Opening…

III. THE SUBJECTS ON GREEK VASES

– CHAPTER XII INTRODUCTORY—THE OLYMPIAN DEITIES

Figured vases in ancient literature—Mythology and art—Relation of subjects on vases to literature—Homeric and dramatic themes and their treatment—Interpretation and classification of subjects—The Olympian deities—The Gigantomachia—The birth of Athena and other Olympian subjects—Zeus and kindred subjects—Hera—Poseidon and marine deities—The Eleusinian deities—Apollo and Artemis—Hephaistos, Athena, and Ares—Aphrodite and Eros—Hermes and Hestia 1–53

XIII. DIONYSOS AND MISCELLANEOUS DEITIES

Dionysos and his associates—Ariadne, Maenads, and Satyrs—Names of Satyrs and Maenads—The Nether World—General representations and isolated subjects—Charon, Erinnyes, Hekate, and Thanatos—Cosmogonic deities—Gaia and Pandora—Prometheus and Atlas—Iris and Hebe—Personifications—Sun, Moon, Stars, and Dawn—Winds—Cities and countries—The Muses—Victory—Abstract ideas—Descriptive names 54–92

XIV. HEROIC LEGENDS

Kastor and Polydeukes—Herakles and his twelve labours—Other contests—Relations with deities—Apotheosis—Theseus and his labours—Later scenes of his life—Perseus—Pelops and Bellerophon—Jason and the Argonauts—Theban legends—The Trojan cycle—Peleus and Thetis—The Judgment of Paris—Stories of Telephos and Troilos—Scenes from the Iliad—The death of Achilles and the Fall of Troy—The Odyssey—The Oresteia—Attic and other legends—Orpheus and the Amazons—Monsters—Historical and literary subjects 93–153

XV. SUBJECTS FROM ORDINARY LIFE

Religious subjects—Sacrifices—Funeral scenes—The Drama and burlesques—Athletics—Sport and games—Musical scenes—Trades and occupations—Daily life of women—Wedding scenes—Military and naval subjects—Orientals and Barbarians—Banquets and revels—Miscellaneous subjects—Animals 154–186

XVI. DETAILS OF TYPES, ARRANGEMENT, AND ORNAMENTATION

Distinctions of types—Costume and attributes of individual deities— Personifications—Heroes—Monsters—Personages in everyday life—Armour and shield-devices—Dress and ornaments—Physiognomical expression on vases—Landscape and architecture—Arrangement of subjects—Ornamental patterns—Maeander, circles, and other geometrical patterns—Floral patterns—Lotos and palmettes—Treatment of ornamentation in different fabrics 187–235

XVII. INSCRIPTIONS ON GREEK VASES

Importance of inscriptions on vases—Incised inscriptions—Names and prices incised underneath vases—Owners’ names and dedications—Painted inscriptions—Early Greek alphabets—Painted inscriptions on early vases—Corinthian, Ionic, Boeotian, and Chalcidian inscriptions—Inscriptions on Athenian vases—Dialect—Artists’ signatures—Inscriptions relating to the subjects—Exclamations—Καλός-names—The Attic alphabet and orthography—Chronology of Attic inscriptions—South Italian vases with inscriptions 236–278

XVIII. ETRUSCAN AND SOUTH ITALIAN POTTERY

Early Italian civilisation—Origin of Etruscans—Terramare civilisation—Villanuova period—Pit-tombs—Hut-urns—Trench- tombs—Relief-wares and painted vases from Cervetri—Chamber- tombs—Polledrara ware—Bucchero ware—Canopic jars—Imitations of Greek vases—Etruscan inscriptions—Sculpture in terracotta—Architectural decoration—Sarcophagi—Local pottery of Southern Italy—Messapian and Peucetian fabrics 279–329

XIX. TERRACOTTA IN ROMAN ARCHITECTURE AND SCULPTURE

Clay in Roman architecture—Use of bricks—Methods of construction—Tiles—Ornamental antefixae—Flue-tiles—Other uses—Inscriptions on bricks and tiles—Military tiles—Mural reliefs—List of subjects—Roman sculpture in terracotta—Statuettes—Uses at Rome—Types and subjects—Gaulish terracottas—Potters and centres of fabric—Subjects—Miscellaneous uses of terracotta—Money-boxes —Coin-moulds 330–392

XX. ROMAN LAMPS

Introduction of lamps at Rome—Sites where found—Principal parts of lamps—Purposes for which used—Superstitious and other uses—Chronological account of forms—Technical processes—Subjects—Deities—Mythological and literary subjects—Genre subjects and animals—Inscriptions on lamps—Names of potters and their distribution—Centres of manufacture 393–429

XXI. ROMAN POTTERY: TECHNICAL PROCESSES, SHAPES, AND USES

Introductory—Geographical and historical limits—Clay and glaze—Technical processes—Stamps and moulds—Barbotine and other methods—Kilns found in Britain, Gaul, and Germany—Use of earthenware among the Romans—Echea—Dolia and Amphorae—Inscriptions on amphorae—Cadus, Ampulla, and Lagena —Drinking-cups—Dishes—Sacrificial vases—Identification of names 430–473

XXII. ROMAN POTTERY, HISTORICALLY TREATED; ARRETINE WARE

Roman Pottery mentioned by ancient writers—“Samian” ware—Centres of fabric—The pottery of Arretium—Characteristics—Potters’ stamps—Shapes of Arretine vases—Sources of inspiration for decoration—“Italian Megarian bowls”—Subjects—Distribution of Arretine wares 474–496

XXIII. ROMAN POTTERY (continued); PROVINCIAL FABRICS

Distribution of Roman pottery in Europe—Transition from Arretine to provincial wares—Terra sigillata—Shapes and centres of fabric—Subjects—Potters’ stamps—Vases with barbotine decoration—The fabrics of Gaul—St. Rémy—Graufesenque—“Marbled” vases—Vases with inscriptions (Banassac)—Lezoux—Vases with medallions (Southern Gaul)—Fabrics of Germany—Terra sigillata in Britain—Castor ware—Upchurch and New Forest wares—Plain pottery—Mortaria—Conclusion 497–555

INDEX 557

LIST OF PLATES IN VOLUME II

(_Except where otherwise noted, the objects are in the British Museum_)

PLATE

XLIX. Attic black-figured hydria: Harnessing of horses to chariot (colours) Frontispiece

TO FACE PAGE

L. Contest of Athena and Poseidon: vase at Petersburg (from Baumeister) 24

LI. Kotyle by Hieron: Triptolemos at Eleusis 26

LII. The Under-world, from an Apulian vase at Munich (from Furtwaengler and Reichhold) 66

LIII. Helios and Stars (the Blacas krater) 78

LIV. The Sack of Troy: kylix by Brygos in Louvre (from Furtwaengler and Reichhold) 134

LV. Scenes from funeral lekythi (Prothesis and cult of tomb) 158

LVI. Early Etruscan red ware 300

LVII. Etruscan hut-urn and Bucchero ware 302

LVIII. Etruscan imitations of Greek vases 308

LIX. Etruscan antefix and sarcophagus 316

LX. Sarcophagus of Seianti Thanunia 322

LXI. Roman mural reliefs: Zeus and Dionysos 366

LXII. Roman mural reliefs: Theseus; priestesses 370

LXIII. Roman lamps (1st century B.C.) 402

LXIV. Roman lamps: mythological and literary subjects 412

LXV. Roman lamps: miscellaneous subjects 416

LXVI. Moulds and stamp of Arretine ware 492

LXVII. Gaulish pottery (Graufesenque fabric) 520

LXVIII. Gaulish pottery from Britain (Lezoux fabric) 526

LXIX. Romano-British and Gaulish pottery 544

LIST OF TEXT-ILLUSTRATIONS IN VOLUME II

FIG. PAGE

111. Gigantomachia, from Ionic vase Mon. dell’ Inst. in Louvre 13

112. Poseidon and Polybotes, from Gerhard kylix in Berlin 14

113. The birth of Athena Brit. Mus. 16

114. Hermes slaying Argos (vase at Wiener Vorl. Vienna) 20

115. Poseidon and Amphitrite Ant. Denkm. (Corinthian pinax) 23

116. Apollo, Artemis, and Leto Mon. dell’ Inst. 30

117. Aphrodite and her following Ἐφ. Ἀρχ. (vase at Athens) 43

118. Eros with kottabos-stand Brit. Mus. 48

119. Hermes with Apollo’s oxen (in Baumeister the Vatican) 51

120. Dionysos with Satyrs and Brit. Mus. Maenads (Pamphaios hydria) 59

121. Maenad in frenzy (cup at Baumeister Munich) 63

122. Charon’s bark (lekythos at Baumeister Munich) 70

123. Thanatos and Hypnos with body Brit. Mus. of warrior 71

124. Nike sacrificing bull Brit. Mus. 88

125. Herakles and the Nemean lion Brit. Mus. 96

126. Herakles bringing the boar to Brit. Mus. Eurystheus 97

127. Apotheosis of Herakles (vase Arch. Zeit. at Palermo) 107

128. Peleus seizing Thetis Brit. Mus. 121

129. Judgment of Paris (Hieron cup Wiener Vorl. in Berlin) 122

130. Capture of Dolon Brit. Mus. 129

131. Pentheus slain by Maenads Brit. Mus. 142

132. Kroisos on the funeral pyre Baumeister (Louvre) 150

133. Alkaios and Sappho (Munich) Baumeister 152

134. Scene from a farce Brit. Mus. 161

135. Athletes engaged in the Brit. Mus. Pentathlon 163

136. Agricultural scenes Baumeister (Nikosthenes cup in Berlin) 170

137. Warrior arming; archers Hoppin (Euthymides amphora in Munich) 176

138. Banqueters playing kottabos Brit. Mus. 181

139. Maeander or embattled pattern 212

140. Maeander (Attic) 212

141. Maeander (Ionic) 212

142. Maeander and star pattern 212

143. Maeander (Attic, 5th century) 213

144. Maeander (Attic, about 480 B.C.) 213

145. Net-pattern 215

146. Chequer-pattern 216

147. Tangent-circles 216

148. Spirals under handles (Exekias) 217

149. Wave-pattern (South Italy) 218

150. Scale-pattern (Daphnae) 218

151. Guilloche or plait-band (Euphorbos pinax) 219

152. Tongue-pattern 219

153. Egg-pattern 220

154. Leaf- or chain-pattern 221

155. Ivy-wreath (black-figure period) 222

156. Ivy-wreath (South Italian) 222

157. Laurel-wreath (South Italian) 223

158. Vallisneria spiralis (Mycenaean) 224

159. Lotos-flower (Cypriote) 224

160. Lotos-flowers and buds Riegl (Rhodian) 225

161. Palmette-and lotos-pattern (early B.F.) 225

162. Lotos-buds (Attic B.F.) 226

163. Chain of palmettes and lotos (early B.F.) 226

164. Palmettes and lotos under handles (Attic B.F.) 227

165. Palmette on neck of red-bodied amphorae 228

166. Enclosed palmettes (R.F. period) 228

167. Oblique palmettes (late R.F.) 229

168. Palmette under handles (South Italian) 230

169. Rosette (Rhodian) 231

170. Rosette (Apulian) 231

171. Facsimile of inscription on Brit. Mus. Tataie lekythos 242

172. Facsimile of Dipylon Ath. Mitth. inscription 243

173. Scheme of alphabets on Greek vases 248

174. Facsimile of inscription on Roehl Corinthian pinax 251

175. Facsimile of signatures on _Furtwaengler and François vase Reichhold_ 257

176. Facsimile of signature of Brit. Mus. Nikias 259

177. Figure with inscribed scroll (fragment at Oxford) 264

178. Etruscan tomb with cinerary Ann. dell’ Inst. urn 285

179. Villanuova cinerary urns from Notizie Corneto 286

180. Painted pithos from Cervetri Gaz. Arch. in Louvre 293

181. Canopic jar in bronze-plated Mus. Ital. chair 305

182. Etruscan alphabet, from a vase Dennis 312

183. Terracotta sarcophagus in Dennis Brit. Mus. 318

184. Painted terracotta slab in Dennis Louvre 319

185. Askos of local Apulian fabric Brit. Mus. 326

186. Krater of “Peucetian” fabric Notizie 328

187. Concrete wall at Rome Middleton 338

188. Concrete wall faced with brick Middleton 339

189. Concrete arch faced with brick Middleton 339

190. Diagram of Roman wall- Blümner construction 340

191. Roman terracotta antefix Brit. Mus. 343

192. Method of heating in Baths of Middleton Caracalla 347

193. Flue-tile with ornamental patterns 348

194. Stamped Roman tile Brit. Mus. 354

195. Inscribed tile in Guildhall Museum 359

196. Inscribed tile from London 363

197. Mask with name of potter Brit. Mus. 377

198. Gaulish figure of Aphrodite Blanchet 383

199. Gaulish figure of Epona Blanchet 386

200. Terracotta money-box Jahrbuch 390

201. Terracotta coin-mould _Daremberg and Saglio_ 392

202. Lamp from the Esquiline Ann. dell Inst. 399

203. “Delphiniform” lamp 399

204. Lamp with volute-nozzle 400

205. Lamp with pointed nozzle 400

206. Lamp with grooved nozzle 401

207. Lamp with plain nozzle 401

208. Lamp with heart-shaped nozzle 402

209. Mould for lamp Brit. Mus. 405

210. Lamp with signature of Fortis Brit. Mus. 424

211. Stamps used by Roman potters 440

212. Roman kiln at Heddernheim Ann. dell’ Inst. 444

213. Kiln found at Castor 447

214. Plan of kiln at Heiligenberg _Daremberg and Saglio_ 450

215. Section of ditto _Daremberg and Saglio_ 450

216. Ampulla Brit. Mus. 466

217. Lagena from France 467

218. Arretine bowl in Boston: death Philologus of Phaëthon 484

219. Arretine krater with Seasons Brit. Mus. 488

220. “Italian Megarian” bowl Brit. Mus. 491

221. Gaulish bowl of Form 29 500

222. Gaulish bowl of Form 30 501

223. Gaulish bowl of Form 37 502

224. Vase of St.-Rémy fabric Déchelette 517

225. Vase of Aco, inscribed Déchelette 518

226. Vase of Banassac fabric from Mus. Borb. Pompeii 525

227. Medallion from vase of Brit. Mus. Southern Gaul: scene from the Cycnus 531

228. Medallion from vase: Atalanta Gaz. Arch. and Hippomedon 532

229. Jar from Germany, inscribed Brit. Mus. 537

230. Roman mortarium from Brit. Mus. Ribchester 551

XII. INTRODUCTORY—THE OLYMPIAN DEITIES

Figured vases in ancient literature—Mythology and art—Relation of subjects on vases to literature—Homeric and dramatic themes and their treatment—Interpretation and classification of subjects—The Olympian deities—The Gigantomachia—The birth of Athena and other Olympian subjects—Zeus and kindred subjects—Hera—Poseidon and marine deities—The Eleusinian deities—Apollo and Artemis—Hephaistos, Athena, and Ares—Aphrodite and Eros—Hermes and Hestia.

The representation of subjects from Greek mythology or daily life on vases was not, of course, confined to fictile products. We know that the artistic instincts of the Greeks led them to decorate almost every household implement or utensil with ornamental designs of some kind, as well as those specially made for votive or other non-utilitarian purposes. But the fictile vases, from the enormous numbers which have been preserved, the extraordinary variety of their subjects, and the fact that they cover such a wide period, have always formed our chief artistic source of information on the subject of Greek mythology and antiquities.

Although (as has been pointed out in Chapter IV.) ancient literature contains scarcely any allusions to the painted vases, we have many descriptions of similar subjects depicted on other works of art, such as vases of wood and metal, from Homer downwards. The cup of Nestor (Vol. I. pp. 148, 172) was ornamented with figures of doves[1], and there is the famous description in the first Idyll of Theocritus[2] of the wooden cup (κισσύβιον) which represented a fisherman casting his net, and a boy guarding vines and weaving a trap for grasshoppers, while two foxes steal the grapes and the contents of his dinner-basket; the whole being surrounded, like the designs on some painted vases, with borders of ivy and acanthus. The so-called cup of Nestor (νεστορίς) at Capua[3] was inscribed with Homeric verses, and the σκύφος or cup of Herakles with the taking of Troy[4]. Anakreon describes cups ornamented with figures of Dionysos, Aphrodite and Eros, and the Graces[5]; and Pliny mentions others with figures of Centaurs, hunts and battles, and Dionysiac subjects[6]. Or, again, mythological subjects are described, such as the rape of the Palladion[7], Phrixos on the ram[8], a Gorgon and Ganymede[9], or Orpheus[10]; and other “storied” cups are described as being used by the later Roman emperors. But the nearest parallels to the vases described in classical literature are probably to be sought in the chased metal vases of the Hellenistic and Roman periods.[11] We read of scyphi Homerici, or beakers with Homeric scenes, used by the Emperor Nero, which were probably of chased silver[12]; and we have described in Chapter XI. what are apparently clay imitations of these vases, usually known as “Megarian bowls,” many bearing scenes from Homer in relief on the exterior.

In attempting a review of the subjects on the painted vases, we are met with certain difficulties, especially in regard to arrangement. This is chiefly due to the fact that each period has its group of favourite subjects; some are only found in early times, others only in the later period. Yet any chronological method of treatment will be found impossible, and it is hoped that it will, as far as possible, be obviated by the general allusions in the historical chapters of this work to the subjects characteristic of each fabric and period.

Embracing as they do almost the whole field of Greek myth and legend, the subjects on Greek vases are yet not invariably those most familiar to the classical student or, if the stories are familiar, they are not always treated in accordance with literary tradition. On the other hand, it must be borne in mind that the popular conception of Greek mythology is not always a correct one, for which fact the formerly invariable system of approaching Greek ideas through the Latin is mainly responsible. The mythology of our classical dictionaries and school-books is largely based on Ovid and the later Roman compilers, such as Hyginus, and gives the stories in a complete connected form, regarding all classical authorities as of equal value, and ignoring the fact that many myths are of gradual growth and only crystallised at a late period, while others belong to a relatively recent date in ancient history.[13]

The vases, on the other hand, are contemporary documents, free from later euhemerism and pedantry, and presenting the myths as the Athenian craftsmen knew them in the popular folk-lore and religious observances of their day. It cannot be too strongly insisted upon that a vase-painter was never an illustrator of Homer or any other writer, at least before the fourth century B.C. (see Vol. I. p. 499). The epic poems, of course, contributed largely to the popular acquaintance with ancient legends, and offered suggestions of which the painter was glad to avail himself; but he did not, therefore, feel bound to adhere to his text. This will be seen in the list of Homeric subjects given below (p. 126 ff.); and we may also refer here to the practice of giving fanciful names to figures, which obtains at all periods, and has before now presented obstacles to the interpreter.

The relation of the subjects on vases to Greek literature is an interesting theme for enquiry, though, in view of what has already been said, it is evident that it must be undertaken with great caution. The antiquity and wide popularity of the Homeric poems, for instance, would naturally lead us to expect an extensive and general use of their themes by the vase-painter. Yet this is far from being the case. The Iliad, indeed, is drawn upon more largely than the Odyssey; but even this yields in importance as a source to the epics grouped under the name of the Cyclic poets. It may have been that the poems were instinctively felt to be unsuited to the somewhat conventional and monotonous style of the earlier vase-paintings, which required simple and easily depicted incidents. We are therefore the more at a loss to explain the comparative rarity of subjects from the Odyssey, with its many adventures and stirring episodes; scenes which may be from the Iliad being less strongly characterised and less unique—one battle-scene, for instance, differing little from another in method of treatment. But any subject from the Odyssey can be at once identified by its individual and marked character. It may be that the Odyssey had a less firm hold on the minds of the Greeks than the Iliad, which was more of a national epic, whereas the Odyssey was a stirring romance.[14] It may also be worth noting that scenes from the Odyssey usually adhere more closely to the Homeric text than those from the Iliad.

Another reason for the scarcity of Iliad-scenes may be that the Tale of Troy as a whole is a much more comprehensive story, of which the Iliad only forms a comparatively small portion. Hence the large number of scenes drawn both from the Ante-Homerica and the Post-Homerica, such as the stories of Troilos and Memnon, or the sack of Troy. The writings of the Cyclic poets begin, as Horace reminds us, ab ovo,[15] from the egg of Leda, and the Kypria included the whole story of the marriage of Peleus and Thetis, the subsequent Judgment of Paris, and his journey to Greece after Helen, scenes from all these events being extremely popular on the vases.[16] The Patrokleia deals with the events of the earlier years of the war, the Aithiopis of Arktinos with the stories of Penthesileia and Memnon, and the death of Achilles, and the Little Iliad of Lesches with the events of the tenth year down to the fall of Troy. All provided frequent themes for the vase-painter, as may be seen by a reference to a later page (119 ff.). The Iliupersis of Arktinos and Lesches might almost be reconstructed from two or three large vases, whereon all the episodes of the catastrophe are collected together (see p. 134); but when we come to the Nostoi of Agias and the Telegonia, the vase-painters suddenly fail us, the stories of Odysseus’ wanderings and Orestes’ vengeance seeming to supply the deficiency.

Luckenbach[17] has pointed out that the only right method of investigating the relation is to begin with vase-paintings for which the sources are absolutely certain, as with scenes from the Iliad and Odyssey. In this way the subjects from other epics can be rightly estimated and the contents of the poems restored. Further, in investigating the sources of the vase-painters, and the extent to which they adhered to them or gave free play to the imagination, the three main periods of vase-painting must be separately considered, though the results in each case prove to be similar. By way of exemplifying these methods he enters in great detail into certain vase-subjects, their method of treatment on vases of the different periods, and their approximation to the text. Thus, the funeral games for Patroklos (Il. xxiii.) are depicted on the François vase (see p. 11) with marked deviations from Homer’s narrative; and not only this, but without characterisation, so that if the performers were not named the subject could hardly have been identified. To note one small point, all Homeric races took place in two-horse chariots (bigae), but on B.F. vases four-horse quadrigae are almost invariably found.[18]

Subjects of a more conventional character, such as battle scenes, farewell scenes, or the arming of a warrior, present even more difficulty. Even when names occur it is only increased. We must assume that the vase-painter fixed on typical names for his personages, without caring whether he had literary authority. In some cases the genre scenes seem to be developed from heroic originals, in others the contrary appears to be the case.[19] It is not, however, unfair to say that the Epos was the vase-painter’s “source.” The only doubtful question is the extent of his inspiration; and, at all events, it was a source in the sense that no other Greek literature was until we come to the fourth century.

Turning now to the consideration of later literature,[20] we find in Hesiod a certain parallelism of theme to the vases, but little trace of actual influence. Indirectly he may have affected the vase-painter by his crystallisation of Greek mythology in the Theogony, where he establishes the number of the Muses (l. 77), and also the names of the Nereids.[21] It is, however, interesting to note the Hesiodic themes which were also popular with the vase-painters: the creation of Pandora; the fights of Herakles and Kyknos, and of Lapiths and Centaurs, and the pursuit of Perseus by the Gorgons; the contest of Zeus with Typhoeus (or Typhon); and the birth of Athena.[22]

The influence of lyric poetry was even slighter. Somewhat idealised figures of some of the Greek lyrists appear on R.F. vases, such as Sappho and Anakreon (see p. 152); but this is all. In regard to Pindar and Bacchylides, the idealising and heroising tendencies of the age may be compared with the contemporary tendency of vase-paintings, and the latter may often be found useful to compare with—if not exactly to illustrate—the legends which the two poets commemorate. For instance, in the ode of Bacchylides in which he describes the fate of Kroisos, there is a curious deviation from the familiar Herodotean version, the king being represented as voluntarily sacrificing himself.[23] The only vase-painting dealing with this subject (Fig. 132, p. 150) apparently reproduces this tradition.

With the influence of the stage we have already dealt elsewhere.[24] With the exception of the Satyric drama, it can hardly be said to have made itself felt, except in the vases of Southern Italy, in the fourth century B.C., but indications of the Satyric influence may be traced in many R.F. Attic vases, no doubt owing to their connection with the popular Dionysiac subjects. On a vase in Naples[25] are represented preparations for a Satyric drama. When we reach the time of tragic and comic influence, we not only find the subjects reproduced, but even their stage setting; in other words, the vases are not so much intended to illustrate the written as the acted play, just as it was performed.

The whole question is admirably summed up by Luckenbach[26] in the following manner: (1) The Epos is the chief source of all vase-paintings from the earliest time to the decadence inclusive, and next comes Tragedy, as regards the later vases only; of the influence of other poetry on the formation of myths in vase-paintings there is no established example. (2) Vase-paintings are not illustrations, either of the Epos or of the Drama, and there is no intention of reproducing a story accurately; hence great discrepancies and rarity of close adherence to literary forms; but the salient features of the story are preserved. (3) Discrepancies in the naming of personages are partly arbitrary, partly due to ignorance; the extension of scenes by means of rows of bystanders, meaningless, but thought to be appropriate, is of course a development of the artist’s, conditioned by exigencies of space. Anachronisms on vases are of frequent occurrence. (4) Such scenes as those of warriors arming or departing are always the painter’s own invention, ordinary scenes being often “heroised” by the addition of names. But individuals are not necessarily all or always to be named; and, again, the artist often gives names without individualising the figures. (5) In the archaic period successive movements of time are often very naïvely blended (see p. 10); the difference between art and literature is most marked in scenes where a definite moment is not indicated. (6) Vase-paintings often give a general survey of a poem, the scene not being drawn from one particular passage or episode. The features of one poem are in art sometimes transferred to another.

The attention that has been paid now for many years to collecting, assorting, and critically discussing the material afforded by the vases has much diminished the difficulties of this most puzzling branch of archaeology. It has been chiefly lightened by the discovery from time to time of inscribed vases, though, as has just been noted, even these must be treated with caution; and even now, of course, there are numerous subjects the interpretation of which is either disputed or purely hypothetical. But we can at least pride ourselves on having advanced many degrees beyond the labours of early writers on the subject, down to the year 1850.

When painted vases first began to be discovered in Southern Italy, the subjects were supposed to relate universally to the Eleusinian or Dionysiac mysteries, and this school of interpretation for a long time found favour in some quarters, even in the days of Gerhard and De Witte. But it was obvious from the first that such interpretations did not carry the investigator very far, and even in the eighteenth century other systems arose, such as that of Italynski, who regarded the subjects as of historical import.[27] Subsequently Panofka endeavoured to trace a connection between the subjects and the names of artists or other persons recorded on the vases, or, again, between the subjects and shapes. The latter idea, of course, contained a measure of truth, as is seen in many instances[28]; but it was, of course, impossible to follow out either this or the other hypothesis in any detail.

The foundations of the more scientific and rational school of interpretation were laid as early as the days of Winckelmann, and he was followed by Lanzi, Visconti, and Millingen, and finally Otto Jahn, who, as we have seen, practically revolutionised the study of ceramography. Of late, however, the question of the interpretation of subjects has been somewhat relegated to the background, owing to the overwhelming interest evoked by the finds of early fabrics or by the efforts of German and other scholars to distinguish the various schools of painting in the finest period.

Millingen, in the Introduction to his Vases Grecs, drew up a classification of the subjects on vases which need not be detailed here, but which, with some modifications, may be regarded as holding good to the present day. He distinguishes ten classes, the first three mythological, the next four dealing with daily life, and the three last with purely decorative ornamentation. A somewhat similar order is adopted by Müller in his Handbuch, by Gerhard in his Auserlesene Vasenbilder, and by Jahn in his Introduction to the Munich Catalogue (p. cc ff.). In the present and following chapters the arrangement and classification of the subjects adhere in the main to the system laid down by these writers; and as the order is not, of course, chronological in regard to style, reference has been made where necessary to differences of epoch and fabric.[29] It may be convenient to recapitulate briefly the main headings under which the subjects are grouped.

I. The Olympian deities and divine beings in immediate connection with them, such as Eros and marine deities.

(a) In general; (b) individually. (Chapter XII.)

II. Dionysos and his cycle, Pan, Satyrs, and Maenads. (Page 54 ff.)

III. Chthonian and cosmogonic deities, personifications, and minor deities in general. (Page 66 ff.)

IV. Heroic legends and mythology in general.

(a) Herakles; (b) Theseus, Perseus, and other heroes; (c) local or obscure myths; (d) the Theban and Trojan stories; (e) monsters. (Chapter XIV.)

V. Historical subjects. (Page 149 ff.)

VI. Scenes from daily life and miscellaneous subjects (for detailed classification see p. 154). (Chapter XV.)

The number of subjects to be found on any one vase is of course usually limited to one, two, or at most three, according to the shape. Usually when there is more than one the subjects are quite distinct from one another; though attempts have been made in some cases, as in the B.F. amphorae, to trace a connection.[30] On the other hand, the R.F. kylikes of the strong period often show a unity of subject running through the interior and exterior scenes, whether the theme is mythological or ordinary.[31] It was only in exceptional cases that an artist could devote his efforts to producing an entire subject, as on some of the large kylikes with the labours of Theseus,[32] or the vases representing the sack of Troy.[33] The great François vase in Florence is a striking example of a mythology in miniature, containing as it does more than one subject treated in the fullest detail. And here reference may be made to the main principles which governed the method of telling a story in ancient art, and prevailed at different periods.[34] The earliest and most simple is the continuous method, which represents several scenes together as if taking place simultaneously, although successive in point of time. This method was often employed in Oriental art, but is not found in Hellenic times; it was, however, revived by the Romans under the Empire, and prevailed all through the early stages of Christian art. Secondly, there is the complementary method, which aims at the complete expression of everything relating to the central event. The same figures are not in this case necessarily repeated, but others are introduced to express the action of the different subjects, all being collected in one space without regard to time, as in the continuous style. This is of Oriental origin, and is first seen in the description of Achilles’ shield; it is also well illustrated in the François vase, in the story of Troilos. Here the death of Troilos is not indeed actually depicted, but the events leading up to it (the water-drawing at the fountain and the pursuit by Achilles) and those consequent on it (the announcement of the murder to Priam and the setting forth of Hector to avenge it) are all represented without the repetition of any figures. Lastly, there is the isolating method, which is purely Hellenic, being developed from the complementary. This is best illustrated by the Theseus kylikes, with their groups of the labours, which, it should be remembered, are not continuous episodes in one story, but single events separated in time and space, and collected together with a sort of superficial resemblance to the other methods.

Some description of the François vase has been given elsewhere (Vol. I. p. 370)[35]; but as it is unique in its comprehensiveness, and as a typical presentation of the subjects most popular at the time when vase-painters had just begun to pay special attention to mythology, it may be worth while to recapitulate its contents here. The subjects are no less than eleven in number, arranged in six horizontal friezes, with figures also on the handles, and there are in all 115 inscriptions explaining the names of the personages and even of objects (e.g. ὑδρία, for the broken pitcher of Polyxena). Eight of these subjects belong to the region of mythology:—(1) On the neck: the hunt of the Calydonian boar, and (2) the landing of Theseus and Ariadne at Naxos, accompanied by dancing youths and maidens. (3) On the shoulder: chariot race at the funeral games of Patroklos, and (4) combat of Centaurs and Lapiths (with Theseus). (5) On the body: the marriage of Peleus and Thetis, attended by the gods in procession. (6) On the body: the death of Troilos (see above), and (7) the return of Hephaistos to Olympos. (8) On each of the handles, Ajax with the body of Achilles. On the flat top of the lip is represented (9) a combat of pigmies and cranes; on either side of the foot (10) a lion and a panther devouring a bull and stag, Gryphons, Sphinxes, and other animals; and on the upper part of the handles (11) Gorgons and figures of the Asiatic Artemis (see p. 35) holding wild animals by the neck.

* * * * *

It is, of course, impossible to indicate all the subjects on the thousands of painted vases in existence; and it must also be remembered that many are of disputed meaning. The succeeding review must therefore only be considered as a general summary which aims at omitting nothing of any interest and avoiding as far as possible useless repetition. In the references appended under each subject the principle has been adopted of making them as far as possible representative of all periods, and also of selecting the most typical and artistic examples, as well as the most accessible, publications.[36]

In dealing with the subjects depicted on Greek vases, we naturally regard the Olympian deities as having the preeminence. We will therefore begin by considering such scenes as have reference to actions in which those deities were engaged, and, secondly, representations of general groups of deities, either as spectators of terrestrial events or without any particular signification. It will then be convenient to deal with the several deities one by one, noting the subjects with which each is individually connected. We shall in the following chapter proceed to consider the subordinate deities, such as those of the under-world and the Dionysiac cycle, and personifications of nature and abstract ideas. Chapter XIV. will be devoted to the consideration of heroic legends, mythological beings, and historical subjects; and in Chapter XV. will be discussed all such subjects as relate to the daily life of the Greeks.

THE OLYMPIAN DEITIES

One of the oldest and most continuously popular subjects is the =Gigantomachia=, or Battle of the Gods and Giants, which forms part of the Titanic and pre-heroic cosmogony, and may therefore take precedence of the rest. The Aloadae (Otos and Ephialtes), strictly speaking, are connected with a different event—the attack on Olympos and chaining of Ares; but the scenes in which they occur are so closely linked with the Gigantomachy proper that it is unnecessary to differentiate them. We also find as a single subject the combat of Zeus with the snake-footed Typhon.[37]

The locus classicus of Greek art for the Gigantomachia is of course the frieze of the great altar at Pergamon (197 B.C.), but several vases bear representations almost as complete, though it is not as a rule possible to identify the giants except where their names are inscribed.[38] Most vases give only one to three pairs of combatants.

Some pairs are found almost exclusively together, e.g. Athena and Enkelados, or Ares and Mimas; Artemis and Apollo are generally opposed to the Aloadae Otos and Ephialtes, Zeus to Porphyrion, and Poseidon to Polybotes (Fig. 112) or Ephialtes. Hestia alone, the “stay-at-home” goddess of the hearth, is never found in these scenes, but Dionysos, Herakles, and the Dioskuri all take their part in aiding the Olympian deities. Zeus hurls his thunderbolts[39]; Poseidon is usually depicted with his trident, or hurling the island of Nisyros (indicated as a rock with animals painted on it) upon his adversary[40]; Hephaistos uses a pair of tongs with a burning coal in them as his weapon[41]; and Dionysos is in some cases aided by his panther.[42] Aeolus occurs once with his bag of winds.[43]

The following groups can be identified on vases by inscriptions or details of treatment:—

Zeus and Agasthenes, Hyperbios, and Ephialtes: Louvre E 732 (Fig. 111). Zeus and Porphyrion: Berlin 2531. Hera and Harpolykos: Louvre E 732. Hera and Rhoitos (miswritten Phoitos): Berlin 2531. Poseidon and Polybotes: Louvre E 732; Berlin 2531 = Fig. 112. Poseidon and Ephialtes: Reinach, ii. 188. Apollo and Ephialtes: Berlin 2531. Artemis and Otos: Reinach, ii. 164. Artemis and Aigaion: Berlin 2531. Hephaistos and Euryalos: B.M. E 47. Hephaistos and Klytios: Berlin 2293. Athena and Enkelados: B.M. B 252; Louvre E 732; Él. Cér. i. 8. Ares and Mimas: Berlin 2531; B.M. B 617. Hermes and Hippolytos: Berlin 2293. Hermes and Polybios (?): Louvre E 732. Dionysos and Eurymedon: Bull. de Corr. Hell. xx. pl. 7. Athena with arm of Akratos: Berlin 2957 = Él. Cér. i. 88. Death of Otos (supposed): Bibl. Nat. 299 = Reinach, ii. 255.

Among scenes supposed to take place in Olympos, the most important is the =Birth of Athena= from the head of Zeus.[44] Usually she is represented as a diminutive figure actually emerging from his head, but in one or two instances she stands before him fully developed,[45] as was probably the case in the centre of the east pediment of the Parthenon. This subject is commoner on B.F. vases, and does not appear at all after the middle of the fifth century.[46] In most cases several of the Olympian deities are spectators of the scene; sometimes Hephaistos wields his axe or runs away in terror at the result of his operations[47]; in others the Eileithyiae or goddesses of child-birth lend their assistance.[48] On a R.F. vase in the Bibliothèque Nationale Athena flies out backwards from Zeus’ head.[49]

In accordance with a principle already discussed (Vol. I. p. 378), the composition or “type” of this subject is sometimes adopted on B.F. vases for other groups of figures, where the absence of Athena shows clearly that the birth scene is not intended, and no particular meaning can be assigned to the composition.[50]

Representations of the =Marriage of Zeus and Hera= cannot be pointed to with certainty in vase-paintings. On B.F. vases we sometimes see a bridal pair in a chariot accompanied by various deities, or figures with the attributes of divinities[51]; but the chief figures are not in any way characterised as such, and it is better to regard these scenes as idealisations of ordinary marriage processions. On the other hand, there are undoubted representations of Zeus and Hera enthroned among the Olympian deities or partaking of a banquet.[52]

The story of the enchaining of Hera in a magic chair by Hephaistos, and her subsequent liberation by him, is alluded to on many vases, though one episode is more prominent than the others. Of the expulsion of Hephaistos from heaven we find no instance, and of the release of Hera there is only one doubtful example[53]; but we find a parody of the former’s combat with Ares, who forces him to liberate Hera.[54] The episode most frequent is that of the =return of Hephaistos= in a drunken condition to Olympos, conducted by Dionysos and a crowd of Satyrs; of this there are fine examples on vases of all periods.[55] On earlier vases Hephaistos rides a mule; on the later he generally stumbles along, leaning on Dionysos or a Satyr for support.

On the François vase we see Zeus and Hera, with an attendant train of deities, Nymphs, and Muses, going in a chariot to the nuptials of Peleus and Thetis; on many vases we have the reception of the deified Herakles among the gods of Olympos[56]; and on others groups of deities banqueting or without particular signification.[57] But on the late Apulian vases it is a frequent occurrence to find an upper row of deities as spectators of some event taking place just below: thus they watch battles of Greeks and Persians,[58] or such scenes as the contract between Pelops and Oinomaos,[59] the madness of Lykourgos,[60] the death of Hippolytos,[61] and others from heroic legend, which it is unnecessary to specify here; only a few typical ones can be mentioned.[62] They also appear as spectators of scenes in or relating to the nether-world.[63]

* * * * *

=Zeus= appears less frequently than some deities, and seldom alone; but still there are many myths connected with him, besides those already discussed. As a single figure he appears enthroned and attended by his eagle on a Cyrenaic cup in the Louvre[64]; or again in his chariot, hurling a thunderbolt[65]; in company with his brother-gods of the ocean and under-world, Poseidon and Hades, he is seen on a kylix by Xenokles.[66] He is also found with Athena,[67] with Hera, Apollo, Artemis, Aphrodite, and Hermes[68]; and frequently with Herakles at the latter’s reception into heaven.[69] In one instance he settles a dispute between Aphrodite and Persephone.[70] He receives libations from Nike,[71] or performs the ceremony himself, attended by Hera, Iris, and Nike,[72] and is also attended by Hebe and Ganymede as cupbearers.[73] His statue, especially that of Ζεὺς Ἑρκεῖος at Troy, sometimes gives local colour to a scene.[74]

Most of the scenes in which he appears relate to his various love adventures, among which the legends of Europa, Io, and Semele are the most conspicuous; but first of his numerous amours should perhaps be mentioned his wooing of his consort Hera. He carries her off while asleep from her nurse in Euboea,[75] and also appears to her in the form of a cuckoo.[76] The rape of Ganymede by his eagle appears once or twice on vases,[77] but more generally Zeus himself seizes the youth while he is engaged in bowling a hoop or otherwise at play.[78] On a fine late vase with Latin inscriptions Ganymede appears in Olympos,[79] and he is also depicted as a shepherd.[80]

Semele Zeus pursues and slays with the thunderbolt[81]; the birth of her son Dionysos from his thigh is represented but rarely on vases, and is liable to confusion with other subjects. This story falls into three episodes: (1) the reception of the infant by Hermes from Dirke, in order to be sewn into Zeus’ thigh[82]; (2) the actual birth scene[83]; (3) the handing over of the child to the Nymphs.[84] Of his visit to Alkmena there are no certain representations, but two comic scenes on South Italian vases[85] may possibly refer to it, and one of them at least seems to be influenced by the burlesque by Rhinton, from which Plautus borrowed the idea of his Amphitruo. The apotheosis of Alkmena, when her husband places her on a funeral pyre after discovering her misdeed, is represented on two fine South Italian vases in the British Museum; in one case Zeus looks on.[86] His appearing to Leda in the form of a swan only seems to find one illustration on a vase, but in one case he is present at the scene of Leda with the egg.[87]

He is also depicted descending in a shower of gold on Danaë[88]; or as carrying off the Nymphs Aegina and Thaleia[89]; or, again, with an unknown Nymph, perhaps Taygeta.[90] In the form of a bull, on which Europa rides, he provides a very favourite subject, of which some fine specimens exist.[91] One variation of the type is found on an Apulian vase, where Europa advances to caress the bull sent by Zeus to fetch her.[92] The story of Io[93] resolves itself into several scenes, all of which find illustration on the vases: (1) the meeting of Io and Zeus when she rests at the shrine of Artemis after her wanderings[94]; (2) Io in the form of a cow, guarded by Argos[95]; (3) the appearance of her deliverer Hermes[96]; (4) Hermes attacks and slays Argos (Fig. 114).[97]

In addition, the presence of Zeus may be noted in various scenes from heroic or other legends, which are more appropriately discussed under other headings[98], such as the freeing of Prometheus[99], the combat of Herakles and Kyknos[100], or the weighing of the souls of Achilles and Hector[101]; at the sending of Triptolemos, the flaying of Marsyas, the death of Aktaeon, and that of Archemoros[102]; at the creation of Pandora and the Judgment of Paris[103]; the rape of the Delphic tripod and that of the Leukippidae, at Peleus’ seizing of Thetis,[104] and with Idas and Marpessa.[105] The story of the golden dog of Zeus, which was stolen by Pandareos, is referred to under a later heading.[106]

* * * * *

=Hera= apart from Zeus appears but seldom, but there are a few scenes in which she is found alone; of those in which she is an actor or spectator some have been already described, the most important being the story of Hephaistos’ return to heaven.[107] As her figure is not always strongly characterised by means of attributes, it is not always to be identified with certainty. As a single figure she forms the interior decoration of one fine R.F. kylix,[108] and her ξόανον, or primitive cult-idol, is sometimes found as an indication of the scene of an action.[109] On one vase she is represented at her toilet.[110]

There is a vase-painting which represents Hera on her throne offering a libation to Prometheus, an aged figure who stands before her.[111] She is also present at the liberation of Prometheus[112]; in a scene probably intended for the punishment of Ixion[113]; at the creation of Pandora[114]; and in scenes from the story of Io.[115] She suckles the child Herakles in one instance,[116] and in another appears with him in the garden of the Hesperides[117]; she is also present at his reconciliation with Apollo at Delphi,[118] and at his apotheosis,[119] receiving him and Iolaos.[120] On an early Ionic vase she appears contending with him in the presence of Athena and Poseidon, and wears a goat-skin head-dress, as in the Roman type of Juno Sospita or Lanuvina.[121]

The scene in which she appears most frequently is the Judgment of Paris (see below, p. 122); she is also present at the birth of Dionysos[122]; at the stealing of Zeus’ golden dog by Pandareos[123]; at the contest between Apollo and Marsyas[124]; at the slaughter of the Niobids[125]; and with Perseus and Athena.[126]

She appears sometimes with Hebe, Iris, and Nike, from whom she receives libations[127]; and in one scene, apparently from a Satyric drama, she and Iris are attacked by a band of Seileni and rescued by Herakles.[128]

* * * * *

=Poseidon= is a figure somewhat rare in archaic art as a whole, especially in statuary, but is more frequently seen on vases, mostly in groups of deities, or as a spectator of events taking place in or under the sea, his domain. Among subjects already discussed, he is present at the birth of Athena,[129] at the nuptials of Zeus and Hera,[130] and in assemblies of the Olympian gods, generally with his consort Amphitrite[131]; he also takes part in the Gigantomachia and the reception of Herakles into Olympos.[132] He is represented in a group with his brother deities of the higher and nether world, Zeus and Hades[133]; with Apollo, Athena, Ares, and Hermes[134]; among the Eleusinian deities at the sending forth of Triptolemos[135]; and occasionally in Dionysiac scenes as a companion of the wine-god.[136] As a single figure he is frequently found on the series of archaic tablets or pinakes found near Corinth, and also in company with Amphitrite (Fig. 115)[137]; on later vases not so frequently.[138] In one instance he rides on a bull,[139] in others on a horse, sometimes winged[140]; elsewhere he drives in a chariot with Amphitrite and other deities[141]; he watches the Sun-god in his car rising out of the waves[142]; and one vase has the curious subject of Poseidon, Herakles, and Hermes engaged in fishing.[143]

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Among scenes in which he plays an active part the most interesting is the dispute with Athena for the ownership of Attica, also represented on the west pediment of the Parthenon[144]; his love adventures, especially his pursuit of Amymone[145] and Aithra,[146] are common subjects, but in many cases the object of his pursuit cannot be identified.[147] He receives Theseus under the ocean,[148] and possibly in one case Glaukos, on his acceptance as a sea-god[149]; he is also present at the former’s recognition by Aigeus.[150] He is seen at the death of Talos,[151] and with Europa crossing the sea.[152] In conjunction with other deities, chiefly on late Italian vases, he is present as a spectator of various episodes, such as the adventures of Bellerophon, Kadmos, or Pelops, the rape of Persephone, the creation of Pandora, the death of Hippolytos, and in one historical scene, a battle of Greeks and Persians.[153] He superintends several of the adventures of Herakles, notably those in which he is specially interested, as the contests with Antaios and Triton[154]; and he supports Hera in her combat with that hero.[155] He is also seen with Perseus on his way to slay Medusa,[156] and among the Gorgons after that event.[157]

* * * * *

In connection with Poseidon it may be convenient to mention here other divinities and beings with marine associations—such as Okeanos, Nereus, and Triton, and the Nereids or sea-nymphs, daughters of Nereus, with the more rarely occurring Naiads. Of these the name of Okeanos occurs but once, on the François vase. The figure itself has disappeared, but the marine monster on which he rides to the wedding of Peleus and Thetis, and the inscription, remain. =Nereus= appears as a single figure, with fish-tail and trident,[158] but is most frequently met with in connection with the capture of his daughter Thetis by Peleus, either as a spectator or receiving the news from a Nereid.[159] He also watches the contest of Herakles with Triton,[160] himself encountering the hero in some cases.[161] On one vase Herakles has seized his trident and threatens him by making havoc of his belongings.[162] He appears at Herakles’ combat with Kyknos,[163] and at his apotheosis,[164] and also offers a crown to Achilles.[165] In one case he is found in Dionysos’ company.[166] With his daughter Doris he watches the pursuit of another Nereid by Poseidon.[167]

=Triton= is found as a single figure,[168] and (chiefly on B.F. vases) engaged in a struggle with Herakles.[169] He also carries Theseus through the sea to Poseidon,[170] and watches the flight of Phrixos and Helle over the sea.[171] The group of deities represented by Ino and Leukothea, Palaimon, Melikertes, and Glaukos appear in isolated instances,[172] as do Proteus[173] and Skylla[174]—the latter as single figures, without reference to their connection with the Odyssey. A monstrous unidentified figure, with wings and a serpentine fish-tail, which may be a sea-deity (in one case feminine), is found on some early Corinthian vases[175]; possibly Palaimon is intended.

=The Nereids=, who are often distinctively named, are sometimes found in groups,[176] especially watching the seizure of Thetis or bearing the news to Nereus[177]; or, again, carrying the armour of Achilles over the sea and presenting it to him.[178] On one vase they mourn over the dead Achilles.[179] They are also present at the reception of Theseus,[180] the contest of Herakles and Triton,[181] and with Europa on the bull.[182] Kymothea offers a parting cup to Achilles[183]; the Naiads, who are similar beings, present to Perseus the cap, sword, shoes, and wallet.[184] They are also found grouped with various deities,[185] and even one in the under-world.[186] Thetis appears once as a single figure, accompanied by dolphins[187]; for her capture by Peleus and relations with Achilles, see p. 120 ff.

* * * * *

=The Eleusinian deities= Demeter and Persephone (or Kore) are usually found together, not only in scenes which have a special reference to their cult, but in general assemblies of the gods. They once appear in the Gigantomachia.[188] Scenes which refer to the Eleusinian cycle are found exclusively on later examples,[189] and as a rule merely represent the two chief deities grouped with others, such as Dionysos and Hekate, and with their attendants, Iacchos, Eumolpos, and Eubouleus.[190] One vase represents the initiation of Herakles, Kastor, and Polydeukes in the Lesser Mysteries of Agra[191]; another, the birth of Ploutos, who is handed to Demeter in a cornucopia by Gaia, rising from the earth, in the presence of Persephone, Triptolemos, and Iacchos[192]; and others, the birth of Dionysos or Iacchos—a very similar composition.[193] Demeter and Persephone are represented driving in their chariot, with attendant deities and other figures,[194] or standing alone, carrying sceptre and torches respectively,[195] or pouring libations at a tomb (on a sepulchral vase).[196] They are present at the carrying off of Basile by Echelos (a rare Attic legend),[197] and Demeter alone is seen, once at the birth of Athena,[198] once at the slaughter of the dragon by Kadmos,[199] once enthroned,[200] and once with Dionysos as Thesmophoros, holding an open roll with the laws (θεσμοί) of her cult.[201]

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Closely connected with Eleusis is the subject of the sending forth of Triptolemos as a teacher of agriculture in his winged car. This is found on vases of all periods,[202] but is best exemplified on the beautiful kotyle of Hieron in the British Museum (Plate LI.), where, besides Olympian and Chthonian deities, the personification of Eleusis is present. Besides the other Eleusinian personages, Keleos and Hippothoon are also seen.[203] Triptolemos is generally seated in his car, but in one or two cases he stands beside it[204]; in another he is just mounting it.[205] On the latter vase Persephone holds his plough. On a vase in Berlin Triptolemos appears without his car, holding a ploughshare; Demeter presents him with ears of corn, and Persephone holds torches.[206]

=Persephone= is also seen with Iacchos,[207] who, according to various accounts, was her son or brother. She appears with Aphrodite and Adonis,[208] and one vase is supposed to represent the dispute between her and Aphrodite over the latter, which was appeased by Zeus.[209]

The story of the rape of Persephone by Hades, her sojourn in the under-world, and her return to earth is also chiefly confined to the later vases, especially the incident of the rape.[210] In the elaborate representations of the under-world on late Apulian vases she generally stands or sits with Hades in a building in the centre.[211] She is often depicted in scenes representing the carrying off of Kerberos by Herakles,[212] or banqueting with Hades.[213] On both early and late vases Hermes, in his character of Psychopompos, is seen preparing to conduct her back from the nether world (see Plate XLV.),[214] or actually on his way.[215] In another semi-mystical version of the return of Persephone, signifying the return of spring and vegetation, her head or part of her body emerges from the earth,[216] in one case accompanied by the head of Dionysos, whereat Satyrs and Maenads flee affrighted.[217] The interpretation of some of these scenes, however, has been much questioned.[218]

* * * * *

The number of vases with subjects representing the three Delphic deities—=Apollo=, =Artemis=, and =Leto=—is considerable. The appearances of Apollo, at any rate, are probably only exceeded in number by those of Athena, Dionysos, and Herakles. It is, in fact, impossible to make a complete enumeration of the groups in which Apollo occurs, and a general outline alone can be given.[219]

Apollo as a single figure is often found both on B.F. and R.F. vases, usually as Kitharoidos, playing his lyre; sometimes also he is distinguished by his bow.[220] As Kitharoidos he is usually represented standing,[221] but in some cases is seated.[222] He is sometimes accompanied by a hind[223] or a bull (Apollo Nomios?).[224] He is represented at Delphi seated on the Pythoness’ tripod,[225] or is seated at an altar,[226] or pours a libation.[227] He rides on a swan[228] or on a Gryphon,[229] and also crosses the sea on a tripod.[230] In some scenes he is characterised as Daphnephoros,[231] holding a branch of laurel, or is represented in the attitude associated with Apollo Lykeios, resting with one hand above his head.[232] In one scene the type of Apollo Kitharoidos closely resembles that associated with the sculptor Skopas.[233]

When he is grouped with Artemis, the latter deity usually carries a bow and quiver,[234] or they pour libations to one another;[235] but more commonly they stand together, without engaging in any action. They are also depicted in a chariot.[236] More numerous are the scenes in which Leto is also included (as Fig. 116), though she is not always to be identified with certainty.[237] In this connection may be noted certain scenes relating to Apollo’s childhood: his birth is once represented,[238] and on certain B.F. vases a woman is seen nursing two children (one painted black, the other white), which may denote Leto with her infants, though it is more probably a symbolic representation of Earth the Nursing-mother (Gaia Kourotrophos; see p. 73).[239] Tischbein published a vase of doubtful authenticity, which represents Leto with the twins fleeing from the serpent Python at Delos[240]; but in two instances Apollo certainly appears in Leto’s arms, in one case shooting the Python with his bow.[241]

With these three is sometimes joined Hermes—in one instance at Delphi, as indicated by the presence of the omphalos[242]; or, again, Hermes appears with Apollo alone, or with Apollo and Artemis.[243] Poseidon is seen with Apollo, generally accompanied by Artemis and Hermes, also by Leto and other indeterminate female figures.[244] In conjunction with Athena, Apollo is found grouped with Hermes, Dionysos, Nike, and other female figures; also with Herakles.[245] With Aphrodite he is seen in toilet scenes, sometimes anointed by Eros.[246] In one case they are accompanied by Artemis and Hermes,[247] and on one vase Apollo is grouped with Zeus and with Aphrodite on her swan.[248] He accompanies the chariots of various deities, such as Poseidon, Demeter, and Athena,[249] especially when the latter conducts Herakles to heaven.[250]

Apollo, in one case, is associated with the local Nymph Kyrene on a fragment of a vase probably made in that colony.[251] He frequently receives libations from Nike,[252] and in one case is crowned by her.[253] With Nymphs and female figures of indeterminate character he occurs on many (chiefly B.F.) vases, sometimes as receiving a libation.[254] On several red-figured vases he is accompanied by some or all of the nine Muses, one representing their contest with Thamyris and Sappho.[255] He and Artemis are specially associated with marriage processions, whether of Zeus and Hera or of ordinary bridal couples.[256] Apollo also appears in a chariot drawn by a boar and a lion at the marriage of Kadmos and Harmonia.[257]

In Dionysiac scenes he is a frequent spectator[258]; he greets Dionysos among his thiasos,[259] joins him in a banquet,[260] or accompanies Ariadne’s chariot[261] or the returning Hephaistos[262]; listens to the Satyr Molkos playing the flutes,[263] or is grouped with Satyrs and Maenads at Nysa.[264] More important and of greater interest are the scenes which depict the legend of Marsyas, and they may fitly find a place here. The story is told in eight different episodes on the vases, which may be thus systematised:

1. Marsyas picks up the flutes dropped by Athena: Berlin 2418 = Baumeister, ii. p. 1001, fig. 1209: cf. Reinach, i. 342 (in Boston).

2. First meeting of Apollo and Marsyas: Millin-Reinach, i. 6.

3. The challenge: Berlin 2638.

4. Marsyas performing: B.M. E 490; Reinach, i. 452 (Berlin 2950), i. 511 (Athens 1921), ii. 312; Jatta 1093 = Reinach, i. 175 = Baumeister, ii. p. 891, fig. 965.

5. Apollo performing: Jatta 1364 = Él. Cér. ii. 63; Wiener Vorl. vi. 11.

6. Apollo victorious: Reinach, ii. 310; Petersburg 355 = Reinach, i. 14 = Wiener Vorl. iii. 5.

7. Condemnation of Marsyas: Naples 3231 = Reinach, i. 405; Reinach, ii. 324.

8. Flaying of Marsyas: Naples 2991 = Reinach, i. 406 (a vase with reliefs); Roscher, ii. 2455 = Él. Cér. ii. 64.

Among other scenes in which Apollo (generally accompanied by Artemis) plays a personal part, the following may be mentioned: the slaying of the Niobids by the two deities[265]; the slaying of Tityos by Apollo[266] (in one case Tityos is represented carrying off Leto, who is rescued by Apollo)[267]; and various love adventures in which Apollo is concerned.[268] The name of the Nymph pursued by him in the latter scenes cannot, as a rule, be identified; one vase appears to represent him contending with Idas for the possession of Marpessa.[269] He also heals the Centaur Cheiron (this appears in burlesque form),[270] and protects Creusa from the wrath of Ion.[271] He is seen seeking for the cattle stolen from him by Hermes, and contending with that god over the lyre.[272] He frequently appears in Birth of Athena scenes as Kitharoidos,[273] and also at the sending forth of Triptolemos[274] or in the under-world.[275] In one case he appears (with Athena, Artemis, and Herakles) as protecting deity of Attica, watching a combat of Greeks and Amazons.[276] On one vase there is a possible reference to Apollo Smintheus, with whom the mouse was especially associated.[277]

Like other deities, Apollo and Artemis are frequently found on Apulian vases as spectators of the deeds of heroes, or other events in which they are more or less interested; some of these subjects have already been specified (see above, p. 17). Apollo especially is often seen in connection with the story of Herakles, or the Theban and Trojan legends. One burlesque scene represents his carrying off the bow of Herakles to the roof of the Delphic temple,[278] and the subject of the capture of the tripod, with the subsequent reconciliation, is of very frequent occurrence.[279] As Apollo Ismenios, the patron of Thebes, he is a spectator of the scene of the infant Herakles strangling the snakes[280]; in one case he is represented disputing with Herakles over a stag,[281] which may be another version of the story of the Keryneian stag, a scene in which he also occurs.[282] He is seen with Herakles and Kyknos,[283] Herakles and Kerberos,[284] and is very frequently present at the apotheosis of the hero.[285]

Apollo and Artemis watch Kadmos slaying the dragon,[286] and one or other of them is present at the liberating of Prometheus[287]; Apollo alone is seen with Oedipus and Teiresias,[288] and watches the slaying of the Sphinx by the former.[289] Among Trojan scenes he is sometimes present at the Judgment of Paris,[290] also at the sacrifice of Iphigeneia, the pursuit of Troilos, the combats of Achilles and Ajax with Hector, and the recognition of Aithra by her sons.[291] He is, of course, frequently seen in subjects from the Oresteia, both in Tauris and at Delphi,[292] and at the death of Neoptolemos before the latter temple.[293] The pair are also seen at the carrying off of Basile by Echelos (see p. 140).[294]

The ξόανον, or primitive cult-statue, of Apollo is sometimes represented; in one case Kassandra takes refuge from Ajax before it, instead of the usual statue of Athena.[295]

* * * * *

The appearances of =Artemis=, as distinct from Apollo, need not detain us long; she is sometimes found in mythological scenes, but frequently as a single figure, of which there are some fine examples.[296] A winged goddess grasping the neck or paws of an animal or bird with either hand frequently occurs on early vases, and is usually interpreted as Artemis in her character of πότνια θηρῶν or mistress of the brute creation, sometimes called the Asiatic or Persian Artemis.[297] On an early Boeotian vase (with reliefs) at Athens is a curious representation of Artemis Diktynna, a quasi-marine form of the goddess, originally Cretan (?); on the front of her body is represented a fish, and on the either side of her is a lion.[298] As a single figure she appears either with bow or quiver, or with lyre, sometimes accompanied by a stag or hind, or dogs[299]; she also rides on a deer[300] or shoots at a stag.[301] Or, again, she is attended by a cortège of Nymphs[302] or rides in a chariot.[303] Like that of Apollo, her ξόανον is sometimes introduced into a scene as local colouring.[304]

The myth with which she is chiefly associated is that of Aktaeon, which may find a place here, though in most cases Aktaeon alone is represented, being devoured by his hounds.[305] A curious subject on a vase at Athens appears to be the burial of Aktaeon, Artemis being present.[306] She is also represented at the sacrifice of Iphigeneia, for whom a stag was substituted by her agency,[307] and in connection with the same story at her shrine in Tauris.[308] She is especially associated with Apollo in such scenes as the contest with and flaying of Marsyas,[309] the rape of the Delphic tripod by Herakles[310] and the subsequent reconciliation,[311] or the appearance of Orestes at Delphi.[312] The two deities sometimes accompany nuptial processions in chariots, Artemis as pronuba holding a torch, but it is not easy to say whether these scenes refer to the nuptials of Zeus and Hera or are of ordinary significance.[313] A scene in which she pursues a woman and a child with bow and arrow may have reference to the slaughter of the Niobids.[314]

Other scenes in which she is found are the Gigantomachia[315] and the Birth of Athena[316]; or she is seen accompanying the chariots of Demeter[317] and Athena,[318] and with Aphrodite and Adonis.[319] She disputes with Herakles over the Keryneian stag[320]; and is also present when he strangles the snakes,[321] and at his apotheosis in Athena’s chariot.[322] She attends the combat of Paris and Menelaos,[323] and as protecting deity of Attica she watches a combat of Greeks and Amazons.[324] A vase in Berlin, on which are depicted six figures carrying chairs (Diphrophori, as on the Parthenon frieze) and a boy with game, may perhaps represent a procession in honour of Artemis.[325]

* * * * *

=Hephaistos= is a figure who appears but seldom, and never as protagonist, except in the case of his return to Olympos,[326] a subject already discussed (p. 17), as has been his appearance in the Gigantomachia[327] and at the birth of Athena.[328] In conjunction with the last-named goddess he completes the creation and adornment of Pandora on two fine vases in the British Museum[329]; he is also present at the birth of Erichthonios.[330] His sojourn below the ocean with Thetis and the making of Achilles’ armour also occur.[331] Representations of a forge on some B.F. vases may have reference to the Lemnian forge of Hephaistos and his Cyclopean workmen.[332] He is also seen with Athena,[333] at the punishment of Ixion,[334] and taking part in a banquet with Dionysos.[335]

* * * * *

More important than any of the other Olympian deities, for the part she plays in vase-paintings, is =Athena=, the great goddess of the Ionic race, and especially of Athens. Of her birth from the head of Zeus we have already spoken, as also of the part she plays in the Gigantomachia (p. 15). The separate episode of her combat with Enkelados (her invariable opponent) is frequently depicted on B.F. vases[336]; but in one instance she tears off the arm of another giant, Akratos.[337] We have also seen her assisting at the creation of Pandora,[338] and contending with Poseidon for Attica.[339] She receives the infant Dionysos at the time of his birth,[340] and is also generally present at that of Erichthonios,[341] and once with Leto at that of Apollo and Artemis.[342] She is, of course, an invariable actor in Judgment of Paris scenes, in one of which she is represented washing her hands at a fountain in preparation for the competition.[343]

From assemblies of the gods she is rarely absent, and she is also associated with smaller groups of divinities, such as Apollo and Artemis (p. 31), with Ares or Hephaistos,[344] or with Hermes,[345] or in Eleusinian[346] or Dionysiac scenes.[347] Thus she assists at the slaying of the Niobids,[348] and on one vase is confronted with Marsyas, before whom she has just dropped the flutes.[349] Scenes in which she appears receiving a libation from Nike are extremely common[350]; and she is also found with Iris and Hebe.[351] In one instance she herself pours a libation to Zeus.[352]

Generally the companion of princes and patroness of heroes, she protects especially Herakles, whom she aids in his exploits and conveys finally in her chariot to Olympos, where he is introduced by her to Zeus.[353] Some scenes represent the two simply standing together[354]; in others she welcomes and refreshes him after his labours,[355] and in one case he is supposed to be represented pursuing her.[356] It is unnecessary to particularise here the various scenes in which she attends Herakles (see p. 95 ff.); but one may be mentioned as peculiar, where she carries him off in her chariot with the Delphic tripod which he has just stolen.[357] Another rare scene connected with the Herakles myths is one in which, after the fight with Kyknos (see p. 101), Zeus protects her from the wrath of Ares.[358] Another of her favourite heroes is Theseus,[359] and she is even more frequently associated with Perseus, whom she assists to overcome and escape from the Gorgons.[360] She gives Kadmos the stone with which to slay the dragon,[361] and is also seen with Bellerophon,[362] Jason and the Argonauts,[363] and Oedipus.[364] She is present at the rape of Oreithyia by Boreas,[365] at the punishment of Ixion,[366] and at the setting out of Amphiaraos[367]; at the stealing of Zeus’ golden dog by Pandareos[368]; also at the rape of the Leukippidae by the Dioskuri,[369] and of Basile by Echelos (see p. 140),[370] and in a scene from the tragedy of Merope.[371]

The scenes where she is assisting the Greek heroes in the Trojan War are almost too numerous to specify, her favourite being of course Achilles; her meeting with Iris (Il. viii. 409) is once depicted,[372] and she also appears in connection with the dispute over Achilles’ arms.[373] She is not so frequently seen with her other favourite, Odysseus, but in one instance she is present when he meets with Nausikaa,[374] and also when he blinds Polyphemos.[375] On the numerous vases representing Ajax and Achilles (or other heroes) playing at draughts, the figure or image of the goddess is generally present in the background.[376] The same type on B.F. vases is adopted for the subject of two heroes casting lots before her statue[377]; lastly, she appears as the friend and patron of Orestes when expiating the slaying of his mother.[378]

As a single figure Athena is represented under many types and with various attributes, seated with her owl[379] or in meditation,[380] writing on tablets[381] or holding the ἀκροστόλιον of a ship[382]; playing on a lyre[383] or flutes,[384] or listening to a player on the flute or lyre[385]; with a man making a helmet,[386] or herself making the figure of a horse,[387] and in a potter’s workshop.[388] On an early vase she appears between two lions[389]; or she is accompanied by a hind (here grouped with other goddesses).[390] She is depicted running,[391] and occasionally is winged[392]; or she appears mounting a chariot, accompanied by various divinities.[393] As the protecting goddess of Attica she watches a combat of Greeks and Amazons[394]; she also attends the departure or watches combats of ordinary warriors,[395] or receives a victorious one.[396] In one instance she carries a dead warrior home.[397]

There are many representations of her image, either as a ξόανον or cultus-statue, or recalling some well-known type of later art. Among the former may be mentioned her statue at Troy, whereat Kassandra takes refuge from Ajax,[398] and the Palladion carried off by Odysseus and Diomede.[399] Among the latter, three can be traced to or connected with creations of Pheidias: viz. the chryselephantine Parthenos statue[400]; the Lemnian type, holding her helmet in her hand (Plate XXXVI.)[401]; and the Promachos, in defensive attitude, with shield and spear.[402] The last-named type (earlier, of course, than the famous statue on the Acropolis) is that universally adopted for the figure of Athena on the obverse of the Panathenaic amphorae, on which she is depicted in this attitude between two Doric columns surmounted by cocks (on the later examples by figures of Nike or Triptolemos).[403] Her statue is also represented as standing in a shrine or heroön[404]; or as the recipient of a sacrifice or offering.[405] Her head or bust alone appears on several vases.[406]

* * * * *

=Ares=, in the few instances in which he appears on vases, is generally in a subordinate position; he is a spectator at the birth of Athena[407]; and appears twice on the François vase, at the wedding of Peleus and Thetis, and again in an attitude of shame and humility, to indicate the part he played in the story of Hephaistos and Hera; of his combat with the former god mention has already been made (p. 16). In the Gigantomachia his opponent is Mimas, with whom he also appears in single combat[408]; and he aids his son Kyknos against Herakles and Athena.[409] He is seen in several of the large groups of Olympian deities,[410] or in smaller groups, e.g. with Poseidon and Hermes,[411] with Apollo, Artemis, and Leto,[412] or with Athena[413] or his spouse Aphrodite[414]; also with Dionysos, Ariadne, and Nereus.[415] He also receives a libation from Hebe.[416] He is seen at the birth of Pandora,[417] the punishment of Ixion,[418] the slaying of the Niobids,[419] the apotheosis of Herakles,[420] and the contest of that hero with the Nemean lion.[421] In some cases his type is not to be distinguished from that of an ordinary warrior or hero, as in one case where he or a warrior is seen between two women.[422]

* * * * *

=Aphrodite= seldom appears as a protagonist on vases, and in fact plays a small personal part in mythology. Apart from scenes of a fanciful nature she is usually a mere spectator of events; but as she is not often characterised by any distinctive attribute, there is in many cases considerable difficulty in identifying her personality. This is especially the case on B.F. vases, on which her appearances are comparatively rare. One vase represents her at the moment of her birth from the sea in the presence of Eros and Peitho[423]; she also appears (on late vases only) with Adonis,[424] embracing him, and in two instances mourning for him after his death[425]; but caution must be exercised in most cases in identifying this subject, which is but little differentiated from ordinary love scenes. One scene apparently represents Zeus deciding a dispute between her and Persephone over Adonis.[426]

More commonly she is seen riding over the sea on a goose or swan,[427] of which there is one exceedingly beautiful example in the British Museum; here she is to be recognised as the Heavenly Aphrodite (Ourania), whereas in her character of Pandemos (profane or unlicensed love) she rides on a goat.[428] In other instances the swan draws her chariot over the sea,[429] or she is borne by a pair of Erotes,[430] or sails in a shell, as in the story of her birth and appearance in the island of Kythera[431]; in others, again, her chariot is drawn (on land) by the Erotes,[432] or by a lion, wolf, and pair of boars.[433] She is also represented at her toilet[434] or bathing,[435] in the latter case in the attitude of the Vénus accroupie of sculpture; in these instances again there is often difficulty in distinguishing from scenes of ordinary life. Again, she is represented spinning,[436] playing with a swan,[437] or caressing a hare,[438] or in company with a young hunter,[439] possibly meant for Adonis.

In many scenes she is grouped with a cortège of attendant Nymphs and personified figures, often with names attached.[440] Besides Eros, the following are found on these vases: Pothos (Longing) and Himeros (Charm), Hygieia (Health), Peitho (Persuasion), Paidia (Play), Pandaisia (Good Cheer), Eunomia (Orderliness), Euthymia (Cheerfulness), Eudaimonia (Happiness), Hedylogos (Winning Speech), and Kleopatra (a fancy name). Eros himself she embraces[441] and suckles,[442] and in some cases he assists in her toilet, perfuming her hair from an unguent flask,[443] or adjusting her sandals[444]; he is seldom absent from her side on the later vases. In one instance Aphrodite and two Erotes make a basket of golden twigs.[445] Their heads or busts are also found on late vases, as is that of Aphrodite alone.[446]

In relation to other mythological subjects she is frequently found in assemblies of the gods, especially in the spectator groups on Apulian vases[447]; also at the birth of Athena (rarely),[448] at the marriage of Zeus and Hera,[449] and in the Gigantomachia (very rare).[450] She is seen among the Eleusinian deities,[451] and in scenes from the nether world[452]; and she accompanies the chariots of Athena and Demeter.[453] She also accompanies Poseidon in his wooing of Amymone,[454] and is present at the slaying of Argos by Hermes,[455] the punishment of Aktaeon[456] and the contest of Apollo and Marsyas,[457] and the wooing of Europa by Zeus.[458] She is also grouped with Apollo and the Muses listening to Thamyris and Sappho.[459]

She is seldom seen with Herakles, but is present at his apotheosis,[460] and also with him in the Garden of the Hesperides[461]; she is once seen with Theseus,[462] and is present at the rape of the Leukippidae by the Dioskuri.[463] Other heroes with whom she is connected (chiefly as a spectator on the Apulian vases) are Kadmos, Meleager, Perseus, and Pelops.[464] In the tale of Troy, however, she plays a more important part. The Judgment of Paris is, of course, the scene with which she is chiefly connected[465]; in one instance she appears alone with Paris, unless Anchises be here meant.[466] She is present at the first meeting and wedding of Peleus and Thetis[467]; at the toilet of Helen, and at her carrying off by Paris[468]; she assists her son Aeneas in his combat with Diomede,[469] and is present at the rape of Kassandra.[470] Helen takes refuge from Menelaos with her in her temple[471]; and finally she assists Aeneas to escape with the aged Anchises from Troy.[472]

* * * * *

Besides the scenes in which he appears with Aphrodite, =Eros= is a sufficiently important personage on vases to demand a section to himself. On the black-figured vases he never appears, nor on the earlier red-figured ones is it possible to find many instances, but towards the end of the fifth century his popularity is firmly established, while on the Italian vases, especially the the later Apulian, his presence is almost invariable, not only in mythological scenes, but in subjects from daily life. As a single figure he occurs again and again, generally holding a wreath, mirror, box, fan, or some object which may be regarded as signifying a lover’s present.

Concurrently with his increasing popularity we note the change that comes over the conception of his personality. Beginning as a full-grown youth of fair proportions, his form gradually attenuates and becomes more juvenile, or even in some cases infantile, as in Hellenistic art; while on the Apulian vases it assumes an androgynous, altogether effeminate character. His hair is arranged in feminine fashion, and his person is adorned with earrings, bracelets, anklets, and chains, remaining otherwise entirely nude, except that he sometimes wears soft shoes of a feminine kind (see Plate XLIV. and Fig. 118).

On the red-figured vases he generally appears as a single figure, though on those of the “fine” style he is often in attendance on Aphrodite; roughly speaking, it may be said that he figures in all scenes that deal with the passion of Love, such as the Judgment of Paris,[473] the story of Adonis,[474] the marriage of Dionysos and Ariadne,[475] or the love-affairs of Zeus, Poseidon, and other gods.[476]

In other legends in which Love plays a part, such as the stories of Jason and Medeia,[477] Phaidra and Hippolytos,[478] Peleus and Thetis (or Theseus and Ariadne),[479] Pelops and Hippodameia,[480] Paris and Helen,[481] he is also to be seen; as also at the carrying off of Persephone.[482] Moreover, he occurs in several scenes where the reason is not so apparent, as at the birth of Erichthonios,[483] in the Garden of the Hesperides,[484] at the suckling of Herakles by Hera,[485] with Herakles and a Centaur,[486] and in the nether world[487]; also with deities such as Zeus, Athena, Nike, Helios and Selene, and Dionysos[488]; anointing the head of Apollo.[489] The cosmogonic conception of Eros and his connection with Gaia is referred to in the next chapter under the latter heading (p. 73). Two Erotes draw the chariot of Demeter and Persephone[490]; and he is also seen in company with the Nereids.[491] His presence in Dionysiac scenes, especially on the later vases, is often to be noted, though without any special meaning to be attached to it[492]; in one instance he is carried on the back of a Seilenos.[493] In many of these scenes he merely accompanies Aphrodite, and they do not therefore require enumeration. Lastly, he is seen in company with Sappho,[494] the great poetess of Love.

In non-mythological scenes he is found almost as frequently, especially in toilet scenes,[495] or what we may regard as “scenes of courting”; but on the later vases these exhibit little or no action, and are not worth considering in detail, with a few exceptions. Thus we see Eros in marriage processions,[496] in musical scenes,[497] and at banquets[498]; at a sacrifice to a term[499]; watching girls play the game of morra[500] (“How many fingers do I hold up?”); swinging them, or being danced on their feet[501]; in scenes of fruit- and incense-gathering[502]; or pouring wine into a krater.[503] He appears with Agon (see p. 89) training in the palaestra.[504] He pursues a youth or a girl,[505] embraces a girl,[506] or is carried by her pick-a-back[507]; offers a hare to a youth,[508] or drives a youth with a whip from an altar[509]; and in one instance is about to chastise with a slipper two youths who are playing with a top and hoop[510]; these two latter scenes may be regarded as implying the power of Eros over youth. He is also seen shooting an arrow at a woman,[511] an idea characteristic of Anacreontic and Alexandrine poetry. Another scene which recalls the wall-paintings of the Hellenistic Age is on a vase in the British Museum, representing two Erotes being weighed in scales.[512]

As a single figure he pursues a hare or kills a snake[513]; crouches before a plant[514]; is represented armed with shield and spear[515]; or places a sash or wreath on a tripod.[516] He is borne in a chariot by horses or swans,[517] or rides on a horse, deer, dog, or swan.[518] He is also seen playing various games, such as the kottabos or morra,[519] see-sawing or playing knucklebones,[520] or with a ball or hoop or toy-boat.[521] Or he plays the flute or lyre[522]; or plays with animals, such as a deer, dove, swan[523]; or finally (on Apulian vases) with a toy which resembles a wheel, and was probably used for magic purposes, as several passages of literature indicate.[524]

Lastly, we must give a survey of the frequent representations of Eros flying through the air carrying some attribute, which are so universal on the Italian vases, though some of the earliest types also represent him in this manner. Thus he carries a hare, or dove or other bird[525]; fruit (such as grapes or pomegranates), flowers, and branches[526]; wreaths, dishes of fruit, baskets, vases of various forms, and a spit of meat[527]; thyrsi, tambourines, lyres, torches, incense-burners, strigils, and ladders[528]; fans, parasols, mirrors, toilet-boxes, strings of beads, and sashes, or balls.[529]

* * * * *

Among the other associates of Aphrodite the chief are Peitho, Pothos, and Himeros, of whom mention has already been made. =Peitho=, except where her name is given, is not always easy to identify; the other two are not differentiated from Eros in form, and are, in fact, only variations of the conception of Love, as are the more rarely occurring Phthonos (Amor invidiosus)[530] and Talas (Amor infelix), the latter of whom is associated with Sappho.[531] Peitho is found with Himeros in one instance,[532] and in another with Eukleia[533]; she also accompanies Aphrodite in Eleusinian and other scenes,[534] at the deliverance of Andromeda,[535] in the Garden of the Hesperides,[536] and at the rape of Helen[537] and the Leukippidae,[538] and at the recovery of Helen by Menelaos[539]; she consoles her when mourning for Adonis[540]; and is present at the moment of her birth.[541] Like Eros, she is seen in company with Sappho,[542] and she also appears with Meleager and Atalante.[543]

* * * * *

=Pothos= and =Himeros= are seen floating over the sea with Eros on a fine R.F. vase in the British Museum,[544] and at the Judgment of Paris[545]; and grouped together generally as Erotes, they may be distinguished on some late vases. Pothos attends at the toilet of Helen,[546] and plays the flutes in a Dionysiac scene.[547] Himeros is seen swinging Paidia (another of Aphrodite’s following)[548]; at the marriage of Herakles and Hebe[549]; presenting a crown to Dionysos,[550] or removing his shoes,[551] and accompanying him in a scene of preparation for the Satyric drama.[552]

* * * * *

=Hermes=, the messenger of the gods, is a common figure on vases of all periods, but chiefly as a subordinate agent, though he plays a leading part in some scenes, and frequently occurs as a single figure.[553] Some small vases are decorated merely with his head, wearing the winged petasos.[554] He is represented passing over the sea with a lyre,[555] carrying a ram,[556] riding on a ram or goat,[557] or reclining on the latter animal[558]; also as making a libation[559] or sacrificing a goat.[560] He presides over the palaestra,[561] and is also seen standing between Sphinxes,[562] or again (apparently as a statue) standing by a fountain.[563] In one scene he leads a dog disguised as a pig,[564] and he is also represented tending a flock of sheep,[565] or fishing.[566]

The story so vividly recounted in the Homeric hymn of his infantile theft of Apollo’s oxen is given in several scenes, including his taking refuge in his cradle (Fig. 119)[567]; he is also represented with his mother Maia,[568] and disputing with Apollo over the lyre which he invented.[569] The only other myth in which he plays a chief part is his pursuit of the Nymph Herse in the presence of her father Kekrops and her sister Aglauros.[570] He appears in the Gigantomachia (in one instance as Zeus’ charioteer),[571] frequently at the birth of Athena,[572] and with the bridal cortège of Zeus and Hera[573]; also in numerous assemblies of the Olympian deities, especially on the Apulian vases.[574] He is present at the seizing of Ganymede,[575] and defends Hera against an attack of Seileni.[576] His slaying of Argos and deliverance of Io has already been mentioned[577]; and he assists in recovering the golden dog of Zeus which was stolen by Pandareos.[578]

He is present at the return of Hephaistos,[579] at Poseidon’s capture of Amymone,[580] with Aphrodite mourning for Adonis,[581] and with Apollo slaying Tityos and the Niobids and contending with Marsyas,[582] also at his reconciliation with Herakles.[583] He accompanies the chariots of Poseidon, Apollo, and Athena,[584] and also those of mortals, especially in wedding processions[585]; and he is also seen with Eos and Selene,[586] Kastor and Polydeukes,[587] Prometheus,[588] Leda at the finding of the egg,[589] and at the birth of Pandora.[590] He is specially associated with Zeus, Apollo, Athena, and Dionysos,[591] and also appears with Aphrodite Pandemos[592]; he is not infrequently found in Dionysiac scenes[593]; and to him is entrusted the newly born Dionysos to be handed over to the Nymphs of Nysa.[594] On B.F. vases he is frequently seen leading a procession of Nymphs.[595]

As a Chthonian deity he is present in many scenes relating to the nether world, especially on the large Apulian vases,[596] and in connection with the Eleusinian myths, such as the carrying off of Persephone.[597] As Psychagogos or Psychopompos he is seen in Hades waiting to conduct Persephone to earth, or actually en route with her.[598] He frequently performs the same office for mortals, conducting them to Charon’s bark.[599] He is also found in company with Thanatos,[600] and with Herakles bringing back Alkestis.[601] A unique scene with Hermes in his Chthonian capacity is on a vase where he is represented chaining up Kerberos[602]; and another, yet more curious, depicts him standing by a jar (πίθος) from which a number of small winged figures (εἴδωλα or ghosts) are flying out, with a supposed reference to the Athenian festival of the Πιθοίγια.[603]

In the stories of Herakles he plays an important part, as also in those of Theseus and other heroes, and he is frequently visible in scenes from the Trojan legends. He conveys the infant Herakles to Cheiron for instruction,[604] and conducts the hero to Hades to fetch Kerberos[605]; he is also seen feasting or bathing with him,[606] and in company with him and Athena,[607] and most frequently in connection with his apotheosis.[608] With Theseus he is found more rarely[609]; but he frequently accompanies Perseus in his flight from the Gorgons.[610] In other heroic scenes he is often one of the spectator deities on Apulian vases. In one instance he is seen banqueting with an unidentified hero.[611]

In the Trojan legends his chief appearance is as conductor of the goddesses to the Judgment of Paris[612]; and in one case he accompanies Peleus when bringing the infant Achilles to Cheiron.[613] He also assists Zeus in weighing the souls of Achilles and Hector,[614] conducts Priam to Achilles,[615] and is present in many other scenes which need not be recounted in detail. A scene difficult of explanation represents him accompanying Odysseus in a chariot.[616]

A Herm or terminal figure of Hermes is a not uncommon feature on vases, especially of the R.F. period,[617] and generally as the object of a sacrifice made to it.[618]

Last of the Olympian deities comes =Hestia=, who is usually coupled with Hermes; she, however, only appears on a few vases in gatherings of the Olympian deities,[619] as on the François vase, where she attends the nuptials of Peleus and Thetis, and at the marriage of Herakles and Hebe.[620]

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Footnote 1:

Il. xi. 635: cf. Athen, xi. 489 F.

Footnote 2:

i. 27 ff.: cf. Vol. I. p. 180.

Footnote 3:

Athenaeus, xi. p. 489 B.

Footnote 4:

Ibid. p. 782 B.

Footnote 5:

Od. 5.

Footnote 6:

H.N. xxxiii. 155.

Footnote 7:

Ibid. 156.

Footnote 8:

Mart. viii. 51: cf. Juv. i. 76.

Footnote 9:

Stat. Theb. i. 543.

Footnote 10:

Virg. Ecl. iii. 46.

Footnote 11:

Schreiber, Alexandr. Toreutik, passim; Robert in 50^{tes} Winckelmannsfestprogr. 1890.

Footnote 12:

Suet. Ner. 47: see Vol. I. pp. 134, 185, 499.

Footnote 13:

Cf. Miss Harrison, Mythol. and Monum. of Athens, p. ii; and see Vol. I. p. 13.

Footnote 14:

See on this subject J.H.S. xiii. p. 83.

Footnote 15:

Art. Poet. 147.

Footnote 16:

See Luckenbach in Jahrb. für Class. Phil. Suppl.-Bd. xi. (1880), p. 575 ff.

Footnote 17:

Op. cit. p. 493 ff.

Footnote 18:

The only exceptions are in the Panathenaic contests, which are of course not epic: cf. B.M. B 130–31.

Footnote 19:

See on this subject Comm. in hon. T. Mommseni, p. 163 ff.; _Arch. Zeit._ 1876, p. 116; Dumont-Pottier, i. p. 366, and, J.H.S. x. p. 13 ff.

Footnote 20:

Luckenbach, op. cit. p. 560 ff.

Footnote 21:

There is only one vase (Naples 2296 = Reinach, Répertoire, i. 476) on which the names of the Nereids are derived from Homer.

Footnote 22:

Op. et Di. 60 ff.; Scut. 345 ff., 178, 216; Theog. 820, 924 ff.

Footnote 23:

See J.H.S. xviii. p. 267.

Footnote 24:

Vol. I. p. 472: see also below, p. 159. On the subject generally see Vogel, Scenen Eur. Trag.; Huddilston, Gk. Tragedy in Vase-paintings; Engelmann, Arch. Studien zu den Tragikern.

Footnote 25:

Reinach, i. p. 114.

Footnote 26:

Op. cit. p. 636.

Footnote 27:

See for further details of early theories Vol. I. p. 21.

Footnote 28:

E.g. the B.F. hydriae with water-drawing scenes; the funeral lekythi; and the R.F. cups with their subjects relating to banquets and revels.

Footnote 29:

See also Chapters VI.–XI. throughout.

Footnote 30:

Morgenthau, Zusammenhang d. Bilder auf gr. Vasen.

Footnote 31:

Cf. for instance E 39, 45, 47, 48, in B.M.

Footnote 32:

See below, p. 108.

Footnote 33:

See p. 134.

Footnote 34:

This subject has been admirably treated by Wickhoff in his Roman Art (Eng. edn.), p. 13 ff.

Footnote 35:

The publication of this vase by Furtwaengler and Reichhold, Gr. Vasenmalerei, pls. 1–3, 11–13, with full discussion of subjects and technical details, has now superseded all previous illustrations. The only other complete ones were in Mon. dell’ Inst. iv. 54–8 (Reinach, i. p. 134–36) and Wiener Vorl. ii. pls. 1–5. The general view given in Plate XXVIII. is reproduced from the first-named work.

Footnote 36:

For the abbreviations used in the following notes see the Bibliography (Vol. I.).

Footnote 37:

Munich 125 = Reinach, ii. 120 = Furtwaengler and Reichhold, pl. 32; B.M. F 237: cf. also B.M. B 62.

Footnote 38:

The best and most complete examples are as follows:—B.F.: B.M. B 208; Reinach, i. 162 = Louvre E 732. R.F.: B.M. E 47, 469; Berlin 2293, 2531 (both in Wiener Vorl. i. pls. 8 and 5; the latter very good); Bibl. Nat. 573 = Reinach, ii. 256. Best of all (late R.F.), a grand vase found in Melos (Monum. Grecs, 1875, pt. 4, pls. 1–2 = Wiener Vorl. viii. 7), on which no less than eighteen deities are engaged, but none of the giants are named. Hera, Hephaistos, and Amphitrite are absent. Figs. 111 and 112 give two of these—E 732 in Louvre, and the interior of Berlin 2531.

Footnote 39:

Arch. Anzeiger, 1890, p. 8.

Footnote 40:

Reinach, ii. 188 = Él. Cér. i. 5.

Footnote 41:

B.M. E 47; Berlin 2293.

Footnote 42:

B.M. B 253, E 443 (and see p. 56).

Footnote 43:

Bull. de Corr. Hell. xx. (1896), pl. 7: cf. the archaic frieze of the Siphnian treasury at Delphi.

Footnote 44:

B.F.: B.M. B 147 (a very fine early example, but much restored), 244 (Fig. 113), 424; Berlin 1704 (also good). R.F.: B.M. E 15, E 410 (fine); Reinach, ii. 207.

Footnote 45:

Reinach, i. 171.

Footnote 46:

Reinach in Revue des Études Grecques, 1901, p. 127, traces the subject to a Megarian origin.

Footnote 47:

B.M. Vases, ii. p. 11.

Footnote 48:

B.M. B 147, 218, 244.

Footnote 49:

Cat. 444.

Footnote 50:

See B.M. B 157, B 341; also Berlin 1899 (= Él. Cér. i. 22) and Reinach, ii. 21, 2.

Footnote 51:

E.g. B.M. B 197 (a fine vase, by Amasis?) and B 298: see on the subject Foerster, Hochzeit des Zeus und Hera.

Footnote 52:

B.M. E 82; Wernicke, Ant. Denkm. pl. 1, 7 = Reinach, ii. 266.

Footnote 53:

Petersburg 355 = Reinach, i. 14 = Wiener Vorl. iii. 5 (also interpreted as a sculptor finishing off a statue of Hera).

Footnote 54:

B.M. F 269 (gods nicknamed respectively Daidalos and Enyalios).

Footnote 55:

B.F.: François vase; B.M. B 42 (Plate XXI.), 264; Vienna 218; Athens 628 = Ath. Mitth. 1894, pl. 8. R.F.: Bibl. Nat. 539 = Reinach, ii. 261; Reinach, ii. 3 = Millin-Reinach, i. 9; Reinach, ii. 311; Munich 776 = Baumeister, i. p. 644, fig. 714 = Furtwaengler and Reichhold, pl. 29; Munich 780 = Él. Cér.: i. pl. 46 A = Wiener Vorl. i. 9, 3.

Footnote 56:

See below, p. 107; the best examples are Berlin 2278 = Ant. Denkm. i. 9 (Sosias); B.M. B 379; Reinach, ii. 76 (in Berlin).

Footnote 57:

B.M. B 345; E 67, 444; Berlin 2060; Reinach, i. 157, 1, 2 and 203 = Baumeister, iii. pl. 93, fig. 2400 (by Oltos and Euxitheos, a very fine example); a late instance, Petersburg 419 = Reinach, i. 161.

Footnote 58:

Reinach, i. 98; 194 (Dareios in council).

Footnote 59:

B.M. F 278; Reinach, i. 379.

Footnote 60:

B.M. F 271.

Footnote 61:

B.M. F 279.

Footnote 62:

Numerous examples will be found in the pages of Reinach’s Répertoire.

Footnote 63:

Rape of Persephone: Reinach, i. 99; other scenes, ibid. i. 355; B.M. F 270.

Footnote 64:

E 668 = Reinach, i. 435; and cf. Jatta 1405 = Reinach, i. 483; Bibl. Nat. 489.

Footnote 65:

Reinach, ii. 287.

Footnote 66:

B.M. B 425: cf. Mus. Greg. ii. 21, 1.

Footnote 67:

Él. Cér. i. 82 (also i. 22?), and Vienna 329.

Footnote 68:

Él. Cér. ii. 30 (may be Poseidon); Micali, Mon. Ined. 37, 3; B.M. E 432 (Artemis); Naples S.A. 702 = Reinach, i. 499 and Reinach, ii. 183 (Aphrodite); Bibl. Nat. 229 (Zeus with Hera, Athena, Ares, and Hermes); Arch. Anzeiger, 1898, p. 189, and Boston Mus. Report, 1899, No. 15 (with Hermes).

Footnote 69:

B.M. B 166, B 379, B 424, E 262; Furtwaengler and Reichhold, 20; Berlin 1857 (H. plays lyre); Petersburg 1775 = Wiener Vorl. iii. 9, 1 = Reinach, i. 302 (parody): and see below, p. 107.

Footnote 70:

Reinach, i. 156, 1.

Footnote 71:

Él. Cér. i. 14 (now in B.M.); Munich 345 = Reinach, i. 66.

Footnote 72:

Arch. Anzeiger, 1895, p. 38 (fine polychrome pyxis in Berlin).

Footnote 73:

B.M. E 381; Él. Cér. i. 20.

Footnote 74:

B.M. F 278; Roscher, iii. p. 969.

Footnote 75:

Hartwig, Meistersch. pl. 68 (in Louvre): cf. Eusebius, Prep. evang. iii. 84_b_.

Footnote 76:

Él. Cér. i. 29A (doubtful).

Footnote 77:

Reinach, i. 335, 2.

Footnote 78:

Él. Cér. i. 18 (= Helbig, ii. p. 310, No. 104); Bibl. Nat. 416 = Reinach, i. 472; Berlin 2032 = Reinach, i. 334.

Footnote 79:

Röm. Mitth. 1887, pl. 10.

Footnote 80:

B.M. F 542.

Footnote 81:

B.M. E 313; Reinach, i. 408.

Footnote 82:

Petersburg 1792 = Reinach, i. 1: see Robert, Arch. Märchen, pl. 2, p. 179 ff.

Footnote 83:

Petersburg 1793 = Reinach, i. 3; Bibl. Nat. 219 = Mon. Ant. di Barone, pl. 1; Boston Mus. Report, 1895, No. 27: see also for the first Robert, Arch. Märchen, pl. 3, p. 189.

Footnote 84:

B.M. E 182; Bibl. Nat. 440 = Reinach, ii. 260; and see p. 55, note 644.

Footnote 85:

B.M. F 150; Jahrbuch, i. (1886), p. 276 (see Vol. I. p. 473).

Footnote 86:

B.M. F 149 (signed by Python) = J.H.S. xi. pl. 6; B.M. F 193.

Footnote 87:

B.M. F 286; Reinach, i. 278.

Footnote 88:

B.M. E 711; Petersburg 1723 = Baumeister, i. p. 406, fig. 447 (both R.F.).

Footnote 89:

Aegina: Helbig, ii. p. 311, No. 113 = Wernicke, Ant. Denkm. 6, 4; Berlin 3239 = Él. Cér. i. 17; Boston Mus. Report for 1895, No. 39 (a sister brings the news to her father Asopos). Thaleia: Reinach, ii. 285 = Él. Cér. i. 16 = Wernicke, 6, 3.

Footnote 90:

Reinach, ii. 144: see below, p. 82.

Footnote 91:

B.F.: Louvre E 696 = Reinach, i. 162; Athens 853 = Reinach, i. 507; id. ii. 49. R.F.: B.M. E 231; Munich 208 = Jahn, _Entführung d. Europa_, pl. 7 (polychrome on white); Petersburg 1637 = Reinach, i. 24, and 1915 = Reinach, i. 22 (Europa brought to Zeus). Late: B.M. F 184; Naples 3218 = Jahn, op. cit. pl. 1 (Eros on bull).

Footnote 92:

Helbig, ii. p. 312, No. 118 = Overbeck, Kunstmythol. Atlas, pl. 6, fig. 13.

Footnote 93:

See generally Boston Mus. Report, 1900, p. 62, and Jahrbuch, 1903, p. 37; also Wiener Vorl. 1890–91, pl. 12.

Footnote 94:

Berlin 3164, and Reinach, ii. 16 = Él. Cér. i. 25, 26.

Footnote 95:

Reinach, i. 407.

Footnote 96:

Ibid. i. 111, 1 = Berlin 2651 (R.F.), and 111, 2 = Munich 573 = Wiener Vorl. 1890–91, pl. 12, 1 (B.F.); Boston Mus. Report, 1900, No. 21.

Footnote 97:

B.M. B 164; Bibl. Nat. 302 = Él. Cér. iii. 97; Reinach, i. 363; Vienna 338 = Wiener Vorl. 1890–91, pl. 11, 1 = Fig. 114; ibid. i. 111, 4 = Jatta 1498 = Wiener Vorl. 1890–91, pl. 12, 2.

Footnote 98:

See generally Overbeck, Kunstmythol. ii. p. 27 ff., 181 ff.

Footnote 99:

Reinach, i. 388.

Footnote 100:

See p. 101; Zeus defending Athena against Ares after the combat, Arch. Anzeiger, 1898, p. 51 (Boston vase).

Footnote 101:

See p. 130.

Footnote 102:

B.M. E 140; Reinach, i. 342, 405, 452; ibid. i. 229; i. 235.

Footnote 103:

B.M. E 467 and J.H.S. xxi. pl. 1; Petersburg 1807 = Reinach, i. 7.

Footnote 104:

B.M. B 316; E 224; Naples 2638 = Reinach, i. 78.

Footnote 105:

Munich 745 = Furtwaengler and Reichhold, pl. 16.

Footnote 106:

See p. 141.

Footnote 107:

See above, p. 16.

Footnote 108:

Munich 336 = Overbeck, Kunstmythol. Atlas, pl. 9, 19; head only, Él. Cér. i. 29; also perhaps in Naples 2900 = Baumeister, iii. p. 1653, fig. 1714; but more probably Aphrodite is intended.

Footnote 109:

Overbeck, op. cit. iii. p. 18; Reinach, i. 231, ii. 16.

Footnote 110:

Él. Cér. i. 34.

Footnote 111:

Bibl. Nat. 542 = Reinach, i. 141.

Footnote 112:

Reinach, i. 388.

Footnote 113:

B.M. E 155.

Footnote 114:

B.M. E 467.

Footnote 115:

B.M. B 164; Berlin 3164; Reinach, i. 111, 4.

Footnote 116:

B.M. F 107.

Footnote 117:

Naples 2873 = Millin-Reinach, i. 3: cf. B.M. F 148 and Reinach, i. 301.

Footnote 118:

Reinach, ii. 4.

Footnote 119:

B.M. B 379; Berlin 2278; Furtwaengler and Reichhold, 20.

Footnote 120:

Bibl. Nat. 253 = Reinach, i. 399.

Footnote 121:

B.M. B 57: cf. the Hera αἰγοφάγος at Sparta (Paus. iii. 15, 9).

Footnote 122:

Petersburg 1792 = Reinach, i. 1; Bibl. Nat. 219.

Footnote 123:

Bull. de Corr. Hell. 1898, p. 586.

Footnote 124:

Jatta 1093 = Reinach, i. 175.

Footnote 125:

Reinach, i. 463.

Footnote 126:

Naples 2202 = Dubois-Maisonneuve, Introd. pls. 45–46.

Footnote 127:

Reinach, ii. 9, 321 and Él. Cér. i. 30 (Hebe); Reinach, ii. 325 (Iris).

Footnote 128:

B.M. E 65 = Reinach, i. 193.

Footnote 129:

B.M. B 147, E 410.

Footnote 130:

B.M. B 197.

Footnote 131:

B.M. E 82; Berlin 2278 = Ant. Denkm. i. 9.

Footnote 132:

See above, p. 13 (esp. Berlin 2531 (Fig. 112), Reinach, ii. 188 = Él. Cér. i. 5, Boston Mus. Report, 1898, No. 41, and Helbig, ii. p. 304, No. 81 = Mus. Greg. ii. pl. 56, 1); B.M. B 166; Berlin 2278; Reinach, ii. 76; Louvre F 30 = Rev. Arch. xiii. (1889), pl. 4 (by Amasis).

Footnote 133:

B.M. B 425: cf. Mus. Greg. ii. 21, 1.

Footnote 134:

B.M. B 212, B 262, and Reinach, ii. 23, 30 = Munich 145 (Apollo); Boston Mus. Report, 1896, No. 1, and Athens 750 (Hermes); Athens 838, Él. Cér. ii. 30(?), iii. 13, 36 A (Athena and Hermes); B.M. B 191 (Ares and Hermes), B 228 (Athena, Ares, Herakles); Bourguignon Sale Cat. 41 (Apollo, Eros, Nereids, Papposilenos).

Footnote 135:

B.M. E 140.

Footnote 136:

Reinach, ii. 35; and see B.M. E 445.

Footnote 137:

Berlin 347–473 (alone), 474–537 (with A.): see also 787–833; specimens published in Ant. Denkm. i. pls. 7–8 (e.g. Fig. 115 = Berlin 495).

Footnote 138:

B.M. E 322; Berlin 2164; Bibl. Nat. 363 = Reinach, ii. 257, 4; ibid. ii. 22, 8; Petersburg 1531, 2164. With Amphitrite pouring a libation: Wiener Vorl. vii. 2 (Duris in Louvre).

Footnote 139:

Reinach, ii. 35.

Footnote 140:

Athens 880; Bibl. Nat. 314.

Footnote 141:

Berlin 1869; Athens 836; Reinach, ii. 22; B.M. B 254 (Ἀφροδίτη inscribed by error for Ἀμφιτρίτη).

Footnote 142:

Naples 3219 = Reinach, i. 125.

Footnote 143:

Él. Cér. iii. 14.

Footnote 144:

Plate L.: cf. Bibl. Nat. 222 = Reinach, ii. 251 = Rayet and Collignon, p. 121.

Footnote 145:

Reinach, i. 124, 465, ii. 22 (Jatta 1346), 181; Athens 1171 = Heydemann, Gr. Vas. pl. 2, 1. Amymone alone may be intended on Bibl. Nat. 359.

Footnote 146:

B.M. E 174; Reinach, ii. 23 = Helbig, ii. p. 309, No. 102.

Footnote 147:

Bibl. Nat. 432 = Millin-Reinach, ii. 20; Él. Cér. iii. 20–25; Bibl. Nat. 370; Reinach, i. 286 = Wiener Vorl. viii. 2, by Brygos (perhaps the Nymph Salamis: cf. J.H.S. ix. p. 56; the scenes on the exterior of this cup may refer to Kychreus, the son of Poseidon and Salamis, and the snake slain by him). Athens 1551 = Heydemann, Gr. Vas. pl. 1, fig. 2, seems to represent Poseidon pursuing a Nereid.

Footnote 148:

J.H.S. xviii. pp. 277–79, and cf. pl. 14 (Louvre G 104, by Euphronios), where Theseus is received by Amphitrite.

Footnote 149:

Bibl. Nat. 418 = J.H.S. xviii. p. 278.

Footnote 150:

B.M. E 264.

Footnote 151:

Reinach, i. 361.

Footnote 152:

E.g. i. 36.

Footnote 153:

Reinach, i. 108, 195; Berlin 2634; Reinach, i. 379; i. 99; B.M. E 467; B.M. F 279; Reinach, i. 98.

Footnote 154:

B.M. B 196, Munich 114 = Reinach, i. 422; Reinach, ii. 61; and see B.M. B 228; Reinach, i. 301; ii. 66 (Kyknos).

Footnote 155:

B.M. B 57.

Footnote 156:

Ath. Mitth. 1886, pl. 10 (with the Graiae); Mon. Grecs, 1878, pl. 2 (in Louvre).

Footnote 157:

Millin-Reinach, ii. 4.

Footnote 158:

B.M. B 428 = Roscher, iii. 247.

Footnote 159:

B.M. E 9, 73; Reinach, i. 64, i. 78 (= Naples 2638), ii. 278; Wiener Vorl. vii. 2 (Duris in Louvre); Munich 369 = Furtwaengler and Reichhold, 24 (Hieron): all R.F. See also p. 120.

Footnote 160:

B.M. B 201; Reinach, i. 346, 6–7.

Footnote 161:

B.M. B 225, E 162; Bibl. Nat. 255 = Reinach, ii. 61. See p. 101.

Footnote 162:

Reinach, i. 339.

Footnote 163:

Berlin 1732 = Reinach, ii. 66 (inscribed Ἅλιος Γέρων).

Footnote 164:

Reinach, ii. 76.

Footnote 165:

Naples 3352 = Reinach, i. 485.

Footnote 166:

B.M. B 551.

Footnote 167:

Athens 1551.

Footnote 168:

B.M. E 109; Berlin 1676 = Reinach, ii. 22; Louvre F 148.

Footnote 169:

B.M. B 223, 311; Reinach, i. 227, ii. 61, 1. See p. 101.

Footnote 170:

J.H.S. xviii. p. 277.

Footnote 171:

Naples 3412 = Reinach, i. 498.

Footnote 172:

B.M. B 166 (Palaimon?), E 156 (Leukothea: see p. 136); Reinach, i. 319 (Ino?): for possible instances of Melikertes see Berlin 779, 780, 914, and Roscher, ii. p. 2635.

Footnote 173:

Naples 1767 = Engelmann-Anderson, Atlas to Homer, Od. pl. iv. 22; B.M. B 201.

Footnote 174:

B.M. F 218.

Footnote 175:

Berlin 1007, 1008; Él. Cér. iii. 31 and 32 B (fem.); see Vol. I. p. 314.

Footnote 176:

Ant. Denkm. i. 59 (Branteghem Coll. 85); B.M. E 774 (names given to fancy scene): see also Munich 331; Naples 2638 = Reinach, i. 78, 2; and Kretschmer, Gr. Vaseninschr. p. 200.

Footnote 177:

See p. 25, note 159; also Reinach, p. 231.

Footnote 178:

B.M. F 69; Jatta 1496 = Reinach, i. 112; Reinach, i. 300; Roscher, iii. 221–24: see generally Heydemann’s Nereiden mit Waffen.

Footnote 179:

Louvre E 643 = Reinach, i. 311.

Footnote 180:

Reinach, i. 83, 232.

Footnote 181:

Ibid. ii. 61.

Footnote 182:

Berlin 3241 = Roscher, iii. 218; Petersburg 1915 = Reinach, i. 21.

Footnote 183:

Reinach, i. 286.

Footnote 184:

B.M. B 155.

Footnote 185:

Bourguignon Sale Cat. 41; and in assemblies of the gods, Reinach, ii. 76.

Footnote 186:

Naples 3222 = Reinach, i. 167.

Footnote 187:

Vase in Boston (1900 Report, No. 4): cf. for a Nereid(?) with dolphins, Louvre G 3.

Footnote 188:

Mon. Grecs, 1875, pt. 4, pls. 1–2.

Footnote 189:

The best example is a votive plaque found at Eleusis in 1895 (Athens 1968 = Ἐφ. Ἀρχ. 1901, pl. 1): see also Petersburg 1792 and 525 = Reinach, i. 1 and 11 = Baumeister, i. pp. 474–75.

Footnote 190:

For other deities in Eleusinian scenes, see under Aphrodite, Hermes, Dionysos, Hekate.

Footnote 191:

B.M. F 68.

Footnote 192:

Rev. Arch. xxxvi. (1900), p. 93.

Footnote 193:

Petersburg 1792–93 = Reinach, i. 1, 3.

Footnote 194:

Reinach, ii. 32; B.M. F 90.

Footnote 195:

Reinach, ii. 321; Athens 1844 = Ath. Mitth. 1881, pl. 4.

Footnote 196:

Athens 1626 = Dumont-Pottier, pl. 37.

Footnote 197:

Arch. Anzeiger, 1895, p. 39 (Berlin): cf. Ἐφ. Ἀρχ. 1893, pl. 9, and see p. 140 below.

Footnote 198:

Berlin 1704 = Reinach, i. 197.

Footnote 199:

Berlin 2634.

Footnote 200:

Athens 1120 = Ath. Mitth. 1901, pl. 8.

Footnote 201:

Reinach, ii. 329 (very dubious): cf. a terracotta from Cyprus in B.M. (A 326).

Footnote 202:

B.F.: Reinach, ii. 32–33. R.F.: B.M. E 140 (Plate LI.); E 183, E 281, E 469; Petersburg 1207 = Reinach, i. 10; Wiener Vorl. iv. 7, 4. Late: Petersburg 350 = Reinach, i. 12; Helbig, 127 = Millin-Reinach, ii. 31, and 152 = Reinach, ii. 34; Wiener Vorl. i. 6.

Footnote 203:

Él. Cér. iii. 62; a newly acquired R.F. amphora in B.M.: see also Roscher, E.g. Keleos, p. 1028; Reinach, i. 286 (?); Munich 336.

Footnote 204:

B.M. E 274 and Munich 299: see Overbeck, Kunstmythol. iii. p. 535.

Footnote 205:

Bibl. Nat. 424 = Reinach, i. 463.

Footnote 206:

Ath. Mitth. 1899, pl. 7.

Footnote 207:

Naples S.A. 11 = Reinach, i. 401.

Footnote 208:

Reinach, i. 124.

Footnote 209:

Ibid. i. 156, 1: see Apollod. iii. 14, 4, and Hygin. Astron. ii. 7.

Footnote 210:

B.F.: B.M. B 310. R.F.: Reinach, i. 99, 156, 2; B.M. F 277; Baumeister, i. pl. 7, fig. 462: and see Helbig, 144 = Overbeck, Kunstmythol. Atlas, 18, 12.

Footnote 211:

See below, p. 67; also Berlin 1844 and Mus. Greg. ii. 21, 1, for earlier examples.

Footnote 212:

Reinach, i. 389 and 401 (= Naples S.A. 11); ibid. ii. 70.

Footnote 213:

B.M. E 82, F 68.

Footnote 214:

B.F.: B.M. B 261; Munich 728 = Reinach, ii. 48. Late: B.M. F 332 = Plate XLV.

Footnote 215:

Reinach, i. 522, 1 = Roscher, ii. p. 1378; Baumeister, i. p. 423, fig. 463 (inscribed).

Footnote 216:

Reinach, i. 228 (Berlin 2646) and 348 (Boston); Arch. Anzeiger, 1895, p. 37 (Berlin); Harrison, Prolegomena to Gk. Religion, p. 277 (vase in Dresden; Satyrs astonished; Hermes present).

Footnote 217:

Reinach, i. 144 = Louvre F 311 = Baumeister, i. p. 445, fig. 493.

Footnote 218:

Robert, Arch. Märchen, p. 198 ff.: see J.H.S. xix. p. 232, xx. p. 106 ff., and Jahrbuch, vi. (1891), p. 113; also below, under Ge-Pandora (p. 73), and Harrison, Prolegom. to Gk. Religion, p. 277 ff.

Footnote 219:

For a more complete tabulation see Overbeck, Kunstmythologie, vol. iv., especially pp. 42 ff., 322 ff.; also the plates of vol. ii. of the Él. Cér., and the Atlas to Overbeck, pls. 19 to end.

Footnote 220:

Bibl. Nat. 367 = Reinach, ii. 257.

Footnote 221:

B.M. B 260, 681.

Footnote 222:

B.M. B 592; Berlin 1868.

Footnote 223:

Él. Cér. ii. 3; ii. 6A = Petersburg 411.

Footnote 224:

B.M. B 195, F 145(?); Berlin 1867; Reinach, ii. 29.

Footnote 225:

Reinach, ii. 286.

Footnote 226:

B.M. E 80.

Footnote 227:

B.M. E 516; Él. Cér. ii. 4.

Footnote 228:

B.M. E 232; Reinach, ii. 157, 296; Wiener Vorl. A. 10, 2.

Footnote 229:

B.M. E 543; Reinach, ii. 228; Berlin 2641 = Él. Cér. ii. 44.

Footnote 230:

Helbig, 97 = Reinach, i. 79 = Baumeister, i. p. 102, fig. 108.

Footnote 231:

Millin-Reinach, i. 46; Petersburg 411 = Él. Cér. ii. 6A.

Footnote 232:

B.M. F 311; Naples 2902 = Él. Cér. ii. 97A.

Footnote 233:

Reinach, ii. 310 = Él. Cér. ii. 65.

Footnote 234:

B.M. B 260, 548, E 274, 383, 514; Brygos vase in Louvre = Reinach. i. 246; Naples R.C. 169 = Reinach, i. 313 (Artemis with torch; localised at Delphi by a crow on the omphalos).

Footnote 235:

Él. Cér. ii. 10 (Berlin 2206) and 32; Vienna 331; Reinach, ii. 27; B.M. E 579; Forman Sale Cat. 356.

Footnote 236:

B.M. E 262; Reinach ii. 26 (= Louvre F 297), 284 (?); on Melian amphora (Athens 475 = Rayet and Çollignon, pl. 3), Apollo in chariot, before which stands Artemis with stag.

Footnote 237:

B.M. B 680, E 256; Reinach, ii. 27–8, 45 (Naples S.A. 192); Athens 1342.

Footnote 238:

Athens 1962 (Leto about to bring forth, assisted by Eileithyia).

Footnote 239:

B.M. B 168, 213; Mus. Greg. ii. 39, 1 a; Él. Cér. ii. 2. Nyx (Night) was similarly represented on the Kypselos chest (Paus. v. 18, 1).

Footnote 240:

Reinach, ii. 310.

Footnote 241:

Berlin 2212 = Overbeck, Kunstmythol. iv. p. 378; Bibl. Nat. 306 = Él. Cér. ii. 1 A.

Footnote 242:

Berlin 2645 = Reinach, i. 397 (Apollo on omphalos, with hind); Reinach, ii. 26 (Louvre F 297), 28 (Bibl. Nat. 443), i. 184 (Fig. 116); B.M. E 502 (omphalos); Athens 1362 (by Mys, a fine example).

Footnote 243:

Reinach, ii. 29; B.M. B 215, 245; Petersburg 9 = Reinach, ii. 24 (Apollo crowned by woman); Él. Cér. ii. 39; Bibl. Nat. 428; Munich 157.

Footnote 244:

B.M. B 212, 262; Reinach, ii. 23, 323; Él. Cér. ii. 30 (?), 36 C: and cf. Bourguignon Sale Cat. 41.

Footnote 245:

B.M. B 238; Reinach, ii. 24 (Munich 47), 25, 30; Naples 1891 = Él. Cér. ii. 35; Munich 609 = Reinach, ii. 42.

Footnote 246:

B.M. F 311, 399.

Footnote 247:

B.M. E 785.

Footnote 248:

Reinach, ii. 183.

Footnote 249:

Ibid. ii. 25 (?), 32, 72–73; B.M. B 203, and Wiener Vorl. 1889, pl. 6, 1; and see generally Overbeck, Kunstmythol. iv. p. 51.

Footnote 250:

B.M. B 199–201, 211, etc.; Reinach, ii. 72; Berlin 1827 (all B.F.).

Footnote 251:

B.M. B 6; see Vol. I. p. 344.

Footnote 252:

Reinach, i. 253; Él. Cér. ii. 47–48 (also Iris).

Footnote 253:

Naples 1762 = Millingen-Reinach, 29.

Footnote 254:

B.M. B 259, 261; E 323, 415; Él. Cér. ii. 13 (= Reinach, ii. 27). In some of these Artemis may be intended.

Footnote 255:

Berlin 2388; Él. Cér. ii. 79, 80, 83, 86 (a fine example); Jatta 1538 = Reinach, i. 526; Helbig, 133 = Mus. Greg. ii. 15, 2; and cf. Boston Mus. Report for 1898, No. 54 (A. as a neat-herd?).

Footnote 256:

B.M. B 197, 298; B.M. B 257, Reinach, ii. 154, and Millingen-Reinach, 44.

Footnote 257:

Wiener Vorl. C. 7, 3 = Roscher, ii. 842.

Footnote 258:

B.M. B 195, 255–56, 258; F 77; Reinach, ii. 23.

Footnote 259:

Petersburg 1807 = Reinach, i. 8 = Baumeister, i. p. 104, fig. 110.

Footnote 260:

Munich 62 = Reinach, ii. 75.

Footnote 261:

B.M. B 179.

Footnote 262:

Reinach, ii. 31.

Footnote 263:

Reinach, ii. 287 = Él. Cér. ii. 62 (inscribed ΑΕΛΙΟΣ: see below, p. 78).

Footnote 264:

Millin-Reinach, i. 54.

Footnote 265:

B.F.: Ant. Denkm. i. 22. R.F.: B.M. E 81; Reinach, i. 227 = Vol. I. p. 442. Late: Jatta 424 = Reinach, i. 463; Naples 3246 = Roscher, iii. 407 (Niobe at grave of children).

Footnote 266:

B.F.: Reinach, i. 244 (= Louvre E 864), 245; Bibl. Nat. 171 = ibid. ii. 252. R.F.: B.M. E 278.

Footnote 267:

Louvre G 42 = Reinach, ii. 26.

Footnote 268:

B.M. E 64 (= Reinach, i. 111), E 170 (= E.g. i. 185); Él. Cér. ii. 21; and see Millin-Reinach, i. 71.

Footnote 269:

Munich 745 = Reinach, i. 67 = Furtwaengler and Reichhold, 16: see also Bibl. Nat. 171 = Reinach, ii. 253.

Footnote 270:

B.M. F 151.

Footnote 271:

Reinach, i. 375.

Footnote 272:

Helbig 227 = Reinach, i. 357; E.g. ii. 259 = Bibl. Nat. 820 (?).

Footnote 273:

B.M. B 147.

Footnote 274:

Naples 690, 3245.

Footnote 275:

Reinach, i. 355.

Footnote 276:

Millin-Reinach, ii. 25.

Footnote 277:

Reinach, ii. 297.

Footnote 278:

Petersburg 1777 = Reinach, i. 153.

Footnote 279:

See below, p. 103.

Footnote 280:

B.M. F 479.

Footnote 281:

Reinach, ii. 56, 3: see p. 97.

Footnote 282:

Ibid. i. 233.

Footnote 283:

Berlin 1732 = Reinach, ii. 66.

Footnote 284:

Reinach, ii. 69.

Footnote 285:

See p. 106, note 1219, for B.F. scenes; for R.F. (in Olympos), Reinach, i. 222 and ii. 76.

Footnote 286:

Berlin 2634.

Footnote 287:

Reinach, i. 388.

Footnote 288:

Overbeck, Her. Bildw. pl. 2, 11 = Wiener Vorl. 1889, 9, 6.

Footnote 289:

B.M. E 696.

Footnote 290:

Berlin 2633; Reinach, ii. 87 (?); Wiener Vorl. E. 11 = Jahrbuch, 1894, p. 252.

Footnote 291:

B.M. F 159; François vase; Helbig 106 = Reinach, ii. 101; Wiener Vorl. vi. 7 (Duris in Louvre); B.M. E 468, Helbig 232 = Reinach, ii. 59; Reinach, i. 218.

Footnote 292:

Reinach i. 105 (Naples 3223) and i. 504; B.M. F 166, Berlin 3256, Naples 1984 = Reinach, i. 390, 2, and Anzeiger, 1890, p. 90 (Berlin).

Footnote 293:

Reinach, i. 321.

Footnote 294:

Arch. Anzeiger, 1895, p. 39 (Berlin).

Footnote 295:

B.M. E 336: cf. Reinach, i. 218 and Overbeck, Kunstmythol. iv. p. 15.

Footnote 296:

Röm. Mitth. 1888, pl. 1; Hartwig, Meistersch. pl. 67, 2; E.g. p. 602 ff. (cultus-statue of the moon-goddess, Artemis Munychia); and see note 299.

Footnote 297:

Vol. I. p. 289; Berlin 301 = Reinach, i. 380; Naples 304 = Reinach, i. 380; Baumeister, i. p. 132, fig. 139; François vase; Arch. Anzeiger, 1890, p. 2 (Karlsruhe).

Footnote 298:

Athens 462 = Reinach, i. 517: see $1$2 1892, p. 219 ff.

Footnote 299:

Él. Cér. ii. 7 (with hind and lyre); Bibl. Nat. 365 = Reinach, ii. 257 (drawing arrow from quiver); Bibl. Nat. 491 = Gaz. Arch. 1885, pl. 32; Reinach, i. 494 (with two dogs); Froehner, Musées de France, pl. 4.

Footnote 300:

Él. Cér. ii. 8, 43; Naples 3253 = Reinach, i. 194; B.M. F 274; Reinach, ii. 228.

Footnote 301:

B.M. E 432.

Footnote 302:

Millin-Reinach, ii. 77.

Footnote 303:

B.M. E 262 = Reinach, ii. 45; and see Él. Cér. ii. 9 (in Louvre).

Footnote 304:

Naples 2200 = Reinach, i. 379; Berlin 3164; Reinach, ii. 16 (?).

Footnote 305:

B.F.: Athens 882 = Heydemann, Gr. Vas. pl. 8, 3; Él. Cér. ii. 103 C. Late: B.M. F 176, F 480 (Etruscan); Berlin 3239 = Él. Cér. ii. 103 B; Reinach, i. 229 and 250 (the former of these now at Boston).

Footnote 306:

Athens 835 = Ath. Mitth. 1890, pl. 8.

Footnote 307:

B.M. F 159.

Footnote 308:

Reinach, i. 104, 133, 158, 504.

Footnote 309:

Athens 1921 = Reinach, i. 511.

Footnote 310:

B.M. B 195, B 316, E 255; Bibl. Nat. 251 = Reinach, ii. 252.

Footnote 311:

Reinach, ii. 4.

Footnote 312:

Ibid. i. 132.

Footnote 313:

B.M. B 197, B 298; Reinach, ii. 154: cf. B.M. B 257.

Footnote 314:

Él. Cér. ii. 90.

Footnote 315:

See above, p. 15.

Footnote 316:

B.M. E 410.

Footnote 317:

Reinach, ii. 32.

Footnote 318:

B.M. B 203.

Footnote 319:

Reinach, i. 499.

Footnote 320:

B.M. B 231; Reinach, i. 233.

Footnote 321:

B.M. F 479.

Footnote 322:

B.M. B 320; Reinach, ii. 72; in Olympos, B.M. B 379, Berlin 2278, and Reinach, ii. 76.

Footnote 323:

Wiener Vorl. vi. 7 = Duris kylix in Louvre.

Footnote 324:

Millin-Reinach, ii. 25.

Footnote 325:

Arch. Anzeiger, 1895, p. 36.

Footnote 326:

See note 326 on p. 17.

Footnote 327:

B.M. E 47; Berlin 2293.

Footnote 328:

B.M. B 147, B 244; B.M. E 410; Bibl. Nat. 444.

Footnote 329:

E 467 and D 4.

Footnote 330:

Berlin 2537 = Reinach, i. 208; ibid. i. 66 (Munich 345), 113.

Footnote 331:

Berlin 2294; and see below, p. 130.

Footnote 332:

B.M. B 507; Él. Cér. i. 51: cf. p. 171.

Footnote 333:

Bibl. Nat. 820 = Reinach, ii. 259 (?).

Footnote 334:

Reinach, i. 330.

Footnote 335:

B.M. B 302, and cf. F 68.

Footnote 336:

B.M. B 252: see Arch. Journ. ii. p. 67.

Footnote 337:

Berlin 2957 = Él. Cér. i. 88 (Etruscan).

Footnote 338:

B.M. D 4; E 467.

Footnote 339:

Plate L.; and see p. 24.

Footnote 340:

B.M. E 182; Petersburg 1792 = Reinach, i. 1.

Footnote 341:

Berlin 2537; B.M. E 372; Munich 345 = Reinach, i. 66; Wiener Vorl. iii. 2 = Reinach, i. 113.

Footnote 342:

Athens 1962.

Footnote 343:

Reinach, i. 126: for other examples see p. 122.

Footnote 344:

Bibl. Nat. 216 = Él. Cér. iv. 96 (Ares); Bibl. Nat. 820 = Reinach, ii. 259 (Hephaistos).

Footnote 345:

B.M. E 268; Bibl. Nat. 220 (= Reinach, ii. 211) and 229; and see under Hermes, p. 52, note 591.

Footnote 346:

Reinach, i. 11.

Footnote 347:

B.M. B 552; Berlin 2179 = Wiener Vorl. iii. 6; Mus. Greg. ii. 38, 2_E.g._ (with Poseidon and Dionysos).

Footnote 348:

Reinach, i. 463.

Footnote 349:

Berlin 2418 = Baumeister, ii. p. 1001, fig. 1209: cf. B.M. E 490 and Reinach, i. 342 (in Boston); Reinach, i. 175, 510, 511 (Athens 1921).

Footnote 350:

Él. Cér. i. 68, 76 A; with N. sacrificing, Boston Mus. Report, 1898, No. 51.

Footnote 351:

B.M. E 324 (Hebe?); Reinach, ii. 323 (Hebe?); ibid. 324 (Iris).

Footnote 352:

Vienna 329: cf. Él. Cér. i. 82 (A. with Z., but not pouring libation).

Footnote 353:

See p. 106 for these scenes, in which she is almost invariably present.

Footnote 354:

B.M. B 198, B 498; Helbig 93 = $1 ii. 54, 2.

Footnote 355:

B.M. D 14; Berlin 2626 = Coll. Sabouroff, i. 67; Millin-Reinach, ii. 41.

Footnote 356:

Reinach, ii. 75 (doubtful).

Footnote 357:

Stackelberg, pl. 15.

Footnote 358:

Arch. Anzeiger, 1898, p. 51 (vase in Boston).

Footnote 359:

B.M. E 48; Berlin 2179 = Wiener Vorl. iii. 6; Boston Mus. Report, 1900, No. 25; Reinach, i. 55, 6 (Petersburg 116), 91, 421 (Petersburg 2012), ii. 271; and see Wiener Vorl. E. 12, 2.

Footnote 360:

B.M. B 155, 248, 380, E 181, 493, F 83; Bibl. Nat. 277 = Reinach, i. 290; Mon. Grecs, 1878, pl. 2.

Footnote 361:

B.M. E 81; Petersburg 2189 = Reinach, i. 5(?).

Footnote 362:

Reinach, i. 108, 195, 331.

Footnote 363:

Ibid. i. 102, 226.

Footnote 364:

B.M. E 696.

Footnote 365:

Reinach, i. 184.

Footnote 366:

B.M. E 155.

Footnote 367:

Reinach, i. 480.

Footnote 368:

Bull. de Corr. Hell. 1898, p. 586.

Footnote 369:

Reinach, i. 231.

Footnote 370:

Arch. Anzeiger, 1895, p. 39 (Berlin).

Footnote 371:

Reinach, i. 363.

Footnote 372:

Ibid. ii. 296: see pp. 77, 128.

Footnote 373:

At meeting of Paris and Helen, Athens 1942 = Reinach, i. 402; at combat of Ajax and Hector, Wiener Vorl. vi. 7 (Duris in Louvre); at dispute over the arms, B.M. E 69; and see for other instances, Reinach, i. 3, 82, 138, 174, 218; ii. 59, 266.

Footnote 374:

Reinach, ii. 110.

Footnote 375:

Vase in Boston: see 1899 Report, No. 16.

Footnote 376:

See below, p. 124.

Footnote 377:

B.M. B 541, E 160.

Footnote 378:

Reinach, i. 5 (?), 158, 390; Arch. Anzeiger, 1890, p. 90 (Berlin).

Footnote 379:

Berlin 2313 = Reinach, i. 416 = Wiener Vorl. vii. 4, 3.

Footnote 380:

B.M. E 316 = Plate XXXVI.

Footnote 381:

Reinach, ii. 123 (= Munich 1185), 262 (= Bibl. Nat. 369).

Footnote 382:

B.M. E 299.

Footnote 383:

Berlin 1846 = Reinach, ii. 30 (before Dionysos).

Footnote 384:

Reinach, i. 342.

Footnote 385:

Ibid. ii. 166; Boston Mus. Report, 1896, No. 1.

Footnote 386:

Él. Cér. i. 83.

Footnote 387:

Berlin 2415 = Reinach, i. 343 (the Trojan horse?).

Footnote 388:

Vol. I. p. 223, Fig. 72.

Footnote 389:

Reinach, i. 501.

Footnote 390:

Ibid. ii. 44.

Footnote 391:

B.M. E 515, 519.

Footnote 392:

Röm. Mitth. 1897, pl. 12; Bibl. Nat. 260; Louvre F 380.

Footnote 393:

B.M. B 203; Reinach, ii. 73; with Poseidon, Athens 836; with Hermes, Benndorf, Gr. u. Sic. Vasenb. pl. 4, 1.

Footnote 394:

Millin-Reinach, ii. 25.

Footnote 395:

Reinach, ii. 125, 130; Bibl. Nat. 232, 256 = Rein. ii. 254.

Footnote 396:

Ibid. i. 44.

Footnote 397:

Bibl. Nat. 260.

Footnote 398:

B.M. B 242, 379, 541, E 160, 470, F 160, 209, 278; Munich 65 = Reinach, i. 76; Naples 2422 = Furtwaengler and Reichhold, 34.

Footnote 399:

See below, p. 133.

Footnote 400:

B.M. E 494, E 696; E 716 (moulded vase); and cf. B 611 (Nikephoros).

Footnote 401:

B.M. B 222, E 305 (Pl. XXXVI.), E 324, E 515; Él. Cér. i. 82; Bibl. Nat. 219; Bull. de Corr. Hell. 1898, p. 586.

Footnote 402:

For a fine example of Athena Promachos see Athens 1169 = Benndorf, Gr. u. Sic. Vasenb. 31, 2.

Footnote 403:

See Vol. I. p. 389, and Plates XXXIII., XXXIV.; also the B.M. examples B 130–46, 602–12.

Footnote 404:

Él. Cér. i. 67.

Footnote 405:

B.M. B 80; Berlin 1686 = Rayet-Collignon, pl. 7; Reinach, ii. 122; Athens 1858 = Reinach, i. 396 (identified as Athena Nike or Onka); for the trophy-like form of the figure on the last-named cf. the coins of Pergamon inscribed Ἀθηνᾶς Νικηφόρον: see also for a curious subject Benndorf, Gr. u. Sic. Vasenb. pl. 31, fig. 1.

Footnote 406:

B.M. D 22; Bibl. Nat. 472 = Reinach, i. 131, 4.

Footnote 407:

B.M. B 147; Reinach, i. 156.

Footnote 408:

B.M. B 617; Berlin 2531; Bibl. Nat. 573 = Reinach, ii. 256; Athens 1259 = Reinach, i. 506.

Footnote 409:

See p. 101; for his subsequent attack on Athena, Arch. Anzeiger, 1898, p. 51 (vase in Boston).

Footnote 410:

B.M. E 67, E 82; Reinach, i. 203.

Footnote 411:

B.M. B 191, B 228.

Footnote 412:

Amer. Journ. of Arch. 1896, p. 6, fig. 4.

Footnote 413:

Bibl. Nat. 216 (= Él. Cér. iv. 96) and 229.

Footnote 414:

Él. Cér. iv. 94–95; B.M. E 82, and Berlin 2278 (in assemblies of gods); Gaz. Arch. 1876, pl. 34.

Footnote 415:

B.M. B 551; and see Athens 903.

Footnote 416:

Él. Cér. iv. 98.

Footnote 417:

B.M. E 467.

Footnote 418:

B.M. E 155.

Footnote 419:

Reinach, i. 463.

Footnote 420:

B.M. B 379; Berlin 1961 (= Reinach, ii. 43) and 2278; Bibl. Nat. 254.

Footnote 421:

Reinach, ii. 91.

Footnote 422:

Él. Cér. iv. 99.

Footnote 423:

Röm. Mittheil. 1899, pl. 7: cf. Paus. vii. 8.

Footnote 424:

B.M. F 108, 373 (?); Millingen-Reinach, 26; Reinach, i. 119, 265, 325, 479 (?); Él. Cér. iv. 66 (?).

Footnote 425:

Reinach, i. 499 = Naples S.A. 702; also Naples 2900 = Millingen-Reinach, 41 = Baumeister, iii. p. 1653, fig. 1714.

Footnote 426:

Reinach, i. 156.

Footnote 427:

B.M. D 2; J.H.S. xii. pl. 13; Jahrb. 1886, pl. 11, 2; Berlin 2636 (Él. Cér. iv. 5) and 2688 (= Benndorf, Gr. u. Sic. Vasenb. 37, 3); Reinach, ii. 7, 183. Late: B.M. F 240, 556.

Footnote 428:

Berlin 2635 = Jahrbuch, 1889, p. 208 = Roscher, iii. 1514.

Footnote 429:

Berlin 2660.

Footnote 430:

Él. Cér. iv. 6.

Footnote 431:

Arch. Anzeiger. 1898, p. 137 (Dresden vase): cf. Paul, E.g. Fest. iii. E.g. Cytherea and the B.M. terracottas D 89–91.

Footnote 432:

B.M. E 712, 775; Athens 1944; Reinach, i. 124, ii. 323; Inghirami, Vasi Fitt. 324.

Footnote 433:

Reinach, i. 353.

Footnote 434:

B.M. E 230, F 311; Athens 1588 = Roscher, iii. p. 2119 (Fig. 117); Reinach, i. 39, ii. (290; Burlington Fine Arts Club Cat. 1903), p. 108, No. 46.

Footnote 435:

Reinach, ii. 301, 320; Berlin 2707 = Coll. Sabouroff, pl. 62, 2.

Footnote 436:

Petersburg 1983 = Reinach, i. 15.

Footnote 437:

Froehner, Musées de France, pl. 13, 4.

Footnote 438:

Berlin 4126 = Reinach, i. 128.

Footnote 439:

B.M. E 699 = J.H.S. xi. pl. 4.

Footnote 440:

B.M. E 224, 697, 698, 775; Berlin 3257 (with Eunomia and Euthymia at marriage of Herakles and Hebe); Naples S.A. 316 = Reinach, i. 477 (with Eukleia, Klymene, and Pannychis); Mon. Grecs, 1889–90, pls. 9–10 (without names); Fig. 117 = Athens 1588 = Roscher, iii. p. 2119 (with Kore, Hebe, Eudaimon, Harmonia, and others).

Footnote 441:

Reinach, ii. 315; Millin-Reinach, i. 65.

Footnote 442:

Reinach, i. 198.

Footnote 443:

B.M. E 230, E 289, and cf. F 311; Baumeister, i. p. 618, fig. 687 (? see p. 57, note 710).

Footnote 444:

Él. Cér. iv. 38.

Footnote 445:

Stackelberg, pl. 30: cf. B.M. E 697.

Footnote 446:

Reinach, i. 129; B.M. F 258; Bibl. Nat. 1005, 1133 (head of A. adorned by two Erotes).

Footnote 447:

See above, p. 17.

Footnote 448:

B.M. E 15; Reinach, i. 156(B.F.).

Footnote 449:

B.M. B 197.

Footnote 450:

Mon. Grecs, 1875, pls. 1–2.

Footnote 451:

Petersburg 350, 525 = Reinach, i. 11–12; Rev. Arch. xxxvi. (1900), p. 93.

Footnote 452:

B.M. F 270, 332; Reinach, i. 355–56, 479.

Footnote 453:

B.M. B 203; F 90.

Footnote 454:

Reinach, i. 124, 465; ii. 181.

Footnote 455:

Berlin 3164; Reinach, i. 111, 4 and 416.

Footnote 456:

Berlin 3239.

Footnote 457:

Reinach, i. 405, 452 (Berlin 2950); ii. 197.

Footnote 458:

Helbig 118 = Overbeck, Kunstmythol. Atlas, 6, 13.

Footnote 459:

Reinach, i. 526.

Footnote 460:

Reinach, i. 481; Berlin 2278; Furtwaengler-Reichhold, 20; at marriage with Hebe, Berlin 3257.

Footnote 461:

B.M. E 224.

Footnote 462:

Reinach, i. 91.

Footnote 463:

B.M. E 224.

Footnote 464:

Naples 3226 = Millin-Reinach, ii. 7 (Kadmos); B.M. F 271 (Pelops); Reinach, i. 188, and Jahrbuch, 1896, pl. 2 (Perseus); Naples S.A. 11 = Reinach, i. 401 (Meleager).

Footnote 465:

See below, p. 122.

Footnote 466:

Millingen-Reinach, 43: cf. Berlin 3244 for another possible Anchises.

Footnote 467:

B.M. E 424; François vase.

Footnote 468:

Reinach, i. 437.

Footnote 469:

B.M. E 73; Tyszkiewicz Coll. pl. 18 (now in Boston).

Footnote 470:

B.M. F 209.

Footnote 471:

Reinach, i. 222, and cf. i. 437 and B.M. F 278 (statue of A.); Noel des Vergers, Étrurie, iii. pl. 39.

Footnote 472:

B.M. B 173, 280; Reinach, ii. 116.

Footnote 473:

B.M. E 289; Reinach, i. 7, 15, 126; Wiener Vorl. A. 10, 3.

Footnote 474:

B.M. F 108 (anointing Adonis’ hair).

Footnote 475:

B.M. E 129.

Footnote 476:

Zeus and Danaë: B.M. E 711; Europa: B.M. E 231, F 184, Naples 3218 (Eros on bull); Reinach, i. 22, 24.

Footnote 477:

Reinach, i. 449.

Footnote 478:

B.M. F 272, 279; Arch. Anzeiger, 1890, p. 89 (Berlin).

Footnote 479:

B.M. E 424; Plate XXXIX. fig. 2.

Footnote 480:

B.M. F 271, 331; Reinach, i. 235.

Footnote 481:

Reinach, i. 9, 402 (Athens 1942), 437.

Footnote 482:

Reinach, i. 156, ii. 309.

Footnote 483:

Ibid. i. 66.

Footnote 484:

B.M. E 227.

Footnote 485:

B.M. F 107.

Footnote 486:

Reinach, i. 22.

Footnote 487:

B.M. F 270; Reinach, i. 355, 455 (with Orpheus).

Footnote 488:

Reinach, i. 66; E.g. i. 100, 167; B.M. F 152, 194; Gerhard, Akad. Abhandl. pl. 7, fig. 1 = Inghirami, Vasi Fitt. 394 (with Helios and Selene ?see p. 79, note 954); B.M. F 74 and F 102 (Herakles).

Footnote 489:

B.M. F 311: cf. F 399.

Footnote 490:

B.M. F 90.

Footnote 491:

B.M. F 69: cf. Bourguignon Sale Cat. 41.

Footnote 492:

B.M. E 228, 428, 435, 703; F 58, 60, 72, 382; Millin-Reinach, ii. 16 (offers wreath to D.).

Footnote 493:

Millin-Reinach, i. 20.

Footnote 494:

Reinach, i. 525, 526.

Footnote 495:

B.M. E 225, 229, 705; F 138, 308, 310, 332.

Footnote 496:

Reinach, i. 206.

Footnote 497:

B.M. E 126, 189, 191.

Footnote 498:

B.M. F 48.

Footnote 499:

Athens 1946 = Dumont-Pottier, i. pl. 21, 5.

Footnote 500:

B.M. E 205 (?); Reinach, i. 412.

Footnote 501:

B.M. F 123 (cf. p. 50, note 547); Reinach, ii. 315 = Baumeister, ii. p. 780, fig. 834.

Footnote 502:

B.M. E 704; E 721.

Footnote 503:

Reinach, i. 232.

Footnote 504:

Bull. de Corr. Hell. 1899, p. 158 = Burlington Club Cat. 1903, p. 97, No. 11.

Footnote 505:

B.M. E 397, Reinach, ii. 142; B.M. E 217, 360, 702, Reinach, ii. 315.

Footnote 506:

Reinach, ii. 317; Hartwig, Meistersch. pl. 22, fig. 1 (? see p. 80, note 970).

Footnote 507:

Reinach, ii. 191.

Footnote 508:

Naples 2961.

Footnote 509:

B.M. E 297.

Footnote 510:

Hartwig, Meistersch. pl. 27, p. 262.

Footnote 511:

Petersburg 1181 = Reinach, ii. 318: cf. Reinach, i. 250, and Arch. Anzeiger, 1890, p. 89 (see p. 46, note 478).

Footnote 512:

F 220.

Footnote 513:

B.M. E 293; Reinach, i. 465.

Footnote 514:

B.M. E 652.

Footnote 515:

Bibl. Nat. 366 = Él. Cér. iv. 51.

Footnote 516:

B.M. E 526, 528.

Footnote 517:

Reinach, i. 479; Ibid. i. 57.

Footnote 518:

Reinach, i. 55, Millin-Reinach, ii. 59; Reinach, ii. 324, Él. Cér. iv. 53; Reinach, i. 347; E.g. ii. 248, B.M. F 555.

Footnote 519:

B.M. F 579 = Fig. 118; Reinach, i. 277.

Footnote 520:

Baumeister, iii. p. 1573, fig. 1633; B.M. E 501.

Footnote 521:

B.M. E 706, Naples 2872 = Reinach, ii. 169; B.M. E 296, Él. Cér. iv. 49; B.M. F 221.

Footnote 522:

B.M. E 241, Reinach, i. 229, ii. 302; Él. Cér. iv. 50.

Footnote 523:

B.M. E 213; Reinach, i. 36; B.M. F 68, F 441.

Footnote 524:

B.M. F 223, 279, 373: cf. Theocr. ii. 30 (ῥόμβος); Hor. Epod. xvii. 7 (turbo).

Footnote 525:

B.M. E 118, 571; F 219, 257, Reinach, i. 312 (dove), Él. Cér. iv. 49 (cock).

Footnote 526:

B.M. E 13; F 294, 340, 378; Reinach, i. 528, B.M. F 17, 308, 409.

Footnote 527:

B.M. F 132, 225, 278, 280, 258 (two Erotes holding wreath); F 165, 176, 329, 389; F 310; F 234, 257, 306, 414, 440; E 518.

Footnote 528:

B.M. F 349; E 242, F 391; Baumeister, i. p. 498, fig. 540; B.M. F 387, 481; F 294, 382, Millin-Reinach, i. 20 (torch and bow); B.M. F 443; E 239; F 308, 414 (Plate XLIV.).

Footnote 529:

B.M. F 420, 434; F 456; F 13, 219, 292, 325; F 31, 280, 317, 323; F 37; E 293, 388; F 31, 63, 234, 278; F 280, 315, 337, 373.

Footnote 530:

Naples S.A. 11 = Reinach, i. 401 (at death of Meleager).

Footnote 531:

Abhandl. d. k. sächs. Gesellsch. viii. pl. 1, fig. 1 (with Sappho).

Footnote 532:

B.M. E 222; also at the toilet of Aphrodite (Fig. 117 above).

Footnote 533:

Raoul-Rochette, Mon. Inéd. 8.

Footnote 534:

Petersburg 350 = Reinach, i. 12; Rev. Arch. xxxvi. (1900), p. 93; Reinach, i. 124.

Footnote 535:

Reinach, i. 188.

Footnote 536:

B.M. E 224.

Footnote 537:

Reinach, i. 437.

Footnote 538:

B.M. E 224.

Footnote 539:

Noel des Vergers, Étrurie, iii. pl. 39.

Footnote 540:

Naples 2900 = Millingen-Reinach, 41.

Footnote 541:

Röm. Mitth. 1899, pl. 7.

Footnote 542:

Reinach, i. 526.

Footnote 543:

Roscher, iii. p. 1811.

Footnote 544:

B.M. E 440.

Footnote 545:

Berlin 2633.

Footnote 546:

B.M. E 226.

Footnote 547:

Reinach, ii. 302: see also Boston Mus. Report, 1900, No. 11, and Jatta 1093 = Heydemann, Satyr- u. Bakchennamen, pl. 1 (holding grapes).

Footnote 548:

Munich 234 = Reinach, i. 298 = Baumeister, iii. p. 1571, fig. 1632.

Footnote 549:

Berlin 3257.

Footnote 550:

Reinach, ii. 200.

Footnote 551:

Jatta 1093.

Footnote 552:

Naples 3240 = Reinach, i. 114.

Footnote 553:

B.M. B 32; Louvre G 10; Reinach, ii. 276.

Footnote 554:

Berlin 4003 = Coll. Sabouroff, i. pl. 50.

Footnote 555:

B.M. E 58.

Footnote 556:

Louvre F 159; Él. Cér. iii. 87.

Footnote 557:

Berlin 2727 and Reinach, i. 159; Berlin 1881.

Footnote 558:

B.M. B 549.

Footnote 559:

Él. Cér. iii. 73 (Hermaios), 76.

Footnote 560:

Millin-Reinach, i. 51.

Footnote 561:

Reinach, ii. 276.

Footnote 562:

B.M. B 32; Athens 592 = Ath. Mitth. 1893, pl. 2.

Footnote 563:

B.M. B 332.

Footnote 564:

Vienna 321 (cf. Ar. Ach. 729 ff.).

Footnote 565:

Reinach, ii. 25.

Footnote 566:

Él. Cér. iii. 14 and 75.

Footnote 567:

Louvre E 702 = Reinach, i. 354; Helbig, 227 = Reinach, i. 357 = Baumeister, i. p. 680, fig. 741 (Fig. 119).

Footnote 568:

Reinach, ii. 25; De Witte, Coll. à l’Hôtel Lambert, pl. 1.

Footnote 569:

Bibl. Nat. 820 = Reinach, ii. 259.

Footnote 570:

Él. Cér. iii. 93; Millin-Reinach, i. 70; Reinach, ii. 330.

Footnote 571:

B.M. F 237, and see above, p. 15.

Footnote 572:

Berlin 1702 (Hermes Kyllenios), and see p. 15.

Footnote 573:

B.M. B 197; Reinach, ii. 266.

Footnote 574:

See above, p. 17.

Footnote 575:

Reinach, i. 472.

Footnote 576:

B.M. E 65.

Footnote 577:

See p. 20.

Footnote 578:

Louvre A 478 (Hermes, 1898, p. 638); Bull. de Corr. Hell. 1898, p. 586.

Footnote 579:

Reinach, i. 234.

Footnote 580:

Ibid. i. 124.

Footnote 581:

Ibid. i. 499.

Footnote 582:

Ibid. i. 244; i. 463; i. 175.

Footnote 583:

Ibid. ii. 4.

Footnote 584:

B.M. B 203 (Athena); Reinach, ii. 22, 26, 73; Benndorf, Gr. u. Sic. Vasenb. 4, 1.

Footnote 585:

B.M. B 340; E 44, 459; Reinach, ii. 125, 152, 275.

Footnote 586:

Athens 1345 = J.H.S. xix. pl. 10; Millin-Reinach, ii. 37 (Lasimos in Louvre).

Footnote 587:

Millin-Reinach, ii. 44.

Footnote 588:

Reinach, i. 388.

Footnote 589:

Ibid. i. 380.

Footnote 590:

B.M. E 467; J.H.S. xxi. pl. 1.

Footnote 591:

See generally under those deities; for H. and Athena: B.M. B 144, Reinach, i. 257, ii. 42 (Panathenaic); B.M. E 268, Reinach, i. 520 (Athens 477), ii. 25, 211 (Bibl. Nat. 220).

Footnote 592:

Berlin 2635 = Jahrbuch, 1889, p. 208.

Footnote 593:

B.M. B 257, 259, 267, 302 (banqueting); Berlin 2160 (with the Satyr Oreimachos); Reinach, i. 129 (playing lyre).

Footnote 594:

B.M. B 424, E 492; Petersburg 1792, 1793 (= Reinach, i. 1 and 3); Helbig, 103 = Rayet and Collignon, p. 223; Reinach, i. 93, ii. 310; and see Ath. Mitth. 1889, pl. 1, p. 1 ff, and p. 55, note 642.

Footnote 595:

B.M. B 230; Oxford 222; Reinach, ii. 29.

Footnote 596:

See p. 69.

Footnote 597:

B.M. F 277; Reinach, i. 99: cf. Rev. Arch. xxxvi. (1900), p. 93.

Footnote 598:

See p. 28; also Naples 1989 = Él. Cér. iii. 91, and Reinach, i. 522.

Footnote 599:

Reinach, i. 456; Berlin 2455; Munich 209 = Fig. 122, p. 70.

Footnote 600:

Athens 1093 = Roscher, ii. p. 2678; Berlin 2991.

Footnote 601:

Louvre F 60.

Footnote 602:

Bibl. Nat. 269.

Footnote 603:

J.H.S. xx. p. 101: cf. the story of Pandora’s “box,” and see Vol. I. p. 152 and p. 75 below.

Footnote 604:

Munich 611 = Reinach, i. 419.

Footnote 605:

Reinach, i. 389, ii. 32, 70.

Footnote 606:

B.M. B 167, B 301; B 229.

Footnote 607:

Reinach, i. 297, 323, ii. 70, 74–75.

Footnote 608:

B.M. B 166, 318, 379; Louvre F 116–117; Reinach, i. 222, 368, ii. 76.

Footnote 609:

Bibl. Nat. 172; Reinach, i. 91, ii. 271.

Footnote 610:

B.M. B 248, B 280, E 493; Bibl. Nat. 277 = Reinach, i. 290; E.g. ii. 48; Mon. Grecs, 1878, pl. 2 (represents an earlier episode).

Footnote 611:

Bibl. Nat. 224.

Footnote 612:

See p. 122.

Footnote 613:

Athens 966.

Footnote 614:

Reinach, i. 89, 144.

Footnote 615:

Ibid. i. 138, ii. 99.

Footnote 616:

Wiener Vorl. 1890–91, 10 (Louvre).

Footnote 617:

Él. Cér. iii. 78–81; Bibl. Nat. 839: see Roscher, i. p. 2393.

Footnote 618:

B.M. B 362, 627, E 585; Berlin 1928, 2172; Schreiber-Anderson, 16, 8, and 14, 3.

Footnote 619:

B.M. B 345, E 444; Berlin 2278; Reinach, i. 203; Ath. Mitth. 1889, pl. 1.

Footnote 620:

Forman Sale Cat. 364.