XIII. DIONYSOS AND MISCELLANEOUS DEITIES…

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.

§ 1. DIONYSOS AND HIS ASSOCIATES

The most important deity in Greek mythology outside the Olympian circle is undoubtedly =Dionysos=; but the part that is played by him and his attendant train in Greek art is out of all proportion even to this, at least in the vase-paintings. Apart from what we may regard as strictly mythological subjects, such as the Birth of Dionysos and scenes in which other gods or heroes are introduced, the number and variety of the themes are so great that an exhaustive enumeration is quite impossible; nor indeed would it repay the trouble to give a complete list of what may for convenience be termed Dionysiac scenes. Suffice it to say that they occur with equal frequency on the vases of all periods from the middle of the sixth century onwards.

The personages with whom we have to deal in this section are, besides Dionysos himself, his spouse Ariadne, Pan, with his “double” Aegipan, and the motley rout of Satyrs, Seileni, and Maenads, who appear either in the wine-god’s company or by themselves. Dionysos is generally accompanied by one or more Maenads or Seileni, whether engaged in some definite action, such as pouring wine or playing flutes, or no; but he is also not infrequently seen as a single figure.[621] On the earlier vases he is elderly and bearded, but on the later youthful and beardless. He is occasionally represented with horns,[622] or in the form of a man-headed bull.[623] He is depicted sacrificing at an altar,[624] pouring a libation,[625] or slaying a fawn[626] or goat χιμαιροφόνος[627]; banqueting,[628] or playing on the lyre.[629] He rides on a bull,[630] goat,[631] mule,[632] or panther,[633] or in a winged chariot[634]—in one case drawn by Gryphons, in another by a Gryphon, bull, and panther[635]—or in a chariot shaped like a ship[636]; or is carried by a Seilenos.[637] On a beautiful cup by Exekias[638] he sails over the ocean in a boat, the mast of which grows into a vine. We are reminded in this scene of the Homeric hymn (xix.) and the story of the Tyrrhenian pirates, a subject which, according to one interpretation, is represented on a vase at Athens.[639]

His birth is not often represented, and chiefly on R.F. vases[640]; it has been referred to already in detail, in reference to Zeus. When handed over to Hermes,[641] the newly born infant is conveyed by that god to Nysa, where he is finally delivered to a Seilenos, to be nursed by the Nymphs of that place.[642] Or he is handed directly to a Nymph by Zeus,[643] or, by a curious error or confusion on the artist’s part, to Ariadne, his future bride.[644] There is a possible representation of the Indian Dionysos or Bassareus,[645] India being the land whence he was fabled to come; and other vases represent various events connected with his first manifestation of himself in Greece: such as the madness he brought on Lykourgos, who refused to receive him,[646] and his subsequent sacrifice after his triumph[647]; the death of the similarly contumelious Pentheus (the story on which the plot of the Bacchae turns)[648]; or his supposed visit to the Athenian Ikarios.[649] He sometimes appears with his mother Semele, whom he brings back from Hades[650]; in one or two instances their heads are seen rising from the ground to indicate their return from the nether world.[651] They are then solemnly introduced into Olympos.[652]

Dionysos is frequently grouped with various deities, such as Apollo, Athena, and Hermes[653]; or they are seen in his company at a banquet.[654] He sometimes appears at the birth of Athena,[655] the apotheosis of Herakles,[656] and his marriage with Hebe[657]; or in heroic scenes, such as the Judgment of Paris,[658] or the combat of Herakles and Kyknos.[659] He appears with the Seileni who attack Hera and Iris,[660] and brings back Hephaistos to Olympos.[661] He frequently takes part in the Gigantomachia, usually in single combat,[662] being aided by his panther, and sometimes by Seileni and Maenads.[663] Sometimes he is seen preparing for this event, wearing a cuirass, while Satyrs or Maenads hold the rest of his armour.[664] He is also grouped with Gaia Κουροτρόφος,[665] and with Poseidon and Nike[666]; or accompanies the chariot of Athena[667]; and is seen in more than one assembly of the Olympian deities.[668]

His wooing and consoling of the deserted Ariadne[669] is an attractive and popular subject, and several vases seem to represent the nuptial ceremonies between the pair,[670] or the preparations for the same, with Eros assisting at the bride’s toilet.[671] Numerous are the instances in which he is seen grouped with Ariadne, often in loving embrace,[672] and generally surrounded by his cortège,[673] but also alone. Or, again, he and Ariadne drive in a chariot drawn by lions,[674] panthers,[675] stags,[676] or goats[677]; in two cases Ariadne drives her own chariot alone,[678] in another Dionysos is seen alone in a four-horse chariot.[679] They are also seen reclining together at a banquet,[680] sometimes accompanied by Herakles and other deities.[681] On a vase of quasi-Etruscan style[682] we see the sleeping Ariadne surrounded by Dionysos, Satyrs, and Maenads. This presumably refers to the scene in Naxos.

The numerous vases on which Dionysos appears, with or without Ariadne, accompanied by a throng of Satyrs and Maenads, sometimes in high revelry, sometimes in more peaceful circumstances, may next be mentioned, though it is not necessary to cite more than a few typical examples[683]; equally numerous are smaller groups, where only one or two followers appear, but only a few of these need be particularised.[684] Thus we see him in peaceful converse with Maenads or Nymphs[685]; seizing them with amorous intent[686]; listening to a Satyr playing the lyre or flute[687]; or going to a banquet, accompanied by Satyrs with torches[688]; or feeding a bird.[689] In banquet scenes he receives drink from a Satyr,[690] or plays at the kottabos (see p. 182)[691]; or Seileni steal his food and drink.[692] He watches a Lydian woman dancing in armour,[693] or dances himself to the flutes played by an actor.[694] In one instance he is seen leaving his chariot to join in the revels of his followers[695]; in another he takes part in the orgies of the Scythian Agathyrsi,[696] and he is seen in a drunken condition, supported by one of his followers.[697] He is not infrequently grouped with Eros, from whom he receives drink or a wreath[698]; also with Pan,[699] or with semi-personified figures such as Komos (Revelry)[700] or Oinopion (Wine-drinker).[701]

=Pan= only makes his appearance on late vases, usually in Dionysiac groups,[702] or as a single figure on the smaller Apulian wares; when he is depicted with goat’s legs and squat proportions, he is usually called Aegipan[703]; or, again, Paniskos, when he has the form of a beardless youth.[704] He surprises a Nymph asleep,[705] and is sometimes associated with the Nymph Echo.[706]

Dionysos’ connection with the Attic drama is more specially indicated by scenes in which he appears as the inventor or patron of tragedy, presenting a tragic mask to a young actor[707]; he also appears in an elaborate scene representing the preparations for a Satyric drama.[708] As the object of worship he is sometimes seen in a form which implies a reference to some primitive cult, as an aniconic pillar-image (ξόανον or βαίτυλος)[709]; or, again, in the form of a tree (Dionysos Dendrites), and homage is paid to him by Maenads.[710] Besides sacrifices to his image, we see sacrificial dances performed,[711] or choragic tripods consecrated to him.[712] His statue is once seen at a fountain.[713]

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We must now treat of the scenes in which Seileni and Satyrs, Maenads and Nymphs, appear independently of Dionysos, or in particular actions without relation to him. They are, indeed, often, if not invariably, present in all scenes in which he takes part, whether mythological or of a less definite character; as, for instance, the return of Hephaistos to Olympos,[714] in which the gods are usually accompanied by a more or less riotous escort of Satyrs, and others as already mentioned. The attack of the Satyrs on Iris and Hera has been alluded to in connection with the latter[715]; and they seldom elsewhere appear in relation to the Olympian deities or other myths, except in those scenes which depict the rising of Persephone or Ge-Pandora from the earth.[716] But Satyrs and Maenads are sometimes represented as performing sacrifices, not only to Dionysos,[717] but also to Herakles,[718] or to a terminal figure of Hermes.[719] We turn next to scenes of more general character.

There are numerous vases, especially of the R.F. period, on which groups of Satyrs and Maenads are represented in revels of a more or less wild and unrestrained character, or else in more peaceful association. Those in which Dionysos himself is present have already been enumerated, but the general types may be now considered. It may, perhaps, be possible to distinguish two, or even three, classes of this subject: the inactive groups of Satyrs and Maenads[720]; those in which they rush along in frenzy and unrestrained licence, brandishing their thyrsi, or with tambourines (tympana) and other musical instruments[721]; and, lastly, scenes of convivial revelry (κῶμοι), in which they are engaged in drinking from all sorts of vessels.[722] Sometimes these revels are strictly confined to Satyrs, and then they become absolutely licentious in character[723]; or, again, a group of Maenads unattended tear along with torches, thyrsi, and musical instruments[724]; or, lastly, both join in dances hand-in-hand, a subject which on early vases is often adopted for a long frieze encircling a vase.[725]

As a pendant to these, many subjects and single figures must here be mentioned which seem to be excerpts from the larger compositions, as well as independent motives presenting special features found in the more elaborate scenes. We begin with subjects in which both Satyrs and Maenads take part, among which we find a favourite subject to be the gathering of fruit,[726] especially grapes, and the processes of the vintage.[727] Satyrs offer drink to Maenads,[728] or play the flutes for them to dance to[729]; and there is a favourite series of subjects of an amorous character, in which the Satyrs pursue the objects of their passion,[730] or surprise them asleep,[731] seize them and overcome their struggles to escape,[732] and finally enfold them in embraces,[733] or carry them on their shoulders.[734] Satyrs are also seen surprising women while bathing[735]; and a group of them appear astonished at the sunrise.[736]

* * * * *

We may next dismiss briefly the scenes which depict =Maenads= alone, usually as single figures. They sometimes appear in a state of frenzy (Fig. 121),[737] dancing with snakes twisted round their arms,[738] or playing castanets,[739] or tearing a kid to pieces (χιμαιροφόνος).[740] In quieter fashion they ride on a mule[741] or bull,[742] or are seen accompanied by hinds, goats, and panthers,[743] or playing with a cat and bird.[744]

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=Satyrs= in independent scenes often appear in burlesque guise, attired and acting as athletes,[745] or as warriors,[746] with the Amazonian pelta,[747] or even enacting the part of Herakles in the Garden of the Hesperides[748]; and are present in other scenes of a burlesque nature, which may often be derived from the Satyric drama, such as one in which they carry ghosts (εἴδωλα) with torches.[749] There is also a long list of scenes of miscellaneous character: a Seilenos washing,[750] or piling up bedding(?)[751]; fishing[752]; as potter, poking a furnace[753]; acting as footman to a girl and carrying a parasol[754]; flogging a youth,[755] or holding a boy Satyr on his hand[756]; caressing a hare[757]; and so on. Satyrs fight with torches[758]; sport with deer and other animals[759]; ride on goats, asses, and mules,[760] or lead them along[761]; and in one instance a Satyr has fallen off his mule, and a companion runs to help him[762]; in another, two Satyrs draw a third in a cart.[763] They are seen carrying chairs[764] and vessels of various kinds, such as amphorae, situlae, kraters, rhyta,[765] or wine-skins[766]; also seated on wine-skins or wine-jars,[767] playing games with jugs and wine-jars,[768] balancing drinking-cups on their backs,[769] pouring wine into a jar[770] or drawing it out from the mixing-bowl,[771] or playing games, such as see-saw or ball.[772] Many of these scenes are from the interiors of R.F. cups, to which they were well adapted, the varied attitudes giving so much scope for the ingenuity of the daring artists of the period. Scenes in which Satyrs play the lyre or flute are, very numerous.[773]

A feature of the numerous Dionysiac subjects on vases is the tendency to individualise Satyrs and Maenads by means of names, sometimes meaningless, sometimes names otherwise known in mythology, and frequently personifications of abstract conceptions, such as we shall see later to be very common on vases of all periods; in these cases they usually have some relation to the character or occupation of the personages to whom they are attached. The Satyrs Marsyas and Olympos sometimes appear in the larger compositions[774]; the former has been already mentioned in another connection. There is also a curious representation of Akratos,[775] the deity of unmixed wine (a liquid which to the Greeks implied an extravagance of revelry, owing to the intoxicating nature of the undiluted beverage). A type of Seilenos covered from head to foot with shaggy skin, and known as Papposeilenos, is often found on the later vases.[776] It is difficult to distinguish in all cases between Seileni and Satyrs on the vases, and the exact differences between the various types have not yet been properly elucidated, so that the terms are of necessity somewhat conventional.[777] The equine type of Satyr, with horse’s hoofs as well as tail, which is so frequently found on the sixth-century Ionic vases, has been noted elsewhere.[778] The young beardless Satyr is mostly found in the later period.

The number of vases on which Satyrs and Maenads are distinguished by name is very large, but only a few of the more important need be mentioned, along with some of the more curious names from the isolated instances.[779] On a vase in Berlin[780] no less than ten Maenads are named—Anthe (Flower), Choro (Dance), Chrysis (Gold), Kale (Beauty), Kisso (Ivy), Makaria (Blessed), Naia, Nymphe, Phanope, and Periklymene (Renowned); on one at Leyden[781] six—Dorkis, Io, Klyto, Molpe (Song), Myro, and Xantho (Fair-hair). On the former vase a Seilenos is expressly so named, and on the latter are four Satyrs with names; on a kylix by Brygos in the British Museum[782] the Seileni attacking Iris are styled Babacchos, Dromis, Echon, Terpon, etc.[783]

Other Satyr-names are Briacchos,[784] Dithyrambos,[785] Demon,[786] Hedyoinos (Sweet Wine),[787] Hybris (Insolence),[788] Hedymeles (Sweet Song),[789] Komos (Revelry),[790] Kissos (Ivy),[791] Molkos,[792] Oinos,[793] Oreimachos,[794] Simos (Snub-nose),[795] Tyrbas (Rout).[796]

The Maenads’ names are if anything more numerous: Bacche,[797] Choiros (Pig!),[798] Doro,[799] Eudia (Calm),[800] Eudaimonia (Happiness),[801] Euthymia (Good Cheer),[802] Erophyllis,[803] Galene (Calm),[804] Hebe (Youth),[805] Komodia (Comedy) and Tragoedia (Tragedy),[806] Kalyke (Bud),[807] Lilaia,[808] Mainas,[809] Nymphaia,[810] Opora (Harvest) and Oreias (Mountain-Nymph),[811] Oinanthe,[812] Pannychis (All-night Revel),[813] Polyerate (Well-beloved),[814] Philomela,[815] Sime (Snub-nose),[816] Terpsikome,[817] Thaleia,[818] Rodo (Rose),[819] Paidia,[820] and Kraipale,[821] a name which is not easy to render in classical English, but which denotes the results following on a night’s debauch.

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PLATE LII

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§ 2. THE NETHER WORLD

The Chthonian character of Dionysos brings us by a natural transition to the =deities of the under-world=, and in connection therewith it will be convenient to treat of Death-deities of all kinds, as well as scenes representing the life of the nether regions.

Of Demeter and Persephone, the Chthonian goddesses par excellence, we have already spoken (p. 27), and of the myths connected with them, such as the rape of the latter by =Hades= or Pluto, the king of the realms named after him. It is owing to this connection with Persephone that Hades is found in such scenes as the sending forth of Triptolemos,[822] or at her return to the upper world,[823] as well as at the rape of his consort. He is frequently seen in company with her, as the rulers of the nether world,[824] especially on the large Italian “under-world vases” referred to below, and sometimes they are represented banqueting together.[825] As king of the nether world he is appropriately grouped with his brothers Zeus and Poseidon, the rulers of the air and ocean.[826] He is occasionally carried by Herakles on his shoulders,[827] but the meaning of this subject is uncertain. He also appears as a single figure, with sceptre and cornucopia.[828]

The only general representations of the under-world are to be found on the large Apulian vases made for sepulchral purposes (Vol. I. p. 476), of which some half-dozen are conspicuous for the number of subjects and figures they contain. All these are collected together in the Wiener Vorlegeblätter, Series E., the list being as follows:—

(1) Munich 849 = Wiener Vorl. E. pl. 1 = Reinach, i. 258 (2) Naples 3222 = ” pl. 2 = ” i. 167 (3) Karlsruhe 388 = ” pl. 3, 1 = ” i. 108 (4) Naples S.A. 709 = ” pl. 3, 2 = ” i. 455 (5) Petersburg 424 = ” pls. 4 and 5, 1 = ” i. 355 (6) Petersburg 426 = ” pl. 6, 2 = ” i. 479

No. (1) is reproduced in Plate LII. On a smaller scale, or fragmentary, are the following:—

(7) Petersburg 498 = Wiener Vorl. E. pl. 5, 2 (8) B.M. F 270 = ” pl. 6, 1 = Reinach, i. 356 (9) Karlsruhe 256 = ” pl. 6, 3 = ” i. 455 (10) Jatta Coll. 1094 = ” pl. 6, 4 = ” i. 356 (11) Naples S.A. 11 = ” pl. 6, 5 = ” i. 401

There are also three B.F. vases having reference to the under-world, though in the first two cases it is probable that the scene relates to the return of Persephone (see p. 28), the accompanying figure of Sisyphos only being introduced to mark the locality:—

(12) B.M. B 261 (Hades, Persephone, Hermes, Sisyphos).

(13) Munich 728 = Wiener Vorl. E. pl. 6, 6 = Reinach, ii. 48 (similar scene).

(14) Berlin 1844 (Persephone and Sisyphos only).

On the Apulian vases there is usually in the centre a pillared building representing the palace of Hades, in which he and his spouse stand or sit; round this are grouped various figures and episodes connected with the nether regions: Herakles carrying off Kerberos[829]; Orpheus with his lyre, sometimes accompanied by Eurydike[830]; persons undergoing punishment, such as Sisyphos with his rock[831]; Tantalos threatened with a rock, not as in the usual legend suffering from thirst[832]; the Danaids with their hydriae[833]; and Theseus and Peirithoös sitting with their hands bound behind them.[834] In one instance a Fury, at the instance of Hades and Hekate, is binding one, the other having already entered on his punishment[835]; in another we see Theseus liberated and about to depart from his friend (see below, p. 111).[836]

Among the administrators of these penalties are Aiakos, Minos, and Rhadamanthos, the judges of the souls[837]; the Erinnyes or Furies[838]; and allegorical personages, such as Dike (Justice),[839] Ananke (Necessity),[840] or Poinae (Punishments).[841] Of the Chthonian deities, Hermes,[842] Hekate,[843] Triptolemos,[844] and Iacchos[845] are present. Olympian deities are also sometimes introduced as spectators.[846] Other figures introduced are Megara with the two children of Herakles[847]; Pelops with Myrtilos and Hippodameia[848]; a group of the Blessed Shades[849]; and (but not on this class of vase) Oknos with his ass, a subject depicted by Polygnotos in his great fresco at Delphi.[850] The subject of Ixion on the wheel is usually found by itself, but occurs on the neck of one of the Apulian vases.[851]

Another subject which may be associated with the above scenes is that of Charon and his bark; on the vases, however, its significance is purely sepulchral, as it is confined to the Attic white lekythi (Vol. I. p. 459), on some of which the dead man is represented entering the ferry-boat.[852] Some vases of Etruscan fabric also represent groups of Chthonian deities, especially Charon, who in the mythology of that people is no longer “the grim ferryman that poets write of,” but Charun, a hideous demon wielding a huge hammer.[853] In one instance he separates Alkestis from Admetos[854]; in another he watches Ajax stabbing a captive Trojan.[855]

The Erinnyes or Furies play an important part in the nether-world scenes,[856] and one is also represented at the punishment of Ixion.[857] They pursue Orestes after the slaughter of his mother and Aigisthos to Delphi and Tauris,[858] and even when with Pylades he comes to make himself known to Electra.[859] Among other mythological scenes they are found at the combat of Herakles and Kyknos[860]; with Pelops,[861] and with Medeia and Jason[862]; and threatening with punishment the hero Agrios, who is seized and bound upon an altar by Oineus and Diomedes.[863] Kerberos is once seen without Herakles in the under-world vases[864]; and there is a very curious representation of his being chained up by Hermes.[865]

Hekate as a Chthonian deity frequently appears on the under-world vases[866]; she is also connected with Eleusinian scenes and legends,[867] such as the sending of Triptolemos,[868] the birth of Dionysos or Iacchos,[869] or with the rape and return of Persephone.[870] She appears also as a single figure.[871] Allusion has already been made to the Chthonian associations of Hermes, Triptolemos, and Iacchos (pp. 27, 52).

Thanatos, the personification of Death, appears on vases[872] almost exclusively in one aspect, as the bearer of souls in conjunction with Hypnos (Sleep); they convey the body of Memnon from Troy to his home in Egypt,[873] and this type is borrowed for other scenes (e.g. on the funeral lekythi) in which an ordinary warrior is borne “to his long home.”[874] In one instance Thanatos is seen urging Ajax on to commit suicide[875]; he also appears on another vase where the subject may relate to the story of Ixion.[876] Representations of Death-demons or Harpies,[877] and of Κῆρες θανάτοιο, or small winged figures boding or signifying death,[878] are by no means uncommon. It has been held by some writers that the personifications of Thanatos above referred to are more properly to be regarded as Κῆρες θανάτοιο.[879] These small winged figures are also employed to represent a soul escaping from a deceased person[880]; or, again, to indicate the souls of Achilles and Hector (or Memnon) when weighed by Zeus (see below, pp. 130, 132).[881] We also find actual representations on B.F. vases of the ghost of a hero, especially in Trojan scenes; he floats through the air fully armed, with large wings.[882]

§ 3. COSMOGONIC AND OTHER DEITIES

In the next instance it will be found appropriate to discuss sundry representations which are connected with the earlier or Titanic cosmogony, although, with the exception of the Gigantomachia, already discussed, allusions thereto are comparatively rare on vases.

Chief among these personages is =Ge= or =Gaia=, the Earth-mother, half Titanic, half Chthonian, who is usually represented as a figure rising half out of the ground, with flowing hair. She thus appears in several Gigantomachia scenes (as the mother of the giants, who were Γηγενεῖς, earth-born),[883] and at the birth of Dionysos and Erichthonios, where she hands the child to Athena.[884] As a full-length figure she appears protecting her sons Tityos and Antaios against Apollo and Herakles respectively[885]; also in certain doubtful scenes on B.F. vases as the Nursing-mother (Κουροτρόφος), with two children in her arms,[886] though we have already seen (p. 30) that these are susceptible of another interpretation. Finally, the series of scenes in which men are represented hammering on the head of a female figure rising from the earth[887] may be regarded as referring to Gaia, with allusion to the custom of smiting on the earth to raise spirits. In this connection Gaia is undoubtedly to be identified with Pandora (see below).[888] A cognate subject is that of a similar female head or bust in company with Eros, sometimes found on late Italian vases.[889] If Gaia is here intended, her connection with Eros finds some support in the poetic cosmogonies[890]; otherwise it may be Aphrodite.

The story of Kronos, who swallowed the stone given to him by his wife Rhea in place of his children, is possibly depicted on one vase,[891] though the genuineness thereof is open to doubt. The stone is enveloped in drapery to prevent discovery. A bust of Kronos has also been identified on a vase.[892] The story of Zagreus and his destruction by the Titans, which belongs to the same cycle, also finds one or two representations. One vase appears to represent them devouring him piecemeal.[893]

Another personage who may perhaps be regarded as of pre-Olympian origin is Themis, who comes between Gaia and Apollo in the occupation of the prophetic stool at Delphi (Aesch. Eum. 2). Aigeus, the father of Theseus, is represented as consulting her seated on her tripod,[894] and one vase has been supposed to depict her conversing with Zeus before the birth of Dionysos.[895] She also appears at the Judgment of Paris.[896]

Kybele, the mother of the gods, only occurs in one or two doubtful instances, with the lion which is usually associated with her.[897]

Among the primitive and recondite Greek cults which go back to a remote origin, that of =the Kabeiri= may perhaps be mentioned here. Previous to the discovery, in 1887–88, of their sanctuary near Thebes, little was known, either from literary or monumental sources, of these mysterious deities; but the excavations on this site yielded large quantities of pottery with scenes relating to their cult, mostly of a burlesque character.[898] Among these was one very interesting fragment representing (with names inscribed) the Kabeiros and his son (Pais) banqueting, and attended by two deities known as Mitos and Pratoleia.[899] Lenormant noticed that the spectator-deities on an under-world vase in the British Museum correspond exactly to the four Cabeiric deities as described by certain ancient authorities.[900]

Turning next to myths which treat of the semi-divine personages of the earliest cosmogony, we have the legends given by Hesiod of Prometheus and the creation of =Pandora=; and we may include with them the Titan Atlas. Pandora, it has been already noted, is only a variation of Gaia,[901] and this is borne out by the name given to her on a beautiful polychrome cup in the British Museum representing her creation, completed by Hephaistos and Athena.[902] She is there named Ἀνεσιδώρα, “She who sends up gifts,” E.g. from the earth. The subject is not so popular as might have been expected, but appears on two other vases in the Museum, in each case with Olympian deities as spectators of the event, and on a beautiful vase now at Oxford.[903] The story of the opening of the πίθος has not found its way into art, but its connection with the Athenian feast of the πιθοίγια is curiously illustrated in one instance.[904]

=Prometheus= too is seldom seen, and chiefly on B.F. vases. In one case he receives a libation from Hera,[905] and there are two or three representations of his liberation by Herakles.[906] On a Cyrenaic cup he is grouped with Atlas, the vulture pecking at his breast, while the other groans under the burthen of the heavens.[907] =Atlas= is found almost exclusively with Herakles in connection with his visit to the Garden of the Hesperides. Either he is actually present in the Garden[908] or is confronted with the hero, who in some cases bears his burden for him while he obtains the apples.[909] He is also seen in company with a Sphinx.[910]

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We now come to discuss a few subordinate deities or semi-divine personages who do not fall into any of the preceding categories.

=Asklepios=, chiefly a figure of later art, is exceedingly rare on vases. There is, in fact, only one on which he can certainly be identified. This is a late R.F. vase at Athens, on which he is seen reclining on a couch feeding a serpent and accompanied by Hygieia.[911] Nor does the latter occur elsewhere, though her name, as already noted (p. 43), is sometimes given to one of the personified figures attending on Aphrodite.[912] =Eileithyia=, the goddess of childbirth, generally appears, in duplicated form, assisting Zeus at the birth of Athena,[913] or Leto at that of Apollo and Artemis.[914] She is closely related to Artemis, and a representation of a goddess who has been identified as Artemis-Eileithyia may be seen on an early Boeotian vase with reliefs at Athens.[915]

=Iris=, the messenger of the gods, is usually distinguished from Nike by her caduceus or herald’s staff, and from Hebe by her wings. She is often depicted as a single figure,[916] or pouring a libation to Hera, Athena, or other deities.[917] She is associated more especially with Hera, as Hermes is with Zeus, and attends on the former in several scenes of assemblages of the gods.[918] In company with Hera she is attacked by a troop of Seileni and defended by Herakles,[919] and on another vase she is similarly surprised by a troop of Centaurs.[920] She assists at the creation of Pandora,[921] at the Judgment of Paris,[922] and at the wedding of Peleus and Thetis,[923] and also appears in the Garden of the Hesperides.[924] She is also seen with Paris carrying off Helen[925]; and with Menelaos fetching her back[926]; and in another scene, apparently drawn from a Homeric source (Il. viii. 397 ff.), where she dissuades Athena and Hera from taking sides in the war, at the behest of Zeus.[927] She conveys the infant Herakles to the Centaur Cheiron,[928] and is also seen in company with a warrior.[929]

=Hebe= in Olympos performs somewhat similar functions to Iris, more particularly that of pouring out wine for the gods.[930] She is also specially associated with Herakles at and after his apotheosis,[931] appearing as his bride in several instances.[932] Besides these, she frequently appears in assemblies of the gods,[933] or at the punishment of Marsyas,[934] or the Judgment of Paris.[935]

§ 4. PERSONIFICATIONS

The next group of deities with which we have to deal is that of the various personifications which are to be found in great numbers on vases of all periods, especially the later. These naturally fall under several headings, which, following the lines of the classification adopted by M. Pottier in a valuable article on the subject,[936] we may distribute as follows:—

1. Physical (Sun, Moon, Dawn, Winds, etc.). 2. Geographical (Cities, Rivers, Mountains, etc.). 3. Products of earth (Wine, Harvest, etc.). 4. Groups of various kinds (Muses, Nymphs, etc.). 5. Physical conditions (Health, Old Age, etc.). 6. Social advantages (Wealth, Peace, Victory, etc.). 7. Ethical ideas (Justice, Envy, Strife, etc.). 8. Metaphysical ideas (Necessity, Law, etc.). 9. Social enjoyments (Comedy, Tragedy, Revelry, etc.). 10. Descriptive names.

Of some of these, indeed, we have already treated—such as the beings included in the following of Aphrodite and Dionysos, Ge-Pandora, Hebe (Youth), and the deities of the nether world. The rest we now proceed to consider in order, beginning with natural phenomena, and firstly those of an astronomical character.

I. =Helios=, the Sun, who in some senses, especially in the mythology of the Roman poets, is identical with Phoebus Apollo, is only once so identified on vases.[937] He is usually depicted in his four-horse chariot rising out of the sea (as on the eastern pediment of the Parthenon), either as a single figure or in connection with some myth, indicating that the action takes place at sunrise. As a single figure he appears both on early and late vases, on the latter, usually, as an upper decoration on the large Apulian kraters.[938] He is also accompanied by Eos (Dawn) and Selene (Moon), by Hemera (Day), or by Eros[939]; but in most cases he and Selene appear together, the latter descending as he rises (as on the Parthenon pediment). Thus on R.F. vases they denote the time of the action, as when Theseus descends below the sea to visit Poseidon,[940] or as on the Blacas krater in the British Museum, when Eos pursues Kephalos.[941] On the latter vase four stars are also depicted diving into the sea, to indicate their setting. On Apulian vases he is present at the seizure of Persephone,[942] at the flight of Pelops from Oinomaos,[943] at the madness of Lykourgos,[944] at the Judgment of Paris,[945] and in the Garden of the Hesperides.[946] In one instance a group of Satyrs start back affrighted at his appearance.[947] There are two instances of his encounter with Herakles, who endeavoured to stay his progress with his bow.[948]

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PLATE LIII

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=Selene=, the Moon, appears in many of the scenes already described under Helios, as on the Blacas krater. She is depicted under two types, either on horseback[949] or driving a chariot like Helios,[950] both as a single figure and in other scenes; and she is sometimes characterised by the lunar disc or crescent. Besides the scenes already referred to, she appears on horseback at the birth of Dionysos[951] and at the pursuit of Medeia by Jason.[952] The magic arts used by Thessalian witches to draw down the moon from heaven are also the subject of a vase-painting,[953] where two women essay to perform this feat by means of a rope, addressing her, “O Lady Moon!”

=Stars= are occasionally represented with an astronomical reference, as on the Blacas krater, where they appear in the form of youths, or grouped with Helios, Selene, and Eos.[954] Phosphoros, the Morning Star, may be identified in this connection, represented as a youth running[955]; but in other cases they are not personified, as on a vase which represents the moon and stars with the constellation Pegasos.[956]

=Hemera=, the Day, we have already once noted; but in art she is hardly to be distinguished from Eos (Dawn). Nor can Nyx (Night) be identified with certainty on vases.[957] =Eos= is not an uncommon figure, especially on R.F. vases, and she also plays a part in certain myths. As a single figure she appears rising from the sea in, or driving, a four-horse chariot like Helios,[958] her steeds in one case being named Phlegethon and Lampon. She is also represented flying with two hydriae, from which she pours out dew upon the earth.[959] She is frequently seen pursuing or carrying Kephalos[960] or Tithonos,[961] and is present at the apotheosis of Alkmena.[962] At the combat of her son Memnon with Achilles she and the other mother, Thetis, are generally present.[963] She also pleads with Zeus for her son’s safety,[964] and bears away his body after the fatal issue of the fight.[965]

Next we have to deal with =the Winds=, as personified by the figures of Boreas, Zephyros, etc. As single figures they seldom appear, though we have possible instances of Boreas, with the unusual type of a serpent’s tail,[966] or simply as a winged male figure.[967] A wind-god is seen in an episode from the Gigantomachia opposing the chariot of Zeus,[968] and another in an assemblage of deities round Apollo Kitharoidos.[969] Zephyros is seen pursuing Hyakinthos,[970] and he and Boreas together bear the body of a warrior to the tomb in the same manner as Hypnos and Thanatos.[971] But the most important subject connected with Boreas is his pursuit of the Athenian maiden Oreithyia, a frequent scene on the later R.F. vases,[972] some being very fine examples. Erechtheus, Kekrops, and the Nymphs Aglauros, Herse, and Pandrosos, are usually present, and the latter in one case announce the news to Kekrops or Erechtheus.[973] Boreas is also depicted in the act of punishing Phineus by blinding him, and attacked by the latter’s friend Parebios.[974]

On some early B.F. vases we find winged beings which may be styled Boreades, in conjunction with Harpies, apparently representing the influences of good and evil winds respectively.[975] Zetes and Kalais, the sons of Boreas, will be treated of in the story of the Argonautika.[976] The Aurae or breezes have been identified on a well-known vase in the British Museum,[977] and on an Apulian vase in the same collection is a head undoubtedly intended for Aura.[978] The Hyades or rain-goddesses in two instances extinguish the flames of a funeral pyre at the bidding of Zeus, at the apotheosis of Alkmena[979] and of Herakles[980]; in one of the latter instances they are named Arethusa and Premnusia. They also receive the infant Dionysos.[981] Echo belongs perhaps rather to the Dionysiac cycle, appearing as the beloved of Pan.[982]

* * * * *

II. We may next consider the personifications of =cities and countries=, which are, indeed, in some cases more than merely symbolical figures, being actual goddesses with a definite cult, such as the Nymph Kyrene, who often appears on works of art.[983] On the great Naples vase representing Dareios in a council of war, personifications of Hellas and Asia are placed among the spectator-deities,[984] and the former seems also to be indicated on a similar vase with a battle of Greeks and Persians.[985] On one of the late vases with the subject of Pelops and Oinomaos, a personification of the locality Olympia appears to be similarly present,[986] just as on the Hieron kotyle the personification of Eleusis is included among the Eleusinian and other deities at the sending forth of Triptolemos.[987] The city of Thebes is personified in several instances, especially as a spectator of Kadmos slaying the dragon[988]; also on a “Megarian” bowl with reliefs in the British Museum, the subjects on which are taken from the Phoenissae of Euripides.[989] Nemea, the scene of Herakles’ victory over the lion, and of the death of Archermos, is similarly personified as a Nymph in the representations of both subjects,[990] and the town of Krommyon as a Nymph protests against the slaying of the sow by Theseus.[991] The Nymph Sparta occurs once, dismounting from her horse.[992] Two cups of the early B.F. class usually known (from their subjects) as Cyrenaic, bear representations of the Nymph Kyrene (see above)—in one case with Apollo, in the other holding a branch of silphium (the local product) and surrounded by Boreads and Harpies (see above).[993]

Among the Greek islands, Aegina and Salamis were supposed to have derived their names from Nymphs beloved of Zeus and Poseidon, who are represented pursuing these quasi-personified figures[994]; we may also regard Europa as coming under that category.[995] Zeus also pursues Taygeta, who is connected with the mountain in Laconia.[996] On one vase we find the names of the islands Delos, Euboea, and Lemnos,[997] given, presumably in pure fancy, to two Maenads and a Satyr in a Dionysiac scene where all the figures are named. A more genuine instance is that of the Nymph Krete on the Talos vase, indicating the locality.[998]

Turning to other geographical features, we have Mount Olympos transformed into a lyre-playing companion of Satyrs[999]; or, again, river-gods such as Acheloös, who as a combination of man and bull, or with a fish-body like Triton, wrestles with Herakles.[1000] The river Nile appears once, but not personified—only as an indication of landscape.[1001] In connection with the city of Thebes we find personifications of the local river Ismenos and the local fountain-Nymphs Dirke and Krenaia.[1002]

* * * * *

III. Natural products, such as Oinos (Wine) and Opora (Harvest), are only found personified among the Dionysiac conceptions with which we have already dealt (p. 65); to these two names we may add those of Hedyoinos (Sweet Wine), Kissos (Ivy), Kalyke (Bud), and Rodo (Rose), the three latter coming more under the heading of pet-names than of strict personifications.

* * * * *

IV. Our next class includes certain groups of personages (all feminine) which for the most part hold their own throughout all periods of art and literature, and are, so to speak, more crystallised into definite mythological personages, associated with the gods and human beings of the legendary ages. These are the Muses, the Charites or Graces, the Horae or Seasons, the Moirae or Fates, and the Erinnyes or Furies.

=The Muses= do not appear so frequently in vase-paintings as in sculpture, and mostly on later vases. Two fine R.F. examples of the whole nine (with their appropriate attributes) call for mention[1003]; other vases give a more limited number, or even single figures[1004]; but it must be remembered that in such cases identification is difficult, as characterisation by means of a lyre or scenic mask does not necessarily connote the presence of a Muse. On one vase Terpsichore is seen with two figures inscribed as Mousaios and Melousa[1005]; but these may be no more than fancy names for an ordinary group of musicians. Five of them are seen in a group with Apollo, Thamyris, and Sappho,[1006] and elsewhere they accompany Apollo.[1007]

The Graces can nowhere be identified on Greek vases, though they form a well-known type in sculpture; but there is an Etruscan kylix in the British Museum (probably copied from a Greek original), which appears to represent them as an interior group.[1008] The Horae or Seasons appear (without distinctive names) on the François vase at the nuptials of Peleus and Thetis, and on the Sosias cup[1009] in an Olympian assemblage (three in each case); also two of them at the sending forth of Triptolemos.[1010] The three Moirae (Fates) appear on the François vase (as above), and once also at the birth of Athena[1011]; the Furies have already been discussed.[1012]

* * * * *

V. The personifications having reference to physical conditions (as distinguished from ethical ideas) are comparatively few in number. They include Hebe (Youth), who by virtue of her divine attributes has already been discussed in another section (p. 77); Hygieia (Health), who is also a fully developed goddess, but only once occurs on a vase, except among the somewhat vague personifications surrounding Aphrodite (see pp. 43, 76]); and three others, regarded as of masculine sex. These are Geras (Old Age), Hypnos (Sleep), and Thanatos (Death). Geras is seen in combat with Herakles[1013]; Thanatos has already been discussed (p. 71). Hypnos as a winged youth hovers over Alkyoneus, whom Herakles overcame while asleep[1014]; causes Ariadne to sleep while Theseus escapes[1015]; and with Thanatos carries the body of Memnon,[1016] or an ordinary mortal,[1017] to the tomb.

* * * * *

VI. Social advantages as apart from ethical qualities are perhaps difficult to determine exactly; but we may fairly rank under this heading such ideas as are suggested by Chrysos (Gold) and Ploutos (Wealth); Eirene (Peace); Nike (Victory); and the numerous attendants of Aphrodite and Dionysos, such as Eunomia, Eudaimonia, and others already named (pp. 43, 65). Chrysos and Ploutos as boys accompany Nike in her chariot[1018]; Eirene’s appearance on vases is doubtful, but she may appear in one instance carrying the infant Ploutos.[1019] The birth of Ploutos seems to be represented in one instance.[1020]

But by far the most important personage in this class is =Nike (Victory)=, whose appearance as a winged female figure is so often attested by inscriptions on R.F. vases that she can generally be identified with certainty. She is especially popular as a single figure on the Nolan amphorae and lekythi of the “severe” and “strong” periods, some of which are conspicuously beautiful examples.[1021] Altogether her appearances rival those of Eros in number, though on the Italian vases they are far fewer. Whether Nike ever occurs on B.F. vases is a very doubtful point, and has been denied by many scholars, but some figures are not easy to explain in any other way.[1022] On other works of art she does not appear before 480 B.C., unless the “Nike” of Archermos is to be so identified; it seems probable that she was an offshoot from Athena, whom we know to have been worshipped under the name of Nike, as in her temple on the Athenian Acropolis.

She is frequently associated with the gods, either in scenes from mythology or in groups apart from action[1023]; usually she pours libations to them, or crowns them in reference to some achievement. Thus we find her with Zeus,[1024] with Hera,[1025] with Athena,[1026] with Poseidon and Dionysos,[1027] with Apollo (especially at his victory over Marsyas),[1028] with Artemis Elaphebolos,[1029] and with Aphrodite.[1030] She frequently crowns or pours libations to Herakles, or attends him at his apotheosis[1031]; on the later vases she takes Athena’s place in conveying him in a chariot to Olympos.[1032]

Among the numerous mythological events in which Nike plays a more or less symbolical part may be mentioned the Gigantomachia, in which she drives Zeus’ chariot,[1033] the birth of Athena,[1034] the sending of Triptolemos,[1035] the Judgment of Paris,[1036] the birth of Dionysos[1037] and that of Erichthonios,[1038] and the punishment of Ixion.[1039] Among Trojan scenes she appears with Achilles arming,[1040] at his (supposed) fight with Telephos and possibly also at that with Memnon,[1041] and at the carrying off of the Palladion.[1042] She is also seen with Herakles in the Garden of the Hesperides,[1043] with the Dioskuri,[1044] with Perseus and Bellerophon,[1045] with Orestes at Delphi[1046]; crowning Hellas as the victor over the Persians[1047]; and in many scenes with Dionysos.[1048]

More numerous and characteristic, however, are the scenes in which she appears as a single figure, or associated with mortals, usually victorious warriors or athletes. As a single figure she most commonly pours a libation over an altar,[1049] or flies towards the altar bearing a torch, incense-burner, lyre, tripod, sash, or other attribute[1050]; in one case (unless Iris is intended) a jug and caduceus.[1051] Especially characterised as the goddess of Victory, she often holds a palm-branch.[1052] She frequently takes part in religious and sacrificial ceremonies, such as the decoration or dedication of a choragic tripod,[1053] or burns incense,[1054] or herself sacrifices a ram or bull.[1055] The last-named subject is, however, commoner on gems and a certain class of terracotta reliefs.[1056] On one vase she gives drink to a bull[1057]; or, again, she rides on a sacrificial bull[1058]; or places a hydria on a fountain or altar.[1059] She pursues a hare, doe, or bird,[1060] or offers a bird to a youth.[1061] On the later Panathenaic amphorae and elsewhere she holds the ἀκροστόλιον or stern-ornament of a ship[1062]; and sometimes she erects a trophy.[1063]

She appears in a chariot drawn by female Centaurs,[1064] or accompanied by Chrysos and Ploutos (see above),[1065] and she also conducts a victorious warrior in this manner.[1066] In other instances she pours a libation to a warrior,[1067] who is sometimes inscribed with a fanciful name[1068]; or, again, as anticipating his victory, she brings him his helmet.[1069] She is, however, more frequently seen in athletic scenes, crowning a victorious athlete,[1070] rider,[1071] or charioteer,[1072] or superintending the games in the palaestra,[1073] torch-races,[1074] or the taking of an oath by an athlete.[1075] In musical contests she performs the same functions, crowning or pouring libations to a successful performer.[1076] She crowns a successful potter in his workshop,[1077] and also a poet (?).[1078] A being of similar character, who may perhaps be recognised in the figure of a winged youth on some B.F. and early R.F. vases, is Agon, the personification of athletic contests.[1079]

On the later R.F. vases the figure of Nike is often duplicated, probably more to produce a balanced composition than for any other reason.[1080]

* * * * *

VII. The next class of personifications is that of abstract ethical ideas. Even on the earlier vases there are found a considerable number of these, such as Eris (Strife); but on the later, unlimited play is given to the tendency of the age (seen also in sculpture and painting) to invest every abstract idea with a personality, apart from any idea of deification or mythological import.

Among these, by far the most numerous examples are, of course, those relating to the passion of Love. We have already traced the development of the type and conception of Eros in vase-paintings, and in the same place we have had occasion to speak of the associated ideas which became personified as subsidiary conceptions to that of Love, such as Peitho (Persuasion), Pothos (Yearning), and Himeros (Charm), Phthonos (Envy or Amor invidiosus), and Talas (Unfortunate or Unrequited Love).[1081] Of a similar type are the feminine conceptions associated with Aphrodite-Eudaimonia (Happiness), Euthymia (Cheerfulness), and the like.[1082]

Among other abstract ideas are those of Arete (Virtue) and Hedone (Pleasure), which have been suggested as represented on one vase.[1083] On a R.F. vase in Vienna, Dike (Justice) is seen overcoming Adikia (Injustice)[1084]; Apate (Deceit) on the vase with Dareios in council beguiles the goddess Asia with bad advice,[1085] and also leads Tereus astray[1086]; Phobos (Fear) drives the chariot of Ares when he assists Kyknos against Herakles[1087]; he is specially associated with the god of war, the idea being that of inducing panic among enemies; and in many cases his head appears, like that of the Gorgon, as a device on shields.[1088] In one instance he appears as a lion-headed monster.[1089] Artemis, in the capacity of Aidos (Shame), hinders Tityos from carrying off Leto.[1090] Eris (Strife) appears on B.F. vases as a winged female figure running, in scenes of combat, chariot-races, etc., or as a single figure.[1091] But the identification is not always certain; in some combat scenes it is possible that Ate or a Ker is meant, and in those of an agonistic character we may see Agon, the personification of athletics (see above, p. 89).[1092]

* * * * *

VIII. The metaphysical ideas next to be discussed are almost exclusively punitive agencies, either connected with scenes in the under-world (Ananke, Poinae, and the Furies), or bringing down penalties and disasters on the heads of wrong-doers, such as the personifications of madness which occur in many of the tragic subjects on Apulian vases.

In the first group we reckon Ananke (Necessity) and the Poinae (Punishments), who appear with the Furies in a scene from the under-world,[1093] Ate or Ker (Destiny), a winged figure seen at the death of Hector[1094] and at the madness of Lykourgos[1095]; and Nemesis (Vengeance) in the scene between Atreus and Thyestes,[1096] with reference to its fate-fraught character. In less tragic circumstances the latter is present in a bridal scene, with attributes of a flower and an apple.[1097] The Moirae or Fates have already been mentioned (p. 83), as has Themis or Divine Ordinance (p. 74).

The second group includes Lyssa (Frenzy), who drives Aktaeon, Hippolytos, and Lykourgos to madness or destruction[1098]; Mania (Madness), who similarly drives Herakles to slay his children[1099]; and Oistros (E.g. a Gad-fly), who performs similar functions when Medeia is about to slay hers.[1100]

* * * * *

IX. Personifications relating to social enjoyments, such as games, the drama, or banquets, are closely analogous to many of those described under headings III. and VI., and occur in the same connection. Thus in Dionysiac scenes we find Choro (Dance), Molpe (Song), Dithyrambos, Hedymeles (Sweet Song), Komos (Revelry), Komodia and Tragoedia (Comedy and Tragedy), and Pannychis and Kraipale, typifying all-night revels and their consequences.[1101]

* * * * *

X. Finally, there are what M. Pottier has described as personifications of individualities, under which heading fall many conceptions which do not find a place in any of the classes already discussed. Among these are many of the names given to Maenads and Satyrs (p. 65), which are intermediate between personal names and embodiments of abstract or physical ideas, some inclining more to one side, some to the other. Of these it is only necessary to mention as illustrative of the present subject the Mainas[1102] and the Nymphe[1103] found as names of individuals on several vases, and the Oinopion or “Wine-drinker” on vases by Exekias.[1104]

To the same class belong the names given to Nymphs of various kinds, such as the Nereids (see p. 26) or the Hesperides. The latter are named on one vase[1105] as Asterope, Chrysothemis, Hygieia, and Lipara; on another[1106] as Aiopis, Antheia, Donakis, Kalypso, Mermesa, Nelisa, and Tara.

Of more general signification, and sometimes perhaps to be regarded as descriptive titles rather than names, are such as Archenautes (Ship-captain),[1107] Komarchos (Master of Revels),[1108] or Paidagogos (Tutor).[1109] On the other hand, Neanias, Komos, Paian (given to boys at play),[1110] and Eutychia (on the tomb of a woman)[1111] may be merely fanciful personal names.

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Footnote 621:

B.M. B 589, B 693; B 180 (between vine-poles); Bibl. Nat. 176; Hartwig, pl. 30, fig. 2 (Hieron); Branteghem Coll. No. 28 (Hermaios); Athens 1583 = Rayet and Collignon, p. 291; Amer. Journ. of Arch. 1900, pl. 1, p. 185 (Duris in Boston).

Footnote 622:

Petersburg 880 = Reinach, i. 13.

Footnote 623:

B.M. F 194.

Footnote 624:

B.M. E 257.

Footnote 625:

Wiener Vorl. 1890–91, pl. 7, fig. 2 (Nikosthenes in Boston).

Footnote 626:

B.M. E 439.

Footnote 627:

B.M. E 362.

Footnote 628:

Athens 1583 = Rayet and Collignon, p. 291.

Footnote 629:

Bibl. Nat. 576 = Hartwig, Meistersch. pl. 33, 1.

Footnote 630:

Reinach, ii. 35.

Footnote 631:

Ibid. i. 159.

Footnote 632:

B.M. B 225, B 378, B 426, E 102; Louvre F 133; Petersburg 855 = Reinach, i. 18.

Footnote 633:

B.M. E 429; Millin-Reinach, i. 60, ii. 17; Reinach, i. 168, ii. 302.

Footnote 634:

Reinach, ii. 32 (cf. Triptolemos).

Footnote 635:

Bourguignon Sale Cat. 57; Mon. Grecs, 1879, pl. 3.

Footnote 636:

B.M. B 79.

Footnote 637:

Mus. Greg. ii. 3, 3_E.g._.

Footnote 638:

Munich 339 = Reinach, ii. 36 = Wiener Vorl. 1888, 7, 1.

Footnote 639:

Cat. 969 = Reinach, i. 415: see p. 178.

Footnote 640:

B.M. E 182; Bibl. Nat. 219 = Mon. di Barone, pl. 1; Reinach, i. 1 and 3 = Petersburg 1792 and 1793; and see p. 19.

Footnote 641:

B.M. E 492; Reinach, i. 93, 122; Helbig 103 = Rayet and Collignon, p. 223.

Footnote 642:

Petersburg 2007 = Reinach, i. 7.

Footnote 643:

Bibl. Nat. 440 = Reinach, ii. 260.

Footnote 644:

Reinach, i. 93.

Footnote 645:

Baumeister, i. p. 434, fig. 483: cf. B.M. E 695 (doubtful).

Footnote 646:

B.M. F 271; Naples 3219 = Reinach, i. 125 and 3237 = Millingen-Reinach, 1 = Baumeister, ii. p. 834, fig. 918.

Footnote 647:

Naples 3237 = Millingen-Reinach, 2 = Baumeister, ii. p. 835, fig. 919.

Footnote 648:

B.M. E 775 = Fig. 131; Munich 807 = Baumeister, ii. p. 1204, fig. 1396; Jahrbuch, vii. (1892), pl. 5, p. 154 (Dionysos not present); and see below, p. 142.

Footnote 649:

B.M. B 149, B 153, E 166.

Footnote 650:

B.M. F 194 (D. with bull’s head).

Footnote 651:

Naples S.A. 172 = Reinach, i. 498: cf. Louvre F 136 and F 311 (Reinach, i. 144).

Footnote 652:

Berlin 1904.

Footnote 653:

B.M. B 347 (Hermes and Apollo); Bibl. Nat. 231; Athens 903 (Ares, Hermes, Herakles); Munich 157; Reinach, i. 8 (Petersburg 1807), 203, ii. 24, 42, and 75 (Munich 47, 609, 62), 30, 35, 74.

Footnote 654:

B.M. B 302; E 66 (Herakles).

Footnote 655:

B.M. E 410.

Footnote 656:

B.M. B 200, B 201, B 318–21; Berlin 1961, 2278.

Footnote 657:

Berlin 3257.

Footnote 658:

Munich 773; and see Overbeck, Her. Bildw. p. 210.

Footnote 659:

Berlin 1732 = Reinach, ii. 66.

Footnote 660:

B.M. E 65.

Footnote 661:

See p. 17.

Footnote 662:

B.M. B 253, E 8, E 303, E 443; Bibl. Nat. 230; and see p. 14.

Footnote 663:

Boston Mus. Report, 1900, No. 14 (Maenads); Froehner, Musées de France, pl. 6 (Seileni).

Footnote 664:

Petersburg 1600 = Reinach, i. 25; Bibl. Nat. 391 = Froehner, Musées de France, pl. 8.

Footnote 665:

B.M. B 168 (?): see Reinach, ii. 38 and p. 30.

Footnote 666:

B.M. E 445.

Footnote 667:

B.M. B 203.

Footnote 668:

B.M. E 444; Reinach, i. 203: see note 653, p. 56.

Footnote 669:

Berlin 2179 = Wiener Vorl. iii. 6.

Footnote 670:

B.M. F 171 (crowned by Nike); Athens 667; Forman Sale Cat. 356.

Footnote 671:

Millin-Reinach, ii. 43 (doubtful); Baumeister, i. p. 618, fig. 687.

Footnote 672:

B.M. B 198, B 256–59, E 129, E 279, F 307; Reinach, i. 161 = Baumeister, i. p. 441, fig. 491; Millin-Reinach, ii. 16, 49 A (D. throws himself into arms of A.).

Footnote 673:

B.M. B 204, 206, 208, F 1, 69.

Footnote 674:

Würzburg, Phineus cup = Reinach, i. 201 = Furtwaengler and Reichhold, pl. 41 (lions and stags).

Footnote 675:

B.M. E 546; Jatta 1092 = Reinach, i. 482.

Footnote 676:

Petersburg 1427 = Reinach, i. 18.

Footnote 677:

Reinach, ii. 37, 6.

Footnote 678:

B.M. B 179; Micali, Storia, 86.

Footnote 679:

B.M. B 206.

Footnote 680:

B.M. B 302, B 476, B 556; Bibl. Nat. 433 = Millin-Reinach, i. 38; Cambridge 48.

Footnote 681:

Millin-Reinach, i. 37.

Footnote 682:

Reinach, i. 215.

Footnote 683:

B.F.: B.M. B 206, B 300 = Fig. 120, B 427; Reinach, ii. 141 and i. 203 = Wiener Vorl. D. 1, 3 (D. in chariot). R.F.: B.M. E 16, 55, 75, 228, 362, 462; Berlin 2471 = Coll. Sabouroff, i. 55; Bibl. Nat. 357 = Monuments Piot, vii. pl. 2; Roscher, iii. p. 2118. Late: B.M. F 1, 77, 179, 303–4; Reinach, ii. 200. See also p. 61.

Footnote 684:

See B.M. Cat. and Reinach, E.g.; B.M. B 148, E 110, 253, 503, F 149; Berlin 2174; Bibl. Nat. 222 = Reinach, ii. 251; Louvre F 3, F 5, F 101, F 124, F 204, G 43.

Footnote 685:

B.M. E 350 (receiving wine from Nymph).

Footnote 686:

B.M. E 184.

Footnote 687:

Berlin 2402 = Coll. Sabouroff, i. 57; Berlin 2290 = Baumeister, i. p. 555, fig. 592 (Hieron); Reinach, ii. 155 = Wiener Vorl. 1889, 4, 5 (Taleides), and ii. 289, 6.

Footnote 688:

B.M. E 465, F 153.

Footnote 689:

Reinach, ii. 301.

Footnote 690:

B.M. E 511, F 56.

Footnote 691:

B.M. F 37, 275; in F 273 Ariadne similarly occupied.

Footnote 692:

B.M. E 66, E 786.

Footnote 693:

Anzeiger, 1895, p. 40.

Footnote 694:

Jahrbuch, i. (1886), p. 278: cf. B.M. F 188.

Footnote 695:

Hartwig, Meistersch. pl. 6 = Louvre G 34.

Footnote 696:

Ibid. pls. 38–39, 1, and see p. 181.

Footnote 697:

Athens 1282–83 = Bull. de Corr. Hell. 1895, p. 98.

Footnote 698:

B.M. E 703, F 152; Millin-Reinach, ii. 16 and ii. 40.

Footnote 699:

B.M. F 114; Millin-Reinach, ii. 21.

Footnote 700:

Reinach, ii. 38.

Footnote 701:

B.M. B 210; Bourguignon Sale Cat. 18 (both Exekias).

Footnote 702:

B.M. E 228, 241, 435, F 163, 270; Reinach, ii. 301; Millingen-Reinach, 2.

Footnote 703:

B.M. E 228, F 203, F 253.

Footnote 704:

B.M. F 437.

Footnote 705:

Petersburg 2161.

Footnote 706:

B.M. F 83, 381.

Footnote 707:

B.M. F 163; Munich 848 = Reinach, i. 383.

Footnote 708:

Naples 3240 = Reinach, i. 114 = Baumeister, i. pl. 5, fig. 422.

Footnote 709:

Minervini, Mon. du Barone, pl. 7.

Footnote 710:

B.M. E 451–52, 471; Berlin 1930, 2290 (= Wiener Vorl. A. 4); Naples 2419 = Furtwaengler and Reichhold, pls. 36–7 (see Vol. I. p. 141); Schreiber-Anderson, pl. 14, 8.

Footnote 711:

Berlin 2029; Naples 2411 = Reinach, i. 154.

Footnote 712:

Bologna 286.

Footnote 713:

B.M. B 332.

Footnote 714:

See p. 17; and cf. B.M. B 42 (Plate XXI.).

Footnote 715:

See pp 22, 76; also Berlin 2591.

Footnote 716:

Froehner, Musées de France, pl. 21 and p. 69 ff.; Reinach, i. 144, 228; Harrison, Prolegomena to Gk. Religion, p. 277; and see pp. 29, 73.

Footnote 717:

See p. 60, note 710.

Footnote 718:

B.M. E 505.

Footnote 719:

Reinach, i. 472, ii. 198.

Footnote 720:

B.M. B 203–4, 206, 427, F 58, 77, 80–1, 156.

Footnote 721:

B.M. F 75–6, 276; Louvre F 120, F 124 (= Wiener Vorl. 1890, 5, 3), G 33, G 57; Naples 3113, 3241 (= Reinach, i. 384); Munich 184 = Furtwaengler and Reichhold, pl. 46 (Hieron); Gaz. Arch. 1887, 15 (Hieron in Brussels); Hartwig, Meistersch. pls. 6, 31–2.

Footnote 722:

Hartwig, E.g. pl. 5; Wiener Vorl. E. 12, 1; Mus. Greg. ii. 79, 2_E.g._; B.M. B 297 (Plate XXX.); Satyr as single figure, Louvre G 24.

Footnote 723:

B.M. E 35, E 768; Hartwig, E.g. pl. 45 (Hieron); Cambridge 48.

Footnote 724:

B.M. F 133; Naples 2419 = Furtwaengler and Reichhold, pl. 37; Forman Sale Cat. 352.

Footnote 725:

B.M. B 296; Reinach, ii. 75 (Munich 62), 141; Karlsruhe 259 = Furtwaengler and Reichhold, pl. 30; Amer. Journ. of Arch. 1900, pp. 188–189; Vienna 231.

Footnote 726:

Louvre F 334.

Footnote 727:

B.M. B 426; Bibl. Nat. 320; Petersburg 9 = Reinach, ii. 24; J.H.S. 1899, pl. 5; Wiener Vorl. 1890–91, pl. 3, 2 (Nikosthenes).

Footnote 728:

B.M. E 510.

Footnote 729:

B.M. E 437, E 439, F 49, F 227.

Footnote 730:

B.M. E 319; Mus. Greg. ii. 72, 2_E.g._; Munich 408 = Furtwaengler and Reichhold, pls. 44–5.

Footnote 731:

B.M. E 555; Berlin 2241; Naples S.A. 313; Reinach, i. 340, ii. 261 (Bibl. Nat. 852).

Footnote 732:

B.M. B 265, E 368; Bibl. Nat. 539 = Reinach, ii. 261; Él. Cér. i. 45; Louvre F 161, F 381, G 34 (= Hartwig, pl. 6), G 46.

Footnote 733:

B.M. F 192; Munich 184 = Furtwaengler-Reichhold, pl. 46 (Hieron); Reinach, i. 223 = Wiener Vorl. D. 5; and cf. Adamek, Vasen des Amasis, pl. 2 (in Berlin).

Footnote 734:

Sale Cal. Hôtel Drouot, 11 May, 1903, No. 62.

Footnote 735:

Reinach, i. 201.

Footnote 736:

Roscher, i. 1998.

Footnote 737:

Munich 332 = Baumeister, ii. p. 847, fig. 928.

Footnote 738:

B.M. E 253, and cf. E 510; Bibl. Nat. 357 = Monuments Piot, vii. pl. 3; Munich 372 = Reinach, ii. 117; and cf. J.H.S. xix. p. 220.

Footnote 739:

B.M. E 357; Karlsruhe 242; Reinach, i. 281 (?); Hartwig, Meistersch. p. 32.

Footnote 740:

Athens 1353 = Bull. de Corr. Hell. 1895, p. 95; Bibl. Nat. 357 = Monuments Piot, vii. pl. 2; Munich 807 = Millingen-Reinach, pl. 5.

Footnote 741:

Louvre F 311 = Reinach, i. 144.

Footnote 742:

B.M. B 284 (?), B 486 (?); Reinach, ii. 77; Millin-Reinach, ii. 12.

Footnote 743:

B.M. B 515, E 567.

Footnote 744:

Millin-Reinach, ii. 49 A.

Footnote 745:

Munich 542; Stackelberg, 24; Forman Sale Cat. 331 (as racing charioteers, driving Maenads).

Footnote 746:

B.M. E 377; Louvre G 73 (trumpeting); Froehner, Musées de France, pl. 6; and see p. 56, note 663.

Footnote 747:

B.M. E 3 (with pelta and trumpet); Louvre G 89.

Footnote 748:

B.M. E 539.

Footnote 749:

Millin-Reinach, i. 20.

Footnote 750:

Inghirami, Mus. Chius. 208.

Footnote 751:

B.M. E 487.

Footnote 752:

B.M. E 108.

Footnote 753:

See Vol. I. p. 216, Fig. 68.

Footnote 754:

Berlin 2589 = Baumeister, iii. p. 1684, fig. 1766.

Footnote 755:

Helbig, 186 = Mus. Greg. ii. 80, 1_E.g._.

Footnote 756:

Berlin 2550.

Footnote 757:

B.M. B 148.

Footnote 758:

Berlin 2578.

Footnote 759:

B.M. B 168; Reinach, ii. 98; with a mouse, Reinach, i. 500.

Footnote 760:

B.M. E 102; B 168.

Footnote 761:

B.M. E 139, E 338.

Footnote 762:

Millingen-Reinach, 59.

Footnote 763:

Boston Mus. Report, 1900, No. 14.

Footnote 764:

Inghirami, Vasi Fitt. ii. 199.

Footnote 765:

Berlin 2240; B.M. F 363; Wiener Vorl. C. 7, 1; Hartwig, Meistersch. pl. 45, p. 28; Forman Sale Cat. 331.

Footnote 766:

B.M. E 24, E 261; Hartwig, E.g.

Footnote 767:

Munich 139; Reinach, i. 460; Hartwig, pls. 7 and 44, 1.

Footnote 768:

B.M. E 35, E 530, E 768.

Footnote 769:

Berlin 2267 = Hartwig, E.g. pl. 2, 1.

Footnote 770:

Reinach, ii. 303.

Footnote 771:

Bourguignon Cat. 57; Louvre G 91.

Footnote 772:

B.M. E 387, E 467.

Footnote 773:

B.M. B 560, E 583; Berlin 2243; Louvre F 204 = Amer. Journ. of Arch. 1896, p. 14; Baumeister, i. p. 555, fig. 592.

Footnote 774:

Naples 3235 = Reinach, i. 103 = Roscher, iii. 861.

Footnote 775:

J.H.S. vii. pl. 62, p. 54.

Footnote 776:

B.M. F 273; Reinach, ii. 201, 235; Naples 2846; Bourguignon Cat. 41, 57.

Footnote 777:

See Loeschcke in Ath. Mitth. 1894, p. 521.

Footnote 778:

Vol. I. pp. 353, 355, and p. 208 below.

Footnote 779:

See generally Heydemann, Satyr- u. Bakchennamen.

Footnote 780:

Cat. 2471.

Footnote 781:

Reinach, ii. 268.

Footnote 782:

E 65.

Footnote 783:

See also Jatta Coll. 1093; B.M. E 253; Naples 2369; Roscher, iii. p. 2118; De Witte, Coll. à l’Hôtel Lambert, pls. 13, 27. For Terpon see also Reinach, i. 203, and Hartwig, Meistersch. pl. 6.

Footnote 784:

B.M. E 253.

Footnote 785:

Reinach, i. 249; Roscher, iii. p. 2115.

Footnote 786:

De Witte, Coll. à l’Hôtel Lambert, 27.

Footnote 787:

Reinach, ii. 200.

Footnote 788:

Munich 384 = Reinach, i. 130 (see Heydemann, E.g. pp. 25, 36: cf. Hydris, B.M. E 65).

Footnote 789:

Heydemann, Satyr- u. Bakchennamen, p. 29 (E.g.).

Footnote 790:

B.M. E 82; Berlin 2471, 2532; Naples 2369; Reinach, i. 426, ii. 6, 38, 200.

Footnote 791:

Berlin 2532.

Footnote 792:

Reinach, ii. 287 (name also read as Molpos).

Footnote 793:

Ibid. ii. 302.

Footnote 794:

Berlin 2160.

Footnote 795:

Munich 780; Naples 2369, 3235; Jatta 1093; Reinach, ii. 268.

Footnote 796:

Naples 3235.

Footnote 797:

Bologna 286.

Footnote 798:

Naples 2369.

Footnote 799:

Heydemann, E.g. p. 28 (x).

Footnote 800:

Jatta 1093; Reinach, ii. 302.

Footnote 801:

Jatta 1093.

Footnote 802:

Berlin 3257.

Footnote 803:

B.M. E 253.

Footnote 804:

Reinach, ii. 6.

Footnote 805:

Jatta 1093.

Footnote 806:

Reinach, ii. 3 = Millin-Reinach, i. 9; Reinach, ii. 38.

Footnote 807:

Heydemann, E.g. p. 29 (β).

Footnote 808:

Ibid. (α).

Footnote 809:

B.M. E 492; Naples 2419; Karlsruhe 208; De Witte, Coll. à l’Hôtel Lambert, 13.

Footnote 810:

B.M. E 350: cf. Nymphe on Berlin 2471.

Footnote 811:

Jatta 1093.

Footnote 812:

B.M. E 182; Heydemann, p. 20 (X) = Dubois-Maisonneuve, Introd. 22.

Footnote 813:

Naples S.A. 316; Heydemann, p. 19 (U).

Footnote 814:

Heydemann. p. 19 (U).

Footnote 815:

Gerhard, Ant. Bildw. pl. 59.

Footnote 816:

Naples S.A. 172 = Reinach, i. 498.

Footnote 817:

Pourtalès Cat. 29, 2.

Footnote 818:

Naples 3235, 2419.

Footnote 819:

Heydemann, p. 29 (z).

Footnote 820:

Naples 2883.

Footnote 821:

Strena Helbigiana, p. 111 = Boston Mus. Report, 1900, No. 20.

Footnote 822:

B.M. E 183.

Footnote 823:

B.M. B 261, B 425, F 332 (Plate XLV.).

Footnote 824:

Munich 728; Mus. Greg. ii. 21, 1; and see Nos. 1–7 in the list given below.

Footnote 825:

B.M. E 82, F 68.

Footnote 826:

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

Footnote 827:

Millin-Reinach, ii. 10; Ber. d. sächs. Gesellsch. 1855, pls. 1–2.

Footnote 828:

Roscher, i. p. 1802.

Footnote 829:

See below, p. 99, and J.H.S. xviii. p. 296 (Hades is frequently present).

Footnote 830:

See Nos. 1–4, 7, 8, 11; for Eurydike, Nos. 7–9.

Footnote 831:

See Nos. 1–3 and 12–14; also Munich 153, and Louvre F 382.

Footnote 832:

See No. 1; for the rock version of the legend, cf. Pind. Ol. i. 90.

Footnote 833:

Nos. 2, 3, 5, 6; B.M. F 210; Munich 153 = Baumeister, iii. p. 1924, fig. 2040; Reinach, i. 408 (parody).

Footnote 834:

Nos. 3, 4, 9 (P. only), and 11.

Footnote 835:

No. 10.

Footnote 836:

No. 1.

Footnote 837:

Nos. 1, 2, 5, 9.

Footnote 838:

Nos. 1–6, 10, 11.

Footnote 839:

Nos. 1, 4, 10.

Footnote 840:

No. 2 (see Baumeister, iii. p. 1928).

Footnote 841:

No. 3.

Footnote 842:

Nos. 1–5, 8.

Footnote 843:

Nos. 3, 6, 10.

Footnote 844:

Nos. 2, 3, 9.

Footnote 845:

No. 11.

Footnote 846:

See Nos. 5 and 8.

Footnote 847:

Nos. 1–3: cf. Od. xi. 269, and Paus. x. 29, 7.

Footnote 848:

No. 2.

Footnote 849:

No. 1.

Footnote 850:

Reinach, i. 408 (parody): cf. Paus. x. 29, 1.

Footnote 851:

B.M. E 155; Berlin 3023 = Reinach, i. 330 = Baumeister, i. p. 767, fig. 821; and No. 5 above.

Footnote 852:

B.M. D 61; Berlin 2455, 2680, 2681 (= Reinach, i, 457); Munich 209 = Baumeister, i. p. 378, fig. 414 (Fig. 122); Athens 1660–62 (= Ant. Denkm. i. 23); ibid. 1663, 1665 (= Bull. de Corr. Hell. i. pls. 1–2).

Footnote 853:

B.M. F 486; Vienna 448 = Reinach, i. 343; Reinach, i. 220; Helbig, 121 = Reinach, ii. 121 is doubtful.

Footnote 854:

Bibl. Nat. 918 = Reinach, i. 395 = Dennis, Etruria, ii. frontispiece.

Footnote 855:

Bibl. Nat. 920 = Reinach, i. 88.

Footnote 856:

See above, p. 69, note 838.

Footnote 857:

See No. 5 above.

Footnote 858:

See below, p. 138.

Footnote 859:

Boston Mus. Report for 1899, No. 38.

Footnote 860:

Reinach, i. 475.

Footnote 861:

Ibid. i. 204, 290 (Berlin 3072).

Footnote 862:

Naples 3221 = Ibid. i. 402.

Footnote 863:

B.M. F 155: see below, p. 141.

Footnote 864:

No. 8 above.

Footnote 865:

Bibl. Nat. 269.

Footnote 866:

See above, p. 69, note 843.

Footnote 867:

B.M. F 68; Petersburg 525 = Reinach, i. 11.

Footnote 868:

B.M. E 183; Reinach, ii. 324.

Footnote 869:

Petersburg 1792 = Reinach, i. 1: cf. Rev. Arch. xxxvi. (1900), p. 93.

Footnote 870:

B.M. F 277; Reinach, i. 99 (and see i. 155); E.g. i. 522, 1, and Baumeister, i. p. 423, fig. 463.

Footnote 871:

Él. Cér. iii. 37 A.

Footnote 872:

See Ubell, Thanatos, p. 22 ff. He doubts the possibility of the identification of Thanatos on Greek vases.

Footnote 873:

Athens 1093 = Roscher, ii. 2678; Reinach, i. 149 = Baumeister, i. p. 727, fig. 781: cf. Louvre F 388 (where Pottier identifies the warrior as Sarpedon).

Footnote 874:

B.M. D 58 (= Fig. 123), E 12 (= Wiener Vorl. D. pl. 3, figs. 1–2); Athens 1654 = Dumont-Pottier, i. pl. 29; Arch. Anzeiger, 1893, p. 86 (in Berlin); with body of woman, Athens 1653 = Dumont-Pottier, i. pls. 27–28, and Jahrbuch, 1895, pl. 2. All but two of these are funeral lekythi.

Footnote 875:

Reinach, i. 278.

Footnote 876:

B.M. E 155.

Footnote 877:

Berlin 2157 = Jahrbuch, i. p. 211; Arch. Anzeiger, 1895, p. 37 (see under Herakles, p. 103, note 1172).

Footnote 878:

See J.H.S. xii. p. 340 (Ker seizing soul of fallen warrior); also for a Ker in combats, Reinach, ii. 63, 126 (Munich 781), 97 (in the latter case protecting Aeneas against Diomede); also i. 113 (Berlin 1713, 1714), 223, where they represent demons of good or evil according to the will of the gods.

Footnote 879:

See Robert, Thanatos, and J.H.S. xii. p. 345. The Ker hovering over Alkyoneus (see below, p. 100) in Reinach, i. 255, 451, may be a Hypnos (see Koepp in Arch. Zeit. 1884, p. 42 ff.).

Footnote 880:

B.M. D 54; Benndorf, Gr. u. Sic. Vasenb. pls. 14, 33; Athens 688 = Reinach, i. 165 = Roscher, ii. 1147; Stackelberg, pl. 48: and cf. Reinach, i. 347 (= Bourguignon Cat. 19) and Benndorf, E.g. pl. 42, 2; in the former the soul is armed; in the latter the winged figure may be the Κήρ. There often seems to be a confusion between the εἴδωλον or ghost and the Κήρ or Δαίμων, both in its functions and its art-form. Thus, on the vase given in J.H.S. xx. p. 101 (see p. 52), small winged figures like souls are seen flying out of the jar, which are here intended to represent evil spirits or maleficent ghosts, like the evils let out of the jar by Pandora.

Footnote 881:

B.M. B 639; Reinach, i. 89; Millin-Reinach, i. 19.

Footnote 882:

B.M. B 240, B 543; Berlin 1921.

Footnote 883:

Fig. 112, p. 14; Naples 2883 = Reinach, i. 181: cf. the beautiful conception on the Pergamene frieze.

Footnote 884:

B.M. E 182 and Petersburg 1792 = Reinach, i. 1; Reinach, i. 66, 113, 208.

Footnote 885:

B.M. E 278, Reinach, i. 244 (Louvre E 864), 245, 249; B.M. B 196.

Footnote 886:

B.M. B 168, B 213; Él. Cér. ii. 1, 2.

Footnote 887:

Bibl. Nat. 298 = Reinach, i. 249, 4 = J.H.S. xx. p. 106, fig. 2 (and cf. ibid. xix. p. 235); Naples 3355 = Reinach, i. 248; Él. Cér. i. 53 = Reinach, i. 249, 6: cf. also B.M. F 147; Froehner, Musées de France, p. 69; Harrison, Prolegomena to Gk. Religion, p. 277; and see above, p. 29.

Footnote 888:

As on the vase J.H.S. xxi. pl. 1, p. 5: cf. Schol. in Ar. Av. 971, and Sophocles’ drama of Pandora or the Hammerers (Σφυροκόποι): see also Jahrbuch, vi. (1891), p. 113 ff., and for another explanation, Robert, Arch. Märchen, p. 194 ff. A vase in Berlin (Cat. 2646 = Reinach, i. 229 = J.H.S. xix. p. 232) represents the Ἄνοδος of Ge-Pandora, with Satyrs astonished at the sight.

Footnote 889:

Munich 558; Naples S.A. 287; Reinach, i. 129.

Footnote 890:

Hes. Theog. 116; Ar. Av. 696 ff.

Footnote 891:

Gaz. Arch. 1875, pl. 9.

Footnote 892:

Roscher, ii. p. 1550.

Footnote 893:

B.M. E 246: see J.H.S. xi. p. 343.

Footnote 894:

Berlin 2538 = Reinach, ii. 162.

Footnote 895:

Petersburg 1793 = Reinach, i. 3; but see below, p. 125.

Footnote 896:

Petersburg 1807 = Reinach, i. 7.

Footnote 897:

B.M. B 49 = Reinach, ii. 122; Millin-Reinach, i. 50.

Footnote 898:

See Ath. Mitth. xiii. (1888), p. 412 ff. and J.H.S. xiii. p. 77 ff.; also Vol. I. p. 391.

Footnote 899:

Ath. Mitth. 1888, pl. 9.

Footnote 900:

B.M. F 270: see Daremberg and Saglio, Dict., E.g. Cabeiri.

Footnote 901:

See above, p. 73, note 888, for representations of Ge-Pandora rising from the earth, which may be considered in connection with the creation of Pandora.

Footnote 902:

D 4.

Footnote 903:

E 467, 789; J.H.S. xxi. pl. 1 (here P. rises out of the ground, assisted by Epimetheus with his hammer; Zeus and Hermes are present).

Footnote 904:

J.H.S. xx. p. 101: see above, p. 52.

Footnote 905:

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

Footnote 906:

Berlin 1722 = Wiener Vorl. D. 9, 8, and another B.F. vase in Reinach, i. 388; Jahrbuch, iv. (1889), pls. 5–6, fig. 1.

Footnote 907:

Helbig, 275 = Reinach, ii. 48 = Baumeister, iii. p. 1411, fig. 1567.

Footnote 908:

B.M. F 148; Naples 3255 = Reinach, i. 236.

Footnote 909:

Berlin 3245 = Gerhard, Ges. Akad. Abhandl. pl. 19; Athens 957 = J.H.S. xiii. pl. 3 (H. bears the heavens).

Footnote 910:

Reinach, i. 471.

Footnote 911:

Athens 1926 = Reinach, i. 515. Possibly also on a Berlin vase (Arch. Anzeiger, 1890, p. 89) with a similar subject, which may, however, denote a “sepulchral banquet.” See Harrison, Prolegomena to Gk. Religion, p. 349.

Footnote 912:

B.M. E 224, E 698.

Footnote 913:

B.M. B 218, 244 (Fig. 113), E 410; Louvre E 861 and Berlin 1704 = Reinach, i. 156, 198.

Footnote 914:

Athens 1962.

Footnote 915:

Ibid. 466 = Plate XLVII.

Footnote 916:

B.M. E 720; Munich 351 = Reinach, ii. 46; Berlin 2248 = Benndorf, Gr. u. Sic. Vasenb. 27, 2; Bibl. Nat. 841 = Millin-Reinach, i. 62; Roscher, ii. p. 350 (with tablets; B.F. in Louvre).

Footnote 917:

Reinach, ii. 324; ibid. 325 = Él. Cér. i. 32 (may be Nike).

Footnote 918:

B.M. E 67; Bibl. Nat. 444; Reinach, i. 99, 339, 463: and see Arch. Anzeiger, 1895, p. 38 (Berlin).

Footnote 919:

B.M. E 65 = Reinach, i. 193; Berlin 2591: cf. Bibl. Nat. 840 = Reinach, ii. 260.

Footnote 920:

J.H.S. i. pl. 3.

Footnote 921:

B.M. E 467.

Footnote 922:

Berlin 1895.

Footnote 923:

François vase.

Footnote 924:

Reinach, i. 301.

Footnote 925:

B.M. R.F. amphora (uncatalogued).

Footnote 926:

Reinach, ii. 34.

Footnote 927:

Ibid. ii. 296: see p. 39.

Footnote 928:

Ibid. ii. 47.

Footnote 929:

Ibid. ii. 279.

Footnote 930:

B.M. E 381(?); Él. Cér. i. 20, 31 (= Reinach, ii. 9), 33 (= E.g. ii. 321).

Footnote 931:

B.F. (H. in chariot): B.M. B 201, 317; Bibl. Nat. 253 = Reinach, i. 399; Reinach, ii. 76, 161. In Olympos: B.F.: B.M. B 379. R.F.: Reinach, ii. 186.

Footnote 932:

Berlin 3257 = Baumeister, i. p. 630, fig. 700; Forman Sale Cat. 364; Reinach, ii. 8: see p. 108.

Footnote 933:

Berlin 2278 = Ant. Denkm. i. 9; Reinach, i. 157, 203; Roscher, iii. p. 2119 (with Aphrodite).

Footnote 934:

Jatta 1093; Reinach, i. 175.

Footnote 935:

Petersburg 1807 = Reinach, i. 7.

Footnote 936:

Mon. Grecs, 1889–90, p. 5 ff.: see also on the subject generally the article Personifikationen in Roscher’s Lexikon.

Footnote 937:

Él. Cér. ii. 62 = Reinach, ii. 287: see above, p. 32.

Footnote 938:

B.F.: Berlin 1983; Bibl. Nat. 220 and Reinach, ii. 211 = Él. Cér. ii. 115–116 (in the former case the solar disc is on his head). Late: B.M. F 305; Reinach, i. 258 (Karlsruhe 388), 368; Millin-Reinach, i. 16, ii. 49.

Footnote 939:

Reinach, i. 99, 100, 312 (Naples 3222), 291 = Él. Cér. ii. 114 (Hemera); Inghirami, Vasi Fitt. 394 (?see p. 79, note 954). In the last but one they step out of a boat.

Footnote 940:

Reinach, i. 232.

Footnote 941:

B.M. E 466 = Plate LIII. A general view in colours, Art Journal, Sept. 1904.

Footnote 942:

Reinach, i. 99.

Footnote 943:

Ibid. i. 100.

Footnote 944:

Ibid. i. 125.

Footnote 945:

Wiener Vorl. E. 11 = Jahrbuch, 1894, p. 252.

Footnote 946:

Reinach, i. 236.

Footnote 947:

Ibid. i. 109.

Footnote 948:

Cambridge 100 = Stackelberg, pl. 15; Athens 900 = J.H.S. xix. pl. 9.

Footnote 949:

B.M. E 252, 466, 776; Berlin 2519 = Coll. Sabouroff, i. 63; Reinach, i. 312 (Naples 3222), 451.

Footnote 950:

Berlin 2293 = J.H.S. xix. p. 268 (a fine R.F. kylix); Athens 1345 = J.H.S. xix. pl. 10. The figure in the chariot may be perhaps identified as Nyx; see Berlin 2519, where Selene rides a horse and another goddess drives a chariot; also B.M. E 776. See Art Journal, Sept. 1904, p. 290.

Footnote 951:

Petersburg 1793 = Reinach, i. 3.

Footnote 952:

Reinach, i. 402.

Footnote 953:

Ibid. ii. 319 = Él. Cér. ii. 118.

Footnote 954:

B.M. E 466 (Plate LIII.); Naples 3256 = Reinach, i. 100 (here as stars).

Footnote 955:

B.M. E 466; Reinach, i. 236, 291 (?), 339; Inghirami, Vasi Fitt. iv. 394 (?).

Footnote 956:

Bibl. Nat. 449 = Reinach, i. 129: cf. B.M. F 573, E 658, E 659, and Art Journal, Sept. 1904, p. 289.

Footnote 957:

But see above, note 950; p. 30, note 239.

Footnote 958:

R.F.: B.M. E 449, E 776 (? Nyx; see above); Helbig, 132 = Reinach, ii. 46. Late: Millin-Reinach, ii. 37 (with Hermes; vase by Lasimos in Louvre).

Footnote 959:

Millingen, Anc. Uned. Mon. i. 6 = Él. Cér. ii. 108 A = Roscher, i. 1257; De Witte, Coll. à l’Hôtel Lambert, pl. 6.

Footnote 960:

B.F.: Louvre E 702 = Reinach, i. 354. R.F.: B.M. E 72, 466; Reinach, i. 463 (= Bibl. Nat. 423), and ii. 81 (= Helbig, 80); Reinach, i. 107 = Hartwig, Meistersch. pls. 39–40 (by Hieron; may be either K. or T.); Bibl. Nat. 374 = Millin-Reinach, ii. 34. Late: Millin-Reinach, i. 48. Eos carrying K.: Berlin 2537 = Reinach, i. 208.

Footnote 961:

Oxford 275 = J.H.S. xiii. p. 137; Bibl. Nat. 846.

Footnote 962:

B.M. F 149.

Footnote 963:

Reinach, ii. 105; B.M. E 468: see Reinach, i. 144, ii. 254 (Bibl. Nat. 207).

Footnote 964:

Reinach, i. 156, 1.

Footnote 965:

Reinach, i. 347 = Bourguignon Sale Cat. 19; Millingen, Anc. Uned. Mon. i. pl. 5; Roscher, i. 1265 = Wiener Vorl. vi. 7.

Footnote 966:

B.M. B 104 = Vol. I. p. 351; and cf. Él. Cér. iii. 31 ff.

Footnote 967:

B.M. B 431, B 445; Forman Sale Cat. 318.

Footnote 968:

B.M. F 237.

Footnote 969:

B.M. B 212.

Footnote 970:

B.M. F 39; Berlin 2305 = Hartwig, Meistersch. pl. 72, 1; ibid. pl. 22, 1 (see p. 47, note 50612); and cf. Reinach, ii. 248; Philologus, 1893, p. 211.

Footnote 971:

B.M. D 59.

Footnote 972:

B.M. E 480, E 512; J.H.S. xviii. pl. 6; Berlin 2165 = Reinach, i. 352; Munich 376 = Reinach, i. 240 = Baumeister, i. p. 352, fig. 373; Reinach, i. 305; Helbig, 101 = Reinach, ii. 78 = Wiener Vorl. ii. 9; Rayet and Collignon, p. 299 (in Louvre).

Footnote 973:

Berlin 2165 = Reinach, i. 352.

Footnote 974:

Reinach, i. 346: cf. Serv. ad Aen. iii. 209; Ann. dell’ Inst. 1882, p. 90 ff.; Roscher, iii. p. 1566.

Footnote 975:

B.M. B 4, B 104: see Studniczka, Kyrene, p. 26, and J.H.S. xiii. p. 109 ff.

Footnote 976:

See below pagelink?], pp. 115, 116.

Footnote 977:

B.M. E 804 = J.H.S. xiii. p. 135.

Footnote 978:

B.M. F 277.

Footnote 979:

B.M. F 149.

Footnote 980:

Munich 384 = Reinach, i. 130; Reinach, i. 481.

Footnote 981:

De Witte, Coll. à l’Hôtel Lambert, pl. 11: cf. Reinach, i. 1.

Footnote 982:

B.M. E 228 (see note in Cat.); F 381.

Footnote 983:

See especially Studniczka, Kyrene, and on the subject generally, J.H.S. ix. p. 47 ff.

Footnote 984:

Naples 3253 = Reinach, i. 194.

Footnote 985:

Naples 3256 = Reinach, i. 98.

Footnote 986:

B.M. F 271.

Footnote 987:

B.M. E 140 = Plate LI.

Footnote 988:

Naples 3226 = Millingen, Anc. Uned. Mon. i. pl. 27; Millin-Reinach, ii. 7 (in Louvre); Berlin 2634 = Roscher, ii. 837.

Footnote 989:

G 104.

Footnote 990:

B.M. B 319; Naples 3255 = Reinach, i. 235; ibid. i. 466 (Petersburg 523), ii. 51.

Footnote 991:

B.M. E 48, 74, 84; Ant. Denkm. ii. 1: see Arch. Zeit. 1885, p. 116, and Loeschcke in Dorpater Programm for 1887.

Footnote 992:

Boston Mus. Report, 1900, p. 63.

Footnote 993:

B.M. B 4, B 6. See Vol. I. p. 341 ff.

Footnote 994:

See above, pp. 19, 24.

Footnote 995:

See above, p. 19.

Footnote 996:

Reinach, ii. 144: see Paus. iii. 1, 2, and 18, 10; Apollod. iii. 10, 3, 1; Hartwig, Meistersch. p. 491, note.

Footnote 997:

De Witte, Coll. à l’Hôtel Lambert, pl. 28.

Footnote 998:

Jatta 1501 = Furtwaengler and Reichhold, pl. 38.

Footnote 999:

Naples 3235 = Reinach, i. 103 = Roscher, iii. 861.

Footnote 1000:

B.M. E 437 (fish-body); and see p. 101.

Footnote 1001:

Petersburg 350 = Reinach, i. 12.

Footnote 1002:

Naples 3226 = Millingen, Anc. Uned. Mon. i. pl. 27 (Ismenos and Krenaia): cf. Millin-Reinach, ii. 7. The nymph Dirke is, according to Robert, represented in the figure rising from the ground to receive the child Dionysos at his birth on the vase Petersburg 1792 = Reinach i. 1 (otherwise Gaia): see his Arch. Märchen, p. 185.

Footnote 1003:

Él. Cér. ii. 86; Munich 805 = Reinach, i. 391 (see ibid. p. 277) = Wiener Vorl. iv. 4.

Footnote 1004:

François vase (at Peleus and Thetis’ nuptials); B.M. E 805; Berlin 2391, 2401 (Klio and Terpsichore): cf. Bull. de Corr. Hell. 1895, p. 102 (in Louvre; three figures named Ourania, Kalliope, and Melpomene).

Footnote 1005:

B.M. E 271.

Footnote 1006:

Reinach, i. 526 = Jatta 1538.

Footnote 1007:

See p. 32.

Footnote 1008:

F 478; and see Jatta 654 = Gaz. Arch. 1880, pl. 19, for a possible instance.

Footnote 1009:

Berlin 2278 = Ant. Denkm. i. 9.

Footnote 1010:

Petersburg 350 = Reinach, i. 12.

Footnote 1011:

Louvre E 861 = Reinach, i. 156.

Footnote 1012:

See p. 70; and also p. 137, under Orestes.

Footnote 1013:

B.M. E 290.

Footnote 1014:

Reinach, i. 255, 451 (but see note 879 on p. 72).

Footnote 1015:

Reinach, i. 222 = Plate XXXIX.; Boston Mus. Report, 1900, No. 25.

Footnote 1016:

B.M. E 12; Reinach, i. 149 = Baumeister, i. p. 727, fig. 781.

Footnote 1017:

B.M. D 58 = Fig. 123; Jahrbuch, 1895, pl. 2; Dumont-Pottier, i. pls. 27–8.

Footnote 1018:

Berlin 2661 = Rayet and Collignon, p. 257. For Ploutos see also Reinach, i. 1 (at birth of Dionysos), and the following notes.

Footnote 1019:

Munich 291 = Reinach, ii. 47 (more probably Iris).

Footnote 1020:

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

Footnote 1021:

See e.g. B.M. E 287, E 574 (Plate XXXVI.), E 643; Oxford 312–314.

Footnote 1022:

Studniczka, Siegesgöttin (1898), and in Roscher’s Lexikon, iii. p. 318: see also Sikes, Nike of Archermos (Cambridge, 1890), and J.H.S. xiii. p. 111 ff. Studniczka regards the following as certain B.F. instances: B.M. B 1, B 106_{3}, B 125_{2}, B 334; Jahrbuch, 1889, pls. 5–6, figs. 2, 2a; Jahn, Entführung d. Europa, pl. 5. The instances on late careless B.F. vases, such as B 356, B 357, B 652 in B.M., are not to the point, as these belong to the fifth century.

Footnote 1023:

B.M. E 444; Reinach, i. 157, 1; Mus. Greg. ii. 21, 1; Berlin 2278 = Ant. Denkm. i. 9.

Footnote 1024:

Él. Cér. i. 14 (in B.M.); Reinach, i. 66, 194, 417, ii. 266 (N. crowning Z.); Berlin 2167 (Z. and Poseidon).

Footnote 1025:

Él. Cér. i. 32 and iii. 38 (= Berlin 2317); Petersburg 355 = Reinach, i. 14.

Footnote 1026:

Naples 3373; Él. Cér. i. 76 A: cf. Reinach, i. 1, 3, 5, 37, 158; B.M. B 608, 610, E 523; Él. Cér. i. 68.

Footnote 1027:

B.M. E 445.

Footnote 1028:

Reinach, i. 14, 253 (Bibl. Nat. 392), 406, 511, ii. 310; Naples 1891 = Él. Cér. ii. 35; ibid. ii. 48.

Footnote 1029:

B.M. E 432.

Footnote 1030:

Reinach, ii. 290.

Footnote 1031:

B.M. E 262; Reinach, i. 22, 251; B.M. F 178, Athens 1346 = Dumont-Pottier, i. pl. 15, Jahrbuch, 1892, p. 69 (N. crowning H.).

Footnote 1032:

See p. 107, note 1222.

Footnote 1033:

Mon. Grecs, 1875, pls. 1–2; Petersburg 523 = Reinach, i. 467.

Footnote 1034:

B.M. E 410.

Footnote 1035:

Reinach, i. 286 (?), 398 (Berlin 2521).

Footnote 1036:

B.M. F 109; Reinach, i. 7.

Footnote 1037:

B.M. E 182; Reinach, i. 1, 3.

Footnote 1038:

Reinach, i. 113; and cf. BM. E 788.

Footnote 1039:

Berlin 3023 = Reinach, i. 330.

Footnote 1040:

Overbeck, Her. Bildw. 18, 7.

Footnote 1041:

Millingen, Anc. Uned. Mon. i. 22; Reinach, i. 358 (unwinged figure; may be Eris).

Footnote 1042:

Naples 3231 = Reinach, i. 299.

Footnote 1043:

Reinach, i. 236.

Footnote 1044:

Ibid. i. 361 (crowning them); Inghirami, Vasi Fitt. 187.

Footnote 1045:

Reinach, ii. 49; i. 108, 195.

Footnote 1046:

Ibid. i. 390.

Footnote 1047:

Ibid. i. 98.

Footnote 1048:

B.M. F 163; Reinach, i. 197, 8, ii. 198, 287.

Footnote 1049:

B.M. E 574 = Plate XXXVI.; B.M. E 287, E 643; Reinach, ii. 7.

Footnote 1050:

Reinach, i. 254 (Bibl. Nat. 392), 340, Athens 1018 = Benndorf, Gr. u. Sic. Vasenb. 19, 3 (torch); B.M. E 251, E 513, Roscher, iii. 329, Benndorf, op. cit. 47, 2 (incense-burner); B.M. E 574 (lamp); Oxford 274, Athens 1362, Reinach, ii. 235, 310, De Witte, Coll. à l’Hôtel Lambert, pl. 4, Benndorf, op. cit. 47, 1 (lyre); Athens 1362, Reinach, i. 410 (tripod); Benndorf, op. cit. 48, 1 (wreath). On Oxford 312 she plays on a lyre. On her costume and attributes generally see Roscher, iii. p. 330.

Footnote 1051:

Munich 351 = Reinach, ii. 46: see above, p. 76, note 1048.

Footnote 1052:

Petersburg 355 = Reinach, i. 14; B.M. F 109; Jatta 1050.

Footnote 1053:

B.M. E 455–56; Reinach, i. 195, ii. 180; ibid. i. 403, 428; Roscher, iii. 330; Cab. Pourtalès, pl. 6.

Footnote 1054:

Reinach, i. 492.

Footnote 1055:

B.M. F 66 = Fig. 124; Naples 2684 = Reinach, i. 474; Reinach, ii. 206; Boston Mus. Report, 1898, No. 51.

Footnote 1056:

J.H.S. vii. p. 275 ff.

Footnote 1057:

Munich 386 = Reinach, ii. 46 = Furtwaengler and Reichhold, pl. 19.

Footnote 1058:

Inghirami, Vasi Fitt. 361.

Footnote 1059:

Athens 1026 = Benndorf, Gr. u. Sic. Vasenb. 23, 2.

Footnote 1060:

Oxford 265; B.M. E 538; Él. Cér. i. 100.

Footnote 1061:

Reinach, ii. 216.

Footnote 1062:

B.M. B 608; Berlin 2211 = Él. Cér. i. 96.

Footnote 1063:

B.M. E 700; Reinach, ii. 326 = Roscher, iii. 326 (here she is putting on the inscription).

Footnote 1064:

B.M. F 550.

Footnote 1065:

Berlin 2661 = Rayet and Collignon, p. 257.

Footnote 1066:

Reinach, ii. 4; Millin-Reinach, i. 24; Jatta 1050.

Footnote 1067:

B.M. E 264, 275, 476, 576.

Footnote 1068:

B.M. E 379.

Footnote 1069:

B.M. E 128; Reinach, i. 268.

Footnote 1070:

B.M. F 170; Reinach, i. 45, 378, 2, ii. 187, 230, 292.

Footnote 1071:

Reinach, ii. 262 (Bibl. Nat. 364), 291; and see 298.

Footnote 1072:

Millin-Reinach, ii. 72.

Footnote 1073:

B.M. B 607; Stackelberg, pl. 25 (Hegias); Oxford 288 (Cat. pl. 15); Louvre F 109 (? Agon).

Footnote 1074:

Reinach, ii. 320; Tyszkiewicz Coll. pl. 35 (now in B.M.); Inghirami, Vasi Fitt. 363.

Footnote 1075:

Reinach, i. 322.

Footnote 1076:

B.M. E 460, 469; Reinach, i. 49, 378, ii. 274.

Footnote 1077:

Vol. I. p. 223.

Footnote 1078:

Reinach, i. 63.

Footnote 1079:

B.M. B 1 (?); Petersburg 183 = Micali, Storia, pl. 87; Reinach, ii. 126 (?); Daremberg and Saglio, Dict. s.v. Agon, fig. 180; Louvre F 109: see also Burlington Fine Arts Club Cat. (1903), pp. 92, 97.

Footnote 1080:

B.M. F 20; Berlin 3023; Millingen-Reinach, 36; Helbig, 90 = Mus. Greg. ii. 60, 3; and see Knapp, Nike, p. 37.

Footnote 1081:

See above, p. 49.

Footnote 1082:

See p. 43.

Footnote 1083:

Jahreshefte, 1899, p. 16 = Reinach, i. 279; but more probably the scene refers to Orestes and Pylades in Tauris.

Footnote 1084:

Vienna 319 = Reinach, i. 353: for Dike in under-world see p. 69.

Footnote 1085:

Naples 3253 = Reinach, i. 194.

Footnote 1086:

Naples 3233 = Reinach, i. 239.

Footnote 1087:

Berlin 1732 = Reinach, ii. 66; B.M. B 364, B 365: see Reinach, i. 223.

Footnote 1088:

See Roscher, iii. p. 2934.

Footnote 1089:

Louvre E 723: see Ath. Mitth. 1902, p. 255.

Footnote 1090:

Reinach, ii. 26, 4 (in Louvre).

Footnote 1091:

B.M. B 334; Berlin 1775; Karlsruhe 259; Petersburg 1807 = Reinach, i. 7 (at Judgment of Paris); Reinach, i. 100 (with Pelops), ii. 26, 1, 161; Baumeister, i. p. 18, fig. 20.

Footnote 1092:

For unidentified winged deities see Louvre F 54 = Wiener Vorl. 1888, pl. 5, fig. 2 (Exekias); Wiener Vorl. 1890–91, pl. 3, fig. 2 (Nikosthenes).

Footnote 1093:

Naples 3222 = Baumeister, iii. p. 1927, fig. 2042 A: see p. 69.

Footnote 1094:

Reinach, ii. 100 (now in B.M.: see Class. Review, 1899, p. 468).

Footnote 1095:

Naples 3237 = Baumeister, ii. p. 834, fig. 918 (?): see below, p. 91, note 1098, for other interpretations.

Footnote 1096:

Millingen-Reinach, 23.

Footnote 1097:

Reinach, i. 173.

Footnote 1098:

Ibid. i. 229 (in Boston); B.M. F 279; B.M. F 271 and Naples 3237 = Baumeister, ii. p. 834, fig. 918: cf. Reinach, i. 331, 1. The name of Typhlosis (Blindness) has also been suggested for the figure on the Naples vase.

Footnote 1099:

Vol. I. p. 480 (Assteas vase in Madrid).

Footnote 1100:

Munich 810 = Reinach, i. 363.

Footnote 1101:

See above, p. 65, for instances.

Footnote 1102:

B.M. E 492; Naples 2419; Karlsruhe 208.

Footnote 1103:

Berlin 2471.

Footnote 1104:

B.M. B 210: see p. 58, note 701.

Footnote 1105:

B.M. E 224.

Footnote 1106:

Naples 2873 (Assteas).

Footnote 1107:

B.M. E 455.

Footnote 1108:

Munich 378.

Footnote 1109:

Naples 3255 = Reinach, i. 235.

Footnote 1110:

Berlin 2658 = Reinach, i. 375.

Footnote 1111:

B.M. F 111.

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.

In treating of the subject of heroic legends, we propose to deal first with the more prominent heroes, such as Kastor and Polydeukes, Herakles, Theseus, and Perseus, and with the tales of Thebes and Troy; next with the series of myths connected specially with Attica or other localities; then with semi-mythical personages, such as Orpheus and Thamyris, which lead us on to the next division of the subject—scenes connected with Greek history.

* * * * *

=Kastor and Polydeukes= do not play a very extensive part on vases; and as they are not further characterised than by the petasos and two spears, which are the ordinary equipment of young horsemen, they are not always to be identified with certainty, except in mythological scenes. Among these they appear in the Gigantomachia,[1112] or in company with Herakles are initiated into the lesser mysteries at Agra[1113]; they are also seen at the apotheosis of Herakles.[1114] They are present when Leda discovers the egg laid by Nemesis,[1115] and on two B.F. vases appear with Leda and Tyndareus in a family group[1116]; they are also seen in company with Hermes,[1117] with Paris and Helen,[1118] with Danaos taking refuge in Attica,[1119] in a scene from the Merope of Euripides,[1120] and at the slaying of the Sphinx by Oedipus.[1121] They take part in the hunt of the Calydonian boar,[1122] and in many scenes from the Argonautika, such as the death of Talos,[1123] the punishment of Amykos,[1124] and others of doubtful meaning.[1125] There is more than one representation of their carrying off the Leukippidae,[1126] the best being the beautiful Meidias vase in the British Museum (Plate XLI.), where all the figures are named.[1127] They appear as hunters,[1128] as deified beings present at a Theoxenia (lectisternium), or feast of the gods,[1129] and are crowned by Nike (with stars over their heads).[1130]

HERAKLES

Of all the heroic legends the most numerous and the most important are those of the Herakleid. They appear on vases of all periods, though in the largest proportion on the black-figured varieties, and include every event in his life, from his birth to his deified life in Olympos. Of the visit of Zeus to his mother Alkmena we have already spoken, as also of her apotheosis.[1131] As an infant we see Herakles engaged in strangling

the serpents sent by Hera, while his brother Iphikles recoils in terror[1132]; later on Hera appears to be reconciled to his existence, for she is actually seen suckling him at her breast.[1133] Next he is carried off by Hermes to Cheiron the Centaur for his education,[1134] and we see him undergoing instruction on the lyre from Linos,[1135] or on his way, accompanied by an old woman carrying his lyre.[1136] By the time when his series of labours begins he is usually represented as a full-grown bearded man, especially on the archaic vases; but he appears in a few instances as a quite youthful beardless figure.

Of all the achievements of Herakles the most famous are the Twelve Labours, to which he was subjected by Hera at the hands of Eurystheus. We find them all represented on vases, with the exception of the cleansing of the Augean stables, which may be presumed to have offered too many difficulties to the painter; it only occurs once in the whole history of Greek art, on a metope at Olympia. The horses of Diomede only occur once, the Keryneian stag thrice, and the Stymphalian birds five times; but the rest may be described as common. In all these scenes Herakles is usually accompanied by Athena; also, but less frequently, by Iolaos and Hermes.

* * * * *

I. The Nemean Lion.

Of this subject we find two “normal” types on B.F. vases,[1137] with one or two abnormal versions; on R.F. vases the treatment is less stereotyped.

B.F. (1) Standing type:—Herakles plunges sword into lion’s neck (both upright): B.M. B 160, B 232, B 621 (Plate XXX.). H. strangles lion: Berlin 1720 = Wiener Vorl. 1888, 6, 3 (Exekias); Wiener Vorl. 1889, 6, 3 (Charitaios).

(2) Crouching type:—Herakles stoops and strangles lion: B.M. B 159, B 199, B 318 (Fig. 125); Petersburg 68 = Wiener Vorl. 1889, 4, 6 (Taleides).

(3) Abnormal:—Lion on its back; Herakles slays it with club: Reinach, ii. 52. Herakles pursues lion: Louvre F 108 = Wiener Vorl. 1890–91, pl. 1, 5 (Nikosthenes).

R.F. (1) Herakles with lion over shoulder about to hurl it on Eurystheus (type borrowed from Erymanthian Boar, see below): B.M. B 193 = Plate XXXII. (Andokides).

(2) Crouching type: Munich 415 = Reinach, i. 150 = Baumeister, i. p. 656, fig. 723; B.M. E 168; Röm. Mitth. v. (1890), pl. 12 = Wiener Vorl. 1890–91, 7, 2 (Nikosthenes, in Boston). See also B.M. E 104 (abnormal).

We may also note here a curious B.F. vase, on which Herakles is seen in the forests of Nemea preparing the lion’s skin for his own wear.[1138]

II. The Cretan Bull.

Type: Herakles seizes the bull from the front and ties its legs with a cord.

B.F. B.M. B 309; Berlin 1886, 1898; Helbig, 31; Reinach, ii. 55, 5 = Baumeister, i. p. 660, fig. 727.

R.F. B.M. E 104; Wiener Vorl. 1890–91, pl. 7, 2 (Nikosthenes, in Boston) = Röm. Mitth. v. (1890), p. 324.

Late. Berlin 3145 = Millingen-Reinach, 11; Athens 1931.

See also a very remarkable vase in Forman Sale Cat. No. 305 (now at Boston), where the same subject appears each side, one B.F., the other R.F. (by Andokides).[1139]

III. The Erymanthian Boar (see Klein, Euphronios, p. 87).

(1) The capture:

B.M. B 462; Louvre F 236; Berlin 1981, 2034; Naples 2705 and S.A. 150; Athens 858, 860 (all B.F.).

(2) The bringing back of the boar (Eurystheus absent; Athena usually receives the hero):

B.M. B 447, 492; Cambridge 57; Munich 694; Athens 1097 (all B.F.).

(3) Herakles hurls the boar upon Eurystheus, who hides himself in a large sunk jar (πίθος):

B.F. B.M. B 161 (Fig. 126); Reinach, ii. 55, 1; Helbig, 37; Louvre F 59, 202.

R.F. B.M. E 44 (Euphronios) = Furtwaengler and Reichhold, pl. 23; Louvre G 17 = Wiener Vorl. 1890, pl. 10.

IV. The Keryneian Stag.

B.F. B.M. B 169, B 231.

R.F. Reinach, i. 233.

A dispute between Apollo and Herakles over a stag (Rein. ii. 56, 3: see p. 34) may perhaps be referred to this subject, as the myth is not otherwise known, but it is more usually Artemis who endeavours to thwart Herakles’ capture.

V. The Stymphalian Birds.

Found only on four B.F. vases (B.M. B 163; Louvre F 387; Arch. Anzeiger, 1892, p. 172; and Munich 1111 = Reinach, ii. 58) and one late example (Reinach, ii. 297). Herakles shoots the birds with bow and arrow.

VI. The Lernaean Hydra.

This subject, occurring only on archaic vases, has no very fixed type; the Hydra has seven or nine heads, and the body of a serpent or of a cuttle-fish. Iolaos sometimes assists Herakles, and in two cases the crab sent by Hera is also visible.

B.F. Early: Reinach, i. 389; Jahrbuch, 1898, pl. 12; Reinach, i. 118 (6) = Louvre E 851.

Later: Reinach, i. 118 (1) = Berlin 1854 (crab); ibid. 118 (3); 118 (5) = Louvre F 386 = Millin-Reinach, ii. 75 (Athena slays crab); Reinach, ii. 53 = Baumeister, i. p. 657, fig. 724; Berlin 1801 = Wiener Vorl. 1889, 7, 3: see also Athens 792 = Heydemann, Gr. Vasenb. pl. 4, 1, where two successive scenes are given.

R.F. Reinach, ii. 76. Hydra has cuttle-fish body and ten or eleven heads.

VII. The Horses of Diomede.

Naples 2506; Reinach, ii. 297 (?).

VIII. The Augean Stables.

Not found on vases.

IX. The Combat with Geryon and Capture of his Cattle.

A very favourite subject on B.F. and early vases, including some of the finest specimens. Geryon is at first winged and only three-headed, then triple-bodied, represented as three armed warriors united,[1140] one or two of whom generally fall wounded. Herakles attacks with bow.

Early B.F. “Proto-Corinthian”: B.M. A 487 = J.H.S. v. p. 176. Chalcidian: B.M. B 155; Bibl. Nat. 202 = Reinach, ii. 58 and 253 = Plate XXII.

Late B.F. B.M. B 156, B 194; Louvre F 53 = Reinach, ii. 59 = Baumeister, i. p. 662, fig. 729 (Exekias); J.H.S. xviii. p. 299, and Bibl. Nat. 223 (abnormal types).

R.F. Munich 337 (Plate XXXVIII.) = Furtwaengler and Reichhold, 22 (Euphronios); Noel des Vergers, Étrurie, pl. 38.

Late. Berlin 3258; Naples 1924 = Millingen-Reinach, 27.

The driving off of the cattle by Herakles is also represented:

B.M. E 104; Reinach, ii. 58, 5; and see Klein, Euphronios, p. 61.

X. The Girdle of Hippolyta.

B.F. B.M. B 533.

Late. Naples 3241 = Reinach, i. 384.

Besides the scenes in which Herakles is evidently capturing the girdle, there are many vases on which he is seen in combat with Hippolyte and other Amazons, such as Andromache or Alkaia, assisted himself by Iolaos or Telamon.

B.F. B.M. B 154, B 426; Louvre E 875; Cambridge 44; Bourguignon Sale Cat. 18 (Exekias); Berlin 3988 = Coll. Sabouroff, i. pl. 49.

R.F. B.M. E 45; Reinach, i. 166; Bibl. Nat. 535 = Reinach, ii. 265; Bologna 322; Reinach, i. 353 = Wiener Vorl. vii. 4, 1 (Duris).

Late. Jatta 423 = Reinach, i. 206.

XI. Fetching Kerberos from Hades.

The various types and methods of representing this subject have been collected in J.H.S. xviii. p. 296; as typical examples may be given:

Early B.F. Louvre E 701 = Reinach, i. 153; Reinach, i. 389, ii. 32.

Late B.F. J.H.S. xviii. p. 295 (in B.M.); Reinach, ii. 69.

R.F. Jahrbuch viii. (1893), pl. 2 (in Berlin) and p. 160 (in Boston).

Late. On several of the “under-world” vases, see p. 68, Nos. 1–4, 11.

XII. Fetching the Golden Apples from the Garden of the Hesperides.

There are two versions of this myth. In one, which seems to be the earlier, Atlas fetches the apples, while Herakles supports the universe for him (see above, p. 75). The vases representing Herakles in the Garden surrounded by the Nymphs (for whom see p. 92) are almost all of the later period:

B.F. Benndorf, Gr. u. Sic. Vasenb. pl. 42, 1.

R.F. B.M. E 224 = Furtwaengler-Reichhold, 8–9 (Plate XLI.).

Late. B.M. F 148; Naples 2873 = Millin-Reinach, i. 3 = Wiener Vorl. viii. 12, 3 (Assteas); and Naples 3255 = Reinach, i. 236 = Baumeister, i. p. 686, fig. 745.

Parody. Athens 1894 = Reinach, i. 506 (?).

Besides the somewhat insignificant part that he plays in the Gigantomachia,[1141] Herakles had several independent combats of his own with gigantic monsters and such-like beings. Of these the most popular subjects are Antaios and Alkyoneus. The legend of Herakles’ wrestling with the former is familiar from Pindar[1142]; on the vases Antaios is not characterised as a giant in size or otherwise, but his mother Gaia is generally present.[1143]

Alkyoneus, on the other hand, is represented as a being of gigantic size, lying asleep in a cave[1144]; a small winged figure which sometimes hovers over him has been interpreted by some as Hypnos (Sleep), but might also be a Κὴρ Θανάτοιο, or harbinger of death.[1145] Herakles generally attacks him with club or bow and arrow, but on one vase is depicted gouging out his eye[1146]; on another he is assisted by Telamon with a stone.[1147] Another giant with whom we find the hero contending is Cacus, whose oxen he carried off. This is a purely Roman myth, and belongs rather to the legends of the Roman Hercules, but curiously enough it finds a place on one Greek vase of Sicilian origin, which represents Cacus in a hut with the oxen and Herakles playing a lyre in triumph.[1148]

One of the commonest subjects connected with Herakles is his combat with Kyknos, the son of Ares, described at length in the Hesiodic Scutum Herculis. It is mostly found on B.F. vases, the usual “type” showing the two combatants supported by Athena and Ares respectively in their chariots, while Zeus appears in the midst to interrupt them.[1149] One late R.F. vase seems to show the preparations for the combat, in the presence of an Amazon, a Fury, and other personages[1150]; another vase, the subsequent attack made on Athena by Ares.[1151]

We find him in combat with Acheloös, the river-god, represented as a bull with the face of a bearded man,[1152] or occasionally, by confusion with a sea-deity, with the body and tail of a fish.[1153] This latter form is assumed by Triton, with whom also the hero contends,[1154] though the myth is unknown in literature. Of similar import is his combat with Nereus, the old man of the sea (Ἁλιος Γέρων), who appears in human form as an aged man[1155]; the “type” employed on B.F. vases is similar to that of Peleus wrestling with Thetis (see below, p. 120), with similar indications of the sea-god’s transformation into animals. In one case an air of humour is imparted to the scene, and Herakles is represented smashing the furniture in Nereus’ house.[1156]

Another important group of subjects is concerned with Herakles’ adventures with the Centaurs, which fall under several headings. Allusion has already been made to his early education by Cheiron, and again we see him paying a visit of a peaceful nature to the aged Pholos, who entertains him by opening a jar of wine.[1157] The smell therefrom attracted the other Centaurs and led to a combat, which we see vividly depicted on many early B.F. vases, on which it was a favourite subject, as also on later ones.[1158] We also find him in combat with particular Centaurs, from whom he rescues a woman carried off by them. Thus we see Hippolyta delivered from Eurytion,[1159] and Deianeira from Nessos[1160] or Dexamenos[1161] (the latter appears on later vases only, and there seems to be no distinction between them in the myth).

Other adventures in which he engages include the freeing of Prometheus from the vulture, which he slays with his bow[1162]; the bringing back of Alkestis from Hades[1163]; the seizure of the Kerkopes, a pair of brigands, whom he carries off head downwards over his shoulders[1164]; and his capture by Busiris in Egypt,[1165] with his escape after slaying the king’s negro attendants.[1166] Among rarer myths may be mentioned the destruction of the vines of Syleus[1167]; a possible representation of his contest in drawing water with Lepreos[1168]; and his combat with Erginos, the king of Orchomenos, and the capture of his heralds.[1169] A vase in Athens, on which he is depicted dragging two Satyrs in a leash,[1170] depicts an unknown myth; as do those which represent him contending with Geras, a personification of Old Age,[1171] and beating a winged Ker with his club.[1172] In company with Athena he attacks an unknown man,[1173] and he is also seen leading a Sphinx.[1174]

Next we turn to the relations between the hero and the Olympian or other deities, which often take the form of disputes or combats. Of these the most famous and important is his capture of the Delphic tripod, for which he fights with Apollo, generally in the presence of Athena and Artemis[1175]; in one instance Herakles is seen in Athena’s chariot, carrying the tripod off with him[1176]; other vases represent the final reconciliation with Apollo.[1177] There is a curious representation of a combat between Herakles and Hera (depicted as the Roman Juno Sospita, wearing a goatskin on her head), with Athena and Poseidon assisting on either side.[1178] Another rare and interesting subject is that of his attack on Helios, whom he interrupts at sunrise to prevent his journey after Geryon’s cattle from becoming known. Herakles is shown waiting for the chariot of the sun-god as it rises from the waves, and preparing to discharge his arrows.[1179] A later stage of the story is illustrated by a fine R.F. vase, where he voyages over the sea in the golden bowl given him by Helios.[1180] Lastly, he defends Hera and Iris against the attacks of a troop of Seileni.[1181] In other scenes where he is associated with the gods, it is in his divine capacity after his apotheosis.

His relations with women are not so frequently depicted but we have at least one representation of his visit to Omphale[1182]; or, again, of his entertainment by Eurytos,[1183] the carrying off of his daughter Iole,[1184] and the subsequent fight with Eurytos.[1185] His rescue of Deianeira from the Centaur has already been alluded to, and there may also be a reference to his carrying her off from her father Oineus.[1186] Hesione is not found with him on vases, but he is seen carrying off Auge[1187]; he is also associated with a Nymph, who may be Nemea.[1188] On one vase he pursues, with amorous intention, a woman, who may possibly be intended for Athena.[1189]

A remarkable vase-painting by Assteas of Paestum depicts Herakles in a fit of madness destroying his children by hurling them on a fire, on which he has already thrown the household furniture; his mother and others look on, expressing various emotions.[1190] In more peaceful mood he is seen grouped with his wife Deianeira and their son Hyllos,[1191] or with Oineus, his father-in-law.[1192]

We now proceed to note a few subjects which do not admit of more exact classification. Herakles is initiated into the lesser mysteries at Agra, together with Kastor and Polydeukes,[1193] and is conducted by Hermes to the revels of the Scythian Agathyrsi (cf. p. 179).[1194] He is also sometimes seen carrying Hades on his back, the latter bearing a large cornucopia[1195]; but the signification of this subject is unknown. He accompanies the Argonauts on their wanderings,[1196] and appears as a single figure shooting from a bow.[1197] He is often represented performing an act of sacrifice, either as a single figure[1198] or in groups, sacrificing a ram or other animal.[1199] Some of these scenes, where he sacrifices to the xoanon of Chryse,[1200] a local Lemnian goddess, must refer to the story of Philoktetes, with which he was connected. Or, again, conversely, we see a statue of Herakles made the subject of offerings from others.[1201] A scene from the story of Antigone (see below, p. 119) is represented as taking place before a shrine, in which stands the deified hero interceding with Kreon for her life.[1202] He also appears as protecting god of Attica,[1203] and also of the palaestra, with reference to his traditional founding of the Olympian games.[1204] Finally, there is a series of subjects which (as in the case with most of the preceding section) may be concerned with Herakles either before or after his apotheosis.

Among these are the numerous vases (especially B.F.) where he is represented as being greeted by Athena or conversing with her,[1205] or receiving a libation from her.[1206] These may either refer to his receiving visits of encouragement from her in the intervals between his labours, or to his reception by her in Olympos (see below). Many vases represent him banqueting, usually in company with Dionysos and other deities.[1207] With Hermes and Iolaos he takes part in a procession accompanied by music[1208]; and he is also represented overcome with wine and forming a subject for mockery,[1209] while Satyrs steal his weapons[1210] (this subject being probably taken from a Satyric drama). Or he is represented bathing at a fountain[1211]; and in one case fishing with Hermes and Poseidon.[1212] He also takes part in the Gigantomachia,[1213] and is present at the birth of Athena,[1214] in both cases by a curious anticipation of his deified character. Exceedingly common are his appearances with a lyre, as Kitharoidos.[1215]

The last scenes of Herakles’ earthly life are his last sacrifice on Mount Kenaion,[1216] the wearing of the poisoned robe which led to his death,[1217] and the subsequent burning of his body on the funeral pyre. The last scene is occasionally combined with his apotheosis; the Hyades quench the flames among which his body is consuming, while the deified hero ascends in the chariot of Athena or Nike to Olympos.[1218]

The vases relating exclusively to his apotheosis fall into two main classes, which admit of more than one sub-division: (1) his ascent into heaven in the chariot of Athena or Nike; (2) his reception in Olympos. The ascent in the chariot of Athena is almost confined to B.F. vases; on those of the R.F. period it rarely occurs; and on the Italian vases her place is usually taken by Nike, who is also represented crowning him with a wreath. On the B.F. vases the “type” is almost invariable (see Plate XXIX.): Herakles mounts the four-horse chariot in which the goddess stands ready; on the farther side of it stand various deities, the commonest being Apollo, Dionysos, and Hebe, with Hermes at the horses’ heads; more rarely Zeus, Hera, and Artemis are seen.[1219] In one or two cases Iolaos acts as charioteer, Athena standing at the side[1220]; or, again, Hebe performs the same office.[1221] On the late red-figured vases the attendant deities are almost limited to Hermes and Eros; the chariot is here usually represented as on its way.[1222]

The first stage of the hero’s introduction into Olympos is his introduction to Zeus by Athena, a scene common on both B.F. and R.F. vases (Fig. 127). The attendant deities vary very greatly: Hermes, Apollo, Hebe, and Artemis are most often seen; also Hera, Poseidon, Ares, and Dionysos.[1223] Besides these there are numerous scenes in which he is grouped with various deities, usually Athena and Hermes, but also Poseidon, Ares, Dionysos, and Hebe, apparently in the enjoyment of his new life among the welcoming gods[1224]; and to this group may be added the scenes in which he is crowned by Nike.[1225] The completion of his bliss is the marriage with Hebe, found on two or three fine R.F. vases,[1226] with a numerous company of attendant deities.

* * * * *

The adventures of =Theseus=, the peculiarly Attic hero, are portrayed on vases of all dates; they are rare on the later kinds, but are most popular on the R.F. vases of the “strong” and “fine” periods, as would naturally be expected at a time when his cult was coming into special prominence in Athens (see Vol. I. p. 418). Of his seven labours the only one commonly found on the B.F. vases is the combat with the Minotaur, but some of the finest R.F. kylikes give a complete series. They are given in the order of his progress from his birthplace Troezen through the Isthmus to Athens. It should be noted that the Cretan legends, which alone are common on the early vases, are clearly older than the more purely Attic.

The first subject to be mentioned in connection with the story of Theseus is that of his father Aigeus consulting the oracle of Themis.[1227] His finding of Aigeus’ sword and sandals beneath the stone (cf. Plate LXII.) is not depicted on vases, but we have a possible representation of his recognition by Aigeus,[1228] and an unintelligible scene where he pursues or attacks his mother Aithra, apparently wielding the newly found sword.[1229]

There are only two R.F. kylikes which give the complete series of adventures, including that in Crete; the Duris kylix in the British Museum (Vol. I., frontisp.) omits two (the bull and Prokrustes), and others give a varying number of scenes, omitting sometimes one, sometimes another. The adventure with Periphetes appears to be confined to literature. We give the list as follows, with the vases on which they may be seen[1230]:

(1) The pine-bender Sinis.

B.F.: Athens 879. R.F.: Reinach, i. 313 (= Naples R.C. 180) and ii. 280.

(2) The sow of Krommyon, sometimes accompanied by a Nymph or old woman, the personification of the locality.

Reinach, i. 459; Noel des Vergers, Étrurie, pl. 14.

(3) The brigand Skiron (in Megara); this scene is usually to be identified by the foot-pan and the tortoise.

Reinach, i. 119.

(4) The wrestling with Kerkyon (at Eleusis).

Reinach, i. 324.

(5) Prokrustes and his bed (near Athens).

B.F.: Athens 879. R.F.: B.M. E 441–42; Athens 1166 = J.H.S. 1889, pl. 1; Millingen-Reinach, 9–10.

(6) The Marathonian bull.

B.F.: Bibl. Nat. 174. R.F.: B.M. E 442; Naples 2865 = Inghirami, Vasi Fitt. 54; Millin-Reinach, i. 43: Noel des Vergers, Étrurie, pl. 35 (in Brussels).

(7) The slaying of the Minotaur.

A very early representation (about 610 B.C.) on the Polledrara hydria in the British Museum (J.H.S. xiv. pl. 7: see Chapter XVIII.).

B.F.: B.M. B 148, B 205; Munich 333 = Reinach, ii. 119 = Wiener Vorl. 1889, 2, 2, and 1155 = Wiener Vorl. iii. 7, 2; Berlin 1698 = Wiener Vorl. iii. 7, 1; Millin-Reinach, ii. 61 (Taleides).

R.F.: B.M. E 441; Helbig, 80 = Reinach, ii. 81 = Baumeister, iii. p. 1790, fig. 1874.

The complete set of seven is to be found on the following:

B.M. E 84, where the scenes are duplicated on the exterior and interior of the kylix; here the Minotaur forms the central scene of the interior.

Ant. Denkm. ii. 1 (kylix by Aeson).

The following are more or less complete:

B.M. E 48 = Frontispiece, Vol. I. (by Duris; five scenes).

Louvre G 104 (Euphronios).

Reinach, i. 528–32.

After the labours on his journey comes the purification of Theseus on reaching Athens.[1231] To this time may perhaps be referred a scene in which he receives a palm-branch from Athena.[1232] There is a subject which cannot be placed in literary tradition, but probably comes in point of time immediately before or after the labours; this is the visit to Poseidon and Amphitrite under the sea, whither he is borne by Triton. It occurs on the beautiful Euphronios kylix in the Louvre (G 104) and elsewhere.[1233]

Next in point of time we have to deal with the story of Theseus’ voyage to Crete and his marriage with and desertion of Ariadne. It begins with a scene in which he bids farewell to Aigeus[1234]; then on his arrival in Crete he slays the Minotaur, as already described. We next see the meeting with Ariadne,[1235] followed by the nuptial ceremonies; the latter scene, together with the subsequent arrival at Delos, and a dance of boys and maidens liberated by Theseus, is vividly depicted on the François vase. His desertion of the sleeping Ariadne in Naxos and the appearance of Dionysos as her consoler form the subjects of two very beautiful R.F. vases[1236]; but the return to Athens and the death of Aigeus are not depicted.

The reign of Theseus at Athens is signalised by his combats with the Amazons and Centaurs. In the former story he carries off their leader Hippolyta as his queen, assisted by his friend Peirithoös[1237]; and in another version it is Antiope whom he overcomes,[1238] or the subject is treated in a more general fashion.[1239] This scene is supposed to take place in Attica; but the story of the Centaurs belongs to Thessaly, the home of Peirithoös. The Centaurs are represented interrupting a banquet, throwing everything into confusion, and carrying off Laodameia and other female victims. It occurs on the François vase, and is treated in a vivid pictorial fashion on several vases of a later period.[1240] The episode of the death of Kaineus (see p. 145) belongs to this group of subjects. To the same period belongs a vase representing the rape of a girl named Korone by Theseus and his friend.[1241] In the story as told by Plutarch (Thes. 31) it was Helene[1242] whom Theseus carried off; curiously enough, a figure thus inscribed is also present on this vase,[1243] as well as Antiope (see above). The rape (as described by Plutarch) was followed by their descent into Hades to seize Persephone. For this they were doomed to punishment, to sit for ever with hands bound behind them[1244]; but in one version Theseus is allowed to depart after a time, as is seen on one of the Apulian under-world vases.[1245] A vase signed by Xenotimos represents Peirithoös seated in a chair holding two spears[1246]; but its mythological significance is open to question.

Closely linked with the story of Theseus is that of the love of Phaidra for Hippolytos and the death of the latter, confined to late Italian vases; but Phaidra has not been certainly identified in any case.[1247] There is, however, an undoubted representation of the appearance of the bull which overthrew Hippolytos’ chariot.[1248]

* * * * *

Next in importance as a hero of Greek legend comes =Perseus=, born from the golden shower in which Zeus visited Danae (see p. 19). We find representations of the scene so touchingly sung of by Simonides, the placing of Danae and her child in the wooden chest and sending them adrift[1249]; and next we find Perseus as a full-grown youth, about to set forth on his mission of slaying the Gorgon, and receiving from the Naiads the cap, sandals, and wallet, which were to aid him in his quest.[1250] On later vases he receives from Athena the sickle (harpe) with which he slays the monster.[1251] On his way he seizes the eye and tooth of the Graiae, a subject rarely depicted in art.[1252] The actual slaying of the Gorgon[1253] is not so often represented as the subsequent flight of Perseus, generally accompanied by Athena and Hermes[1254]; in one or two instances we see Perseus approaching his victim unobserved.[1255] Other vases depict the headless corpse of Medusa, from which springs the young Chrysaor or Pegasos, and the other two Gorgons, Stheno and Euryale, either pursuing Perseus or remaining with the corpse[1256]; in one instance they appeal to Poseidon for help.[1257]

We next see Perseus arriving at the court of Kepheus to deliver Andromeda[1258]; she is generally represented chained to a column in the palace itself. On other vases he is depicted in the act of slaying the monster, but this is a somewhat rare subject.[1259] Finally, we have the return to Seriphos and the petrifaction of the king Polydektes by showing him the Gorgon’s head.[1260] Perseus is also represented showing the head to Satyrs,[1261] or placing it in the wallet (κίβισις),[1262] or in combat with Maenads[1263]; or, again, he is accompanied by Athena, who holds the Gorgon’s head while he looks at the reflection.[1264] Lastly, on some small R.F. vases, a bust of Perseus is depicted wearing his winged cap.[1265]

* * * * *

The story of =Pelops= is chiefly connected with Olympia, and his visit to Oinomaos; but the subjects are almost exclusively confined to the later Apulian vases. On one B.F. (Cyrenaic) kylix Pelops is depicted with the winged horses given him by Poseidon,[1266] but this is exceptional. The Olympia scenes include five episodes: (1) the arrival of Pelops at Olympia[1267]; (2) the sacrifice or compact with Oinomaos[1268]; (3) the race[1269]; (4) the death of Myrtilos[1270]; (5) the carrying off of Hippodameia.[1271] Pelops also occurs with Myrtilos and Hippodameia in the under-world.[1272]

* * * * *

The adventures of =Bellerophon= are not so popular as those of other heroes, especially in the R.F. period. The story told in the sixth Iliad appears in several scenes, beginning with Bellerophon’s taking leave of Proitos[1273]; next we see him delivering the letter with its σήματα λυγρά to Iobates, the king of Lycia,[1274] and then, mounted on Pegasos, slaying the Chimaera.[1275] Subsequent events represented on vases are the death of the perfidious Stheneboia, who falls from the back of Pegasos,[1276] and the marriage of Bellerophon with Philonoë.[1277]

* * * * *

Nor need the story of =Meleager= detain us long. Scenes from his life are practically confined to the Calydonian boar-hunt, a subject popular at all periods, especially on early vases.[1278] Kastor and Polydeukes, Peleus, and other heroes, together with Atalante, are represented as taking part, as well as Meleager. There is also a vase on which Meleager is represented with the boar’s hide, accompanied by Atalante, Peitho, and Eros.[1279] Other scenes where a boar-hunt is represented, but no names given, or only names of a fanciful kind, may or may not be identified in this way.[1280] There is one vase which appears to represent the death of Meleager.[1281]

* * * * *

The next of the Greek heroes with whom we have to deal is =Jason=, with whom we must include the whole cycle of subjects relating to the Argonautika—such as the stories of Helle, Phineus, and Talos. The legend of the golden fleece which gave rise to the famous quest of Jason is first illustrated by scenes representing Helle or Phrixos in flight on the ram,[1282] or the former grouped with her mother Nephele and her brother Phrixos,[1283] who accompanied her on her flight. The pursuit of Phrixos and the ram by Ino is also represented.[1284] Lastly, there is a vase which may represent the setting out of Jason.[1285]

In the earlier history of the Argonautic expedition the most interesting subject found on the vases is the story of Phineus, who had been blinded for impiety by Boreas,[1286] and was subsequently deprived of his food by the Harpies until he was delivered by the sons of Boreas, Zetes, and Kalais.[1287] Another event is the chastisement of Amykos by Kastor and Polydeukes,[1288] and a fine vase of “Polygnotan” style in the Louvre represents a group of Argonauts apparently without any special signification.[1289] In all these scenes Kastor and Polydeukes and the Boreades are present together with Jason. There is also a scene which has been interpreted as belonging to the Argonautika: Herakles is represented sacrificing to a statue of Chryse on the island of Lemnos.[1290]

Then we have the arrival of Jason and his companions in Kolchis,[1291] and the subsequent feats performed by the hero—his slaying the dragon[1292] (in one version he enters into its mouth[1293]), his contest with the bull,[1294] and finally the capture of the fleece,[1295] which he is also represented as bringing to Pelias on his return.[1296] The only important event relating to the homeward journey is the death of Talos.[1297]

Among the events of his later life are the boiling of the ram by Medeia,[1298] and the subsequent destruction of the aged Pelias[1299]; the renewal of Jason’s own youth[1300]; the death of his wife Glauke by Medeia’s agency[1301]; and the latter’s slaughter of her children,[1302] with her pursuit by Jason.[1303] Medeia also appears in another connection at Theseus’ leave-taking of his father Aigeus,[1304] and among the Athenian tribal heroes on the vase by Meidias.[1305] Though not necessarily connected with Jason, the funeral games held after the death of Pelias[1306] must also find mention here. Scenes therefrom are represented on more than one vase—such as the chariot-race conducted by Kastor and others in the presence of three judges (Pheres, Akastos, and Argeos), and the wrestling of Peleus and Hippalkimos.[1307] On another Zetes is victorious over Kalais in the foot-race.[1308]

THE THEBAN LEGEND

The “tale of Thebes” falls into various episodes, more or less connected, especially those which relate to the story of Oedipus and his line.[1309] Conspicuous as founder of the city is the Phoenician Kadmos, whose encounter with the dragon is depicted on vases of various periods. On some he receives from Athena the stone with which he is to slay the monster[1310]; on others he is seen approaching the fountain of Ares, where he was to meet it[1311]; and, lastly, we have the actual slaying of the dragon,[1312] sometimes in the presence of Harmonia and various deities and personified figures, including Thebes. After the slaying of the dragon Kadmos sacrifices to Athena Onka.[1313] The completion of the story is seen in his marriage with Harmonia.[1314] A rarer subject is the punishment of Dirke by her brothers Amphion and Zethos, who tied her to a wild bull[1315]; while a later episode of the story is the pursuit of her sister Antiope by her lover Phokos.[1316]

The story of the Oidipodia is introduced by the subject of Laios (the father) carrying off the young Chrysippos.[1317] Then we have the exposure of the infant Oedipus and his discovery by the shepherd Euphorbos.[1318] Of later events in the life of Oedipus, the only one that attained to any popularity is the slaying of the Sphinx. The actual deed only occurs once,[1319] and the usual “type” is that of Oedipus (usually a young man) standing before the Sphinx, which is seated on a rock or column.[1320] It is not always to be identified with certainty.[1321] In one instance Oedipus is represented with Teiresias[1322]; in another with persons named Sikon and Kalliope—a subject hitherto unexplained.[1323] We need only make passing reference here to a vase supposed to represent the tomb of Oedipus, inscribed with a couplet of verses, at which stand two youths.[1324]

Before continuing the story of the house of Oedipus, we must digress to that of Amphiaraos, the warrior-seer, whose departure from his wife Eriphyle to the Theban War is a favourite subject on vases.[1325] It becomes, in fact, a “type” adopted in ordinary scenes.[1326] We also find on the reverse of one of the vases with this subject the departure of another warrior, perhaps intended for the hero’s son Alkmaion, or for Adrastos.[1327] On an early vase Amphiaraos is seen bringing home Eriphyle in his chariot. The names of his horses, Thoas and Dion, are given.[1328] A curious subject is that of the hero in the bosom of his family, with his wife Eriphyle suckling her son Alkmaion, and a maiden spinning.[1329] His death is represented on one B.F. vase[1330]; on another his slaying of Eriphyle.[1331] Another event is the death of the child Archemoros, caused by a serpent.[1332] A fine late vase in Naples depicts the prothesis or laying out of his body by his mother Eurydike and others.[1333] The subsequent fight of Tydeus and Lykourgos, interrupted by Adrastos, also occurs,[1334] and the reception of the fugitive Tydeus by Adrastos.[1335] Tydeus appears once more as the slayer of Ismene[1336]; but according to another version she and her sister Antigone are attacked by Laodamas when the Epigoni return to Thebes many years later.[1337] We can only point to one possible representation of the combat of Eteokles and Polyneikes on vases,[1338] though it is common enough, e.g. in Etruscan art; but there is at least one representation of Antigone being brought before Kreon after the burial of her brother,[1339] which also forms a burlesque subject on the comic stage.[1340]

THE TROJAN CYCLE

We now come to the story of the Trojan War, linked with which are the events which led up to it and those which immediately followed upon it—such as the Judgment of Paris on the one hand, and the stories of Odysseus and Orestes on the other. These events are so numerous that they require careful classification. They may be divided into three main sections: (1) Ante-Homerica, including the events that led to the war and those that took place during the first nine years of it; (2) Homerica, or the events of the Iliad; (3) Post-Homerica, or the stories of the death of Achilles, the fall of Troy, the Odyssey and other Νοστοί, and the Oresteia. The literary authorities for these events, on the lines of which our classification follows, are discussed elsewhere (p. 4 ff.).

In spite of the warning of Horace that in writing of the story of Troy it is not necessary to begin ab ovo, it is impossible here to avoid reference to the earliest event which bears at all on the subject—namely, the birth of Helen from the egg, which was the result of Zeus’ amour with Nemesis. The subject is referred to on several vases, the moment chosen being that when the egg is found by Leda.[1341] Her husband Tyndareus and her other offspring, Klytaemnestra and the Twin Brethren, are usually present. There is one undoubted instance of the nuptials of Helen and Menelaos.[1342]

The first event, however, which can be regarded as having a direct effect on the outbreak of the war is the marriage of Peleus and Thetis, at which the apple of discord was flung by Eris among the goddesses, and which brought about the birth of the hero of the war, Achilles. In ancient art, especially on vases,[1343] Peleus is depicted forcibly capturing Thetis from the company of her sister Nereids, while she tries to elude him by assuming various shapes, all conventionally indicated in the vase-paintings. Some vases represent the approach of Peleus and his pursuit of Thetis,[1344] the majority the actual struggle (Fig. 128),[1345] and one or two the announcement of the issue to Nereus and the company of Nereids (who are named).[1346]

The next stage is the introduction of Thetis to the Centaur Cheiron by Peleus.[1347] Then we have the celebration of their nuptials, with the assembling of the gods, as described by Catullus, and vividly, if quaintly, depicted on the François vase,[1348] followed in due course by Peleus bringing the young Achilles to be educated by Cheiron,[1349] and his subsequent sojourn in Skyros.[1350] There is one possible representation of the seething of Achilles in the caldron to secure his immortality.[1351]

* * * * *

The next event is the =Judgment of Paris=, perhaps of all the scenes from the story of the Trojan War the most popular with the vase-painters of all periods. The story of the forsaken Oenone, in the telling of which Tennyson has familiarised us with the scene of the Judgment, did not appeal to the unromantic Greeks in the same way. We only find one vase on which she is possibly represented.[1352] Curiously enough, the vase-paintings seldom show the central act of the story—the award of the golden apple. In fact, in the earlier examples Paris is omitted altogether, and we only see the three goddesses led in procession by Hermes. One vase, again, represents the preparations of the goddesses for the trial, Athena washing at a fountain and Aphrodite performing her toilet with the assistance of Eros.[1353] The rest may be classified as follows (the order adopted showing a rough chronological development of the type[1354]):

(1) Hermes leads the three goddesses, Athena alone being characterised; Paris absent. Only on B.F. vases.[1355]

(2) Procession-type preserved, but Paris is present, standing. Type modified on R.F. vases.[1356]

(3) Procession-type; Paris seated; landscape introduced (see Fig. 129).[1357]

(4) Procession-type abandoned; goddesses picturesquely grouped, with attendant figures. Only on R.F. and later vases.[1358] In one instance two stages seem to be represented: first, the goddesses grouped for the Judgment, accompanied by Apollo, Helios, and Selene; secondly, the victorious Aphrodite crowned by Eros.[1359]

Parodied renderings of the subject also occur.[1360]

The reward of Paris for his judgment was, as we know, “the fairest wife in Greece.” Accordingly we next find him arrived at Sparta and carrying off the fair Helen as his bride. The vases (all of the R.F. and late periods) depict him on his arrival at Menelaos’ palace introduced to Helen,[1361] or else we see Helen at her toilet making preparations for her new consort[1362]; next, Paris leads away Helen or carries her off in his chariot,[1363] and finally introduces her to his father Priam on his return home.[1364]

The war having now broken out, we are introduced to the two chief heroes on the Greek side, Achilles and Ajax, as they bid farewell to their family and friends and set out in full equipment. Achilles, accompanied by Patroklos, Menoitios, and other heroes, bids farewell to his parents Peleus and Thetis[1365]; he also pays a farewell visit to his grandfather Nereus, who presents him with a crown,[1366] and receives a valedictory libation from a Nereid.[1367] Again, we see Achilles and Patroklos taking leave of Nestor, accompanied by Antilochos.[1368] Ajax is represented taking leave of Lykos,[1369] and also of his father Telamon[1370]; but as in one of the latter cases the names are wrongly applied on the vase, it may only represent an idealised departure of an ordinary warrior. There is also a vase which represents Nestor arming (putting on a greave) in presence of Euaichme.[1371]

We next find the warriors gathered in Aulis, waiting for the favouring breeze, and whiling away the time (as Euripides describes[1372]) in the game of πεσσοί or draughts, which is played by Ajax and Achilles (names usually given) seated at a raised board in full armour, with the statue of Athena behind them.[1373] There is another variety of the type, in which the presence of Athena seems to have more meaning. Here the two heroes cast lots with dice before the statue, and there may be some reference to the dispute of Ajax and Odysseus for the arms of Achilles, which was settled by Athena.[1374] The story of the sacrifice of Iphigeneia, though popular with poets and painters, for some reason never found its way on to the vases until the influence of great pictures and plays was beginning to make itself felt; and then only appears in one instance, where the transformation into a deer is indicated.[1375] The only other incident of the voyage which concerns us is the halt at Lemnos and the sacrifice to the local goddess Chryse, where Philoktetes is bitten by the serpent and has to be left behind on account of his wound.[1376] This island was also the scene of the carrying off by Achilles of Chryseis, the daughter of Chryses, the priest of the local goddess, of which there is one possible representation.[1377]

Two doubtful references to opening scenes of the war are to be found in a supposed consultation of Zeus with Themis among the Olympian deities,[1378] and a representation of the Greeks formally demanding back Helen,[1379] a demand which of course was not granted. The story of Telephos also belongs to an early stage, and three incidents therefrom are found. In one case he is represented as wounded by the spear of Achilles[1380]; again, entering the Greek camp disguised as a beggar, in order to apply to Agamemnon for aid[1381]; and, lastly, he is seen seizing the infant Orestes, whom he threatens to destroy if his request is not granted.[1382] A R.F. kylix in Boston represents in the interior Odysseus persuading Achilles to heal Telephos’ wound; on the exterior the wounded hero comes, not to Agamemnon’s tent, but to his palace at Mycenae.[1383]

At a much later stage of the war comes the incident of Troilos, a subject which attained to great popularity, especially with the B.F. vase-painters. It falls into five distinct scenes: (1) the departure of Troilos, with his two horses[1384]; (2) the ambuscade of Achilles behind the fountain to which Polyxena comes to draw water[1385]; (3) the flight of Troilos and Polyxena, and pursuit by Achilles[1386]; (4) the death of Troilos[1387]; and (5) the fight over his body.[1388] Of these, the ambuscade and the pursuit are the most commonly represented.

A few incidents which are not to be traced in literature probably belong to the Ante-Homeric period. They are (1) Achilles bandaging the wounded Patroklos, on the well-known Sosias cup[1389]; (2) the wounded Achilles tended by Patroklos and Briseis[1390]; (3) a combat of Hector and Achilles attended by Sarpedon and Phoinix (in one case Phoinix interrupts)[1391]; (4) a general combat of Greeks and Trojans.[1392]

It will be most convenient to deal with the various scenes which can be traced to the Homeric poems (or to co-ordinate traditions) in tabular form, noting where possible the actual passages which they appear to illustrate. But it must be borne in mind that the vase-painter was never an illustrator; he rather looked to literature for suggestions, which he worked out on his own lines, and consequently coincidences with or divergencies from the Homeric text must not be too closely insisted upon.

I. 187 ff. The dispute of Agamemnon and Achilles

Possibly to be identified in such scenes as on B.M. B 327, 397, and E 13; but very doubtful: see below, p. 133, and Robert, Bild u. Lied, p. 213.

320 ff. Agamemnon and Briseis.

Reinach, i. 148 = Baumeister, i. p. 721, fig. 776 (Hieron in Louvre); and see B.M. E 76. Achilles and Briseïs are found grouped together on two R.F. vases, but without any particular allusion: see B.M. E 258 and Helbig, 84 = J.H.S. i. pl. 6 = Reinach, ii. 91.

430 ff. Chryses propitiating Apollo.

Engelmann-Anderson, Atlas to Iliad, iii. 12.

II. 50 ff. Agamemnon in council

B.M. B 149.

212 ff. Thersites insulting Agamemnon.

B.M. E 196.

III. 259 ff. Priam setting out in his chariot

Jahrbuch, iv. (1889), pl. 10.

340 ff. Combat of Menelaos and Paris.

B.M. E 20; Duris kylix in Louvre (Wiener Vorl. vi. 7 = Engelmann-Anderson, vi. 23).

V. 95–296. Combat of Diomedes and Pandaros (a reminiscence of)

Berlin 764 = Ant. Denkm. i. pl. 7, fig. 15; and see Hermes, 1901, p. 388; actually here Diomedes and Aeneas fight over the body of Pandaros.

312 ff. Combat of Diomedes and Aeneas, the latter protected by Aphrodite.

B.M. E 73; Tyszkiewicz Coll. pl. 18 (very fine R.F. vase, now in Boston); Reinach, i. 120 = ii. 97 (B.F.).

VI. 215 ff. Diomedes and Glaukos exchanging arms

Stackelberg, pl. 11, 1.

258 ff. (1) Hector arming.

Munich 378 = Reinach, ii. 94 = Furtwaengler and Reichhold, pl. 14.

(2) Hector bidding farewell to Priam and Hecuba.

Helbig, 134 = Reinach, ii. 94 = Engelmann-Anderson, iii. 38.

(3) Hector bidding farewell to Andromache and Astyanax.[1393]

J.H.S. ix. pl. 3 = B.M. E 282; Reinach, ii. 255 = Bibl. Nat. 207.

(4) Departure of Hector.

B.M. B 76, B 235 (?); Louvre E 638 (= Reinach, i. 243), E 642; Reinach, ii. 160; Jahrbuch, iv. (1889), p. 260.

321 ff. Hector conducting Paris to battle.

Bibl. Nat. 207 = Reinach, ii. 255.

VII. 162 ff. Combat of Ajax and Hector

Munich 53; Helbig, 6 = Reinach, i. 104 (see under xiv. 402 ff.); Baumeister, i. pl. 13, figs. 779–80; B.M. E 438 (Smikros); and see Duris kylix in Louvre (Wiener Vorl. vi. 7 = Engelmann-Anderson, vii. 42).

VIII. 89 ff. Combat of Hector and Diomedes

Reinach, ii. 96.

261 ff. Teukros and Ajax son of Telamon.

Robert, in Hermes, 1901, p. 390, mentions a fragment of a Corinthian pinax in Berlin with these two figures, which may either belong to the above passage, or to xii. 370 ff., or to xv. 415 ff.

397 ff. Iris interrupting Athena (see pp. 39, 77).

Reinach, ii. 296.

IX. Achilles lying sick (apparently a contaminatio or confusion of ix. 168 ff. and xviii. 35 ff.).[1394]

Jahrbuch, vii. (1892), pl. 1.

173 ff. Embassy of Odysseus and Phoinix to Achilles (R.F. vases only).

B.M. E 56 = Wiener Vorl. C. 3, 3; Berlin 2176 (= Reinach, i. 282), 2326 (= Reinach, i. 431 = Roscher, iii. 658); Millin-Reinach, i. 14; Reinach, i. 148 = Wiener Vorl. C. 6 (Hieron) and 149.

X. 330–461. Episode of Dolon; his capture by Odysseus

Oxford 226; Munich 583 = Jahrbuch, v. (1890), p. 143; Bibl. Nat. 526 = Reinach, i. 89 = Wiener Vorl. v. 5 (Euphronios); Reinach, i. 334 = Petersburg 879; B.M. F 157 = Fig. 130. Dolon as single figure: Reinach, i. 306 = Wiener Vorl. iii. 1.

469–525. Rhesos and his horses.

B.M. B 234–35; Naples 2910 = Baumeister, i. p. 728, fig. 782 (Odysseus and Diomedes with the horses); Wiener Vorl. C. 3, 2.

566 ff. The horses of Rhesos brought to the tent of Diomedes.

Munich 583 = Jahrbuch, v. (1890), p. 146 (a slave waters the horses; another brings drink to Diomedes).

XI. The fight at the ships

Munich 890 = Reinach, ii. 99 = Baumeister, i. p. 729, fig. 783.

XIV. Combat of Ajax and Aeneas (? l. 402 ff.)

Reinach, i. 306 = Wiener Vorl. iii. 1; id. i. 104 = Helbig, No. 6 (? see above, under vii. 162 ff.).

XVI. 666 ff. Sarpedon carried off by Hypnos and Thanatos

See Louvre F 388; but this scene is hardly to be distinguished from those with Memnon (see below, p. 132).

XVII. 60 ff. Combat of Menelaos and Euphorbos, and fight over his body

B.M. A 749 = Baumeister, i. p. 730, fig. 784[1395]; and see E 20.

123 ff. Combat over body of Patroklos.

Exekias kylix (Munich 339 = Reinach, ii. 36); Reinach, ii. 95; Millin-Reinach, i. 49; Berlin 2264 (Oltos and Euxitheos) = Wiener Vorl. D. 2, 1 = Engelmann-Anderson, xiv. 76.

XVIII. 367 ff. (1) Thetis in the smithy of Hephaistos

Berlin 2294 = Overbeck, Her. Bildw. 18, 6.

(2) Hephaistos polishing Achilles’ shield.

Röm. Mitth. ii. (1887), p. 242.

XIX. 1–18. Thetis and the Nereids bringing the armour to Achilles

(a) Riding on sea-monsters over the waves (all late vases).

B.M. F 69; Jatta 1496 = Reinach, i. 112; Roscher, iii. 221–24; and see Heydemann, Nereiden mit Waffen.

(b) Presenting the weapons to Achilles.

B.M. E 363; Millin-Reinach, i. 14.

364 ff. Achilles arming.

Athens 671 = Wiener Vorl. ii. 6; Overbeck, Her. Bildw. xviii. 4, 7; vase by Amasis at Boston (Report for 1901, No. 5).

XXI. 114 ff. Combat of Achilles and Lykaon

B.M. F 173.

XXII. 188 ff. Achilles pursuing Hector round the walls of Troy

Reinach, ii. 102 (now in Boston: see Museum Report for 1898, No. 42).

209 ff. Zeus weighing the heroes’ souls in his scales.[1396]

B.M. B 639; Bibl. Nat. 385 = Reinach, i. 89; Millin-Reinach, i. 19 = Baumeister, ii. p. 921, fig. 994.

306 ff. Death of Hector.

B.M. E 468; Munich 421; Reinach, ii. 101 = Helbig, 106; Boston Mus. Report for 1899, p. 79, No. 31 (parody). Cf. Millingen, Anc. Uned. Mon. i. 4 = Engelmann-Anderson, Odyss. iii. 15.

437 ff. Andromache suckling Astyanax (compare only).

B.M. E 509.

XXIII. 157 ff. Funeral games for Patroklos

François vase (chariot-race, etc.).

175 ff. Sacrifice of Trojan captives on the pyre of Patroklos.

Naples 3254 = Reinach, i. 187.

XXIV. 16 ff. Achilles dragging Hector’s body past the tomb of Patroklos

B.M. B 543 and Forman Sale Cat. 306 = Reinach, ii. 100 (now in B.M.)[1397]; Berlin 1867 = Reinach, ii. 99; Naples 2746.

141 ff. Achilles offering his hair to the river Spercheios.

B.M. E 555 (?).

448 ff. Priam begging Achilles for the body of Hector; the Achaean princes deliberating over the ransom.

Munich 404 (= Overbeck, Her. Bildw. pl. 20, 3), and 890 (= Reinach, ii. 99); Petersburg 422 = Reinach, i. 138 = Baumeister, i. p. 739, fig. 792; Reinach, i. 172 = Vienna 328; Athens 889 = Ath. Mitth. 1898, pl. 4 (B.F., but poor).

580 ff. Hector’s body carried out to prepare for burial.

Petersburg 422 (as above).

Among the events of the war between the death of Hector and the final fall of Troy, those which relate to the final exploits of Achilles are most prominent, and especially the encounters with Memnon, and with Penthesileia, his death and the events arising out of it. The story of Achilles’ fight with Penthesileia, and the death of the Amazon queen, is less frequently depicted, but there are some very fine examples remaining.[1398] Other representations of Amazons arming, setting out, or in combat may be placed here, but except where Penthesileia is specially indicated it is better to regard them as having no definite reference to the Trojan story.[1399] A remarkable painting on an Apulian amphora depicts the slaying of Thersites by Achilles in the presence of Phoinix and Diomedes. Thersites had insulted Achilles after his slaying of Penthesileia.[1400]

The story of Memnon is related on the vases in several scenes, beginning with his equipment and departure for the fray.[1401] Next we see the great fight of Achilles and Memnon over the body of Antilochos,[1402] at which the respective mothers of the heroes, Thetis and Eos, are usually present as spectators.[1403] The result of the fight was fatal to Memnon, whose body we see carried off by Thanatos and Hypnos,[1404] or by Eos herself,[1405] for burial in his native land. Eos is also represented mourning over him.[1406] The Psychostasia, or weighing of souls by Zeus (see p. 130), has also been referred to this event. The body of Antilochos is finally rescued and carried off by Nestor.[1407]

Lastly, we find a few possible representations of the death of Achilles,[1408] and others, more certainly to be identified, of the battle raging round his body, in which Diomedes is wounded[1409]; also of Ajax carrying the body off out of the battle,[1410] and the subsequent mourning of the Nereids over it.[1411] A representation of the ghost of a warrior, winged and fully armed, flying over a ship,[1412] is to be regarded as that of Achilles, though to what event it alludes is not clear. The dispute over the hero’s armour and the suicide of the disappointed Ajax are introduced by a scene representing the fetching of Neoptolemos, his son, from Skyros, where he bids farewell to Lykomedes and Deidameia[1413]; of the quarrel between Ajax and Odysseus there are also several representations.[1414] It was decided finally by Athena, who is represented presiding over the Greek chiefs as they vote[1415]; or, according to another version, they cast lots before her statue.[1416] The armour is then awarded to Neoptolemos,[1417] who, according to an oracle, was indispensable for the capture of Troy. Ajax goes mad with disappointment, and finally commits suicide by falling on his sword[1418]; the episode of his slaying the sheep is not, however, represented.

The Ἰλίου Πέρσις, or =sack of Troy=, which is so vividly represented on many of the vases of advanced and late style, may be said to begin with the episode of the seizure of the Palladion by Odysseus and Diomede.[1419] It is rapidly followed by the construction of the wooden horse and its entry into the city.[1420] There is, however, only one certain representation of the death of Laokoön to be traced,[1421] and none of the traitorous Sinon.

Several vases, especially of the later epoch, collect the chief episodes in a frieze or in a series of groups, including the rape of Kassandra by Ajax, son of Oileus, the death of Priam and Astyanax, the recapture of Helen by Menelaos, and the flight of Aeneas; other scenes represented are the leading back of Aithra by Akamas and Demophon, and the sacrifice of Polyxena and subsequent blinding of Polymestor by Hecuba.

I. General.

Berlin 1685 (= Overbeck, Her. Bildw. pl. 26, 1) and 2281; Plate LIV. = Furtwaengler and Reichhold, pl. 25 (Brygos in Louvre); Naples 2422 = Furtwaengler and Reichhold, pl. 34 = Baumeister, i. pl. 14, fig. 795; B.M. F 160, F 278.

II. (a) Ajax seizing Kassandra at the altar of Athena.

B.F. B.M. B 242, 379; Berlin 1698; Roscher, ii. p. 979.

R.F. B.M. E 336, E 470; Reinach, i. 221, 338 = Roscher, ii. pp. 985, 981; Bourguignon Sale Cat. 33.

Late. B.M. F 209; Roscher, ii. p. 983.

(b) Death of Priam and Astyanax.[1422]

(1) Priam only.

B.M. B 241; Röm. Mitth. iii. (1888), pp. 108–9; Reinach, ii. 109; Berlin 3996. [Priam dead in all except second.]

(2) Priam usually seated on altar; Neoptolemos swings body or head of Astyanax.

B.M. B 205; Berlin 2175, 3988; Reinach, i. 221, ii. 109; J.H.S. xiv. pl. 9. [See also under I.]

(3) Andromache or Hecuba with body of Astyanax.

Millin-Reinach, ii. 37 (Lasimos in Louvre; also identified as Archemoros: see p. 118).

(c) Menelaos and Helen.

B.M. E 161, 263; Reinach, i. 437, 3 (Hieron), ii. 34; Helbig, 43 (= Mus. Greg. ii. 49, 2), and ii. p. 325 (= Baumeister, i. p. 746, fig. 798); Millingen, Anc. Uned. Mon. pl. 32; Louvre G 3 (Pamphaios); Reinach, i. 222 = Wiener Vorl. D. 8, 1; Noel des Vergers, Étrurie, iii. pl. 39.

(d) Akamas and Demophon with Aithra.

B.M. B 244 (?), E 458; Overbeck, Her. Bildw. pl. 26, 13.

(e) Flight of Aeneas with family.

B.M. B 173, B 280; Reinach, ii. 110 (= Munich 903), 116, 273; Baumeister, i. p. 31, fig. 32; Helbig, 201 = Mus. Greg. ii. 85, 2; Naples 2481; Bibl. Nat. 261; Louvre F 122 = Wiener Vorl. 1890–91, pl. 5, 1.

(f) Sacrifice of Polyxena.

Plate XXIII. = J.H.S. xviii. pl. 15 (B.M.); Overbeck, Her. Bildw. pl. 27, 19.

(g) Polymestor blinded.

Reinach, i. 91 = Hill, Illustrations of School Classics, p. 170 (now in B.M.).

(h) Ajax stabbing a captive (?).

Reinach, i. 88.

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PLATE LIV

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Among the various adventures described by the Cyclic poets in the Νοστοί, few seem to have found their way into the vase-paintings except the fate of Agamemnon, the interview of Menelaos with Proteus (told in the Odyssey), and, of course, the adventures of Odysseus.

The house of Atreus and its story will be dealt with later under the heading of the Oresteia: we turn now to the =Odyssey=, scenes from which are surprisingly few in Greek art, and appear to have attracted the painter less than the more stirring events of the Iliad. The following, however, have been identified:

II. 94 ff. Penelope at her loom

Reinach, i. 191.

III. 12 ff. Arrival of Telemachos at Nestor’s house in Pylos

Berlin 3289 = Roscher, iii. 298 = Engelmann-Anderson, iii. 13.

IV. 349 ff. The story of Menelaos’ interview with Proteus

Naples 1767 = Mus. Borb. xiii. 58 = Engelmann-Anderson, iv. 22.

V. 228 ff. Odysseus navigating the sea on a raft

Oxford 262, Cat. pl. 26 (burlesque). See also B.M. E 156 (Odysseus and Leukothea).

VI. 126 ff. Nausikaa washing clothes

Munich 420 = Reinach, ii. 110 = Roscher, s.v.

Alkinoös and Nausikaa (parody).

Reinach, i. 153.

IX. 345 ff. Odysseus offering wine to Polyphemos

Boston Mus. Report, 1899, p. 60.

371 ff. Odysseus putting out the eye of Polyphemos.

Plate XVI. = Helbig, i. p. 435, No. 641 (Aristonoös); Bibl. Nat. 190 = Reinach, i. 64; B.M. B 154; Louvre F 342 = Gaz. Arch. 1887, pl. 1; Berlin 2123; Arch. Anzeiger, 1895, p. 35; Jahrbuch, 1891, pl. 6: see Bolte, Monum. ad Odyss. pert. p. 2.

420 ff. Odysseus escaping under the ram.

B.M. B 407, 502, 687; Karlsruhe 167 = J.H.S. iv. p. 249; Louvre A 482; Reinach, i. 64: see also Ath. Mitth. 1897, pl. 8 (a very early instance); generally, J.H.S. iv. p. 248 ff., and Rev. Arch. xxxi. (1897), p. 28 ff.

X. 210 ff. Odysseus and Kirke (see J.H.S. xiii. p. 82)

(a) Arrival of Odysseus.

Reinach, i. 142 = Roscher, ii. 1195.

(b) Transformations of comrades.

Reinach i. 396; Berlin 2342 = ibid. i. 418; Boston Mus. Report, 1899, pp. 59, 61 (both early B.F.).

(c) Odysseus and Kirke.

J.H.S. xiii. pls. 2 (Athens 956), 4 (in B.M.), p. 81 (Oxford 262); and see Reinach, i. 142.

XI. 23 ff. Odysseus sacrificing before his visit to Hades

Bibl. Nat. 422 = Reinach, i. 126 = Baumeister, ii. p. 1040, fig. 1254.

XII. 164–200. Odysseus passing the Sirens

Athens 958 = J.H.S. xiii. pl. 1; B.M. E 440; and see J.H.S. vi. pl. 49, p. 20 (= Louvre F 123); Corinthian aryballos in Boston (Strena Helbigiana, p. 31).

Scenes from the last twelve books are even rarer:

XVIII. 35 ff. Odysseus and Iros

Reinach, ii. 357.

XIX. 385 ff. Odysseus recognised by Eurykleia

Reinach, i. 191.

394 ff. The story of Autolykos.

In connection herewith see Munich 805 = Reinach, i. 277 for a possible representation of the betrothal of Laertes and Antikleia (Hermes, 1898, p. 641; Robert, Homer. Becher, p. 90 ff.; Hyginus, Fab. 201).

XXI. 393—XXII. 5 ff. The slaying of the suitors

Berlin 2588 = Reinach, i. 217.

The scenes from the =Oresteia= cover roughly the same ground as the great trilogy of Aeschylos, together with the Iphigeneia in Tauris and the Andromache of Euripides. We have first the murder of Agamemnon by Klytaemnestra with her axe.[1423] Next, Elektra making her offerings at the tomb of Agamemnon, sometimes accompanied by her sister Chrysothemis.[1424] It must be borne in mind that the “type” of this scene does not differ in any respect from ordinary scenes of “offering at a stele,” and therefore, where the names are not given or are obviously modern additions, this interpretation is at best a doubtful one. The same applies to the next series of vases, on which Orestes meets Elektra at the tomb[1425]; but there seems to be one undoubted instance of Orestes and Pylades with the urn containing the supposed ashes of the former (cf. Soph. Electra, 1098 ff.).[1426] The next group to be dealt with shows us Orestes slaying Aegisthos,[1427] while Klytaemnestra is held back by Talthybios[1428]; and, finally, the death of Klytaemnestra herself.[1429]

Orestes is then pursued by the Furies,[1430] and seeks refuge at Delphi, where he is purified by Apollo at the Omphalos[1431]; and he is also seen at Athens, where he afterwards sought the protection of Athena.[1432] Other vases, nearly all of late date, and therefore under the influence of the Euripidean tragedy, represent Orestes accompanied by Pylades, arrived at the temple of the Tauric Artemis, where Iphigeneia presents Pylades with the letter.[1433] Lastly, we have the death of Neoptolemos at the hand of Orestes at Delphi.[1434]

ATTIC LEGENDS

It will now be necessary to deal with sundry isolated subjects, which do not admit of being grouped together round the name of any one great hero or any particular legend. There are, however, a certain number which may perhaps be regarded as having a special connection with Athens, and with these we will begin.[1435] Some of the specially Athenian myths have already been discussed in other connections, notably the story of Theseus (p. 108), the dispute of Athena and Poseidon (p. 24), the sending of Triptolemos (p. 27), and the rape of Kephalos by Eos[1436] and of Oreithyia by Boreas (p. 80). There remain then the following:

(1) The birth of Erichthonios, who is represented as received by Athena from Gaia emerging out of the earth, in the presence of Kekrops and his daughters. It only occurs on the later R.F. vases; the type closely resembles that of the birth of Dionysos (p. 19).

B.M. E 372; Berlin 2537 = Reinach, i. 208 = Wiener Vorl. B. 12; Munich 345 = Reinach, i. 66; and Reinach, i. 113 = Wiener Vorl. iii. 2. Also a scene from the childhood of Erichthonios: B.M. E 788.

(2) The reception of Dionysos in Attica (by Ikarios or Amphiktion).

B 149, B 153, and E 166 in the British Museum appear to refer to this, but not certainly. See above, p. 56.

(3) The story of Tereus and his daughters, Prokne and Philomela.[1437]

(a) Tereus meeting Apate (Deceit); Prokne and Philomela in chariots.

Naples 3233 = Reinach, i. 240.

(b) Prokne and the dumb Philomela:

Reinach, i. 308 (in Louvre).

(c) Aedonaia slaying Itys.

J.H.S. viii. p. 440 (= Munich 799_a_).

(4) The three sons of Pandion, Lykos, Nisos, and Pallas,[1438] with Orneus the son of Erechtheus.

Reinach, i. 510 = Roscher, ii. 2187.

(5) The death of Prokris by the agency of Kephalos.

B.M. E 477 (with Siren as soul of Prokris or death-deity).

(6) Kreousa defended by Apollo from the attack of Ion.

Reinach, i. 375: cf. Eur. Ion. 1250 ff.

(7) Danaos taking refuge in Attica (?).

Reinach, i. 244 = Wiener Vorl. iii. 4, 2 (in Louvre).

(8) Echelos carrying off Basile.[1439]

Arch. Anzeiger, 1895, p. 39: see p. 27.

(9) The story of Diomos, the eponymous deme-hero (?).

B.M. B 178 = J.H.S. xiii. p. 116.

(10) Kodros, the last king of Athens.

Bologna 273 = Baumeister, iii. p. 1998, fig. 2148 = Jahrbuch, 1898, pl. 4.

The Kodros cup (completely published in Wiener Vorl. i. 4) is decorated with groups of figures intended to illustrate the legendary history of the great Attic families, in accordance with the genealogising tendencies of the period (about 450 B.C.). The outer scenes represent Theseus taking leave of Aigeus, and Ajax taking leave of Lykos; and Aigeus and Ajax (Aias) are eponymous heroes of two Attic tribes. On the Meidias vase in the British Museum[1440] we see a group of Athenian tribal heroes, such as Akamas, Antiochos, Demophon, and Hippothon, together with Medeia, who is also connected with Athens in the Theseus scene of the Kodros cup.

* * * * *

Other isolated myths which occasionally appear on vases, but defy more exact classification, may be briefly recorded here:

(1) Admetos and Alkestis.

Bibl. Nat. 918 = Reinach, i. 395 = Dennis, Etruria^2, ii. frontispiece. See also p. 69.

(2) Agamedes and Trophonios as prisoners fed by Augias.

Louvre E 632 = Reinach, i. 349 (see Paus. ix. 37, 5; Ann. dell’ Inst. 1885, p. 130).

(3) Agrios seized by Oineus and bound on the altar.

B.M. F 155: see Anton. Liber. 37 and Vogel, Scenen Eur. Trag. p. 125.

(4) Atalante offering a cup to her antagonist Hippomenes.

R.F. kotyle in B.M.

(5) Atreus and Thyestes (the latter as suppliant in the former’s palace?).

Millingen-Reinach, 23 = Wiener Vorl. B. 4, 1.

(6) Daidalos and Ikaros, flight of.

Naples 1767 = Gaz. Arch. 1884, pls. 1–2.

(7) Glaukos in the tomb brought to life by the seer Polyeidos.

B.M. D 5 = Plate XL.: see Apollod. iii. 3, 1.

(8) Kanake’s suicide.

Reinach, i. 448.

(9) Laios, Keleos, Kerberos, and Aigolios stung by bees when stealing the honey on which the infant Zeus was fed.

B.M. B 177: cf. Anton. Liber. 19 and Roscher, i. p. 154.

(10) Lykourgos destroying his children in a frenzy.

B.M. F 271; Naples 3219 = Reinach, i. 125, and 3237 = Baumeister, ii. pp. 834–35. See also Reinach, i. 333: Lykourgos slaying Thoas; and p. 56.

(11) Melampus healing the daughters of Proitos from their madness at the altar of Artemis Lusia, in the presence of Dionysos.

Naples 1760 = Millingen-Reinach, 52 = Wiener Vorl. B. 4, 3.

(12) Merope (a scene from the tragedy of that name).

Munich 810 = Reinach, i. 363: see Vogel, Scenen Eur. Trag. p. 118.

(13) Pandareos with the golden dog of Zeus, which he stole.

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

(14) Peleus wrestling with Atalante.

Munich 125 (= Reinach, ii. 120 = Furtwaengler and Reichhold, pl. 31), and 584 = Reinach, ii. 88; Bibl. Nat. 818 = Gaz. Arch. 1880, pl. 14; Micali, Mon. Ined. pl. 41.

(15) Peleus hunting a stag.

Berlin 2538 = Reinach, ii. 162: cf. Apollod. iii. 13, 3.

(16) Pentheus torn to pieces by his mother Agave and the frenzied Maenads.

B.M. E 775 = Fig. 131; Munich 807 = Baumeister, ii. p. 1204, fig. 1396; Jatta 1617 = Müller-Wieseler, Denkmaeler, ii. 37, 436; Jahrbuch, 1892, pl. 5 (and see p. 154); Gaz. Arch. 1879, pls. 4–5 (?).

(17) Phaon with Chryse and Philomele.

Furtwaengler and Reichhold, pl. 59 (vase in Palermo, formerly interpreted as Dionysos and Ariadne: see text, p. 296, for the correct interpretation).

(18) Phineus invoking the gods.

B.M. E 291 = Wiener Vorl. C. 8, 1. For other Phineus scenes, see pp. 81, 115.

(19) The madness of Salmoneus.

Amer. Journ. of Arch. 1899, pl. 4 (interpreted as Athamas): cf. Class. Review, 1903, p. 276 and Harrison, _Prolegomena to Gk. Religion_, p. 61.

(20) Thoas placed in the chest by Hypsipyle.

Berlin 2300 = Reinach, i. 273: see Ap. Rhod. i. 622, and Hartwig, Meistersch. p. 374.

(21) Aktor and Astyoche (uncertain reference).

Jahrbuch, 1902, pl. 2 (in Boston): see ibid. p. 68, Il. ii. 513 and 658; Schol. in Pind. Ol. vii. 42.

(22) The foundation of Boiae in Laconia by the appearance of a hare.

Reinach, ii. 333 = Inghirami, Vasi Fitt. 120 (this is exceedingly doubtful).

(23) Two boys delivered to a Nymph (unknown myth).

Wiener Vorl. E. 12, 3.

The story of =Orpheus= often finds a place on vases of the R.F. period,[1441] but is chiefly confined to two episodes, his playing the lyre among a group of Thracians[1442] (the men recognisable by their costume, see p. 179), and his pursuit by the Thracian women[1443] and subsequent death at their hands.[1444] In one scene his head after his death is made use of as an oracle.[1445] He is often present in under-world scenes (see p. 68), but not always in connection with the fetching back of Eurydike.[1446]

Thamyris, a quasi-legendary figure, appears contending with the Muses for pre-eminence with the lyre[1447]; on one fine R.F. vase he is accompanied by Sappho,[1448] who, though strictly an historical personage, appears among the Muses in quasi-mythical guise; he also plays the lyre among Amazons.[1449] Other semi-historical persons enveloped in a cloud of fable are: Taras, the founder of Tarentum[1450]; Midas, who is generally represented with asses’ ears, and is depicted judging the Seilenos who was caught in his rose-garden and is led before him with hands tied[1451]; and Minos, who appears at the slaying of the Minotaur by Theseus,[1452] and in the under-world as one of the judges of souls.[1453]

* * * * *

Nor must we omit to mention the =Amazons=, who play such a large part on Greek vases; besides their connection with various legendary events, they are often employed purely as decorative figures. Mention has already been made of their combats with Herakles and Theseus, and of the part played by their queen Penthesileia in the Trojan War[1454]; and we also find them in such scenes as the Judgment of Paris[1455] and Herakles’ fight with Kyknos.[1456] They also contend with Gryphons[1457]; and many battle scenes in which they are opposed to Greek warriors may also be here alluded to as not admitting of more definite identification.[1458] They are further represented arming and preparing for the fray,[1459] or setting out on horseback,[1460] or defending a besieged city[1461]; and as decorative figures we see them charging,[1462] stringing bows[1463] and discharging arrows,[1464] blowing a trumpet,[1465] running by the side of a horse or checking a restive animal,[1466] or fastening a shoe[1467]; or in peaceful converse with a Greek warrior,[1468] or else without any distinguishing action.[1469] Nearly all these subjects belong to the R.F. and later periods.

* * * * *

We may conclude this section with an account of the monstrous semi-human, semi-bestial creatures, which play a large part in the decoration of Greek vases, and appear in connection with many legends. Such are the Centaurs, half man, half horse; the Gorgons, winged women with snaky locks; the Harpies, also found on early vases in the form of winged women; and mythical creatures like Pegasos, the Chimaera, or the Minotaur.

=The Centaurs=, who probably symbolise mountain torrents or other forces of nature, appear (mostly on early vases) in combat with Herakles, either in troops or in single combat, as in the stories of Nessos, Dexamenos, and Eurytion[1470]; or, again, in the scenes so often celebrated in the sculptured friezes and metopes of Greek temples, where they contend with Theseus and Peirithoös,[1471] or with the Thessalian Lapiths.[1472] Among the latter a common episode is the death of Kaineus, whom the Centaurs buried in the earth, showering rocks upon him.[1473] In a more peaceful aspect appear the aged Centaurs, Pholos and Cheiron, especially in the stories of Herakles and Achilles,[1474] both of whom are brought to the latter for their youthful education.[1475] As the friend of Peleus Cheiron often assists at his capture of Thetis.[1476] Centaurs, especially Pholos, are sometimes represented returning from the chase,[1477] or as single decorative figures[1478]; in one case they fight with cocks.[1479] Nike in one or two instances is drawn in her chariot by male or female Centaurs[1480]; and, finally, representations of youthful Centaurs are found, though usually they are middle-aged.[1481]

=The Gorgons= appear almost exclusively in connection with the Perseus legend,[1482] but are besides frequently found as decorative figures, especially on B.F. vases,[1483] in the running attitude characteristic of archaic art, in one case between two Sphinxes.[1484] Besides these, the head or mask of the Gorgon Medusa, familiar at all periods as a decorative motive of Greek art—first with an ugly and grotesque face, afterwards refined and beautiful—is often found by itself on Greek vases, especially as an interior central ornament of B.F. kylikes.[1485]

=Harpies=, conventionally associated through the medium of the Roman poets[1486] with the human-headed bird-form which really denotes the Siren, are found invariably on vases in the form of winged women.[1487] They are, as has been elsewhere noted (p. 81), associated with the Boreades[1488] as symbolical of evil and good influences of winds, and probably should be regarded as personifications of the southern breezes (the malevolent influence of which is seen in the sirocco). Traditionally they were supposed to guard the Garden of the Hesperides in Africa, whence the hot baleful winds come. The story of Phineus is probably to be explained on these lines.[1489] A Harpy appears at the recovery of Zeus’ golden dog from Pandareos.[1490]

That the human-headed bird represents a =Siren= in Greek art is amply attested by the representations of Odysseus’ adventure with the vocal enchantresses.[1491] Their appearance on the so-called Harpy monument of Xanthos, however, shows them in another aspect, that of death-deities[1492]—not necessarily of a violent and rapacious character, as on a vase in Berlin,[1493] but gentle and kindly. So, again, a Siren is represented in connection with a tomb[1494]; and in a scene representing a banquet in Elysium they are depicted crowning the dead.[1495] On some vases we find a Siren playing a flute or a lyre (probably merely fanciful subjects)[1496]; or, again, two Sirens kissing each other.[1497] As mere decorative motives their appearances are countless, and many early vases are modelled in the form of Sirens[1498]; sometimes they have human arms[1499]; in one case a bird’s wings and a fish-tail[1500]; or, again, more anomalously, bearded masculine heads.[1501] More rarely they are seen flying.[1502]

=The Sphinx= is familiar in the first place as the monster, half woman, half dog, which vexed the city of Thebes till slain by Oedipus; this story is often alluded to on vases,[1503] but many groups of a man and a Sphinx have probably no special meaning.[1504] The Sphinx has sometimes a sepulchral reference,[1505] and is grouped with other figures, such as Atlas[1506] or a Seilenos[1507] (the latter probably a scene from a Satyric drama). Like the Siren, she is exceedingly common as a decorative figure,[1508] especially in the friezes of animals and monsters so dear to the early vase-painters. Her invariable form is that of a winged lion or dog with a woman’s bust.

=The Gryphon=, a kind of dragon composed of an eagle’s head and lion’s body and legs (occasionally a bird’s), is almost exclusively decorative[1509]; but on the later vases we find the fabulous combat of the Oriental Arimaspi with the Gryphons who guarded the mountain of gold in the Far East (cf. Plate XLII.)[1510]; or, again, they contend with the Amazons,[1511] with Scythians,[1512] or with ordinary Greek warriors.[1513] In one instance an Arimasp woman is seen shooting at a Gryphon of curious type.[1514] Further, they draw the chariots of deities, such as Persephone,[1515] and Dionysos[1516]; and we have already seen Apollo coming on a Gryphon from the Hyperborean regions.[1517]

Pegasos, the winged steed of Bellerophon, and the monster Chimaera which he slew, also appear as decorative figures[1518]; and the former draws the chariots of Apollo and of a woman,[1519] and also appears as a constellation with the moon and stars.[1520] A human-headed monster attacked by a hero seems to have been suggested by the Chimaera on a companion vase.[1521] The Minotaur is generally seen in connection with Theseus, but also appears as a single or decorative figure,[1522] and one vase appears to represent the youthful monster in his mother’s lap.[1523] Other monsters found occasionally on vases are Skylla, who appears, not in connection with the story of Odysseus, but with those of Perseus and Andromeda,[1524] and Phrixos and Helle,[1525] or as a single figure[1526]; and Lamia, a vampire or ogress in the form of a hideous old woman, who is seen undergoing torture from Satyrs,[1527] and in another unexplained scene.[1528] Another type of monster, the serpent-footed giant Typhon, has already been mentioned.[1529] Yet another and a unique type is that of the Nymphs with serpent bodies which protect vines from the attacks of goats.[1530]

Lastly, another creation of fancy, though not strictly mythological, is the ἰππαλεκτρύων or “cock-horse,” a bird with horse’s head, which appears on some B.F. vases ridden by a youth.[1531] This may also be a convenient place for mentioning the common decorative subject of Pygmies fighting with cranes.[1532]

HISTORICAL SUBJECTS

The number of vases on which undoubted historical subjects have been discovered is very limited, though the old systems of interpretation exerted much ingenuity in eliciting an historical meaning from many scenes of daily life, with or without names inscribed over the figures. In the instances given below, the names are given in most cases, obviating all doubts. It is worth noting that the subjects chosen are not as a rule those that would most obviously suggest themselves. They fall into two classes, one relating to historical events and persons, the other to literary celebrities:

I. (1) The weighing of silphium by Arkesilas, one of the descendants of Battos, who ruled at Kyrene—probably the second of the name (B.C. 580–550). This scene occurs on a Cyrenaic cup in the Bibliothèque at Paris (Cat. 189: see Vol. I., p. 342, Fig. 92), which is probably a contemporary production.

(2) Kroisos, the king of Lydia, on the funeral pyre (B.C. 545). See above, p. 6.

Fig. 132 = Reinach, i. 85 = Baumeister, ii. p. 796, fig. 860 (in Louvre).

(3) Harmodios and Aristogeiton slaying the tyrant Hipparchos (B.C. 510).

B.F.: Arch.-epigr. Mitth. aus Oesterr. iii. (1879), pl. 6. R.F.; Reinach, i. 449; and see a late Panath. amph. in B.M. (B 605).

(4) Diitrephes shot to death with arrows, B.C. 479 (?). See Paus. i. 23, 3, and Frazer’s note.

Bibl. Nat. 299 = Jahrbuch, 1892, p. 185 (but see Reinach, ii. p. 255, and p. 15 under Gigantomachia).

(5) The Persian king and queen.

Helbig, p. 281 = Reinach, i. 275 (see Hartwig, Meistersch. p. 525).

(6) The Persian king hunting.

Petersburg, 1790 = Reinach, i. 23 (Xenophantos): cf. Naples 2992.

(7) Dareios in council, with various deities and personifications as spectators.

Naples 3253 = Reinach, i. 194 = Baumeister, i. pl. 6, fig. 449.

(8) Battle of Greeks and Persians (with spectator-deities, etc.).

Naples 3256 = Reinach, i. 98: see also p. 179; Reinach, ii. 84; Hartwig, Meistersch. pls. 55–56 and p. 518.

(9) Battle of Greeks and Messapians.

Berlin 3264 = Reinach, i. 270.

II. (1) Sappho.

(a) As single figure.

De Witte, Coll. à l’Hôtel Lambert, pl. 3.

(b) With Alkaios.

Fig. 133 = Munich 753 = Baumeister, iii. p. 1543, fig. 1607.

(c) Reading her poems.

Athens 1241 = Dumont-Pottier, pl. 6 = Reinach, i. 526.

(d) In rivalry with Muses.

Jatta 1538 = Reinach, i. 526.

(e) With Eros (named Talas).

Abhandl. d. k. sächs. Gesellsch. viii. (1861), pl. 1, fig. 1: see p. 49.

(2) Aesop.

Helbig, 154 = Jahn, Arch. Beitr. pl. 12, fig. 2.

(3) Anakreon.

B.M. E 18: cf. E 266–67, 314–15; and see generally Jahn, Gr. Dichter auf Vasenb. in Abhandl. d. k. sächs. Gesellsch. viii. (1861), p. 699 ff.

(4) Kydias of Hermione (a lyric poet: cf. Schol. in Ar. Nub. 967) and Nikarchos (a contemporary flute-player) are to be seen, according to Jahn (op. cit. p. 740) on a psykter in the British Museum (E 767), on which these names are inscribed over two revellers; but the identification is exceedingly doubtful. See also Munich 1096 = Jahn, op. cit. pl. 4, fig. 1.

III. Mention should also here be made of the names of historical renown which often appear on R.F. vases with the word καλός (see Vol. I. p. 403, and below, p. 267), such as Alkibiades, Glaukon, Hipparchos, Kleinias, Leagros, Megakles, and Miltiades. The question is dealt with elsewhere, and it has been shown that only in one or two cases—e.g. Leagros, Glaukon, and Kleinias (the father of Alkibiades)—can an identification with the historical personages be certainly maintained; it is, however, of sufficient interest for reference in this chapter, because the inscribed names may in some cases possibly refer to the figures depicted on the vases.[1533]