum.org/collection/object/G_1842-0728-802 (accessed 2.05.2023).

107 London, British Museum, no. 1920.315.1: Haspels, 1936, p. 255, no.27 (Appendix XV); Kurtz, 1975, p. 31,104, 128, 227, pl. 60,1; Schauenburg, 1988, p. 71-73, fig.5; Hofstetter, 1990, p. 95, 118-120, no. A 97; Kéi, 2022, p. 61, fig.42; https://www.britishmuseum.org/collection/object/G_1920-0315-1 (accessed 2.05.2023).

108 Schauenburg, 1988, p. 67-85, figs. 1-6, 8, 10-11, 13, 17, 30.

109 Bloomington, Indiana University, no. 65.66: BAPD, no. 351616; Hofstetter,1997, p.1098, pl. 738, no. 67; Hatzivassiliou, 2010, p. 69, 145, pl. 15. 3-4, no. 530.

110 Delos, Archaeological Museum, no. A. 3995: Hofstetter, 1990, p. 213, no. Ky 7; Böhm, 2020, p. 60-61, fig. 59a-c. Cf. The aforementioned Hera’s statue in Coroneia carrying Sirens on her hands.

111 Eleusis, Archaeological Museum, no. 458: BAPD, no. 9040423; Hofstetter, 1990, p. 101, 118-119, no. A 145; Papangeli, 2002, p. 198, fig. in p. 199; Fritzilas, 2006, p. 95, fig. 26, pl. 46.175.

112 London, British Museum, no B 682/or 1864,1007. 269: Hofstetter, 1990, p. 100, 118-119, no. A 144, pl. 10,2; https://www.britishmuseum.org/collection/object/G_1864-1007-269 (accessed 27.06.2023).

113 Cf. Graf 1974; Liveri, forthcoming 2.

114 There is extensive bibliography; see e.g. Bérard, 1992; Metzger, 1995; Tiverios, 2004.

115 San Antonio/Texas, Museum of Fine Arts, no. 86.134.54: BAPD, no. 6417; Borgers, 2004, p. 41, 43-44, 47, 158, no.128, pls. 27d-f; Fritzilas, 2006, p. 123, no. 219, pl. 63.219; Fritzilas, 2010, p. 59-61, figs. 19-20; for mythos and ritual see also p. 50-58.

116 Fritzilas, 2006, as in previous n. Perhaps aulos and lyre accompany a sacrifice procession for Athena Promachos on a Boeotian bowl in London (ca. 560 BCE): London, British Museum, no. B 80: Zschätzsch, 2002, p. 18; Demargne, 1984, no. 574*, pl. p. 760.

117 Zschätzsch, 2002, p. 18-24, 27, pl. 3; Roumpi, 2012, p.52-53, nos. 30-31. On the Soundscape in Panathenaia see Liveri, 2021a, p. 27-41.

118 Naples, National Archaeological Museum: BAPD, no. 208385; Beazley 1963. p. 699, 55; Buschor, 1944, p. 53-54, fig. 43; Hofstetter, 1990, p. 120, 124-128, no. A 160.

119 Greifswald, Collection of Ernst-Moritz-Arndt-University, no. 197: BAPD, no. 330678; Haspels, 1936, p. 251, no. 40 (Appendix XIV); Buschor, 1944, p. 56, fig. 44; Hofstetter, 1990, p. 101-102, 118-119, no. A 154; Borgers, 2004, p. 26-27, 97, no. 35, pl.13b; Fritzilas, 2006, p. 68, 170, 235, 268, 319, pls. 25,56, 44,56.

120 Bari, Museo Provinziale, no. 2732: BAPD, no. 6419; Haspels, 1936, p.158-159, 257, pl. 48, 1a, b, 2 (Appendix XV, no. 68); Hofstetter, 1990, p. 95, no. A 93, 118- 120, 146; Hatzivassiliou, 2010, p. 69, 146, pl. 16.1-3, no. 534.

121 New York, Metropolitan Museum of Art, no. 1957.57.12.5: Kilinski, 1990, p. 32, 51, 58, pl. 35, 1-2; Hofstetter, 1997, p. 1102, no. 117, pl. 743; Perrot, 2017, p. 71-72, fig.4; Karoglou, 2018, p. 38, fig. 57; https://www.metmuseum.org/art/collection/search/254943 (accessed 30.04.2023).

122 On crotala: Paquette, 1984, p. 205, 208-209, figs. P1-4; Mathiesen, 1989, p. 163-166, figs. 12-13; West, 1994, p. 122-124.

123 Hdt., Hist., 2.60.1: ἐς μέν νυν Βούβαστιν πόλιν ἐπεὰν κομίζωνται, ποιεῦσι τοιάδε. πλέουσί τε γὰρ δὴ ἅμα ἄνδρες γυναιξὶ καὶ πολλόν τι πλῆθος ἑκατέρων ἐν ἑκάστῃ βάρι: αἳ μὲν τινὲς τῶν γυναικῶν κρόταλα ἔχουσαι κροταλίζουσι, οἳ δὲ αὐλέουσι κατὰ πάντα τὸν πλόον, αἱ δὲ λοιπαὶ γυναῖκες καὶ ἄνδρες ἀείδουσι καὶ τὰς χεῖρας κροτέουσι. [When the people are on their way to Bubastis, they go by river, a great number in every boat, men and women together. Some of the women make a noise with rattles, others play flutes all the way, while the rest of the women, and the men, sing and clap their hands.]; cf. Mathiesen, 1989, p. 163.

124 See e.g. Castaldo, 2000, p. 123-129, 133-138, pls. 131-139; Perrot, 2021, p. 47-64; cf. Liveri, 2023, p. 121-123, pls. VI-IX, figs. 8-12a.

125 Liveri, 2018, p. 39.

126 London, BM, E38: BAPD, no. 200460; Schaffer, 1997, pl. 33.2; Bundrick, 2005, p. 47, fig. 30; https://www.britishmuseum.org/collection/object/G_1843-1103-9 (accessed 25.06.2023).

127 Liveri, 2021b, p. 70-71, 79-82, figs, 1a,b, 4a,b (also other combinations with crotala).

128 Bélis, 1999, p. 37-60; cf. male aulos-player, p. 66-89 and passim.

129 Ibid., p. 42-48.

130 See e.g. : a) the famous Euphronios psykter: St. Petersburg, Hermitage State Museum, no. B 1650; b) a Smikros rf. stamnos that includes the name of the auletris Helike Bruxelles, Musées Royaux d’Art et d’Histoire, no. 1717.

131 Goulaki-Voutira, 2012, p. 67-68; Roumpi, 2012, p. 90-95, nos.77-85.

132 For musical contests see: Bélis, 1999, p. 123-155; see the contributions in Castaldo, Giannachi and Manieri, 2010; cf. Liveri, 2021a.

133 Shapiro, 1989, p. 19-20; id., 1993, p. 92-107; West, 1994, ; cf. Liveri, 2021a, p. 28-29; 33.

134 See West, 1994, ch. 12.

135 Roumpi, 2012, p. 88-95, nos. 77-85.

136 Goulaki-Voutira, 2012, as in n. 131; cf. previous n.

137 Taylor, 2014, p. 183-187; cf. Liveri, forthcoming1, 2.

138 Abbreviations according to Oxford Classical Dictionary (OCD), 4th ed.

Haut de page

Table des illustrations

Titre Fig. 1a. Ulysses, two Sirens and a woman. Black-figure aryballos, Corinth (575-550 BCE). Boston, Museum of Fine Arts, no. 01.8100. (Drawing from Schefold, 1964, fig. 46.).
URL http://journals.openedition.org/pallas/docannexe/image/29322/img-1.jpg
Fichier image/jpeg, 124k
Titre Fig. 1b. Two Sirens and a woman on a rocky cliff. Detail of the aryballos (Photo from Mazet, 2019, fig. 1a).
URL http://journals.openedition.org/pallas/docannexe/image/29322/img-2.jpg
Fichier image/jpeg, 313k
Titre Fig. 2. Ulysses and three Sirens. Black-figure oinochoe, Attica (ca. 520 BCE). Berlin, Antikensammlung der Staatlichen Museen zu Berlin, - Preußischer Kulturbesitz, no. 1993.216. (© Berlin, Antikensammlung der Staatlichen Museen zu Berlin, Stiftung Preußischer Kulturbesitz. Photograph by Ingrid Geske-Heiden).
URL http://journals.openedition.org/pallas/docannexe/image/29322/img-3.jpg
Fichier image/jpeg, 103k
Titre Fig. 3. Ulysses and two Sirens. Black-figure lekythos, Eretria. Edinburgh Painter (Late 6th c. BCE). Athens, National Archaeological Museum, no. 1130. (© Athens, National Archaeological Museum, Hellenic Ministry of Culture and Sports/Archaeological Receipts Fund, photograph by the Museum.) a. Ulysses. b. The left Siren playing lyre chelys with plektron. c. The right Siren playing aulos.
URL http://journals.openedition.org/pallas/docannexe/image/29322/img-4.jpg
Fichier image/jpeg, 318k
URL http://journals.openedition.org/pallas/docannexe/image/29322/img-5.jpg
Fichier image/jpeg, 347k
URL http://journals.openedition.org/pallas/docannexe/image/29322/img-6.jpg
Fichier image/jpeg, 367k
Titre Fig. 4a. Ulysses and three Sirens. Detail of an Attic black-figure oinochoe (500-475 BCE). New York, Callimanopoulos Collection. (Photo from Kakridis, 1987, fig. 193).
URL http://journals.openedition.org/pallas/docannexe/image/29322/img-7.jpg
Fichier image/jpeg, 440k
Titre Fig. 4b. Three Sirens’ choir. Detail of the previous vase-painting. (Photo from Kakridis, 1986a, fig. 125).
URL http://journals.openedition.org/pallas/docannexe/image/29322/img-8.jpg
Fichier image/jpeg, 413k
Titre Fig. 5. Sirens’Suicide. Red-figure stamnos (ca. 480-470 BCE). London, British Museum. (Photo from wikimedia commons, public domain: https://commons.wikimedia.org/​wiki/​File:Odysseus_Sirens_BM_E440.jpg (30.06.2023).
URL http://journals.openedition.org/pallas/docannexe/image/29322/img-9.jpg
Fichier image/jpeg, 151k
Titre Fig. 6. A Siren with head cover. Attic red-figure miniature squat lekythos. Seireniske Painter (Mid. 5th c. BCE). New York, Metropolitan Museum of Art, Rogers Fund 1941, no. 41.162,123. (Photo from the museum’s website in Public Domain).
URL http://journals.openedition.org/pallas/docannexe/image/29322/img-10.jpg
Fichier image/jpeg, 313k
Titre Fig. 7a, b, c. Two Sirens lyre-players. Mesomphalos phiale in the Six’s technique (end 6th or early 5th c. BCE). Eleusis, Archaeological Museum, no. 458. (Ephorate of Antiquities of West Attica © Hellenic Ministry of Culture/Hellenic Organization of Cultural Resources Development, photograph by the Ephorate).
URL http://journals.openedition.org/pallas/docannexe/image/29322/img-11.jpg
Fichier image/jpeg, 328k
URL http://journals.openedition.org/pallas/docannexe/image/29322/img-12.jpg
Fichier image/jpeg, 427k
URL http://journals.openedition.org/pallas/docannexe/image/29322/img-13.jpg
Fichier image/jpeg, 362k
Titre Fig. 8a. A Sirens’choir with musical instruments (aulos, lyre and crotala). Boeotian black-figure kylix, exterior surface. New York, Metropolitan Museum of Art, Gift of Ernest Brummer, 1957, no. 1957.57.12.5. (Photo from the museum’s website in Public Domain).
URL http://journals.openedition.org/pallas/docannexe/image/29322/img-14.jpg
Fichier image/jpeg, 221k
Titre Fig. 8b. A Sirens’choir with musical instruments (a lyre-player framed by two aulos-player). Other side of the same kylix.
URL http://journals.openedition.org/pallas/docannexe/image/29322/img-15.jpg
Fichier image/jpeg, 220k
Haut de page

Pour citer cet article

Référence papier

Angeliki Liveri, « Sirens’ Songs and Music: Their Representations and Significance on Archaic and Classical Attic Vase-Paintings »Pallas, 124 | 2024, 135-170.

Référence électronique

Angeliki Liveri, « Sirens’ Songs and Music: Their Representations and Significance on Archaic and Classical Attic Vase-Paintings »Pallas [En ligne], 124 | 2024, mis en ligne le 06 mai 2024, consulté le 14 juin 2025. URL : http://journals.openedition.org/pallas/29322 ; DOI : https://doi.org/10.4000/1221l

Haut de page

Auteur

Angeliki Liveri

Independent researcher

Articles du même auteur

Haut de page

Droits d’auteur

CC-BY-NC-ND-4.0

Le texte seul est utilisable sous licence CC BY-NC-ND 4.0. Les autres éléments (illustrations, fichiers annexes importés) sont « Tous droits réservés », sauf mention contraire.

Haut de page
Rechercher dans OpenEdition Search

Vous allez être redirigé vers OpenEdition Search