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------------------------------------------------------
HISTORY OF ANCIENT POTTERY
------------------------------------------------------
PLATE XLIX
[Illustration:
ATTIC BLACK-FIGURED HYDRIA:
HARNESSING OF HORSES TO CHARIOT
(BRITISH MUSEUM).
]
------------------------------------------------------
HISTORY OF ANCIENT POTTERY
GREEK, ETRUSCAN, AND ROMAN
BY H. B. WALTERS, M.A., F.S.A.
BASED ON THE WORK OF
SAMUEL BIRCH
IN TWO VOLUMES
VOLUME II
WITH 300 ILLUSTRATIONS
INCLUDING 8 COLOURED PLATES
[ILLUSTRATION]
NEW YORK
CHARLES SCRIBNER’S SONS
1905
PRINTED BY
HAZELL, WATSON
AND VINEY, LD.,
LONDON AND AYLESBURY,
ENGLAND.
CONTENTS OF VOLUME II
PAGE
CONTENTS OF VOLUME II v
LIST OF PLATES IN VOLUME II ix
LIST OF TEXT-ILLUSTRATIONS IN VOLUME II xi
PART III
THE SUBJECTS ON GREEK VASES
–
CHAPTER XII
_INTRODUCTORY—THE OLYMPIAN DEITIES_
Figured vases in ancient literature—Mythology and
art—Relation of subjects on vases to literature—Homeric and
dramatic themes and their treatment—Interpretation and
classification of subjects—The Olympian deities—The
Gigantomachia—The birth of Athena and other Olympian
subjects—Zeus and kindred subjects—Hera—Poseidon and marine
deities—The Eleusinian deities—Apollo and
Artemis—Hephaistos, Athena, and Ares—Aphrodite and
Eros—Hermes and Hestia 1–53
CHAPTER XIII
_DIONYSOS AND MISCELLANEOUS DEITIES_
Dionysos and his associates—Ariadne, Maenads, and
Satyrs—Names of Satyrs and Maenads—The Nether World—General
representations and isolated subjects—Charon, Erinnyes,
Hekate, and Thanatos—Cosmogonic deities—Gaia and
Pandora—Prometheus and Atlas—Iris and
Hebe—Personifications—Sun, Moon, Stars, and
Dawn—Winds—Cities and countries—The Muses—Victory—Abstract
ideas—Descriptive names 54–92
CHAPTER XIV
_HEROIC LEGENDS_
Kastor and Polydeukes—Herakles and his twelve labours—Other
contests—Relations with deities—Apotheosis—Theseus and his
labours—Later scenes of his life—Perseus—Pelops and
Bellerophon—Jason and the Argonauts—Theban legends—The
Trojan cycle—Peleus and Thetis—The Judgment of Paris—Stories
of Telephos and Troilos—Scenes from the Iliad—The death of
Achilles and the Fall of Troy—The Odyssey—The Oresteia—Attic
and other legends—Orpheus and the
Amazons—Monsters—Historical and literary subjects 93–153
CHAPTER XV
_SUBJECTS FROM ORDINARY LIFE_
Religious subjects—Sacrifices—Funeral scenes—The Drama and
burlesques—Athletics—Sport and games—Musical scenes—Trades
and occupations—Daily life of women—Wedding scenes—Military
and naval subjects—Orientals and Barbarians—Banquets and
revels—Miscellaneous subjects—Animals 154–186
CHAPTER XVI
_DETAILS OF TYPES, ARRANGEMENT, AND ORNAMENTATION_
Distinctions of types—Costume and attributes of individual
deities— Personifications—Heroes—Monsters—Personages in
everyday life—Armour and shield-devices—Dress and
ornaments—Physiognomical expression on vases—Landscape and
architecture—Arrangement of subjects—Ornamental
patterns—Maeander, circles, and other geometrical
patterns—Floral patterns—Lotos and palmettes—Treatment of
ornamentation in different fabrics 187–235
CHAPTER XVII
_INSCRIPTIONS ON GREEK VASES_
Importance of inscriptions on vases—Incised
inscriptions—Names and prices incised underneath
vases—Owners’ names and dedications—Painted
inscriptions—Early Greek alphabets—Painted inscriptions on
early vases—Corinthian, Ionic, Boeotian, and Chalcidian
inscriptions—Inscriptions on Athenian vases—Dialect—Artists’
signatures—Inscriptions relating to the
subjects—Exclamations—Καλός-names—The Attic alphabet and
orthography—Chronology of Attic inscriptions—South Italian
vases with inscriptions 236–278
PART IV
ITALIAN POTTERY
CHAPTER XVIII
_ETRUSCAN AND SOUTH ITALIAN POTTERY_
Early Italian civilisation—Origin of Etruscans—Terramare
civilisation—Villanuova period—Pit-tombs—Hut-urns—Trench-
tombs—Relief-wares and painted vases from Cervetri—Chamber-
tombs—Polledrara ware—Bucchero ware—Canopic jars—Imitations
of Greek vases—Etruscan inscriptions—Sculpture in
terracotta—Architectural decoration—Sarcophagi—Local pottery
of Southern Italy—Messapian and Peucetian fabrics 279–329
CHAPTER XIX
_TERRACOTTA IN ROMAN ARCHITECTURE AND SCULPTURE_
Clay in Roman architecture—Use of bricks—Methods of
construction—Tiles—Ornamental antefixae—Flue-tiles—Other
uses—Inscriptions on bricks and tiles—Military tiles—Mural
reliefs—List of subjects—Roman sculpture in
terracotta—Statuettes—Uses at Rome—Types and
subjects—Gaulish terracottas—Potters and centres of
fabric—Subjects—Miscellaneous uses of terracotta—Money-boxes
—Coin-moulds 330–392
CHAPTER XX
_ROMAN LAMPS_
Introduction of lamps at Rome—Sites where found—Principal
parts of lamps—Purposes for which used—Superstitious and
other uses—Chronological account of forms—Technical
processes—Subjects—Deities—Mythological and literary
subjects—_Genre_ subjects and animals—Inscriptions on
lamps—Names of potters and their distribution—Centres of
manufacture 393–429
CHAPTER XXI
_ROMAN POTTERY: TECHNICAL PROCESSES, SHAPES, AND USES_
Introductory—Geographical and historical limits—Clay and
glaze—Technical processes—Stamps and moulds—_Barbotine_ and
other methods—Kilns found in Britain, Gaul, and Germany—Use
of earthenware among the Romans—Echea—Dolia and
Amphorae—Inscriptions on amphorae—Cadus, Ampulla, and Lagena
—Drinking-cups—Dishes—Sacrificial vases—Identification of
names 430–473
CHAPTER XXII
_ROMAN POTTERY, HISTORICALLY TREATED; ARRETINE WARE_
Roman Pottery mentioned by ancient writers—“Samian”
ware—Centres of fabric—The pottery of
Arretium—Characteristics—Potters’ stamps—Shapes of Arretine
vases—Sources of inspiration for decoration—“Italian
Megarian bowls”—Subjects—Distribution of Arretine wares 474–496
CHAPTER XXIII
_ROMAN POTTERY (continued); PROVINCIAL FABRICS_
Distribution of Roman pottery in Europe—Transition from
Arretine to provincial wares—_Terra sigillata_—Shapes and
centres of fabric—Subjects—Potters’ stamps—Vases with
_barbotine_ decoration—The fabrics of Gaul—St.
Rémy—Graufesenque—“Marbled” vases—Vases with inscriptions
(Banassac)—Lezoux—Vases with medallions (Southern
Gaul)—Fabrics of Germany—_Terra sigillata_ in Britain—Castor
ware—Upchurch and New Forest wares—Plain
pottery—_Mortaria_—Conclusion 497–555
INDEX 557
LIST OF PLATES IN VOLUME II
(_Except where otherwise noted, the objects are in
the British Museum_)
PLATE
XLIX. Attic black-figured hydria: Harnessing of horses
to chariot (_colours_) _Frontispiece_
TO FACE PAGE
L. Contest of Athena and Poseidon: vase at
Petersburg (from Baumeister) 24
LI. Kotyle by Hieron: Triptolemos at Eleusis 26
LII. The Under-world, from an Apulian vase at Munich
(from Furtwaengler and Reichhold) 66
LIII. Helios and Stars (the Blacas krater) 78
LIV. The Sack of Troy: kylix by Brygos in Louvre
(from Furtwaengler and Reichhold) 134
LV. Scenes from funeral lekythi (Prothesis and cult
of tomb) 158
LVI. Early Etruscan red ware 300
LVII. Etruscan hut-urn and Bucchero ware 302
LVIII. Etruscan imitations of Greek vases 308
LIX. Etruscan antefix and sarcophagus 316
LX. Sarcophagus of Seianti Thanunia 322
LXI. Roman mural reliefs: Zeus and Dionysos 366
LXII. Roman mural reliefs: Theseus; priestesses 370
LXIII. Roman lamps (1st century B.C.) 402
LXIV. Roman lamps: mythological and literary subjects 412
LXV. Roman lamps: miscellaneous subjects 416
LXVI. Moulds and stamp of Arretine ware 492
LXVII. Gaulish pottery (Graufesenque fabric) 520
LXVIII. Gaulish pottery from Britain (Lezoux fabric) 526
LXIX. Romano-British and Gaulish pottery 544
LIST OF TEXT-ILLUSTRATIONS IN VOLUME II
FIG. PAGE
111. Gigantomachia, from Ionic vase _Mon. dell’ Inst._
in Louvre 13
112. Poseidon and Polybotes, from _Gerhard_
kylix in Berlin 14
113. The birth of Athena _Brit. Mus._ 16
114. Hermes slaying Argos (vase at _Wiener Vorl._
Vienna) 20
115. Poseidon and Amphitrite _Ant. Denkm._
(Corinthian pinax) 23
116. Apollo, Artemis, and Leto _Mon. dell’ Inst._ 30
117. Aphrodite and her following Ἐφ. Ἀρχ.
(vase at Athens) 43
118. Eros with kottabos-stand _Brit. Mus._ 48
119. Hermes with Apollo’s oxen (in _Baumeister_
the Vatican) 51
120. Dionysos with Satyrs and _Brit. Mus._
Maenads (Pamphaios hydria) 59
121. Maenad in frenzy (cup at _Baumeister_
Munich) 63
122. Charon’s bark (lekythos at _Baumeister_
Munich) 70
123. Thanatos and Hypnos with body _Brit. Mus._
of warrior 71
124. Nike sacrificing bull _Brit. Mus._ 88
125. Herakles and the Nemean lion _Brit. Mus._ 96
126. Herakles bringing the boar to _Brit. Mus._
Eurystheus 97
127. Apotheosis of Herakles (vase _Arch. Zeit._
at Palermo) 107
128. Peleus seizing Thetis _Brit. Mus._ 121
129. Judgment of Paris (Hieron cup _Wiener Vorl._
in Berlin) 122
130. Capture of Dolon _Brit. Mus._ 129
131. Pentheus slain by Maenads _Brit. Mus._ 142
132. Kroisos on the funeral pyre _Baumeister_
(Louvre) 150
133. Alkaios and Sappho (Munich) _Baumeister_ 152
134. Scene from a farce _Brit. Mus._ 161
135. Athletes engaged in the _Brit. Mus._
Pentathlon 163
136. Agricultural scenes _Baumeister_
(Nikosthenes cup in Berlin) 170
137. Warrior arming; archers _Hoppin_
(Euthymides amphora in Munich) 176
138. Banqueters playing kottabos _Brit. Mus._ 181
139. Maeander or embattled pattern 212
140. Maeander (Attic) 212
141. Maeander (Ionic) 212
142. Maeander and star pattern 212
143. Maeander (Attic, 5th century) 213
144. Maeander (Attic, about 480
B.C.) 213
145. Net-pattern 215
146. Chequer-pattern 216
147. Tangent-circles 216
148. Spirals under handles
(Exekias) 217
149. Wave-pattern (South Italy) 218
150. Scale-pattern (Daphnae) 218
151. Guilloche or plait-band
(Euphorbos pinax) 219
152. Tongue-pattern 219
153. Egg-pattern 220
154. Leaf- or chain-pattern 221
155. Ivy-wreath (black-figure
period) 222
156. Ivy-wreath (South Italian) 222
157. Laurel-wreath (South Italian) 223
158. _Vallisneria spiralis_
(Mycenaean) 224
159. Lotos-flower (Cypriote) 224
160. Lotos-flowers and buds _Riegl_
(Rhodian) 225
161. Palmette-and lotos-pattern
(early B.F.) 225
162. Lotos-buds (Attic B.F.) 226
163. Chain of palmettes and lotos
(early B.F.) 226
164. Palmettes and lotos under
handles (Attic B.F.) 227
165. Palmette on neck of red-bodied
amphorae 228
166. Enclosed palmettes (R.F.
period) 228
167. Oblique palmettes (late R.F.) 229
168. Palmette under handles (South
Italian) 230
169. Rosette (Rhodian) 231
170. Rosette (Apulian) 231
171. Facsimile of inscription on _Brit. Mus._
Tataie lekythos 242
172. Facsimile of Dipylon _Ath. Mitth._
inscription 243
173. Scheme of alphabets on Greek
vases 248
174. Facsimile of inscription on _Roehl_
Corinthian pinax 251
175. Facsimile of signatures on _Furtwaengler and
François vase Reichhold_ 257
176. Facsimile of signature of _Brit. Mus._
Nikias 259
177. Figure with inscribed scroll
(fragment at Oxford) 264
178. Etruscan tomb with cinerary _Ann. dell’ Inst._
urn 285
179. Villanuova cinerary urns from _Notizie_
Corneto 286
180. Painted pithos from Cervetri _Gaz. Arch._
in Louvre 293
181. Canopic jar in bronze-plated _Mus. Ital._
chair 305
182. Etruscan alphabet, from a vase _Dennis_ 312
183. Terracotta sarcophagus in _Dennis_
Brit. Mus. 318
184. Painted terracotta slab in _Dennis_
Louvre 319
185. Askos of local Apulian fabric _Brit. Mus._ 326
186. Krater of “Peucetian” fabric _Notizie_ 328
187. Concrete wall at Rome _Middleton_ 338
188. Concrete wall faced with brick _Middleton_ 339
189. Concrete arch faced with brick _Middleton_ 339
190. Diagram of Roman wall- _Blümner_
construction 340
191. Roman terracotta antefix _Brit. Mus._ 343
192. Method of heating in Baths of _Middleton_
Caracalla 347
193. Flue-tile with ornamental
patterns 348
194. Stamped Roman tile _Brit. Mus._ 354
195. Inscribed tile in Guildhall
Museum 359
196. Inscribed tile from London 363
197. Mask with name of potter _Brit. Mus._ 377
198. Gaulish figure of Aphrodite _Blanchet_ 383
199. Gaulish figure of Epona _Blanchet_ 386
200. Terracotta money-box _Jahrbuch_ 390
201. Terracotta coin-mould _Daremberg and
Saglio_ 392
202. Lamp from the Esquiline _Ann. dell Inst._ 399
203. “Delphiniform” lamp 399
204. Lamp with volute-nozzle 400
205. Lamp with pointed nozzle 400
206. Lamp with grooved nozzle 401
207. Lamp with plain nozzle 401
208. Lamp with heart-shaped nozzle 402
209. Mould for lamp _Brit. Mus._ 405
210. Lamp with signature of Fortis _Brit. Mus._ 424
211. Stamps used by Roman potters 440
212. Roman kiln at Heddernheim _Ann. dell’ Inst._ 444
213. Kiln found at Castor 447
214. Plan of kiln at Heiligenberg _Daremberg and
Saglio_ 450
215. Section of ditto _Daremberg and
Saglio_ 450
216. Ampulla _Brit. Mus._ 466
217. Lagena from France 467
218. Arretine bowl in Boston: death _Philologus_
of Phaëthon 484
219. Arretine krater with Seasons _Brit. Mus._ 488
220. “Italian Megarian” bowl _Brit. Mus._ 491
221. Gaulish bowl of Form 29 500
222. Gaulish bowl of Form 30 501
223. Gaulish bowl of Form 37 502
224. Vase of St.-Rémy fabric _Déchelette_ 517
225. Vase of Aco, inscribed _Déchelette_ 518
226. Vase of Banassac fabric from _Mus. Borb._
Pompeii 525
227. Medallion from vase of _Brit. Mus._
Southern Gaul: scene
from the _Cycnus_ 531
228. Medallion from vase: Atalanta _Gaz. Arch._
and Hippomedon 532
229. Jar from Germany, inscribed _Brit. Mus._ 537
230. Roman mortarium from _Brit. Mus._
Ribchester 551
PART III
THE SUBJECTS ON GREEK VASES
CHAPTER XII
_INTRODUCTORY—THE OLYMPIAN DEITIES_
Figured vases in ancient literature—Mythology and art—Relation of
subjects on vases to literature—Homeric and dramatic themes and
their treatment—Interpretation and classification of
subjects—The Olympian deities—The Gigantomachia—The birth of
Athena and other Olympian subjects—Zeus and kindred
subjects—Hera—Poseidon and marine deities—The Eleusinian
deities—Apollo and Artemis—Hephaistos, Athena, and
Ares—Aphrodite and Eros—Hermes and Hestia.
The representation of subjects from Greek mythology or daily life on
vases was not, of course, confined to fictile products. We know that
the artistic instincts of the Greeks led them to decorate almost every
household implement or utensil with ornamental designs of some kind, as
well as those specially made for votive or other non-utilitarian
purposes. But the fictile vases, from the enormous numbers which have
been preserved, the extraordinary variety of their subjects, and the
fact that they cover such a wide period, have always formed our chief
artistic source of information on the subject of Greek mythology and
antiquities.
Although (as has been pointed out in Chapter IV.) ancient literature
contains scarcely any allusions to the painted vases, we have many
descriptions of similar subjects depicted on other works of art, such
as vases of wood and metal, from Homer downwards. The cup of Nestor
(Vol. I. pp. 148, 172) was ornamented with figures of doves[1], and
there is the famous description in the first Idyll of Theocritus[2] of
the wooden cup (κισσύβιον) which represented a fisherman casting his
net, and a boy guarding vines and weaving a trap for grasshoppers,
while two foxes steal the grapes and the contents of his dinner-basket;
the whole being surrounded, like the designs on some painted vases,
with borders of ivy and acanthus. The so-called cup of Nestor
(νεστορίς) at Capua[3] was inscribed with Homeric verses, and the
σκύφος or cup of Herakles with the taking of Troy[4]. Anakreon
describes cups ornamented with figures of Dionysos, Aphrodite and Eros,
and the Graces[5]; and Pliny mentions others with figures of Centaurs,
hunts and battles, and Dionysiac subjects[6]. Or, again, mythological
subjects are described, such as the rape of the Palladion[7], Phrixos
on the ram[8], a Gorgon and Ganymede[9], or Orpheus[10]; and other
“storied” cups are described as being used by the later Roman emperors.
But the nearest parallels to the vases described in classical
literature are probably to be sought in the chased metal vases of the
Hellenistic and Roman periods.[11] We read of _scyphi Homerici_, or
beakers with Homeric scenes, used by the Emperor Nero, which were
probably of chased silver[12]; and we have described in Chapter XI.
what are apparently clay imitations of these vases, usually known as
“Megarian bowls,” many bearing scenes from Homer in relief on the
exterior.
In attempting a review of the subjects on the painted vases, we are met
with certain difficulties, especially in regard to arrangement. This is
chiefly due to the fact that each period has its group of favourite
subjects; some are only found in early times, others only in the later
period. Yet any chronological method of treatment will be found
impossible, and it is hoped that it will, as far as possible, be
obviated by the general allusions in the historical chapters of this
work to the subjects characteristic of each fabric and period.
Embracing as they do almost the whole field of Greek myth and legend,
the subjects on Greek vases are yet not invariably those most familiar
to the classical student or, if the stories are familiar, they are not
always treated in accordance with literary tradition. On the other
hand, it must be borne in mind that the popular conception of Greek
mythology is not always a correct one, for which fact the formerly
invariable system of approaching Greek ideas through the Latin is
mainly responsible. The mythology of our classical dictionaries and
school-books is largely based on Ovid and the later Roman compilers,
such as Hyginus, and gives the stories in a complete connected form,
regarding all classical authorities as of equal value, and ignoring the
fact that many myths are of gradual growth and only crystallised at a
late period, while others belong to a relatively recent date in ancient
history.[13]
The vases, on the other hand, are contemporary documents, free from
later euhemerism and pedantry, and presenting the myths as the Athenian
craftsmen knew them in the popular folk-lore and religious observances
of their day. It cannot be too strongly insisted upon that a
vase-painter was never an illustrator of Homer or any other writer, at
least before the fourth century B.C. (see Vol. I. p. 499). The epic
poems, of course, contributed largely to the popular acquaintance with
ancient legends, and offered suggestions of which the painter was glad
to avail himself; but he did not, therefore, feel bound to adhere to
his text. This will be seen in the list of Homeric subjects given below
(p. 126 ff.); and we may also refer here to the practice of giving
fanciful names to figures, which obtains at all periods, and has before
now presented obstacles to the interpreter.
The relation of the subjects on vases to Greek literature is an
interesting theme for enquiry, though, in view of what has already been
said, it is evident that it must be undertaken with great caution. The
antiquity and wide popularity of the Homeric poems, for instance, would
naturally lead us to expect an extensive and general use of their
themes by the vase-painter. Yet this is far from being the case. The
_Iliad_, indeed, is drawn upon more largely than the _Odyssey_; but
even this yields in importance as a source to the epics grouped under
the name of the Cyclic poets. It may have been that the poems were
instinctively felt to be unsuited to the somewhat conventional and
monotonous style of the earlier vase-paintings, which required simple
and easily depicted incidents. We are therefore the more at a loss to
explain the comparative rarity of subjects from the _Odyssey_, with its
many adventures and stirring episodes; scenes which may be from the
_Iliad_ being less strongly characterised and less unique—one
battle-scene, for instance, differing little from another in method of
treatment. But any subject from the _Odyssey_ can be at once identified
by its individual and marked character. It may be that the _Odyssey_
had a less firm hold on the minds of the Greeks than the _Iliad_, which
was more of a national epic, whereas the _Odyssey_ was a stirring
romance.[14] It may also be worth noting that scenes from the _Odyssey_
usually adhere more closely to the Homeric text than those from the
_Iliad_.
Another reason for the scarcity of Iliad-scenes may be that the Tale of
Troy as a whole is a much more comprehensive story, of which the
_Iliad_ only forms a comparatively small portion. Hence the large
number of scenes drawn both from the Ante-Homerica and the
Post-Homerica, such as the stories of Troilos and Memnon, or the sack
of Troy. The writings of the Cyclic poets begin, as Horace reminds us,
_ab ovo_,[15] from the egg of Leda, and the Kypria included the whole
story of the marriage of Peleus and Thetis, the subsequent Judgment of
Paris, and his journey to Greece after Helen, scenes from all these
events being extremely popular on the vases.[16] The _Patrokleia_ deals
with the events of the earlier years of the war, the _Aithiopis_ of
Arktinos with the stories of Penthesileia and Memnon, and the death of
Achilles, and the _Little Iliad_ of Lesches with the events of the
tenth year down to the fall of Troy. All provided frequent themes for
the vase-painter, as may be seen by a reference to a later page (119
ff.). The _Iliupersis_ of Arktinos and Lesches might almost be
reconstructed from two or three large vases, whereon all the episodes
of the catastrophe are collected together (see p. 134); but when we
come to the _Nostoi_ of Agias and the Telegonia, the vase-painters
suddenly fail us, the stories of Odysseus’ wanderings and Orestes’
vengeance seeming to supply the deficiency.
Luckenbach[17] has pointed out that the only right method of
investigating the relation is to begin with vase-paintings for which
the sources are absolutely certain, as with scenes from the _Iliad_ and
_Odyssey_. In this way the subjects from other epics can be rightly
estimated and the contents of the poems restored. Further, in
investigating the sources of the vase-painters, and the extent to which
they adhered to them or gave free play to the imagination, the three
main periods of vase-painting must be separately considered, though the
results in each case prove to be similar. By way of exemplifying these
methods he enters in great detail into certain vase-subjects, their
method of treatment on vases of the different periods, and their
approximation to the text. Thus, the funeral games for Patroklos (_Il._
xxiii.) are depicted on the François vase (see p. 11) with marked
deviations from Homer’s narrative; and not only this, but without
characterisation, so that if the performers were not named the subject
could hardly have been identified. To note one small point, all Homeric
races took place in two-horse chariots (_bigae_), but on B.F. vases
four-horse _quadrigae_ are almost invariably found.[18]
Subjects of a more conventional character, such as battle scenes,
farewell scenes, or the arming of a warrior, present even more
difficulty. Even when names occur it is only increased. We must assume
that the vase-painter fixed on typical names for his personages,
without caring whether he had literary authority. In some cases the
_genre_ scenes seem to be developed from heroic originals, in others
the contrary appears to be the case.[19] It is not, however, unfair to
say that the Epos was the vase-painter’s “source.” The only doubtful
question is the _extent_ of his inspiration; and, at all events, it was
a _source_ in the sense that no other Greek literature was until we
come to the fourth century.
Turning now to the consideration of later literature,[20] we find in
Hesiod a certain parallelism of theme to the vases, but little trace of
actual influence. Indirectly he may have affected the vase-painter by
his crystallisation of Greek mythology in the Theogony, where he
establishes the number of the Muses (l. 77), and also the names of the
Nereids.[21] It is, however, interesting to note the Hesiodic themes
which were also popular with the vase-painters: the creation of
Pandora; the fights of Herakles and Kyknos, and of Lapiths and
Centaurs, and the pursuit of Perseus by the Gorgons; the contest of
Zeus with Typhoeus (or Typhon); and the birth of Athena.[22]
The influence of lyric poetry was even slighter. Somewhat idealised
figures of some of the Greek lyrists appear on R.F. vases, such as
Sappho and Anakreon (see p. 152); but this is all. In regard to Pindar
and Bacchylides, the idealising and heroising tendencies of the age may
be compared with the contemporary tendency of vase-paintings, and the
latter may often be found useful to compare with—if not exactly to
illustrate—the legends which the two poets commemorate. For instance,
in the ode of Bacchylides in which he describes the fate of Kroisos,
there is a curious deviation from the familiar Herodotean version, the
king being represented as voluntarily sacrificing himself.[23] The only
vase-painting dealing with this subject (Fig. 132, p. 150) apparently
reproduces this tradition.
With the influence of the stage we have already dealt elsewhere.[24]
With the exception of the Satyric drama, it can hardly be said to have
made itself felt, except in the vases of Southern Italy, in the fourth
century B.C., but indications of the Satyric influence may be traced in
many R.F. Attic vases, no doubt owing to their connection with the
popular Dionysiac subjects. On a vase in Naples[25] are represented
preparations for a Satyric drama. When we reach the time of tragic and
comic influence, we not only find the subjects reproduced, but even
their stage setting; in other words, the vases are not so much intended
to illustrate the written as the acted play, just as it was performed.
The whole question is admirably summed up by Luckenbach[26] in the
following manner: (1) The Epos is the chief source of all
vase-paintings from the earliest time to the decadence inclusive, and
next comes Tragedy, as regards the later vases only; of the influence
of other poetry on the formation of myths in vase-paintings there is no
established example. (2) _Vase-paintings are not illustrations_, either
of the Epos or of the Drama, and there is no intention of reproducing a
story accurately; hence great discrepancies and rarity of close
adherence to literary forms; but the salient features of the story are
preserved. (3) Discrepancies in the naming of personages are partly
arbitrary, partly due to ignorance; the extension of scenes by means of
rows of bystanders, meaningless, but thought to be appropriate, is of
course a development of the artist’s, conditioned by exigencies of
space. Anachronisms on vases are of frequent occurrence. (4) Such
scenes as those of warriors arming or departing are always the
painter’s own invention, ordinary scenes being often “heroised” by the
addition of names. But individuals are not necessarily all or always to
be named; and, again, the artist often gives names without
individualising the figures. (5) In the archaic period successive
movements of time are often very naïvely blended (see p. 10); the
difference between art and literature is most marked in scenes where a
definite moment is not indicated. (6) Vase-paintings often give a
general survey of a poem, the scene not being drawn from one particular
passage or episode. The features of one poem are in art sometimes
transferred to another.
The attention that has been paid now for many years to collecting,
assorting, and critically discussing the material afforded by the vases
has much diminished the difficulties of this most puzzling branch of
archaeology. It has been chiefly lightened by the discovery from time
to time of inscribed vases, though, as has just been noted, even these
must be treated with caution; and even now, of course, there are
numerous subjects the interpretation of which is either disputed or
purely hypothetical. But we can at least pride ourselves on having
advanced many degrees beyond the labours of early writers on the
subject, down to the year 1850.
When painted vases first began to be discovered in Southern Italy, the
subjects were supposed to relate universally to the Eleusinian or
Dionysiac mysteries, and this school of interpretation for a long time
found favour in some quarters, even in the days of Gerhard and De
Witte. But it was obvious from the first that such interpretations did
not carry the investigator very far, and even in the eighteenth century
other systems arose, such as that of Italynski, who regarded the
subjects as of historical import.[27] Subsequently Panofka endeavoured
to trace a connection between the subjects and the names of artists or
other persons recorded on the vases, or, again, between the subjects
and shapes. The latter idea, of course, contained a measure of truth,
as is seen in many instances[28]; but it was, of course, impossible to
follow out either this or the other hypothesis in any detail.
The foundations of the more scientific and rational school of
interpretation were laid as early as the days of Winckelmann, and he
was followed by Lanzi, Visconti, and Millingen, and finally Otto Jahn,
who, as we have seen, practically revolutionised the study of
ceramography. Of late, however, the question of the interpretation of
subjects has been somewhat relegated to the background, owing to the
overwhelming interest evoked by the finds of early fabrics or by the
efforts of German and other scholars to distinguish the various schools
of painting in the finest period.
Millingen, in the Introduction to his _Vases Grecs_, drew up a
classification of the subjects on vases which need not be detailed
here, but which, with some modifications, may be regarded as holding
good to the present day. He distinguishes ten classes, the first three
mythological, the next four dealing with daily life, and the three last
with purely decorative ornamentation. A somewhat similar order is
adopted by Müller in his _Handbuch_, by Gerhard in his _Auserlesene
Vasenbilder_, and by Jahn in his Introduction to the Munich Catalogue
(p. cc ff.). In the present and following chapters the arrangement and
classification of the subjects adhere in the main to the system laid
down by these writers; and as the order is not, of course,
chronological in regard to style, reference has been made where
necessary to differences of epoch and fabric.[29] It may be convenient
to recapitulate briefly the main headings under which the subjects are
grouped.
I. The Olympian deities and divine beings in immediate connection
with them, such as Eros and marine deities.
(_a_) In general; (_b_) individually. (Chapter XII.)
II. Dionysos and his cycle, Pan, Satyrs, and Maenads. (Page 54 ff.)
III. Chthonian and cosmogonic deities, personifications, and minor
deities in general. (Page 66 ff.)
IV. Heroic legends and mythology in general.
(_a_) Herakles; (_b_) Theseus, Perseus, and other heroes; (_c_)
local or obscure myths; (_d_) the Theban and Trojan stories;
(_e_) monsters. (Chapter XIV.)
V. Historical subjects. (Page 149 ff.)
VI. Scenes from daily life and miscellaneous subjects (for detailed
classification see p. 154). (Chapter XV.)
The number of subjects to be found on any one vase is of course usually
limited to one, two, or at most three, according to the shape. Usually
when there is more than one the subjects are quite distinct from one
another; though attempts have been made in some cases, as in the B.F.
amphorae, to trace a connection.[30] On the other hand, the R.F.
kylikes of the strong period often show a unity of subject running
through the interior and exterior scenes, whether the theme is
mythological or ordinary.[31] It was only in exceptional cases that an
artist could devote his efforts to producing an entire subject, as on
some of the large kylikes with the labours of Theseus,[32] or the vases
representing the sack of Troy.[33] The great François vase in Florence
is a striking example of a mythology in miniature, containing as it
does more than one subject treated in the fullest detail. And here
reference may be made to the main principles which governed the method
of telling a story in ancient art, and prevailed at different
periods.[34] The earliest and most simple is the _continuous_ method,
which represents several scenes together as if taking place
simultaneously, although successive in point of time. This method was
often employed in Oriental art, but is not found in Hellenic times; it
was, however, revived by the Romans under the Empire, and prevailed all
through the early stages of Christian art. Secondly, there is the
_complementary_ method, which aims at the complete expression of
everything relating to the central event. The same figures are not in
this case necessarily repeated, but others are introduced to express
the action of the different subjects, all being collected in one space
without regard to time, as in the continuous style. This is of Oriental
origin, and is first seen in the description of Achilles’ shield; it is
also well illustrated in the François vase, in the story of Troilos.
Here the death of Troilos is not indeed actually depicted, but the
events leading up to it (the water-drawing at the fountain and the
pursuit by Achilles) and those consequent on it (the announcement of
the murder to Priam and the setting forth of Hector to avenge it) are
all represented without the repetition of any figures. Lastly, there is
the _isolating_ method, which is purely Hellenic, being developed from
the complementary. This is best illustrated by the Theseus kylikes,
with their groups of the labours, which, it should be remembered, are
not continuous episodes in one story, but single events separated in
time and space, and collected together with a sort of superficial
resemblance to the other methods.
Some description of the François vase has been given elsewhere (Vol. I.
p. 370)[35]; but as it is unique in its comprehensiveness, and as a
typical presentation of the subjects most popular at the time when
vase-painters had just begun to pay special attention to mythology, it
may be worth while to recapitulate its contents here. The subjects are
no less than eleven in number, arranged in six horizontal friezes, with
figures also on the handles, and there are in all 115 inscriptions
explaining the names of the personages and even of objects (_e.g._
ὑδρία, for the broken pitcher of Polyxena). Eight of these subjects
belong to the region of mythology:—(1) On the neck: the hunt of the
Calydonian boar, and (2) the landing of Theseus and Ariadne at Naxos,
accompanied by dancing youths and maidens. (3) On the shoulder: chariot
race at the funeral games of Patroklos, and (4) combat of Centaurs and
Lapiths (with Theseus). (5) On the body: the marriage of Peleus and
Thetis, attended by the gods in procession. (6) On the body: the death
of Troilos (see above), and (7) the return of Hephaistos to Olympos.
(8) On each of the handles, Ajax with the body of Achilles. On the flat
top of the lip is represented (9) a combat of pigmies and cranes; on
either side of the foot (10) a lion and a panther devouring a bull and
stag, Gryphons, Sphinxes, and other animals; and on the upper part of
the handles (11) Gorgons and figures of the Asiatic Artemis (see p. 35)
holding wild animals by the neck.
* * * * *
It is, of course, impossible to indicate all the subjects on the
thousands of painted vases in existence; and it must also be remembered
that many are of disputed meaning. The succeeding review must therefore
only be considered as a general summary which aims at omitting nothing
of any interest and avoiding as far as possible useless repetition. In
the references appended under each subject the principle has been
adopted of making them as far as possible representative of all
periods, and also of selecting the most typical and artistic examples,
as well as the most accessible, publications.[36]
In dealing with the subjects depicted on Greek vases, we naturally
regard the Olympian deities as having the preeminence. We will
therefore begin by considering such scenes as have reference to actions
in which those deities were engaged, and, secondly, representations of
general groups of deities, either as spectators of terrestrial events
or without any particular signification. It will then be convenient to
deal with the several deities one by one, noting the subjects with
which each is individually connected. We shall in the following chapter
proceed to consider the subordinate deities, such as those of the
under-world and the Dionysiac cycle, and personifications of nature and
abstract ideas. Chapter XIV. will be devoted to the consideration of
heroic legends, mythological beings, and historical subjects; and in
Chapter XV. will be discussed all such subjects as relate to the daily
life of the Greeks.
THE OLYMPIAN DEITIES
One of the oldest and most continuously popular subjects is the
=Gigantomachia=, or Battle of the Gods and Giants, which forms part of
the Titanic and pre-heroic cosmogony, and may therefore take precedence
of the rest. The Aloadae (Otos and Ephialtes), strictly speaking, are
connected with a different event—the attack on Olympos and chaining of
Ares; but the scenes in which they occur are so closely linked with the
Gigantomachy proper that it is unnecessary to differentiate them. We
also find as a single subject the combat of Zeus with the snake-footed
Typhon.[37]
The _locus classicus_ of Greek art for the Gigantomachia is of course
the frieze of the great altar at Pergamon (197 B.C.), but several vases
bear representations almost as complete, though it is not as a rule
possible to identify the giants except where their names are
inscribed.[38] Most vases give only one to three pairs of combatants.
[Illustration: FIG. 111. GIGANTOMACHIA, FROM IONIC VASE IN LOUVRE.]
Some pairs are found almost exclusively together, _e.g._ Athena and
Enkelados, or Ares and Mimas; Artemis and Apollo are generally opposed
to the Aloadae Otos and Ephialtes, Zeus to Porphyrion, and Poseidon to
Polybotes (Fig. 112) or Ephialtes. Hestia alone, the “stay-at-home”
goddess of the hearth, is never found in these scenes, but Dionysos,
Herakles, and the Dioskuri all take their part in aiding the Olympian
deities. Zeus hurls his thunderbolts[39]; Poseidon is usually depicted
with his trident, or hurling the island of Nisyros (indicated as a rock
with animals painted on it) upon his adversary[40]; Hephaistos uses a
pair of tongs with a burning coal in them as his weapon[41]; and
Dionysos is in some cases aided by his panther.[42] Aeolus occurs once
with his bag of winds.[43]
[Illustration: FIG. 112. POSEIDON AND THE GIANT POLYBOTES, FROM THE
KYLIX IN BERLIN.]
The following groups can be identified on vases by inscriptions or
details of treatment:—
Zeus and Agasthenes, Hyperbios, and Ephialtes: Louvre E 732 (Fig. 111).
Zeus and Porphyrion: Berlin 2531.
Hera and Harpolykos: Louvre E 732.
Hera and Rhoitos (miswritten Phoitos): Berlin 2531.
Poseidon and Polybotes: Louvre E 732; Berlin 2531 = Fig. 112.
Poseidon and Ephialtes: Reinach, ii. 188.
Apollo and Ephialtes: Berlin 2531.
Artemis and Otos: Reinach, ii. 164.
Artemis and Aigaion: Berlin 2531.
Hephaistos and Euryalos: B.M. E 47.
Hephaistos and Klytios: Berlin 2293.
Athena and Enkelados: B.M. B 252; Louvre E 732; _Él. Cér._ i. 8.
Ares and Mimas: Berlin 2531; B.M. B 617.
Hermes and Hippolytos: Berlin 2293.
Hermes and Polybios (?): Louvre E 732.
Dionysos and Eurymedon: _Bull. de Corr. Hell._ xx. pl. 7.
Athena with arm of Akratos: Berlin 2957 = _Él. Cér._ i. 88.
Death of Otos (supposed): Bibl. Nat. 299 = Reinach, ii. 255.
Among scenes supposed to take place in Olympos, the most important is
the =Birth of Athena= from the head of Zeus.[44] Usually she is
represented as a diminutive figure actually emerging from his head, but
in one or two instances she stands before him fully developed,[45] as
was probably the case in the centre of the east pediment of the
Parthenon. This subject is commoner on B.F. vases, and does not appear
at all after the middle of the fifth century.[46] In most cases several
of the Olympian deities are spectators of the scene; sometimes
Hephaistos wields his axe or runs away in terror at the result of his
operations[47]; in others the Eileithyiae or goddesses of child-birth
lend their assistance.[48] On a R.F. vase in the Bibliothèque Nationale
Athena flies out backwards from Zeus’ head.[49]
In accordance with a principle already discussed (Vol. I. p. 378), the
composition or “type” of this subject is sometimes adopted on B.F.
vases for other groups of figures, where the absence of Athena shows
clearly that the birth scene is not intended, and no particular meaning
can be assigned to the composition.[50]
Representations of the =Marriage of Zeus and Hera= cannot be pointed to
with certainty in vase-paintings. On B.F. vases we sometimes see a
bridal pair in a chariot accompanied by various deities, or figures
with the attributes of divinities[51]; but the chief figures are not in
any way characterised as such, and it is better to regard these scenes
as idealisations of ordinary marriage processions. On the other hand,
there are undoubted representations of Zeus and Hera enthroned among
the Olympian deities or partaking of a banquet.[52]
[Illustration: FIG. 113. THE BIRTH OF ATHENA (BRIT. MUS. B 244).]
The story of the enchaining of Hera in a magic chair by Hephaistos, and
her subsequent liberation by him, is alluded to on many vases, though
one episode is more prominent than the others. Of the expulsion of
Hephaistos from heaven we find no instance, and of the release of Hera
there is only one doubtful example[53]; but we find a parody of the
former’s combat with Ares, who forces him to liberate Hera.[54] The
episode most frequent is that of the =return of Hephaistos= in a
drunken condition to Olympos, conducted by Dionysos and a crowd of
Satyrs; of this there are fine examples on vases of all periods.[55] On
earlier vases Hephaistos rides a mule; on the later he generally
stumbles along, leaning on Dionysos or a Satyr for support.
On the François vase we see Zeus and Hera, with an attendant train of
deities, Nymphs, and Muses, going in a chariot to the nuptials of
Peleus and Thetis; on many vases we have the reception of the deified
Herakles among the gods of Olympos[56]; and on others groups of deities
banqueting or without particular signification.[57] But on the late
Apulian vases it is a frequent occurrence to find an upper row of
deities as spectators of some event taking place just below: thus they
watch battles of Greeks and Persians,[58] or such scenes as the
contract between Pelops and Oinomaos,[59] the madness of Lykourgos,[60]
the death of Hippolytos,[61] and others from heroic legend, which it is
unnecessary to specify here; only a few typical ones can be
mentioned.[62] They also appear as spectators of scenes in or relating
to the nether-world.[63]
* * * * *
=Zeus= appears less frequently than some deities, and seldom alone; but
still there are many myths connected with him, besides those already
discussed. As a single figure he appears enthroned and attended by his
eagle on a Cyrenaic cup in the Louvre[64]; or again in his chariot,
hurling a thunderbolt[65]; in company with his brother-gods of the
ocean and under-world, Poseidon and Hades, he is seen on a kylix by
Xenokles.[66] He is also found with Athena,[67] with Hera, Apollo,
Artemis, Aphrodite, and Hermes[68]; and frequently with Herakles at the
latter’s reception into heaven.[69] In one instance he settles a
dispute between Aphrodite and Persephone.[70] He receives libations
from Nike,[71] or performs the ceremony himself, attended by Hera,
Iris, and Nike,[72] and is also attended by Hebe and Ganymede as
cupbearers.[73] His statue, especially that of Ζεὺς Ἑρκεῖος at Troy,
sometimes gives local colour to a scene.[74]
Most of the scenes in which he appears relate to his various love
adventures, among which the legends of Europa, Io, and Semele are the
most conspicuous; but first of his numerous _amours_ should perhaps be
mentioned his wooing of his consort Hera. He carries her off while
asleep from her nurse in Euboea,[75] and also appears to her in the
form of a cuckoo.[76] The rape of Ganymede by his eagle appears once or
twice on vases,[77] but more generally Zeus himself seizes the youth
while he is engaged in bowling a hoop or otherwise at play.[78] On a
fine late vase with Latin inscriptions Ganymede appears in Olympos,[79]
and he is also depicted as a shepherd.[80]
Semele Zeus pursues and slays with the thunderbolt[81]; the birth of
her son Dionysos from his thigh is represented but rarely on vases, and
is liable to confusion with other subjects. This story falls into three
episodes: (1) the reception of the infant by Hermes from Dirke, in
order to be sewn into Zeus’ thigh[82]; (2) the actual birth scene[83];
(3) the handing over of the child to the Nymphs.[84] Of his visit to
Alkmena there are no certain representations, but two comic scenes on
South Italian vases[85] may possibly refer to it, and one of them at
least seems to be influenced by the burlesque by Rhinton, from which
Plautus borrowed the idea of his _Amphitruo_. The apotheosis of
Alkmena, when her husband places her on a funeral pyre after
discovering her misdeed, is represented on two fine South Italian vases
in the British Museum; in one case Zeus looks on.[86] His appearing to
Leda in the form of a swan only seems to find one illustration on a
vase, but in one case he is present at the scene of Leda with the
egg.[87]
He is also depicted descending in a shower of gold on Danaë[88]; or as
carrying off the Nymphs Aegina and Thaleia[89]; or, again, with an
unknown Nymph, perhaps Taygeta.[90] In the form of a bull, on which
Europa rides, he provides a very favourite subject, of which some fine
specimens exist.[91] One variation of the type is found on an Apulian
vase, where Europa advances to caress the bull sent by Zeus to fetch
her.[92] The story of Io[93] resolves itself into several scenes, all
of which find illustration on the vases: (1) the meeting of Io and Zeus
when she rests at the shrine of Artemis after her wanderings[94]; (2)
Io in the form of a cow, guarded by Argos[95]; (3) the appearance of
her deliverer Hermes[96]; (4) Hermes attacks and slays Argos (Fig.
114).[97]
[Illustration:
From _Wiener Vorlegeblätter_.
FIG. 114. HERMES SLAYING ARGOS IN PRESENCE OF ZEUS (VASE AT VIENNA).]
]
In addition, the presence of Zeus may be noted in various scenes from
heroic or other legends, which are more appropriately discussed under
other headings[98], such as the freeing of Prometheus[99], the combat
of Herakles and Kyknos[100], or the weighing of the souls of Achilles
and Hector[101]; at the sending of Triptolemos, the flaying of Marsyas,
the death of Aktaeon, and that of Archemoros[102]; at the creation of
Pandora and the Judgment of Paris[103]; the rape of the Delphic tripod
and that of the Leukippidae, at Peleus’ seizing of Thetis,[104] and
with Idas and Marpessa.[105] The story of the golden dog of Zeus, which
was stolen by Pandareos, is referred to under a later heading.[106]
* * * * *
=Hera= apart from Zeus appears but seldom, but there are a few scenes
in which she is found alone; of those in which she is an actor or
spectator some have been already described, the most important being
the story of Hephaistos’ return to heaven.[107] As her figure is not
always strongly characterised by means of attributes, it is not always
to be identified with certainty. As a single figure she forms the
interior decoration of one fine R.F. kylix,[108] and her ξόανον, or
primitive cult-idol, is sometimes found as an indication of the scene
of an action.[109] On one vase she is represented at her toilet.[110]
There is a vase-painting which represents Hera on her throne offering a
libation to Prometheus, an aged figure who stands before her.[111] She
is also present at the liberation of Prometheus[112]; in a scene
probably intended for the punishment of Ixion[113]; at the creation of
Pandora[114]; and in scenes from the story of Io.[115] She suckles the
child Herakles in one instance,[116] and in another appears with him in
the garden of the Hesperides[117]; she is also present at his
reconciliation with Apollo at Delphi,[118] and at his apotheosis,[119]
receiving him and Iolaos.[120] On an early Ionic vase she appears
contending with him in the presence of Athena and Poseidon, and wears a
goat-skin head-dress, as in the Roman type of Juno Sospita or
Lanuvina.[121]
The scene in which she appears most frequently is the Judgment of Paris
(see below, p. 122); she is also present at the birth of Dionysos[122];
at the stealing of Zeus’ golden dog by Pandareos[123]; at the contest
between Apollo and Marsyas[124]; at the slaughter of the Niobids[125];
and with Perseus and Athena.[126]
She appears sometimes with Hebe, Iris, and Nike, from whom she receives
libations[127]; and in one scene, apparently from a Satyric drama, she
and Iris are attacked by a band of Seileni and rescued by Herakles.[128]
* * * * *
[Illustration:
From _Ant. Denkm._
FIG. 115. POSEIDON AND AMPHITRITE ON A CORINTHIAN PINAX.
]
=Poseidon= is a figure somewhat rare in archaic art as a whole,
especially in statuary, but is more frequently seen on vases, mostly in
groups of deities, or as a spectator of events taking place in or under
the sea, his domain. Among subjects already discussed, he is present at
the birth of Athena,[129] at the nuptials of Zeus and Hera,[130] and in
assemblies of the Olympian gods, generally with his consort
Amphitrite[131]; he also takes part in the Gigantomachia and the
reception of Herakles into Olympos.[132] He is represented in a group
with his brother deities of the higher and nether world, Zeus and
Hades[133]; with Apollo, Athena, Ares, and Hermes[134]; among the
Eleusinian deities at the sending forth of Triptolemos[135]; and
occasionally in Dionysiac scenes as a companion of the wine-god.[136]
As a single figure he is frequently found on the series of archaic
tablets or _pinakes_ found near Corinth, and also in company with
Amphitrite (Fig. 115)[137]; on later vases not so frequently.[138] In
one instance he rides on a bull,[139] in others on a horse, sometimes
winged[140]; elsewhere he drives in a chariot with Amphitrite and other
deities[141]; he watches the Sun-god in his car rising out of the
waves[142]; and one vase has the curious subject of Poseidon, Herakles,
and Hermes engaged in fishing.[143]
------------------------------------------------------
PLATE L
[Illustration:
From _Baumeister_.
ATHENA AND POSEIDON CONTENDING FOR ATTICA; VASE FROM KERTCH (AT
PETERSBURG).
]
------------------------------------------------------
Among scenes in which he plays an active part the most interesting is
the dispute with Athena for the ownership of Attica, also represented
on the west pediment of the Parthenon[144]; his love adventures,
especially his pursuit of Amymone[145] and Aithra,[146] are common
subjects, but in many cases the object of his pursuit cannot be
identified.[147] He receives Theseus under the ocean,[148] and possibly
in one case Glaukos, on his acceptance as a sea-god[149]; he is also
present at the former’s recognition by Aigeus.[150] He is seen at the
death of Talos,[151] and with Europa crossing the sea.[152] In
conjunction with other deities, chiefly on late Italian vases, he is
present as a spectator of various episodes, such as the adventures of
Bellerophon, Kadmos, or Pelops, the rape of Persephone, the creation of
Pandora, the death of Hippolytos, and in one historical scene, a battle
of Greeks and Persians.[153] He superintends several of the adventures
of Herakles, notably those in which he is specially interested, as the
contests with Antaios and Triton[154]; and he supports Hera in her
combat with that hero.[155] He is also seen with Perseus on his way to
slay Medusa,[156] and among the Gorgons after that event.[157]
* * * * *
In connection with Poseidon it may be convenient to mention here other
divinities and beings with marine associations—such as Okeanos, Nereus,
and Triton, and the Nereids or sea-nymphs, daughters of Nereus, with
the more rarely occurring Naiads. Of these the name of Okeanos occurs
but once, on the François vase. The figure itself has disappeared, but
the marine monster on which he rides to the wedding of Peleus and
Thetis, and the inscription, remain. =Nereus= appears as a single
figure, with fish-tail and trident,[158] but is most frequently met
with in connection with the capture of his daughter Thetis by Peleus,
either as a spectator or receiving the news from a Nereid.[159] He also
watches the contest of Herakles with Triton,[160] himself encountering
the hero in some cases.[161] On one vase Herakles has seized his
trident and threatens him by making havoc of his belongings.[162] He
appears at Herakles’ combat with Kyknos,[163] and at his
apotheosis,[164] and also offers a crown to Achilles.[165] In one case
he is found in Dionysos’ company.[166] With his daughter Doris he
watches the pursuit of another Nereid by Poseidon.[167]
=Triton= is found as a single figure,[168] and (chiefly on B.F. vases)
engaged in a struggle with Herakles.[169] He also carries Theseus
through the sea to Poseidon,[170] and watches the flight of Phrixos and
Helle over the sea.[171] The group of deities represented by Ino and
Leukothea, Palaimon, Melikertes, and Glaukos appear in isolated
instances,[172] as do Proteus[173] and Skylla[174]—the latter as single
figures, without reference to their connection with the _Odyssey_. A
monstrous unidentified figure, with wings and a serpentine fish-tail,
which may be a sea-deity (in one case feminine), is found on some early
Corinthian vases[175]; possibly Palaimon is intended.
=The Nereids=, who are often distinctively named, are sometimes found
in groups,[176] especially watching the seizure of Thetis or bearing
the news to Nereus[177]; or, again, carrying the armour of Achilles
over the sea and presenting it to him.[178] On one vase they mourn over
the dead Achilles.[179] They are also present at the reception of
Theseus,[180] the contest of Herakles and Triton,[181] and with Europa
on the bull.[182] Kymothea offers a parting cup to Achilles[183]; the
Naiads, who are similar beings, present to Perseus the cap, sword,
shoes, and wallet.[184] They are also found grouped with various
deities,[185] and even one in the under-world.[186] Thetis appears once
as a single figure, accompanied by dolphins[187]; for her capture by
Peleus and relations with Achilles, see p. 120 ff.
* * * * *
=The Eleusinian deities= Demeter and Persephone (or Kore) are usually
found together, not only in scenes which have a special reference to
their cult, but in general assemblies of the gods. They once appear in
the Gigantomachia.[188] Scenes which refer to the Eleusinian cycle are
found exclusively on later examples,[189] and as a rule merely
represent the two chief deities grouped with others, such as Dionysos
and Hekate, and with their attendants, Iacchos, Eumolpos, and
Eubouleus.[190] One vase represents the initiation of Herakles, Kastor,
and Polydeukes in the Lesser Mysteries of Agra[191]; another, the birth
of Ploutos, who is handed to Demeter in a cornucopia by Gaia, rising
from the earth, in the presence of Persephone, Triptolemos, and
Iacchos[192]; and others, the birth of Dionysos or Iacchos—a very
similar composition.[193] Demeter and Persephone are represented
driving in their chariot, with attendant deities and other
figures,[194] or standing alone, carrying sceptre and torches
respectively,[195] or pouring libations at a tomb (on a sepulchral
vase).[196] They are present at the carrying off of Basile by Echelos
(a rare Attic legend),[197] and Demeter alone is seen, once at the
birth of Athena,[198] once at the slaughter of the dragon by
Kadmos,[199] once enthroned,[200] and once with Dionysos as
Thesmophoros, holding an open roll with the laws (θεσμοί) of her
cult.[201]
------------------------------------------------------
PLATE LI
[Illustration: KOTYLE BY HIERON: TRIPTOLEMOS AT ELEUSIS (BRITISH
MUSEUM).]
------------------------------------------------------
Closely connected with Eleusis is the subject of the sending forth of
_Triptolemos_ as a teacher of agriculture in his winged car. This is
found on vases of all periods,[202] but is best exemplified on the
beautiful kotyle of Hieron in the British Museum (Plate LI.), where,
besides Olympian and Chthonian deities, the personification of Eleusis
is present. Besides the other Eleusinian personages, Keleos and
Hippothoon are also seen.[203] Triptolemos is generally seated in his
car, but in one or two cases he stands beside it[204]; in another he is
just mounting it.[205] On the latter vase Persephone holds his plough.
On a vase in Berlin Triptolemos appears without his car, holding a
ploughshare; Demeter presents him with ears of corn, and Persephone
holds torches.[206]
=Persephone= is also seen with Iacchos,[207] who, according to various
accounts, was her son or brother. She appears with Aphrodite and
Adonis,[208] and one vase is supposed to represent the dispute between
her and Aphrodite over the latter, which was appeased by Zeus.[209]
The story of the rape of Persephone by Hades, her sojourn in the
under-world, and her return to earth is also chiefly confined to the
later vases, especially the incident of the rape.[210] In the elaborate
representations of the under-world on late Apulian vases she generally
stands or sits with Hades in a building in the centre.[211] She is
often depicted in scenes representing the carrying off of Kerberos by
Herakles,[212] or banqueting with Hades.[213] On both early and late
vases Hermes, in his character of Psychopompos, is seen preparing to
conduct her back from the nether world (see Plate XLV.),[214] or
actually on his way.[215] In another semi-mystical version of the
return of Persephone, signifying the return of spring and vegetation,
her head or part of her body emerges from the earth,[216] in one case
accompanied by the head of Dionysos, whereat Satyrs and Maenads flee
affrighted.[217] The interpretation of some of these scenes, however,
has been much questioned.[218]
* * * * *
The number of vases with subjects representing the three Delphic
deities—=Apollo=, =Artemis=, and =Leto=—is considerable. The
appearances of Apollo, at any rate, are probably only exceeded in
number by those of Athena, Dionysos, and Herakles. It is, in fact,
impossible to make a complete enumeration of the groups in which Apollo
occurs, and a general outline alone can be given.[219]
Apollo as a single figure is often found both on B.F. and R.F. vases,
usually as Kitharoidos, playing his lyre; sometimes also he is
distinguished by his bow.[220] As Kitharoidos he is usually represented
standing,[221] but in some cases is seated.[222] He is sometimes
accompanied by a hind[223] or a bull (Apollo Nomios?).[224] He is
represented at Delphi seated on the Pythoness’ tripod,[225] or is
seated at an altar,[226] or pours a libation.[227] He rides on a
swan[228] or on a Gryphon,[229] and also crosses the sea on a
tripod.[230] In some scenes he is characterised as Daphnephoros,[231]
holding a branch of laurel, or is represented in the attitude
associated with Apollo Lykeios, resting with one hand above his
head.[232] In one scene the type of Apollo Kitharoidos closely
resembles that associated with the sculptor Skopas.[233]
[Illustration:
From _Mon. dell’ Inst._ ix.
FIG. 116. APOLLO, ARTEMIS, AND LETO.
]
When he is grouped with Artemis, the latter deity usually carries a bow
and quiver,[234] or they pour libations to one another;[235] but more
commonly they stand together, without engaging in any action. They are
also depicted in a chariot.[236] More numerous are the scenes in which
Leto is also included (as Fig. 116), though she is not always to be
identified with certainty.[237] In this connection may be noted certain
scenes relating to Apollo’s childhood: his birth is once
represented,[238] and on certain B.F. vases a woman is seen nursing two
children (one painted black, the other white), which may denote Leto
with her infants, though it is more probably a symbolic representation
of Earth the Nursing-mother (Gaia Kourotrophos; see p. 73).[239]
Tischbein published a vase of doubtful authenticity, which represents
Leto with the twins fleeing from the serpent Python at Delos[240]; but
in two instances Apollo certainly appears in Leto’s arms, in one case
shooting the Python with his bow.[241]
With these three is sometimes joined Hermes—in one instance at Delphi,
as indicated by the presence of the _omphalos_[242]; or, again, Hermes
appears with Apollo alone, or with Apollo and Artemis.[243] Poseidon is
seen with Apollo, generally accompanied by Artemis and Hermes, also by
Leto and other indeterminate female figures.[244] In conjunction with
Athena, Apollo is found grouped with Hermes, Dionysos, Nike, and other
female figures; also with Herakles.[245] With Aphrodite he is seen in
toilet scenes, sometimes anointed by Eros.[246] In one case they are
accompanied by Artemis and Hermes,[247] and on one vase Apollo is
grouped with Zeus and with Aphrodite on her swan.[248] He accompanies
the chariots of various deities, such as Poseidon, Demeter, and
Athena,[249] especially when the latter conducts Herakles to
heaven.[250]
Apollo, in one case, is associated with the local Nymph Kyrene on a
fragment of a vase probably made in that colony.[251] He frequently
receives libations from Nike,[252] and in one case is crowned by
her.[253] With Nymphs and female figures of indeterminate character he
occurs on many (chiefly B.F.) vases, sometimes as receiving a
libation.[254] On several red-figured vases he is accompanied by some
or all of the nine Muses, one representing their contest with Thamyris
and Sappho.[255] He and Artemis are specially associated with marriage
processions, whether of Zeus and Hera or of ordinary bridal
couples.[256] Apollo also appears in a chariot drawn by a boar and a
lion at the marriage of Kadmos and Harmonia.[257]
In Dionysiac scenes he is a frequent spectator[258]; he greets Dionysos
among his thiasos,[259] joins him in a banquet,[260] or accompanies
Ariadne’s chariot[261] or the returning Hephaistos[262]; listens to the
Satyr Molkos playing the flutes,[263] or is grouped with Satyrs and
Maenads at Nysa.[264] More important and of greater interest are the
scenes which depict the legend of Marsyas, and they may fitly find a
place here. The story is told in eight different episodes on the vases,
which may be thus systematised:
1. Marsyas picks up the flutes dropped by Athena: Berlin 2418 =
Baumeister, ii. p. 1001, fig. 1209: cf. Reinach, i. 342 (in
Boston).
2. First meeting of Apollo and Marsyas: Millin-Reinach, i. 6.
3. The challenge: Berlin 2638.
4. Marsyas performing: B.M. E 490; Reinach, i. 452 (Berlin 2950), i.
511 (Athens 1921), ii. 312; Jatta 1093 = Reinach, i. 175 =
Baumeister, ii. p. 891, fig. 965.
5. Apollo performing: Jatta 1364 = _Él. Cér._ ii. 63; _Wiener Vorl._
vi. 11.
6. Apollo victorious: Reinach, ii. 310; Petersburg 355 = Reinach, i.
14 = _Wiener Vorl._ iii. 5.
7. Condemnation of Marsyas: Naples 3231 = Reinach, i. 405; Reinach,
ii. 324.
8. Flaying of Marsyas: Naples 2991 = Reinach, i. 406 (a vase with
reliefs); Roscher, ii. 2455 = _Él. Cér._ ii. 64.
Among other scenes in which Apollo (generally accompanied by Artemis)
plays a personal part, the following may be mentioned: the slaying of
the Niobids by the two deities[265]; the slaying of Tityos by
Apollo[266] (in one case Tityos is represented carrying off Leto, who
is rescued by Apollo)[267]; and various love adventures in which Apollo
is concerned.[268] The name of the Nymph pursued by him in the latter
scenes cannot, as a rule, be identified; one vase appears to represent
him contending with Idas for the possession of Marpessa.[269] He also
heals the Centaur Cheiron (this appears in burlesque form),[270] and
protects Creusa from the wrath of Ion.[271] He is seen seeking for the
cattle stolen from him by Hermes, and contending with that god over the
lyre.[272] He frequently appears in Birth of Athena scenes as
Kitharoidos,[273] and also at the sending forth of Triptolemos[274] or
in the under-world.[275] In one case he appears (with Athena, Artemis,
and Herakles) as protecting deity of Attica, watching a combat of
Greeks and Amazons.[276] On one vase there is a possible reference to
Apollo Smintheus, with whom the mouse was especially associated.[277]
Like other deities, Apollo and Artemis are frequently found on Apulian
vases as spectators of the deeds of heroes, or other events in which
they are more or less interested; some of these subjects have already
been specified (see above, p. 17). Apollo especially is often seen in
connection with the story of Herakles, or the Theban and Trojan
legends. One burlesque scene represents his carrying off the bow of
Herakles to the roof of the Delphic temple,[278] and the subject of the
capture of the tripod, with the subsequent reconciliation, is of very
frequent occurrence.[279] As Apollo Ismenios, the patron of Thebes, he
is a spectator of the scene of the infant Herakles strangling the
snakes[280]; in one case he is represented disputing with Herakles over
a stag,[281] which may be another version of the story of the Keryneian
stag, a scene in which he also occurs.[282] He is seen with Herakles
and Kyknos,[283] Herakles and Kerberos,[284] and is very frequently
present at the apotheosis of the hero.[285]
Apollo and Artemis watch Kadmos slaying the dragon,[286] and one or
other of them is present at the liberating of Prometheus[287]; Apollo
alone is seen with Oedipus and Teiresias,[288] and watches the slaying
of the Sphinx by the former.[289] Among Trojan scenes he is sometimes
present at the Judgment of Paris,[290] also at the sacrifice of
Iphigeneia, the pursuit of Troilos, the combats of Achilles and Ajax
with Hector, and the recognition of Aithra by her sons.[291] He is, of
course, frequently seen in subjects from the Oresteia, both in Tauris
and at Delphi,[292] and at the death of Neoptolemos before the latter
temple.[293] The pair are also seen at the carrying off of Basile by
Echelos (see p. 140).[294]
The ξόανον, or primitive cult-statue, of Apollo is sometimes
represented; in one case Kassandra takes refuge from Ajax before it,
instead of the usual statue of Athena.[295]
* * * * *
The appearances of =Artemis=, as distinct from Apollo, need not detain
us long; she is sometimes found in mythological scenes, but frequently
as a single figure, of which there are some fine examples.[296] A
winged goddess grasping the neck or paws of an animal or bird with
either hand frequently occurs on early vases, and is usually
interpreted as Artemis in her character of πότνια θηρῶν or mistress of
the brute creation, sometimes called the Asiatic or Persian
Artemis.[297] On an early Boeotian vase (with reliefs) at Athens is a
curious representation of Artemis Diktynna, a quasi-marine form of the
goddess, originally Cretan (?); on the front of her body is represented
a fish, and on the either side of her is a lion.[298] As a single
figure she appears either with bow or quiver, or with lyre, sometimes
accompanied by a stag or hind, or dogs[299]; she also rides on a
deer[300] or shoots at a stag.[301] Or, again, she is attended by a
cortège of Nymphs[302] or rides in a chariot.[303] Like that of Apollo,
her ξόανον is sometimes introduced into a scene as local colouring.[304]
The myth with which she is chiefly associated is that of Aktaeon, which
may find a place here, though in most cases Aktaeon alone is
represented, being devoured by his hounds.[305] A curious subject on a
vase at Athens appears to be the burial of Aktaeon, Artemis being
present.[306] She is also represented at the sacrifice of Iphigeneia,
for whom a stag was substituted by her agency,[307] and in connection
with the same story at her shrine in Tauris.[308] She is especially
associated with Apollo in such scenes as the contest with and flaying
of Marsyas,[309] the rape of the Delphic tripod by Herakles[310] and
the subsequent reconciliation,[311] or the appearance of Orestes at
Delphi.[312] The two deities sometimes accompany nuptial processions in
chariots, Artemis as _pronuba_ holding a torch, but it is not easy to
say whether these scenes refer to the nuptials of Zeus and Hera or are
of ordinary significance.[313] A scene in which she pursues a woman and
a child with bow and arrow may have reference to the slaughter of the
Niobids.[314]
Other scenes in which she is found are the Gigantomachia[315] and the
Birth of Athena[316]; or she is seen accompanying the chariots of
Demeter[317] and Athena,[318] and with Aphrodite and Adonis.[319] She
disputes with Herakles over the Keryneian stag[320]; and is also
present when he strangles the snakes,[321] and at his apotheosis in
Athena’s chariot.[322] She attends the combat of Paris and
Menelaos,[323] and as protecting deity of Attica she watches a combat
of Greeks and Amazons.[324] A vase in Berlin, on which are depicted six
figures carrying chairs (Diphrophori, as on the Parthenon frieze) and a
boy with game, may perhaps represent a procession in honour of
Artemis.[325]
* * * * *
=Hephaistos= is a figure who appears but seldom, and never as
protagonist, except in the case of his return to Olympos,[326] a
subject already discussed (p. 17), as has been his appearance in the
Gigantomachia[327] and at the birth of Athena.[328] In conjunction with
the last-named goddess he completes the creation and adornment of
Pandora on two fine vases in the British Museum[329]; he is also
present at the birth of Erichthonios.[330] His sojourn below the ocean
with Thetis and the making of Achilles’ armour also occur.[331]
Representations of a forge on some B.F. vases may have reference to the
Lemnian forge of Hephaistos and his Cyclopean workmen.[332] He is also
seen with Athena,[333] at the punishment of Ixion,[334] and taking part
in a banquet with Dionysos.[335]
* * * * *
More important than any of the other Olympian deities, for the part she
plays in vase-paintings, is =Athena=, the great goddess of the Ionic
race, and especially of Athens. Of her birth from the head of Zeus we
have already spoken, as also of the part she plays in the Gigantomachia
(p. 15). The separate episode of her combat with Enkelados (her
invariable opponent) is frequently depicted on B.F. vases[336]; but in
one instance she tears off the arm of another giant, Akratos.[337] We
have also seen her assisting at the creation of Pandora,[338] and
contending with Poseidon for Attica.[339] She receives the infant
Dionysos at the time of his birth,[340] and is also generally present
at that of Erichthonios,[341] and once with Leto at that of Apollo and
Artemis.[342] She is, of course, an invariable actor in Judgment of
Paris scenes, in one of which she is represented washing her hands at a
fountain in preparation for the competition.[343]
From assemblies of the gods she is rarely absent, and she is also
associated with smaller groups of divinities, such as Apollo and
Artemis (p. 31), with Ares or Hephaistos,[344] or with Hermes,[345] or
in Eleusinian[346] or Dionysiac scenes.[347] Thus she assists at the
slaying of the Niobids,[348] and on one vase is confronted with
Marsyas, before whom she has just dropped the flutes.[349] Scenes in
which she appears receiving a libation from Nike are extremely
common[350]; and she is also found with Iris and Hebe.[351] In one
instance she herself pours a libation to Zeus.[352]
Generally the companion of princes and patroness of heroes, she
protects especially Herakles, whom she aids in his exploits and conveys
finally in her chariot to Olympos, where he is introduced by her to
Zeus.[353] Some scenes represent the two simply standing together[354];
in others she welcomes and refreshes him after his labours,[355] and in
one case he is supposed to be represented pursuing her.[356] It is
unnecessary to particularise here the various scenes in which she
attends Herakles (see p. 95 ff.); but one may be mentioned as peculiar,
where she carries him off in her chariot with the Delphic tripod which
he has just stolen.[357] Another rare scene connected with the Herakles
myths is one in which, after the fight with Kyknos (see p. 101), Zeus
protects her from the wrath of Ares.[358] Another of her favourite
heroes is Theseus,[359] and she is even more frequently associated with
Perseus, whom she assists to overcome and escape from the Gorgons.[360]
She gives Kadmos the stone with which to slay the dragon,[361] and is
also seen with Bellerophon,[362] Jason and the Argonauts,[363] and
Oedipus.[364] She is present at the rape of Oreithyia by Boreas,[365]
at the punishment of Ixion,[366] and at the setting out of
Amphiaraos[367]; at the stealing of Zeus’ golden dog by Pandareos[368];
also at the rape of the Leukippidae by the Dioskuri,[369] and of Basile
by Echelos (see p. 140),[370] and in a scene from the tragedy of
Merope.[371]
The scenes where she is assisting the Greek heroes in the Trojan War
are almost too numerous to specify, her favourite being of course
Achilles; her meeting with Iris (_Il._ viii. 409) is once
depicted,[372] and she also appears in connection with the dispute over
Achilles’ arms.[373] She is not so frequently seen with her other
favourite, Odysseus, but in one instance she is present when he meets
with Nausikaa,[374] and also when he blinds Polyphemos.[375] On the
numerous vases representing Ajax and Achilles (or other heroes) playing
at draughts, the figure or image of the goddess is generally present in
the background.[376] The same type on B.F. vases is adopted for the
subject of two heroes casting lots before her statue[377]; lastly, she
appears as the friend and patron of Orestes when expiating the slaying
of his mother.[378]
As a single figure Athena is represented under many types and with
various attributes, seated with her owl[379] or in meditation,[380]
writing on tablets[381] or holding the ἀκροστόλιον of a ship[382];
playing on a lyre[383] or flutes,[384] or listening to a player on the
flute or lyre[385]; with a man making a helmet,[386] or herself making
the figure of a horse,[387] and in a potter’s workshop.[388] On an
early vase she appears between two lions[389]; or she is accompanied by
a hind (here grouped with other goddesses).[390] She is depicted
running,[391] and occasionally is winged[392]; or she appears mounting
a chariot, accompanied by various divinities.[393] As the protecting
goddess of Attica she watches a combat of Greeks and Amazons[394]; she
also attends the departure or watches combats of ordinary
warriors,[395] or receives a victorious one.[396] In one instance she
carries a dead warrior home.[397]
There are many representations of her image, either as a ξόανον or
cultus-statue, or recalling some well-known type of later art. Among
the former may be mentioned her statue at Troy, whereat Kassandra takes
refuge from Ajax,[398] and the Palladion carried off by Odysseus and
Diomede.[399] Among the latter, three can be traced to or connected
with creations of Pheidias: viz. the chryselephantine Parthenos
statue[400]; the Lemnian type, holding her helmet in her hand (Plate
XXXVI.)[401]; and the Promachos, in defensive attitude, with shield and
spear.[402] The last-named type (earlier, of course, than the famous
statue on the Acropolis) is that universally adopted for the figure of
Athena on the obverse of the Panathenaic amphorae, on which she is
depicted in this attitude between two Doric columns surmounted by cocks
(on the later examples by figures of Nike or Triptolemos).[403] Her
statue is also represented as standing in a shrine or heroön[404]; or
as the recipient of a sacrifice or offering.[405] Her head or bust
alone appears on several vases.[406]
* * * * *
=Ares=, in the few instances in which he appears on vases, is generally
in a subordinate position; he is a spectator at the birth of
Athena[407]; and appears twice on the François vase, at the wedding of
Peleus and Thetis, and again in an attitude of shame and humility, to
indicate the part he played in the story of Hephaistos and Hera; of his
combat with the former god mention has already been made (p. 16). In
the Gigantomachia his opponent is Mimas, with whom he also appears in
single combat[408]; and he aids his son Kyknos against Herakles and
Athena.[409] He is seen in several of the large groups of Olympian
deities,[410] or in smaller groups, _e.g._ with Poseidon and
Hermes,[411] with Apollo, Artemis, and Leto,[412] or with Athena[413]
or his spouse Aphrodite[414]; also with Dionysos, Ariadne, and
Nereus.[415] He also receives a libation from Hebe.[416] He is seen at
the birth of Pandora,[417] the punishment of Ixion,[418] the slaying of
the Niobids,[419] the apotheosis of Herakles,[420] and the contest of
that hero with the Nemean lion.[421] In some cases his type is not to
be distinguished from that of an ordinary warrior or hero, as in one
case where he or a warrior is seen between two women.[422]
* * * * *
=Aphrodite= seldom appears as a protagonist on vases, and in fact plays
a small personal part in mythology. Apart from scenes of a fanciful
nature she is usually a mere spectator of events; but as she is not
often characterised by any distinctive attribute, there is in many
cases considerable difficulty in identifying her personality. This is
especially the case on B.F. vases, on which her appearances are
comparatively rare. One vase represents her at the moment of her birth
from the sea in the presence of Eros and Peitho[423]; she also appears
(on late vases only) with Adonis,[424] embracing him, and in two
instances mourning for him after his death[425]; but caution must be
exercised in most cases in identifying this subject, which is but
little differentiated from ordinary love scenes. One scene apparently
represents Zeus deciding a dispute between her and Persephone over
Adonis.[426]
More commonly she is seen riding over the sea on a goose or swan,[427]
of which there is one exceedingly beautiful example in the British
Museum; here she is to be recognised as the Heavenly Aphrodite
(Ourania), whereas in her character of Pandemos (profane or unlicensed
love) she rides on a goat.[428] In other instances the swan draws her
chariot over the sea,[429] or she is borne by a pair of Erotes,[430] or
sails in a shell, as in the story of her birth and appearance in the
island of Kythera[431]; in others, again, her chariot is drawn (on
land) by the Erotes,[432] or by a lion, wolf, and pair of boars.[433]
She is also represented at her toilet[434] or bathing,[435] in the
latter case in the attitude of the _Vénus accroupie_ of sculpture; in
these instances again there is often difficulty in distinguishing from
scenes of ordinary life. Again, she is represented spinning,[436]
playing with a swan,[437] or caressing a hare,[438] or in company with
a young hunter,[439] possibly meant for Adonis.
[Illustration:
From Ἐφ. Ἀρχ. 1897.
FIG. 117. APHRODITE AND HER FOLLOWING (VASE AT ATHENS).
]
In many scenes she is grouped with a cortège of attendant Nymphs and
personified figures, often with names attached.[440] Besides Eros, the
following are found on these vases: Pothos (Longing) and Himeros
(Charm), Hygieia (Health), Peitho (Persuasion), Paidia (Play),
Pandaisia (Good Cheer), Eunomia (Orderliness), Euthymia (Cheerfulness),
Eudaimonia (Happiness), Hedylogos (Winning Speech), and Kleopatra (a
fancy name). Eros himself she embraces[441] and suckles,[442] and in
some cases he assists in her toilet, perfuming her hair from an unguent
flask,[443] or adjusting her sandals[444]; he is seldom absent from her
side on the later vases. In one instance Aphrodite and two Erotes make
a basket of golden twigs.[445] Their heads or busts are also found on
late vases, as is that of Aphrodite alone.[446]
In relation to other mythological subjects she is frequently found in
assemblies of the gods, especially in the spectator groups on Apulian
vases[447]; also at the birth of Athena (rarely),[448] at the marriage
of Zeus and Hera,[449] and in the Gigantomachia (very rare).[450] She
is seen among the Eleusinian deities,[451] and in scenes from the
nether world[452]; and she accompanies the chariots of Athena and
Demeter.[453] She also accompanies Poseidon in his wooing of
Amymone,[454] and is present at the slaying of Argos by Hermes,[455]
the punishment of Aktaeon[456] and the contest of Apollo and
Marsyas,[457] and the wooing of Europa by Zeus.[458] She is also
grouped with Apollo and the Muses listening to Thamyris and Sappho.[459]
She is seldom seen with Herakles, but is present at his
apotheosis,[460] and also with him in the Garden of the
Hesperides[461]; she is once seen with Theseus,[462] and is present at
the rape of the Leukippidae by the Dioskuri.[463] Other heroes with
whom she is connected (chiefly as a spectator on the Apulian vases) are
Kadmos, Meleager, Perseus, and Pelops.[464] In the tale of Troy,
however, she plays a more important part. The Judgment of Paris is, of
course, the scene with which she is chiefly connected[465]; in one
instance she appears alone with Paris, unless Anchises be here
meant.[466] She is present at the first meeting and wedding of Peleus
and Thetis[467]; at the toilet of Helen, and at her carrying off by
Paris[468]; she assists her son Aeneas in his combat with Diomede,[469]
and is present at the rape of Kassandra.[470] Helen takes refuge from
Menelaos with her in her temple[471]; and finally she assists Aeneas to
escape with the aged Anchises from Troy.[472]
* * * * *
Besides the scenes in which he appears with Aphrodite, =Eros= is a
sufficiently important personage on vases to demand a section to
himself. On the black-figured vases he never appears, nor on the
earlier red-figured ones is it possible to find many instances, but
towards the end of the fifth century his popularity is firmly
established, while on the Italian vases, especially the the later
Apulian, his presence is almost invariable, not only in mythological
scenes, but in subjects from daily life. As a single figure he occurs
again and again, generally holding a wreath, mirror, box, fan, or some
object which may be regarded as signifying a lover’s present.
Concurrently with his increasing popularity we note the change that
comes over the conception of his personality. Beginning as a full-grown
youth of fair proportions, his form gradually attenuates and becomes
more juvenile, or even in some cases infantile, as in Hellenistic art;
while on the Apulian vases it assumes an androgynous, altogether
effeminate character. His hair is arranged in feminine fashion, and his
person is adorned with earrings, bracelets, anklets, and chains,
remaining otherwise entirely nude, except that he sometimes wears soft
shoes of a feminine kind (see Plate XLIV. and Fig. 118).
On the red-figured vases he generally appears as a single figure,
though on those of the “fine” style he is often in attendance on
Aphrodite; roughly speaking, it may be said that he figures in all
scenes that deal with the passion of Love, such as the Judgment of
Paris,[473] the story of Adonis,[474] the marriage of Dionysos and
Ariadne,[475] or the love-affairs of Zeus, Poseidon, and other
gods.[476]
In other legends in which Love plays a part, such as the stories of
Jason and Medeia,[477] Phaidra and Hippolytos,[478] Peleus and Thetis
(or Theseus and Ariadne),[479] Pelops and Hippodameia,[480] Paris and
Helen,[481] he is also to be seen; as also at the carrying off of
Persephone.[482] Moreover, he occurs in several scenes where the reason
is not so apparent, as at the birth of Erichthonios,[483] in the Garden
of the Hesperides,[484] at the suckling of Herakles by Hera,[485] with
Herakles and a Centaur,[486] and in the nether world[487]; also with
deities such as Zeus, Athena, Nike, Helios and Selene, and
Dionysos[488]; anointing the head of Apollo.[489] The cosmogonic
conception of Eros and his connection with Gaia is referred to in the
next chapter under the latter heading (p. 73). Two Erotes draw the
chariot of Demeter and Persephone[490]; and he is also seen in company
with the Nereids.[491] His presence in Dionysiac scenes, especially on
the later vases, is often to be noted, though without any special
meaning to be attached to it[492]; in one instance he is carried on the
back of a Seilenos.[493] In many of these scenes he merely accompanies
Aphrodite, and they do not therefore require enumeration. Lastly, he is
seen in company with Sappho,[494] the great poetess of Love.
In non-mythological scenes he is found almost as frequently, especially
in toilet scenes,[495] or what we may regard as “scenes of courting”;
but on the later vases these exhibit little or no action, and are not
worth considering in detail, with a few exceptions. Thus we see Eros in
marriage processions,[496] in musical scenes,[497] and at
banquets[498]; at a sacrifice to a term[499]; watching girls play the
game of _morra_[500] (“How many fingers do I hold up?”); swinging them,
or being danced on their feet[501]; in scenes of fruit- and
incense-gathering[502]; or pouring wine into a krater.[503] He appears
with Agon (see p. 89) training in the palaestra.[504] He pursues a
youth or a girl,[505] embraces a girl,[506] or is carried by her
pick-a-back[507]; offers a hare to a youth,[508] or drives a youth with
a whip from an altar[509]; and in one instance is about to chastise
with a slipper two youths who are playing with a top and hoop[510];
these two latter scenes may be regarded as implying the power of Eros
over youth. He is also seen shooting an arrow at a woman,[511] an idea
characteristic of Anacreontic and Alexandrine poetry. Another scene
which recalls the wall-paintings of the Hellenistic Age is on a vase in
the British Museum, representing two Erotes being weighed in
scales.[512]
As a single figure he pursues a hare or kills a snake[513]; crouches
before a plant[514]; is represented armed with shield and spear[515];
or places a sash or wreath on a tripod.[516] He is borne in a chariot
by horses or swans,[517] or rides on a horse, deer, dog, or swan.[518]
He is also seen playing various games, such as the _kottabos_ or
_morra_,[519] see-sawing or playing knucklebones,[520] or with a ball
or hoop or toy-boat.[521] Or he plays the flute or lyre[522]; or plays
with animals, such as a deer, dove, swan[523]; or finally (on Apulian
vases) with a toy which resembles a wheel, and was probably used for
magic purposes, as several passages of literature indicate.[524]
[Illustration: FIG. 118. EROS WITH KOTTABOS-STAND (BRIT. MUS.).]
Lastly, we must give a survey of the frequent representations of Eros
flying through the air carrying some attribute, which are so universal
on the Italian vases, though some of the earliest types also represent
him in this manner. Thus he carries a hare, or dove or other bird[525];
fruit (such as grapes or pomegranates), flowers, and branches[526];
wreaths, dishes of fruit, baskets, vases of various forms, and a spit
of meat[527]; thyrsi, tambourines, lyres, torches, incense-burners,
strigils, and ladders[528]; fans, parasols, mirrors, toilet-boxes,
strings of beads, and sashes, or balls.[529]
* * * * *
Among the other associates of Aphrodite the chief are Peitho, Pothos,
and Himeros, of whom mention has already been made. =Peitho=, except
where her name is given, is not always easy to identify; the other two
are not differentiated from Eros in form, and are, in fact, only
variations of the conception of Love, as are the more rarely occurring
Phthonos (_Amor invidiosus_)[530] and Talas (_Amor infelix_), the
latter of whom is associated with Sappho.[531] Peitho is found with
Himeros in one instance,[532] and in another with Eukleia[533]; she
also accompanies Aphrodite in Eleusinian and other scenes,[534] at the
deliverance of Andromeda,[535] in the Garden of the Hesperides,[536]
and at the rape of Helen[537] and the Leukippidae,[538] and at the
recovery of Helen by Menelaos[539]; she consoles her when mourning for
Adonis[540]; and is present at the moment of her birth.[541] Like Eros,
she is seen in company with Sappho,[542] and she also appears with
Meleager and Atalante.[543]
* * * * *
=Pothos= and =Himeros= are seen floating over the sea with Eros on a
fine R.F. vase in the British Museum,[544] and at the Judgment of
Paris[545]; and grouped together generally as Erotes, they may be
distinguished on some late vases. Pothos attends at the toilet of
Helen,[546] and plays the flutes in a Dionysiac scene.[547] Himeros is
seen swinging Paidia (another of Aphrodite’s following)[548]; at the
marriage of Herakles and Hebe[549]; presenting a crown to
Dionysos,[550] or removing his shoes,[551] and accompanying him in a
scene of preparation for the Satyric drama.[552]
* * * * *
=Hermes=, the messenger of the gods, is a common figure on vases of all
periods, but chiefly as a subordinate agent, though he plays a leading
part in some scenes, and frequently occurs as a single figure.[553]
Some small vases are decorated merely with his head, wearing the winged
petasos.[554] He is represented passing over the sea with a lyre,[555]
carrying a ram,[556] riding on a ram or goat,[557] or reclining on the
latter animal[558]; also as making a libation[559] or sacrificing a
goat.[560] He presides over the palaestra,[561] and is also seen
standing between Sphinxes,[562] or again (apparently as a statue)
standing by a fountain.[563] In one scene he leads a dog disguised as a
pig,[564] and he is also represented tending a flock of sheep,[565] or
fishing.[566]
The story so vividly recounted in the Homeric hymn of his infantile
theft of Apollo’s oxen is given in several scenes, including his taking
refuge in his cradle (Fig. 119)[567]; he is also represented with his
mother Maia,[568] and disputing with Apollo over the lyre which he
invented.[569] The only other myth in which he plays a chief part is
his pursuit of the Nymph Herse in the presence of her father Kekrops
and her sister Aglauros.[570] He appears in the Gigantomachia (in one
instance as Zeus’ charioteer),[571] frequently at the birth of
Athena,[572] and with the bridal _cortège_ of Zeus and Hera[573]; also
in numerous assemblies of the Olympian deities, especially on the
Apulian vases.[574] He is present at the seizing of Ganymede,[575] and
defends Hera against an attack of Seileni.[576] His slaying of Argos
and deliverance of Io has already been mentioned[577]; and he assists
in recovering the golden dog of Zeus which was stolen by Pandareos.[578]
[Illustration:
From _Baumeister_.
FIG. 119. HERMES WITH APOLLO’S OXEN.
]
He is present at the return of Hephaistos,[579] at Poseidon’s capture
of Amymone,[580] with Aphrodite mourning for Adonis,[581] and with
Apollo slaying Tityos and the Niobids and contending with Marsyas,[582]
also at his reconciliation with Herakles.[583] He accompanies the
chariots of Poseidon, Apollo, and Athena,[584] and also those of
mortals, especially in wedding processions[585]; and he is also seen
with Eos and Selene,[586] Kastor and Polydeukes,[587] Prometheus,[588]
Leda at the finding of the egg,[589] and at the birth of Pandora.[590]
He is specially associated with Zeus, Apollo, Athena, and
Dionysos,[591] and also appears with Aphrodite Pandemos[592]; he is not
infrequently found in Dionysiac scenes[593]; and to him is entrusted
the newly born Dionysos to be handed over to the Nymphs of Nysa.[594]
On B.F. vases he is frequently seen leading a procession of Nymphs.[595]
As a Chthonian deity he is present in many scenes relating to the
nether world, especially on the large Apulian vases,[596] and in
connection with the Eleusinian myths, such as the carrying off of
Persephone.[597] As Psychagogos or Psychopompos he is seen in Hades
waiting to conduct Persephone to earth, or actually _en route_ with
her.[598] He frequently performs the same office for mortals,
conducting them to Charon’s bark.[599] He is also found in company with
Thanatos,[600] and with Herakles bringing back Alkestis.[601] A unique
scene with Hermes in his Chthonian capacity is on a vase where he is
represented chaining up Kerberos[602]; and another, yet more curious,
depicts him standing by a jar (πίθος) from which a number of small
winged figures (εἴδωλα or ghosts) are flying out, with a supposed
reference to the Athenian festival of the Πιθοίγια.[603]
In the stories of Herakles he plays an important part, as also in those
of Theseus and other heroes, and he is frequently visible in scenes
from the Trojan legends. He conveys the infant Herakles to Cheiron for
instruction,[604] and conducts the hero to Hades to fetch
Kerberos[605]; he is also seen feasting or bathing with him,[606] and
in company with him and Athena,[607] and most frequently in connection
with his apotheosis.[608] With Theseus he is found more rarely[609];
but he frequently accompanies Perseus in his flight from the
Gorgons.[610] In other heroic scenes he is often one of the spectator
deities on Apulian vases. In one instance he is seen banqueting with an
unidentified hero.[611]
In the Trojan legends his chief appearance is as conductor of the
goddesses to the Judgment of Paris[612]; and in one case he accompanies
Peleus when bringing the infant Achilles to Cheiron.[613] He also
assists Zeus in weighing the souls of Achilles and Hector,[614]
conducts Priam to Achilles,[615] and is present in many other scenes
which need not be recounted in detail. A scene difficult of explanation
represents him accompanying Odysseus in a chariot.[616]
A Herm or terminal figure of Hermes is a not uncommon feature on vases,
especially of the R.F. period,[617] and generally as the object of a
sacrifice made to it.[618]
Last of the Olympian deities comes =Hestia=, who is usually coupled
with Hermes; she, however, only appears on a few vases in gatherings of
the Olympian deities,[619] as on the François vase, where she attends
the nuptials of Peleus and Thetis, and at the marriage of Herakles and
Hebe.[620]
-----
Footnote 1:
_Il._ xi. 635: cf. Athen, xi. 489 F.
Footnote 2:
i. 27 ff.: cf. Vol. I. p. 180.
Footnote 3:
Athenaeus, xi. p. 489 B.
Footnote 4:
_Ibid._ p. 782 B.
Footnote 5:
_Od._ 5.
Footnote 6:
_H.N._ xxxiii. 155.
Footnote 7:
_Ibid._ 156.
Footnote 8:
Mart. viii. 51: cf. Juv. i. 76.
Footnote 9:
Stat. _Theb._ i. 543.
Footnote 10:
Virg. _Ecl._ iii. 46.
Footnote 11:
Schreiber, _Alexandr. Toreutik, passim_; Robert in _50^{tes}
Winckelmannsfestprogr._ 1890.
Footnote 12:
Suet. _Ner._ 47: see Vol. I. pp. 134, 185, 499.
Footnote 13:
Cf. Miss Harrison, _Mythol. and Monum. of Athens_, p. ii; and see
Vol. I. p. 13.
Footnote 14:
See on this subject _J.H.S._ xiii. p. 83.
Footnote 15:
_Art. Poet._ 147.
Footnote 16:
See Luckenbach in _Jahrb. für Class. Phil._ Suppl.-Bd. xi. (1880), p.
575 ff.
Footnote 17:
_Op. cit._ p. 493 ff.
Footnote 18:
The only exceptions are in the Panathenaic contests, which are of
course not epic: cf. B.M. B 130–31.
Footnote 19:
See on this subject _Comm. in hon. T. Mommseni_, p. 163 ff.; _Arch.
Zeit._ 1876, p. 116; Dumont-Pottier, i. p. 366, and, _J.H.S._ x. p.
13 ff.
Footnote 20:
Luckenbach, _op. cit._ p. 560 ff.
Footnote 21:
There is only one vase (Naples 2296 = Reinach, _Répertoire_, i. 476)
on which the names of the Nereids are derived from Homer.
Footnote 22:
_Op. et Di._ 60 ff.; _Scut._ 345 ff., 178, 216; _Theog._ 820, 924 ff.
Footnote 23:
See _J.H.S._ xviii. p. 267.
Footnote 24:
Vol. I. p. 472: see also below, p. 159. On the subject generally see
Vogel, _Scenen Eur. Trag._; Huddilston, _Gk. Tragedy in
Vase-paintings_; Engelmann, _Arch. Studien zu den Tragikern_.
Footnote 25:
Reinach, i. p. 114.
Footnote 26:
_Op. cit._ p. 636.
Footnote 27:
See for further details of early theories Vol. I. p. 21.
Footnote 28:
_E.g._ the B.F. hydriae with water-drawing scenes; the funeral
lekythi; and the R.F. cups with their subjects relating to banquets
and revels.
Footnote 29:
See also Chapters VI.–XI. throughout.
Footnote 30:
Morgenthau, _Zusammenhang d. Bilder auf gr. Vasen_.
Footnote 31:
Cf. for instance E 39, 45, 47, 48, in B.M.
Footnote 32:
See below, p. 108.
Footnote 33:
See p. 134.
Footnote 34:
This subject has been admirably treated by Wickhoff in his _Roman
Art_ (Eng. edn.), p. 13 ff.
Footnote 35:
The publication of this vase by Furtwaengler and Reichhold, _Gr.
Vasenmalerei_, pls. 1–3, 11–13, with full discussion of subjects and
technical details, has now superseded all previous illustrations. The
only other complete ones were in _Mon. dell’ Inst._ iv. 54–8
(Reinach, i. p. 134–36) and _Wiener Vorl._ ii. pls. 1–5. The general
view given in Plate XXVIII. is reproduced from the first-named work.
Footnote 36:
For the abbreviations used in the following notes see the
Bibliography (Vol. I.).
Footnote 37:
Munich 125 = Reinach, ii. 120 = Furtwaengler and Reichhold, pl. 32;
B.M. F 237: cf. also B.M. B 62.
Footnote 38:
The best and most complete examples are as follows:—B.F.: B.M. B 208;
Reinach, i. 162 = Louvre E 732. R.F.: B.M. E 47, 469; Berlin 2293,
2531 (both in _Wiener Vorl._ i. pls. 8 and 5; the latter very good);
Bibl. Nat. 573 = Reinach, ii. 256. Best of all (late R.F.), a grand
vase found in Melos (_Monum. Grecs_, 1875, pt. 4, pls. 1–2 = _Wiener
Vorl._ viii. 7), on which no less than eighteen deities are engaged,
but none of the giants are named. Hera, Hephaistos, and Amphitrite
are absent. Figs. 111 and 112 give two of these—E 732 in Louvre, and
the interior of Berlin 2531.
Footnote 39:
_Arch. Anzeiger_, 1890, p. 8.
Footnote 40:
Reinach, ii. 188 = _Él. Cér._ i. 5.
Footnote 41:
B.M. E 47; Berlin 2293.
Footnote 42:
B.M. B 253, E 443 (and see p. 56).
Footnote 43:
_Bull. de Corr. Hell._ xx. (1896), pl. 7: cf. the archaic frieze of
the Siphnian treasury at Delphi.
Footnote 44:
B.F.: B.M. B 147 (a very fine early example, but much restored), 244
(Fig. 113), 424; Berlin 1704 (also good). R.F.: B.M. E 15, E 410
(fine); Reinach, ii. 207.
Footnote 45:
Reinach, i. 171.
Footnote 46:
Reinach in _Revue des Études Grecques_, 1901, p. 127, traces the
subject to a Megarian origin.
Footnote 47:
_B.M. Vases_, ii. p. 11.
Footnote 48:
B.M. B 147, 218, 244.
Footnote 49:
_Cat._ 444.
Footnote 50:
See B.M. B 157, B 341; also Berlin 1899 (= _Él. Cér._ i. 22) and
Reinach, ii. 21, 2.
Footnote 51:
_E.g._ B.M. B 197 (a fine vase, by Amasis?) and B 298: see on the
subject Foerster, _Hochzeit des Zeus und Hera_.
Footnote 52:
B.M. E 82; Wernicke, _Ant. Denkm._ pl. 1, 7 = Reinach, ii. 266.
Footnote 53:
Petersburg 355 = Reinach, i. 14 = _Wiener Vorl._ iii. 5 (also
interpreted as a sculptor finishing off a statue of Hera).
Footnote 54:
B.M. F 269 (gods nicknamed respectively Daidalos and Enyalios).
Footnote 55:
B.F.: François vase; B.M. B 42 (Plate XXI.), 264; Vienna 218; Athens
628 = _Ath. Mitth._ 1894, pl. 8. R.F.: Bibl. Nat. 539 = Reinach, ii.
261; Reinach, ii. 3 = Millin-Reinach, i. 9; Reinach, ii. 311; Munich
776 = Baumeister, i. p. 644, fig. 714 = Furtwaengler and Reichhold,
pl. 29; Munich 780 = _Él. Cér._: i. pl. 46 A = _Wiener Vorl._ i. 9, 3.
Footnote 56:
See below, p. 107; the best examples are Berlin 2278 = _Ant. Denkm._
i. 9 (Sosias); B.M. B 379; Reinach, ii. 76 (in Berlin).
Footnote 57:
B.M. B 345; E 67, 444; Berlin 2060; Reinach, i. 157, 1, 2 and 203 =
Baumeister, iii. pl. 93, fig. 2400 (by Oltos and Euxitheos, a very
fine example); a late instance, Petersburg 419 = Reinach, i. 161.
Footnote 58:
Reinach, i. 98; 194 (Dareios in council).
Footnote 59:
B.M. F 278; Reinach, i. 379.
Footnote 60:
B.M. F 271.
Footnote 61:
B.M. F 279.
Footnote 62:
Numerous examples will be found in the pages of Reinach’s
_Répertoire_.
Footnote 63:
Rape of Persephone: Reinach, i. 99; other scenes, _ibid._ i. 355;
B.M. F 270.
Footnote 64:
E 668 = Reinach, i. 435; and cf. Jatta 1405 = Reinach, i. 483; Bibl.
Nat. 489.
Footnote 65:
Reinach, ii. 287.
Footnote 66:
B.M. B 425: cf. _Mus. Greg._ ii. 21, 1.
Footnote 67:
_Él. Cér._ i. 82 (also i. 22?), and Vienna 329.
Footnote 68:
_Él. Cér._ ii. 30 (may be Poseidon); Micali, _Mon. Ined._ 37, 3; B.M.
E 432 (Artemis); Naples S.A. 702 = Reinach, i. 499 and Reinach, ii.
183 (Aphrodite); Bibl. Nat. 229 (Zeus with Hera, Athena, Ares, and
Hermes); _Arch. Anzeiger_, 1898, p. 189, and _Boston Mus. Report_,
1899, No. 15 (with Hermes).
Footnote 69:
B.M. B 166, B 379, B 424, E 262; Furtwaengler and Reichhold, 20;
Berlin 1857 (H. plays lyre); Petersburg 1775 = _Wiener Vorl._ iii. 9,
1 = Reinach, i. 302 (parody): and see below, p. 107.
Footnote 70:
Reinach, i. 156, 1.
Footnote 71:
_Él. Cér._ i. 14 (now in B.M.); Munich 345 = Reinach, i. 66.
Footnote 72:
_Arch. Anzeiger_, 1895, p. 38 (fine polychrome pyxis in Berlin).
Footnote 73:
B.M. E 381; _Él. Cér._ i. 20.
Footnote 74:
B.M. F 278; Roscher, iii. p. 969.
Footnote 75:
Hartwig, _Meistersch._ pl. 68 (in Louvre): cf. Eusebius, _Prep.
evang._ iii. 84_b_.
Footnote 76:
_Él. Cér._ i. 29A (doubtful).
Footnote 77:
Reinach, i. 335, 2.
Footnote 78:
_Él. Cér._ i. 18 (= Helbig, ii. p. 310, No. 104); Bibl. Nat. 416 =
Reinach, i. 472; Berlin 2032 = Reinach, i. 334.
Footnote 79:
_Röm. Mitth._ 1887, pl. 10.
Footnote 80:
B.M. F 542.
Footnote 81:
B.M. E 313; Reinach, i. 408.
Footnote 82:
Petersburg 1792 = Reinach, i. 1: see Robert, _Arch. Märchen_, pl. 2,
p. 179 ff.
Footnote 83:
Petersburg 1793 = Reinach, i. 3; Bibl. Nat. 219 = _Mon. Ant. di
Barone_, pl. 1; _Boston Mus. Report_, 1895, No. 27: see also for the
first Robert, _Arch. Märchen_, pl. 3, p. 189.
Footnote 84:
B.M. E 182; Bibl. Nat. 440 = Reinach, ii. 260; and see p. 55, note
644.
Footnote 85:
B.M. F 150; _Jahrbuch_, i. (1886), p. 276 (see Vol. I. p. 473).
Footnote 86:
B.M. F 149 (signed by Python) = _J.H.S._ xi. pl. 6; B.M. F 193.
Footnote 87:
B.M. F 286; Reinach, i. 278.
Footnote 88:
B.M. E 711; Petersburg 1723 = Baumeister, i. p. 406, fig. 447 (both
R.F.).
Footnote 89:
Aegina: Helbig, ii. p. 311, No. 113 = Wernicke, _Ant. Denkm._ 6, 4;
Berlin 3239 = _Él. Cér._ i. 17; _Boston Mus. Report_ for 1895, No. 39
(a sister brings the news to her father Asopos). Thaleia: Reinach,
ii. 285 = _Él. Cér._ i. 16 = Wernicke, 6, 3.
Footnote 90:
Reinach, ii. 144: see below, p. 82.
Footnote 91:
B.F.: Louvre E 696 = Reinach, i. 162; Athens 853 = Reinach, i. 507;
_id._ ii. 49. R.F.: B.M. E 231; Munich 208 = Jahn, _Entführung d.
Europa_, pl. 7 (polychrome on white); Petersburg 1637 = Reinach, i.
24, and 1915 = Reinach, i. 22 (Europa brought to Zeus). Late: B.M. F
184; Naples 3218 = Jahn, _op. cit._ pl. 1 (Eros on bull).
Footnote 92:
Helbig, ii. p. 312, No. 118 = Overbeck, _Kunstmythol. Atlas_, pl. 6,
fig. 13.
Footnote 93:
See generally _Boston Mus. Report_, 1900, p. 62, and _Jahrbuch_,
1903, p. 37; also _Wiener Vorl._ 1890–91, pl. 12.
Footnote 94:
Berlin 3164, and Reinach, ii. 16 = _Él. Cér._ i. 25, 26.
Footnote 95:
Reinach, i. 407.
Footnote 96:
_Ibid._ i. 111, 1 = Berlin 2651 (R.F.), and 111, 2 = Munich 573 =
_Wiener Vorl._ 1890–91, pl. 12, 1 (B.F.); _Boston Mus. Report_, 1900,
No. 21.
Footnote 97:
B.M. B 164; Bibl. Nat. 302 = _Él. Cér._ iii. 97; Reinach, i. 363;
Vienna 338 = _Wiener Vorl._ 1890–91, pl. 11, 1 = Fig. 114; _ibid._ i.
111, 4 = Jatta 1498 = _Wiener Vorl._ 1890–91, pl. 12, 2.
Footnote 98:
See generally Overbeck, _Kunstmythol._ ii. p. 27 ff., 181 ff.
Footnote 99:
Reinach, i. 388.
Footnote 100:
See p. 101; Zeus defending Athena against Ares after the combat,
_Arch. Anzeiger_, 1898, p. 51 (Boston vase).
Footnote 101:
See p. 130.
Footnote 102:
B.M. E 140; Reinach, i. 342, 405, 452; _ibid._ i. 229; i. 235.
Footnote 103:
B.M. E 467 and _J.H.S._ xxi. pl. 1; Petersburg 1807 = Reinach, i. 7.
Footnote 104:
B.M. B 316; E 224; Naples 2638 = Reinach, i. 78.
Footnote 105:
Munich 745 = Furtwaengler and Reichhold, pl. 16.
Footnote 106:
See p. 141.
Footnote 107:
See above, p. 16.
Footnote 108:
Munich 336 = Overbeck, _Kunstmythol. Atlas_, pl. 9, 19; head only,
_Él. Cér._ i. 29; also perhaps in Naples 2900 = Baumeister, iii. p.
1653, fig. 1714; but more probably Aphrodite is intended.
Footnote 109:
Overbeck, _op. cit._ iii. p. 18; Reinach, i. 231, ii. 16.
Footnote 110:
_Él. Cér._ i. 34.
Footnote 111:
Bibl. Nat. 542 = Reinach, i. 141.
Footnote 112:
Reinach, i. 388.
Footnote 113:
B.M. E 155.
Footnote 114:
B.M. E 467.
Footnote 115:
B.M. B 164; Berlin 3164; Reinach, i. 111, 4.
Footnote 116:
B.M. F 107.
Footnote 117:
Naples 2873 = Millin-Reinach, i. 3: cf. B.M. F 148 and Reinach, i.
301.
Footnote 118:
Reinach, ii. 4.
Footnote 119:
B.M. B 379; Berlin 2278; Furtwaengler and Reichhold, 20.
Footnote 120:
Bibl. Nat. 253 = Reinach, i. 399.
Footnote 121:
B.M. B 57: cf. the Hera αἰγοφάγος at Sparta (Paus. iii. 15, 9).
Footnote 122:
Petersburg 1792 = Reinach, i. 1; Bibl. Nat. 219.
Footnote 123:
_Bull. de Corr. Hell._ 1898, p. 586.
Footnote 124:
Jatta 1093 = Reinach, i. 175.
Footnote 125:
Reinach, i. 463.
Footnote 126:
Naples 2202 = Dubois-Maisonneuve, _Introd._ pls. 45–46.
Footnote 127:
Reinach, ii. 9, 321 and _Él. Cér._ i. 30 (Hebe); Reinach, ii. 325
(Iris).
Footnote 128:
B.M. E 65 = Reinach, i. 193.
Footnote 129:
B.M. B 147, E 410.
Footnote 130:
B.M. B 197.
Footnote 131:
B.M. E 82; Berlin 2278 = _Ant. Denkm._ i. 9.
Footnote 132:
See above, p. 13 (esp. Berlin 2531 (Fig. 112), Reinach, ii. 188 =
_Él. Cér._ i. 5, _Boston Mus. Report_, 1898, No. 41, and Helbig, ii.
p. 304, No. 81 = _Mus. Greg._ ii. pl. 56, 1); B.M. B 166; Berlin
2278; Reinach, ii. 76; Louvre F 30 = _Rev. Arch._ xiii. (1889), pl. 4
(by Amasis).
Footnote 133:
B.M. B 425: cf. _Mus. Greg._ ii. 21, 1.
Footnote 134:
B.M. B 212, B 262, and Reinach, ii. 23, 30 = Munich 145 (Apollo);
_Boston Mus. Report_, 1896, No. 1, and Athens 750 (Hermes); Athens
838, _Él. Cér._ ii. 30(?), iii. 13, 36 A (Athena and Hermes); B.M. B
191 (Ares and Hermes), B 228 (Athena, Ares, Herakles); _Bourguignon
Sale Cat._ 41 (Apollo, Eros, Nereids, Papposilenos).
Footnote 135:
B.M. E 140.
Footnote 136:
Reinach, ii. 35; and see B.M. E 445.
Footnote 137:
Berlin 347–473 (alone), 474–537 (with A.): see also 787–833;
specimens published in _Ant. Denkm._ i. pls. 7–8 (_e.g._ Fig. 115 =
Berlin 495).
Footnote 138:
B.M. E 322; Berlin 2164; Bibl. Nat. 363 = Reinach, ii. 257, 4;
_ibid._ ii. 22, 8; Petersburg 1531, 2164. With Amphitrite pouring a
libation: _Wiener Vorl._ vii. 2 (Duris in Louvre).
Footnote 139:
Reinach, ii. 35.
Footnote 140:
Athens 880; Bibl. Nat. 314.
Footnote 141:
Berlin 1869; Athens 836; Reinach, ii. 22; B.M. B 254 (Ἀφροδίτη
inscribed by error for Ἀμφιτρίτη).
Footnote 142:
Naples 3219 = Reinach, i. 125.
Footnote 143:
_Él. Cér._ iii. 14.
Footnote 144:
Plate L.: cf. Bibl. Nat. 222 = Reinach, ii. 251 = Rayet and
Collignon, p. 121.
Footnote 145:
Reinach, i. 124, 465, ii. 22 (Jatta 1346), 181; Athens 1171 =
Heydemann, _Gr. Vas._ pl. 2, 1. Amymone alone may be intended on
Bibl. Nat. 359.
Footnote 146:
B.M. E 174; Reinach, ii. 23 = Helbig, ii. p. 309, No. 102.
Footnote 147:
Bibl. Nat. 432 = Millin-Reinach, ii. 20; _Él. Cér._ iii. 20–25; Bibl.
Nat. 370; Reinach, i. 286 = _Wiener Vorl._ viii. 2, by Brygos
(perhaps the Nymph Salamis: cf. _J.H.S._ ix. p. 56; the scenes on the
exterior of this cup may refer to Kychreus, the son of Poseidon and
Salamis, and the snake slain by him). Athens 1551 = Heydemann, _Gr.
Vas._ pl. 1, fig. 2, seems to represent Poseidon pursuing a Nereid.
Footnote 148:
_J.H.S._ xviii. pp. 277–79, and cf. pl. 14 (Louvre G 104, by
Euphronios), where Theseus is received by Amphitrite.
Footnote 149:
Bibl. Nat. 418 = _J.H.S._ xviii. p. 278.
Footnote 150:
B.M. E 264.
Footnote 151:
Reinach, i. 361.
Footnote 152:
_E.g._ i. 36.
Footnote 153:
Reinach, i. 108, 195; Berlin 2634; Reinach, i. 379; i. 99; B.M. E
467; B.M. F 279; Reinach, i. 98.
Footnote 154:
B.M. B 196, Munich 114 = Reinach, i. 422; Reinach, ii. 61; and see
B.M. B 228; Reinach, i. 301; ii. 66 (Kyknos).
Footnote 155:
B.M. B 57.
Footnote 156:
_Ath. Mitth._ 1886, pl. 10 (with the Graiae); _Mon. Grecs_, 1878, pl.
2 (in Louvre).
Footnote 157:
Millin-Reinach, ii. 4.
Footnote 158:
B.M. B 428 = Roscher, iii. 247.
Footnote 159:
B.M. E 9, 73; Reinach, i. 64, i. 78 (= Naples 2638), ii. 278; _Wiener
Vorl._ vii. 2 (Duris in Louvre); Munich 369 = Furtwaengler and
Reichhold, 24 (Hieron): all R.F. See also p. 120.
Footnote 160:
B.M. B 201; Reinach, i. 346, 6–7.
Footnote 161:
B.M. B 225, E 162; Bibl. Nat. 255 = Reinach, ii. 61. See p. 101.
Footnote 162:
Reinach, i. 339.
Footnote 163:
Berlin 1732 = Reinach, ii. 66 (inscribed Ἅλιος Γέρων).
Footnote 164:
Reinach, ii. 76.
Footnote 165:
Naples 3352 = Reinach, i. 485.
Footnote 166:
B.M. B 551.
Footnote 167:
Athens 1551.
Footnote 168:
B.M. E 109; Berlin 1676 = Reinach, ii. 22; Louvre F 148.
Footnote 169:
B.M. B 223, 311; Reinach, i. 227, ii. 61, 1. See p. 101.
Footnote 170:
_J.H.S._ xviii. p. 277.
Footnote 171:
Naples 3412 = Reinach, i. 498.
Footnote 172:
B.M. B 166 (Palaimon?), E 156 (Leukothea: see p. 136); Reinach, i.
319 (Ino?): for possible instances of Melikertes see Berlin 779, 780,
914, and Roscher, ii. p. 2635.
Footnote 173:
Naples 1767 = Engelmann-Anderson, _Atlas to Homer_, _Od._ pl. iv. 22;
B.M. B 201.
Footnote 174:
B.M. F 218.
Footnote 175:
Berlin 1007, 1008; _Él. Cér._ iii. 31 and 32 B (fem.); see Vol. I. p.
314.
Footnote 176:
_Ant. Denkm._ i. 59 (Branteghem Coll. 85); B.M. E 774 (names given to
fancy scene): see also Munich 331; Naples 2638 = Reinach, i. 78, 2;
and Kretschmer, _Gr. Vaseninschr._ p. 200.
Footnote 177:
See p. 25, note 159; also Reinach, p. 231.
Footnote 178:
B.M. F 69; Jatta 1496 = Reinach, i. 112; Reinach, i. 300; Roscher,
iii. 221–24: see generally Heydemann’s _Nereiden mit Waffen_.
Footnote 179:
Louvre E 643 = Reinach, i. 311.
Footnote 180:
Reinach, i. 83, 232.
Footnote 181:
_Ibid._ ii. 61.
Footnote 182:
Berlin 3241 = Roscher, iii. 218; Petersburg 1915 = Reinach, i. 21.
Footnote 183:
Reinach, i. 286.
Footnote 184:
B.M. B 155.
Footnote 185:
_Bourguignon Sale Cat._ 41; and in assemblies of the gods, Reinach,
ii. 76.
Footnote 186:
Naples 3222 = Reinach, i. 167.
Footnote 187:
Vase in Boston (1900 Report, No. 4): cf. for a Nereid(?) with
dolphins, Louvre G 3.
Footnote 188:
_Mon. Grecs_, 1875, pt. 4, pls. 1–2.
Footnote 189:
The best example is a votive plaque found at Eleusis in 1895 (Athens
1968 = Ἐφ. Ἀρχ. 1901, pl. 1): see also Petersburg 1792 and 525 =
Reinach, i. 1 and 11 = Baumeister, i. pp. 474–75.
Footnote 190:
For other deities in Eleusinian scenes, see under Aphrodite, Hermes,
Dionysos, Hekate.
Footnote 191:
B.M. F 68.
Footnote 192:
_Rev. Arch._ xxxvi. (1900), p. 93.
Footnote 193:
Petersburg 1792–93 = Reinach, i. 1, 3.
Footnote 194:
Reinach, ii. 32; B.M. F 90.
Footnote 195:
Reinach, ii. 321; Athens 1844 = _Ath. Mitth._ 1881, pl. 4.
Footnote 196:
Athens 1626 = Dumont-Pottier, pl. 37.
Footnote 197:
_Arch. Anzeiger_, 1895, p. 39 (Berlin): cf. Ἐφ. Ἀρχ. 1893, pl. 9, and
see p. 140 below.
Footnote 198:
Berlin 1704 = Reinach, i. 197.
Footnote 199:
Berlin 2634.
Footnote 200:
Athens 1120 = _Ath. Mitth._ 1901, pl. 8.
Footnote 201:
Reinach, ii. 329 (very dubious): cf. a terracotta from Cyprus in B.M.
(A 326).
Footnote 202:
B.F.: Reinach, ii. 32–33. R.F.: B.M. E 140 (Plate LI.); E 183, E 281,
E 469; Petersburg 1207 = Reinach, i. 10; _Wiener Vorl._ iv. 7, 4.
Late: Petersburg 350 = Reinach, i. 12; Helbig, 127 = Millin-Reinach,
ii. 31, and 152 = Reinach, ii. 34; _Wiener Vorl._ i. 6.
Footnote 203:
_Él. Cér._ iii. 62; a newly acquired R.F. amphora in B.M.: see also
Roscher, _E.g._ Keleos, p. 1028; Reinach, i. 286 (?); Munich 336.
Footnote 204:
B.M. E 274 and Munich 299: see Overbeck, _Kunstmythol._ iii. p. 535.
Footnote 205:
Bibl. Nat. 424 = Reinach, i. 463.
Footnote 206:
_Ath. Mitth._ 1899, pl. 7.
Footnote 207:
Naples S.A. 11 = Reinach, i. 401.
Footnote 208:
Reinach, i. 124.
Footnote 209:
_Ibid._ i. 156, 1: see Apollod. iii. 14, 4, and Hygin. _Astron._ ii.
7.
Footnote 210:
B.F.: B.M. B 310. R.F.: Reinach, i. 99, 156, 2; B.M. F 277;
Baumeister, i. pl. 7, fig. 462: and see Helbig, 144 = Overbeck,
_Kunstmythol. Atlas_, 18, 12.
Footnote 211:
See below, p. 67; also Berlin 1844 and _Mus. Greg._ ii. 21, 1, for
earlier examples.
Footnote 212:
Reinach, i. 389 and 401 (= Naples S.A. 11); _ibid._ ii. 70.
Footnote 213:
B.M. E 82, F 68.
Footnote 214:
B.F.: B.M. B 261; Munich 728 = Reinach, ii. 48. Late: B.M. F 332 =
Plate XLV.
Footnote 215:
Reinach, i. 522, 1 = Roscher, ii. p. 1378; Baumeister, i. p. 423,
fig. 463 (inscribed).
Footnote 216:
Reinach, i. 228 (Berlin 2646) and 348 (Boston); _Arch. Anzeiger_,
1895, p. 37 (Berlin); Harrison, _Prolegomena to Gk. Religion_, p. 277
(vase in Dresden; Satyrs astonished; Hermes present).
Footnote 217:
Reinach, i. 144 = Louvre F 311 = Baumeister, i. p. 445, fig. 493.
Footnote 218:
Robert, _Arch. Märchen_, p. 198 ff.: see _J.H.S._ xix. p. 232, xx. p.
106 ff., and _Jahrbuch_, vi. (1891), p. 113; also below, under
Ge-Pandora (p. 73), and Harrison, _Prolegom. to Gk. Religion_, p. 277
ff.
Footnote 219:
For a more complete tabulation see Overbeck, _Kunstmythologie_, vol.
iv., especially pp. 42 ff., 322 ff.; also the plates of vol. ii. of
the _Él. Cér._, and the Atlas to Overbeck, pls. 19 to end.
Footnote 220:
Bibl. Nat. 367 = Reinach, ii. 257.
Footnote 221:
B.M. B 260, 681.
Footnote 222:
B.M. B 592; Berlin 1868.
Footnote 223:
_Él. Cér._ ii. 3; ii. 6A = Petersburg 411.
Footnote 224:
B.M. B 195, F 145(?); Berlin 1867; Reinach, ii. 29.
Footnote 225:
Reinach, ii. 286.
Footnote 226:
B.M. E 80.
Footnote 227:
B.M. E 516; _Él. Cér._ ii. 4.
Footnote 228:
B.M. E 232; Reinach, ii. 157, 296; _Wiener Vorl._ A. 10, 2.
Footnote 229:
B.M. E 543; Reinach, ii. 228; Berlin 2641 = _Él. Cér._ ii. 44.
Footnote 230:
Helbig, 97 = Reinach, i. 79 = Baumeister, i. p. 102, fig. 108.
Footnote 231:
Millin-Reinach, i. 46; Petersburg 411 = _Él. Cér._ ii. 6A.
Footnote 232:
B.M. F 311; Naples 2902 = _Él. Cér._ ii. 97A.
Footnote 233:
Reinach, ii. 310 = _Él. Cér._ ii. 65.
Footnote 234:
B.M. B 260, 548, E 274, 383, 514; Brygos vase in Louvre = Reinach. i.
246; Naples R.C. 169 = Reinach, i. 313 (Artemis with torch; localised
at Delphi by a crow on the omphalos).
Footnote 235:
_Él. Cér._ ii. 10 (Berlin 2206) and 32; Vienna 331; Reinach, ii. 27;
B.M. E 579; _Forman Sale Cat._ 356.
Footnote 236:
B.M. E 262; Reinach ii. 26 (= Louvre F 297), 284 (?); on Melian
amphora (Athens 475 = Rayet and Çollignon, pl. 3), Apollo in chariot,
before which stands Artemis with stag.
Footnote 237:
B.M. B 680, E 256; Reinach, ii. 27–8, 45 (Naples S.A. 192); Athens
1342.
Footnote 238:
Athens 1962 (Leto about to bring forth, assisted by Eileithyia).
Footnote 239:
B.M. B 168, 213; _Mus. Greg._ ii. 39, 1 a; _Él. Cér._ ii. 2. Nyx
(Night) was similarly represented on the Kypselos chest (Paus. v. 18,
1).
Footnote 240:
Reinach, ii. 310.
Footnote 241:
Berlin 2212 = Overbeck, _Kunstmythol._ iv. p. 378; Bibl. Nat. 306 =
_Él. Cér._ ii. 1 A.
Footnote 242:
Berlin 2645 = Reinach, i. 397 (Apollo on omphalos, with hind);
Reinach, ii. 26 (Louvre F 297), 28 (Bibl. Nat. 443), i. 184 (Fig.
116); B.M. E 502 (omphalos); Athens 1362 (by Mys, a fine example).
Footnote 243:
Reinach, ii. 29; B.M. B 215, 245; Petersburg 9 = Reinach, ii. 24
(Apollo crowned by woman); _Él. Cér._ ii. 39; Bibl. Nat. 428; Munich
157.
Footnote 244:
B.M. B 212, 262; Reinach, ii. 23, 323; _Él. Cér._ ii. 30 (?), 36 C:
and cf. _Bourguignon Sale Cat._ 41.
Footnote 245:
B.M. B 238; Reinach, ii. 24 (Munich 47), 25, 30; Naples 1891 = _Él.
Cér._ ii. 35; Munich 609 = Reinach, ii. 42.
Footnote 246:
B.M. F 311, 399.
Footnote 247:
B.M. E 785.
Footnote 248:
Reinach, ii. 183.
Footnote 249:
_Ibid._ ii. 25 (?), 32, 72–73; B.M. B 203, and _Wiener Vorl._ 1889,
pl. 6, 1; and see generally Overbeck, _Kunstmythol._ iv. p. 51.
Footnote 250:
B.M. B 199–201, 211, etc.; Reinach, ii. 72; Berlin 1827 (all B.F.).
Footnote 251:
B.M. B 6; see Vol. I. p. 344.
Footnote 252:
Reinach, i. 253; _Él. Cér._ ii. 47–48 (also Iris).
Footnote 253:
Naples 1762 = Millingen-Reinach, 29.
Footnote 254:
B.M. B 259, 261; E 323, 415; _Él. Cér._ ii. 13 (= Reinach, ii. 27).
In some of these Artemis may be intended.
Footnote 255:
Berlin 2388; _Él. Cér._ ii. 79, 80, 83, 86 (a fine example); Jatta
1538 = Reinach, i. 526; Helbig, 133 = _Mus. Greg._ ii. 15, 2; and cf.
_Boston Mus. Report_ for 1898, No. 54 (A. as a neat-herd?).
Footnote 256:
B.M. B 197, 298; B.M. B 257, Reinach, ii. 154, and Millingen-Reinach,
44.
Footnote 257:
_Wiener Vorl._ C. 7, 3 = Roscher, ii. 842.
Footnote 258:
B.M. B 195, 255–56, 258; F 77; Reinach, ii. 23.
Footnote 259:
Petersburg 1807 = Reinach, i. 8 = Baumeister, i. p. 104, fig. 110.
Footnote 260:
Munich 62 = Reinach, ii. 75.
Footnote 261:
B.M. B 179.
Footnote 262:
Reinach, ii. 31.
Footnote 263:
Reinach, ii. 287 = _Él. Cér._ ii. 62 (inscribed ΑΕΛΙΟΣ: see below, p.
78).
Footnote 264:
Millin-Reinach, i. 54.
Footnote 265:
B.F.: _Ant. Denkm._ i. 22. R.F.: B.M. E 81; Reinach, i. 227 = Vol. I.
p. 442. Late: Jatta 424 = Reinach, i. 463; Naples 3246 = Roscher,
iii. 407 (Niobe at grave of children).
Footnote 266:
B.F.: Reinach, i. 244 (= Louvre E 864), 245; Bibl. Nat. 171 = _ibid._
ii. 252. R.F.: B.M. E 278.
Footnote 267:
Louvre G 42 = Reinach, ii. 26.
Footnote 268:
B.M. E 64 (= Reinach, i. 111), E 170 (= _E.g._ i. 185); _Él. Cér._
ii. 21; and see Millin-Reinach, i. 71.
Footnote 269:
Munich 745 = Reinach, i. 67 = Furtwaengler and Reichhold, 16: see
also Bibl. Nat. 171 = Reinach, ii. 253.
Footnote 270:
B.M. F 151.
Footnote 271:
Reinach, i. 375.
Footnote 272:
Helbig 227 = Reinach, i. 357; _E.g._ ii. 259 = Bibl. Nat. 820 (?).
Footnote 273:
B.M. B 147.
Footnote 274:
Naples 690, 3245.
Footnote 275:
Reinach, i. 355.
Footnote 276:
Millin-Reinach, ii. 25.
Footnote 277:
Reinach, ii. 297.
Footnote 278:
Petersburg 1777 = Reinach, i. 153.
Footnote 279:
See below, p. 103.
Footnote 280:
B.M. F 479.
Footnote 281:
Reinach, ii. 56, 3: see p. 97.
Footnote 282:
_Ibid._ i. 233.
Footnote 283:
Berlin 1732 = Reinach, ii. 66.
Footnote 284:
Reinach, ii. 69.
Footnote 285:
See p. 106, note 1219, for B.F. scenes; for R.F. (in Olympos),
Reinach, i. 222 and ii. 76.
Footnote 286:
Berlin 2634.
Footnote 287:
Reinach, i. 388.
Footnote 288:
Overbeck, _Her. Bildw._ pl. 2, 11 = _Wiener Vorl._ 1889, 9, 6.
Footnote 289:
B.M. E 696.
Footnote 290:
Berlin 2633; Reinach, ii. 87 (?); _Wiener Vorl._ E. 11 = _Jahrbuch_,
1894, p. 252.
Footnote 291:
B.M. F 159; François vase; Helbig 106 = Reinach, ii. 101; _Wiener
Vorl._ vi. 7 (Duris in Louvre); B.M. E 468, Helbig 232 = Reinach, ii.
59; Reinach, i. 218.
Footnote 292:
Reinach i. 105 (Naples 3223) and i. 504; B.M. F 166, Berlin 3256,
Naples 1984 = Reinach, i. 390, 2, and _Anzeiger_, 1890, p. 90
(Berlin).
Footnote 293:
Reinach, i. 321.
Footnote 294:
_Arch. Anzeiger_, 1895, p. 39 (Berlin).
Footnote 295:
B.M. E 336: cf. Reinach, i. 218 and Overbeck, _Kunstmythol._ iv. p.
15.
Footnote 296:
_Röm. Mitth._ 1888, pl. 1; Hartwig, _Meistersch._ pl. 67, 2; _E.g._
p. 602 ff. (cultus-statue of the moon-goddess, Artemis Munychia); and
see note 299.
Footnote 297:
Vol. I. p. 289; Berlin 301 = Reinach, i. 380; Naples 304 = Reinach,
i. 380; Baumeister, i. p. 132, fig. 139; François vase; _Arch.
Anzeiger_, 1890, p. 2 (Karlsruhe).
Footnote 298:
Athens 462 = Reinach, i. 517: see $1$2 1892, p. 219 ff.
Footnote 299:
_Él. Cér._ ii. 7 (with hind and lyre); Bibl. Nat. 365 = Reinach, ii.
257 (drawing arrow from quiver); Bibl. Nat. 491 = _Gaz. Arch._ 1885,
pl. 32; Reinach, i. 494 (with two dogs); Froehner, _Musées de
France_, pl. 4.
Footnote 300:
_Él. Cér._ ii. 8, 43; Naples 3253 = Reinach, i. 194; B.M. F 274;
Reinach, ii. 228.
Footnote 301:
B.M. E 432.
Footnote 302:
Millin-Reinach, ii. 77.
Footnote 303:
B.M. E 262 = Reinach, ii. 45; and see _Él. Cér._ ii. 9 (in Louvre).
Footnote 304:
Naples 2200 = Reinach, i. 379; Berlin 3164; Reinach, ii. 16 (?).
Footnote 305:
B.F.: Athens 882 = Heydemann, _Gr. Vas._ pl. 8, 3; _Él. Cér._ ii. 103
C. Late: B.M. F 176, F 480 (Etruscan); Berlin 3239 = _Él. Cér._ ii.
103 B; Reinach, i. 229 and 250 (the former of these now at Boston).
Footnote 306:
Athens 835 = _Ath. Mitth._ 1890, pl. 8.
Footnote 307:
B.M. F 159.
Footnote 308:
Reinach, i. 104, 133, 158, 504.
Footnote 309:
Athens 1921 = Reinach, i. 511.
Footnote 310:
B.M. B 195, B 316, E 255; Bibl. Nat. 251 = Reinach, ii. 252.
Footnote 311:
Reinach, ii. 4.
Footnote 312:
_Ibid._ i. 132.
Footnote 313:
B.M. B 197, B 298; Reinach, ii. 154: cf. B.M. B 257.
Footnote 314:
_Él. Cér._ ii. 90.
Footnote 315:
See above, p. 15.
Footnote 316:
B.M. E 410.
Footnote 317:
Reinach, ii. 32.
Footnote 318:
B.M. B 203.
Footnote 319:
Reinach, i. 499.
Footnote 320:
B.M. B 231; Reinach, i. 233.
Footnote 321:
B.M. F 479.
Footnote 322:
B.M. B 320; Reinach, ii. 72; in Olympos, B.M. B 379, Berlin 2278, and
Reinach, ii. 76.
Footnote 323:
_Wiener Vorl._ vi. 7 = Duris kylix in Louvre.
Footnote 324:
Millin-Reinach, ii. 25.
Footnote 325:
_Arch. Anzeiger_, 1895, p. 36.
Footnote 326:
See note 326 on p. 17.
Footnote 327:
B.M. E 47; Berlin 2293.
Footnote 328:
B.M. B 147, B 244; B.M. E 410; Bibl. Nat. 444.
Footnote 329:
E 467 and D 4.
Footnote 330:
Berlin 2537 = Reinach, i. 208; _ibid._ i. 66 (Munich 345), 113.
Footnote 331:
Berlin 2294; and see below, p. 130.
Footnote 332:
B.M. B 507; _Él. Cér._ i. 51: cf. p. 171.
Footnote 333:
Bibl. Nat. 820 = Reinach, ii. 259 (?).
Footnote 334:
Reinach, i. 330.
Footnote 335:
B.M. B 302, and cf. F 68.
Footnote 336:
B.M. B 252: see _Arch. Journ._ ii. p. 67.
Footnote 337:
Berlin 2957 = _Él. Cér._ i. 88 (Etruscan).
Footnote 338:
B.M. D 4; E 467.
Footnote 339:
Plate L.; and see p. 24.
Footnote 340:
B.M. E 182; Petersburg 1792 = Reinach, i. 1.
Footnote 341:
Berlin 2537; B.M. E 372; Munich 345 = Reinach, i. 66; _Wiener Vorl._
iii. 2 = Reinach, i. 113.
Footnote 342:
Athens 1962.
Footnote 343:
Reinach, i. 126: for other examples see p. 122.
Footnote 344:
Bibl. Nat. 216 = _Él. Cér._ iv. 96 (Ares); Bibl. Nat. 820 = Reinach,
ii. 259 (Hephaistos).
Footnote 345:
B.M. E 268; Bibl. Nat. 220 (= Reinach, ii. 211) and 229; and see
under Hermes, p. 52, note 591.
Footnote 346:
Reinach, i. 11.
Footnote 347:
B.M. B 552; Berlin 2179 = _Wiener Vorl._ iii. 6; _Mus. Greg._ ii. 38,
2_E.g._ (with Poseidon and Dionysos).
Footnote 348:
Reinach, i. 463.
Footnote 349:
Berlin 2418 = Baumeister, ii. p. 1001, fig. 1209: cf. B.M. E 490 and
Reinach, i. 342 (in Boston); Reinach, i. 175, 510, 511 (Athens 1921).
Footnote 350:
_Él. Cér._ i. 68, 76 A; with N. sacrificing, _Boston Mus. Report_,
1898, No. 51.
Footnote 351:
B.M. E 324 (Hebe?); Reinach, ii. 323 (Hebe?); _ibid._ 324 (Iris).
Footnote 352:
Vienna 329: cf. _Él. Cér._ i. 82 (A. with Z., but not pouring
libation).
Footnote 353:
See p. 106 for these scenes, in which she is almost invariably
present.
Footnote 354:
B.M. B 198, B 498; Helbig 93 = _$1_ ii. 54, 2.
Footnote 355:
B.M. D 14; Berlin 2626 = _Coll. Sabouroff_, i. 67; Millin-Reinach,
ii. 41.
Footnote 356:
Reinach, ii. 75 (doubtful).
Footnote 357:
Stackelberg, pl. 15.
Footnote 358:
_Arch. Anzeiger_, 1898, p. 51 (vase in Boston).
Footnote 359:
B.M. E 48; Berlin 2179 = _Wiener Vorl._ iii. 6; _Boston Mus. Report_,
1900, No. 25; Reinach, i. 55, 6 (Petersburg 116), 91, 421 (Petersburg
2012), ii. 271; and see _Wiener Vorl._ E. 12, 2.
Footnote 360:
B.M. B 155, 248, 380, E 181, 493, F 83; Bibl. Nat. 277 = Reinach, i.
290; _Mon. Grecs_, 1878, pl. 2.
Footnote 361:
B.M. E 81; Petersburg 2189 = Reinach, i. 5(?).
Footnote 362:
Reinach, i. 108, 195, 331.
Footnote 363:
_Ibid._ i. 102, 226.
Footnote 364:
B.M. E 696.
Footnote 365:
Reinach, i. 184.
Footnote 366:
B.M. E 155.
Footnote 367:
Reinach, i. 480.
Footnote 368:
_Bull. de Corr. Hell._ 1898, p. 586.
Footnote 369:
Reinach, i. 231.
Footnote 370:
_Arch. Anzeiger_, 1895, p. 39 (Berlin).
Footnote 371:
Reinach, i. 363.
Footnote 372:
_Ibid._ ii. 296: see pp. 77, 128.
Footnote 373:
At meeting of Paris and Helen, Athens 1942 = Reinach, i. 402; at
combat of Ajax and Hector, _Wiener Vorl._ vi. 7 (Duris in Louvre); at
dispute over the arms, B.M. E 69; and see for other instances,
Reinach, i. 3, 82, 138, 174, 218; ii. 59, 266.
Footnote 374:
Reinach, ii. 110.
Footnote 375:
Vase in Boston: see 1899 Report, No. 16.
Footnote 376:
See below, p. 124.
Footnote 377:
B.M. B 541, E 160.
Footnote 378:
Reinach, i. 5 (?), 158, 390; _Arch. Anzeiger_, 1890, p. 90 (Berlin).
Footnote 379:
Berlin 2313 = Reinach, i. 416 = _Wiener Vorl._ vii. 4, 3.
Footnote 380:
B.M. E 316 = Plate XXXVI.
Footnote 381:
Reinach, ii. 123 (= Munich 1185), 262 (= Bibl. Nat. 369).
Footnote 382:
B.M. E 299.
Footnote 383:
Berlin 1846 = Reinach, ii. 30 (before Dionysos).
Footnote 384:
Reinach, i. 342.
Footnote 385:
_Ibid._ ii. 166; _Boston Mus. Report_, 1896, No. 1.
Footnote 386:
_Él. Cér._ i. 83.
Footnote 387:
Berlin 2415 = Reinach, i. 343 (the Trojan horse?).
Footnote 388:
Vol. I. p. 223, Fig. 72.
Footnote 389:
Reinach, i. 501.
Footnote 390:
_Ibid._ ii. 44.
Footnote 391:
B.M. E 515, 519.
Footnote 392:
_Röm. Mitth._ 1897, pl. 12; Bibl. Nat. 260; Louvre F 380.
Footnote 393:
B.M. B 203; Reinach, ii. 73; with Poseidon, Athens 836; with Hermes,
Benndorf, _Gr. u. Sic. Vasenb._ pl. 4, 1.
Footnote 394:
Millin-Reinach, ii. 25.
Footnote 395:
Reinach, ii. 125, 130; Bibl. Nat. 232, 256 = Rein. ii. 254.
Footnote 396:
_Ibid._ i. 44.
Footnote 397:
Bibl. Nat. 260.
Footnote 398:
B.M. B 242, 379, 541, E 160, 470, F 160, 209, 278; Munich 65 =
Reinach, i. 76; Naples 2422 = Furtwaengler and Reichhold, 34.
Footnote 399:
See below, p. 133.
Footnote 400:
B.M. E 494, E 696; E 716 (moulded vase); and cf. B 611 (Nikephoros).
Footnote 401:
B.M. B 222, E 305 (Pl. XXXVI.), E 324, E 515; _Él. Cér._ i. 82; Bibl.
Nat. 219; _Bull. de Corr. Hell._ 1898, p. 586.
Footnote 402:
For a fine example of Athena Promachos see Athens 1169 = Benndorf,
_Gr. u. Sic. Vasenb._ 31, 2.
Footnote 403:
See Vol. I. p. 389, and Plates XXXIII., XXXIV.; also the B.M.
examples B 130–46, 602–12.
Footnote 404:
_Él. Cér._ i. 67.
Footnote 405:
B.M. B 80; Berlin 1686 = Rayet-Collignon, pl. 7; Reinach, ii. 122;
Athens 1858 = Reinach, i. 396 (identified as Athena Nike or Onka);
for the trophy-like form of the figure on the last-named cf. the
coins of Pergamon inscribed Ἀθηνᾶς Νικηφόρον: see also for a curious
subject Benndorf, _Gr. u. Sic. Vasenb._ pl. 31, fig. 1.
Footnote 406:
B.M. D 22; Bibl. Nat. 472 = Reinach, i. 131, 4.
Footnote 407:
B.M. B 147; Reinach, i. 156.
Footnote 408:
B.M. B 617; Berlin 2531; Bibl. Nat. 573 = Reinach, ii. 256; Athens
1259 = Reinach, i. 506.
Footnote 409:
See p. 101; for his subsequent attack on Athena, _Arch. Anzeiger_,
1898, p. 51 (vase in Boston).
Footnote 410:
B.M. E 67, E 82; Reinach, i. 203.
Footnote 411:
B.M. B 191, B 228.
Footnote 412:
_Amer. Journ. of Arch._ 1896, p. 6, fig. 4.
Footnote 413:
Bibl. Nat. 216 (= _Él. Cér._ iv. 96) and 229.
Footnote 414:
_Él. Cér._ iv. 94–95; B.M. E 82, and Berlin 2278 (in assemblies of
gods); _Gaz. Arch._ 1876, pl. 34.
Footnote 415:
B.M. B 551; and see Athens 903.
Footnote 416:
_Él. Cér._ iv. 98.
Footnote 417:
B.M. E 467.
Footnote 418:
B.M. E 155.
Footnote 419:
Reinach, i. 463.
Footnote 420:
B.M. B 379; Berlin 1961 (= Reinach, ii. 43) and 2278; Bibl. Nat. 254.
Footnote 421:
Reinach, ii. 91.
Footnote 422:
_Él. Cér._ iv. 99.
Footnote 423:
_Röm. Mittheil._ 1899, pl. 7: cf. Paus. vii. 8.
Footnote 424:
B.M. F 108, 373 (?); Millingen-Reinach, 26; Reinach, i. 119, 265,
325, 479 (?); _Él. Cér._ iv. 66 (?).
Footnote 425:
Reinach, i. 499 = Naples S.A. 702; also Naples 2900 =
Millingen-Reinach, 41 = Baumeister, iii. p. 1653, fig. 1714.
Footnote 426:
Reinach, i. 156.
Footnote 427:
B.M. D 2; _J.H.S._ xii. pl. 13; _Jahrb._ 1886, pl. 11, 2; Berlin 2636
(_Él. Cér._ iv. 5) and 2688 (= Benndorf, _Gr. u. Sic. Vasenb._ 37,
3); Reinach, ii. 7, 183. Late: B.M. F 240, 556.
Footnote 428:
Berlin 2635 = _Jahrbuch_, 1889, p. 208 = Roscher, iii. 1514.
Footnote 429:
Berlin 2660.
Footnote 430:
_Él. Cér._ iv. 6.
Footnote 431:
_Arch. Anzeiger_. 1898, p. 137 (Dresden vase): cf. Paul, _E.g._ Fest.
iii. _E.g._ Cytherea and the B.M. terracottas D 89–91.
Footnote 432:
B.M. E 712, 775; Athens 1944; Reinach, i. 124, ii. 323; Inghirami,
_Vasi Fitt._ 324.
Footnote 433:
Reinach, i. 353.
Footnote 434:
B.M. E 230, F 311; Athens 1588 = Roscher, iii. p. 2119 (Fig. 117);
Reinach, i. 39, ii. (290; _Burlington Fine Arts Club Cat._ 1903), p.
108, No. 46.
Footnote 435:
Reinach, ii. 301, 320; Berlin 2707 = _Coll. Sabouroff_, pl. 62, 2.
Footnote 436:
Petersburg 1983 = Reinach, i. 15.
Footnote 437:
Froehner, _Musées de France_, pl. 13, 4.
Footnote 438:
Berlin 4126 = Reinach, i. 128.
Footnote 439:
B.M. E 699 = _J.H.S._ xi. pl. 4.
Footnote 440:
B.M. E 224, 697, 698, 775; Berlin 3257 (with Eunomia and Euthymia at
marriage of Herakles and Hebe); Naples S.A. 316 = Reinach, i. 477
(with Eukleia, Klymene, and Pannychis); _Mon. Grecs_, 1889–90, pls.
9–10 (without names); Fig. 117 = Athens 1588 = Roscher, iii. p. 2119
(with Kore, Hebe, Eudaimon, Harmonia, and others).
Footnote 441:
Reinach, ii. 315; Millin-Reinach, i. 65.
Footnote 442:
Reinach, i. 198.
Footnote 443:
B.M. E 230, E 289, and cf. F 311; Baumeister, i. p. 618, fig. 687 (?
see p. 57, note 710).
Footnote 444:
_Él. Cér._ iv. 38.
Footnote 445:
Stackelberg, pl. 30: cf. B.M. E 697.
Footnote 446:
Reinach, i. 129; B.M. F 258; Bibl. Nat. 1005, 1133 (head of A.
adorned by two Erotes).
Footnote 447:
See above, p. 17.
Footnote 448:
B.M. E 15; Reinach, i. 156(B.F.).
Footnote 449:
B.M. B 197.
Footnote 450:
_Mon. Grecs_, 1875, pls. 1–2.
Footnote 451:
Petersburg 350, 525 = Reinach, i. 11–12; _Rev. Arch._ xxxvi. (1900),
p. 93.
Footnote 452:
B.M. F 270, 332; Reinach, i. 355–56, 479.
Footnote 453:
B.M. B 203; F 90.
Footnote 454:
Reinach, i. 124, 465; ii. 181.
Footnote 455:
Berlin 3164; Reinach, i. 111, 4 and 416.
Footnote 456:
Berlin 3239.
Footnote 457:
Reinach, i. 405, 452 (Berlin 2950); ii. 197.
Footnote 458:
Helbig 118 = Overbeck, _Kunstmythol. Atlas_, 6, 13.
Footnote 459:
Reinach, i. 526.
Footnote 460:
Reinach, i. 481; Berlin 2278; Furtwaengler-Reichhold, 20; at marriage
with Hebe, Berlin 3257.
Footnote 461:
B.M. E 224.
Footnote 462:
Reinach, i. 91.
Footnote 463:
B.M. E 224.
Footnote 464:
Naples 3226 = Millin-Reinach, ii. 7 (Kadmos); B.M. F 271 (Pelops);
Reinach, i. 188, and _Jahrbuch_, 1896, pl. 2 (Perseus); Naples S.A.
11 = Reinach, i. 401 (Meleager).
Footnote 465:
See below, p. 122.
Footnote 466:
Millingen-Reinach, 43: cf. Berlin 3244 for another possible Anchises.
Footnote 467:
B.M. E 424; François vase.
Footnote 468:
Reinach, i. 437.
Footnote 469:
B.M. E 73; _Tyszkiewicz Coll._ pl. 18 (now in Boston).
Footnote 470:
B.M. F 209.
Footnote 471:
Reinach, i. 222, and cf. i. 437 and B.M. F 278 (statue of A.); Noel
des Vergers, _Étrurie_, iii. pl. 39.
Footnote 472:
B.M. B 173, 280; Reinach, ii. 116.
Footnote 473:
B.M. E 289; Reinach, i. 7, 15, 126; _Wiener Vorl._ A. 10, 3.
Footnote 474:
B.M. F 108 (anointing Adonis’ hair).
Footnote 475:
B.M. E 129.
Footnote 476:
Zeus and Danaë: B.M. E 711; Europa: B.M. E 231, F 184, Naples 3218
(Eros on bull); Reinach, i. 22, 24.
Footnote 477:
Reinach, i. 449.
Footnote 478:
B.M. F 272, 279; _Arch. Anzeiger_, 1890, p. 89 (Berlin).
Footnote 479:
B.M. E 424; Plate XXXIX. fig. 2.
Footnote 480:
B.M. F 271, 331; Reinach, i. 235.
Footnote 481:
Reinach, i. 9, 402 (Athens 1942), 437.
Footnote 482:
Reinach, i. 156, ii. 309.
Footnote 483:
_Ibid._ i. 66.
Footnote 484:
B.M. E 227.
Footnote 485:
B.M. F 107.
Footnote 486:
Reinach, i. 22.
Footnote 487:
B.M. F 270; Reinach, i. 355, 455 (with Orpheus).
Footnote 488:
Reinach, i. 66; _E.g._ i. 100, 167; B.M. F 152, 194; Gerhard, _Akad.
Abhandl._ pl. 7, fig. 1 = Inghirami, _Vasi Fitt._ 394 (with Helios
and Selene ?see p. 79, note 954); B.M. F 74 and F 102 (Herakles).
Footnote 489:
B.M. F 311: cf. F 399.
Footnote 490:
B.M. F 90.
Footnote 491:
B.M. F 69: cf. _Bourguignon Sale Cat._ 41.
Footnote 492:
B.M. E 228, 428, 435, 703; F 58, 60, 72, 382; Millin-Reinach, ii. 16
(offers wreath to D.).
Footnote 493:
Millin-Reinach, i. 20.
Footnote 494:
Reinach, i. 525, 526.
Footnote 495:
B.M. E 225, 229, 705; F 138, 308, 310, 332.
Footnote 496:
Reinach, i. 206.
Footnote 497:
B.M. E 126, 189, 191.
Footnote 498:
B.M. F 48.
Footnote 499:
Athens 1946 = Dumont-Pottier, i. pl. 21, 5.
Footnote 500:
B.M. E 205 (?); Reinach, i. 412.
Footnote 501:
B.M. F 123 (cf. p. 50, note 547); Reinach, ii. 315 = Baumeister, ii.
p. 780, fig. 834.
Footnote 502:
B.M. E 704; E 721.
Footnote 503:
Reinach, i. 232.
Footnote 504:
_Bull. de Corr. Hell._ 1899, p. 158 = _Burlington Club Cat._ 1903, p.
97, No. 11.
Footnote 505:
B.M. E 397, Reinach, ii. 142; B.M. E 217, 360, 702, Reinach, ii. 315.
Footnote 506:
Reinach, ii. 317; Hartwig, _Meistersch._ pl. 22, fig. 1 (? see p. 80,
note 970).
Footnote 507:
Reinach, ii. 191.
Footnote 508:
Naples 2961.
Footnote 509:
B.M. E 297.
Footnote 510:
Hartwig, _Meistersch._ pl. 27, p. 262.
Footnote 511:
Petersburg 1181 = Reinach, ii. 318: cf. Reinach, i. 250, and _Arch.
Anzeiger_, 1890, p. 89 (see p. 46, note 478).
Footnote 512:
F 220.
Footnote 513:
B.M. E 293; Reinach, i. 465.
Footnote 514:
B.M. E 652.
Footnote 515:
Bibl. Nat. 366 = _Él. Cér._ iv. 51.
Footnote 516:
B.M. E 526, 528.
Footnote 517:
Reinach, i. 479; _Ibid._ i. 57.
Footnote 518:
Reinach, i. 55, Millin-Reinach, ii. 59; Reinach, ii. 324, _Él. Cér._
iv. 53; Reinach, i. 347; _E.g._ ii. 248, B.M. F 555.
Footnote 519:
B.M. F 579 = Fig. 118; Reinach, i. 277.
Footnote 520:
Baumeister, iii. p. 1573, fig. 1633; B.M. E 501.
Footnote 521:
B.M. E 706, Naples 2872 = Reinach, ii. 169; B.M. E 296, _Él. Cér._
iv. 49; B.M. F 221.
Footnote 522:
B.M. E 241, Reinach, i. 229, ii. 302; _Él. Cér._ iv. 50.
Footnote 523:
B.M. E 213; Reinach, i. 36; B.M. F 68, F 441.
Footnote 524:
B.M. F 223, 279, 373: cf. Theocr. ii. 30 (ῥόμβος); Hor. _Epod._ xvii.
7 (_turbo_).
Footnote 525:
B.M. E 118, 571; F 219, 257, Reinach, i. 312 (dove), _Él. Cér._ iv.
49 (cock).
Footnote 526:
B.M. E 13; F 294, 340, 378; Reinach, i. 528, B.M. F 17, 308, 409.
Footnote 527:
B.M. F 132, 225, 278, 280, 258 (two Erotes holding wreath); F 165,
176, 329, 389; F 310; F 234, 257, 306, 414, 440; E 518.
Footnote 528:
B.M. F 349; E 242, F 391; Baumeister, i. p. 498, fig. 540; B.M. F
387, 481; F 294, 382, Millin-Reinach, i. 20 (torch and bow); B.M. F
443; E 239; F 308, 414 (Plate XLIV.).
Footnote 529:
B.M. F 420, 434; F 456; F 13, 219, 292, 325; F 31, 280, 317, 323; F
37; E 293, 388; F 31, 63, 234, 278; F 280, 315, 337, 373.
Footnote 530:
Naples S.A. 11 = Reinach, i. 401 (at death of Meleager).
Footnote 531:
_Abhandl. d. k. sächs. Gesellsch._ viii. pl. 1, fig. 1 (with Sappho).
Footnote 532:
B.M. E 222; also at the toilet of Aphrodite (Fig. 117 above).
Footnote 533:
Raoul-Rochette, _Mon. Inéd._ 8.
Footnote 534:
Petersburg 350 = Reinach, i. 12; _Rev. Arch._ xxxvi. (1900), p. 93;
Reinach, i. 124.
Footnote 535:
Reinach, i. 188.
Footnote 536:
B.M. E 224.
Footnote 537:
Reinach, i. 437.
Footnote 538:
B.M. E 224.
Footnote 539:
Noel des Vergers, _Étrurie_, iii. pl. 39.
Footnote 540:
Naples 2900 = Millingen-Reinach, 41.
Footnote 541:
_Röm. Mitth._ 1899, pl. 7.
Footnote 542:
Reinach, i. 526.
Footnote 543:
Roscher, iii. p. 1811.
Footnote 544:
B.M. E 440.
Footnote 545:
Berlin 2633.
Footnote 546:
B.M. E 226.
Footnote 547:
Reinach, ii. 302: see also _Boston Mus. Report_, 1900, No. 11, and
Jatta 1093 = Heydemann, _Satyr- u. Bakchennamen_, pl. 1 (holding
grapes).
Footnote 548:
Munich 234 = Reinach, i. 298 = Baumeister, iii. p. 1571, fig. 1632.
Footnote 549:
Berlin 3257.
Footnote 550:
Reinach, ii. 200.
Footnote 551:
Jatta 1093.
Footnote 552:
Naples 3240 = Reinach, i. 114.
Footnote 553:
B.M. B 32; Louvre G 10; Reinach, ii. 276.
Footnote 554:
Berlin 4003 = _Coll. Sabouroff_, i. pl. 50.
Footnote 555:
B.M. E 58.
Footnote 556:
Louvre F 159; _Él. Cér._ iii. 87.
Footnote 557:
Berlin 2727 and Reinach, i. 159; Berlin 1881.
Footnote 558:
B.M. B 549.
Footnote 559:
_Él. Cér._ iii. 73 (Hermaios), 76.
Footnote 560:
Millin-Reinach, i. 51.
Footnote 561:
Reinach, ii. 276.
Footnote 562:
B.M. B 32; Athens 592 = _Ath. Mitth._ 1893, pl. 2.
Footnote 563:
B.M. B 332.
Footnote 564:
Vienna 321 (cf. Ar. _Ach._ 729 ff.).
Footnote 565:
Reinach, ii. 25.
Footnote 566:
_Él. Cér._ iii. 14 and 75.
Footnote 567:
Louvre E 702 = Reinach, i. 354; Helbig, 227 = Reinach, i. 357 =
Baumeister, i. p. 680, fig. 741 (Fig. 119).
Footnote 568:
Reinach, ii. 25; De Witte, _Coll. à l’Hôtel Lambert_, pl. 1.
Footnote 569:
Bibl. Nat. 820 = Reinach, ii. 259.
Footnote 570:
_Él. Cér._ iii. 93; Millin-Reinach, i. 70; Reinach, ii. 330.
Footnote 571:
B.M. F 237, and see above, p. 15.
Footnote 572:
Berlin 1702 (Hermes Kyllenios), and see p. 15.
Footnote 573:
B.M. B 197; Reinach, ii. 266.
Footnote 574:
See above, p. 17.
Footnote 575:
Reinach, i. 472.
Footnote 576:
B.M. E 65.
Footnote 577:
See p. 20.
Footnote 578:
Louvre A 478 (_Hermes_, 1898, p. 638); _Bull. de Corr. Hell._ 1898,
p. 586.
Footnote 579:
Reinach, i. 234.
Footnote 580:
_Ibid._ i. 124.
Footnote 581:
_Ibid._ i. 499.
Footnote 582:
_Ibid._ i. 244; i. 463; i. 175.
Footnote 583:
_Ibid._ ii. 4.
Footnote 584:
B.M. B 203 (Athena); Reinach, ii. 22, 26, 73; Benndorf, _Gr. u. Sic.
Vasenb._ 4, 1.
Footnote 585:
B.M. B 340; E 44, 459; Reinach, ii. 125, 152, 275.
Footnote 586:
Athens 1345 = _J.H.S._ xix. pl. 10; Millin-Reinach, ii. 37 (Lasimos
in Louvre).
Footnote 587:
Millin-Reinach, ii. 44.
Footnote 588:
Reinach, i. 388.
Footnote 589:
_Ibid._ i. 380.
Footnote 590:
B.M. E 467; _J.H.S._ xxi. pl. 1.
Footnote 591:
See generally under those deities; for H. and Athena: B.M. B 144,
Reinach, i. 257, ii. 42 (Panathenaic); B.M. E 268, Reinach, i. 520
(Athens 477), ii. 25, 211 (Bibl. Nat. 220).
Footnote 592:
Berlin 2635 = _Jahrbuch_, 1889, p. 208.
Footnote 593:
B.M. B 257, 259, 267, 302 (banqueting); Berlin 2160 (with the Satyr
Oreimachos); Reinach, i. 129 (playing lyre).
Footnote 594:
B.M. B 424, E 492; Petersburg 1792, 1793 (= Reinach, i. 1 and 3);
Helbig, 103 = Rayet and Collignon, p. 223; Reinach, i. 93, ii. 310;
and see _Ath. Mitth._ 1889, pl. 1, p. 1 ff, and p. 55, note 642.
Footnote 595:
B.M. B 230; Oxford 222; Reinach, ii. 29.
Footnote 596:
See p. 69.
Footnote 597:
B.M. F 277; Reinach, i. 99: cf. _Rev. Arch._ xxxvi. (1900), p. 93.
Footnote 598:
See p. 28; also Naples 1989 = _Él. Cér._ iii. 91, and Reinach, i. 522.
Footnote 599:
Reinach, i. 456; Berlin 2455; Munich 209 = Fig. 122, p. 70.
Footnote 600:
Athens 1093 = Roscher, ii. p. 2678; Berlin 2991.
Footnote 601:
Louvre F 60.
Footnote 602:
Bibl. Nat. 269.
Footnote 603:
_J.H.S._ xx. p. 101: cf. the story of Pandora’s “box,” and see Vol.
I. p. 152 and p. 75 below.
Footnote 604:
Munich 611 = Reinach, i. 419.
Footnote 605:
Reinach, i. 389, ii. 32, 70.
Footnote 606:
B.M. B 167, B 301; B 229.
Footnote 607:
Reinach, i. 297, 323, ii. 70, 74–75.
Footnote 608:
B.M. B 166, 318, 379; Louvre F 116–117; Reinach, i. 222, 368, ii. 76.
Footnote 609:
Bibl. Nat. 172; Reinach, i. 91, ii. 271.
Footnote 610:
B.M. B 248, B 280, E 493; Bibl. Nat. 277 = Reinach, i. 290; _E.g._
ii. 48; _Mon. Grecs_, 1878, pl. 2 (represents an earlier episode).
Footnote 611:
Bibl. Nat. 224.
Footnote 612:
See p. 122.
Footnote 613:
Athens 966.
Footnote 614:
Reinach, i. 89, 144.
Footnote 615:
_Ibid._ i. 138, ii. 99.
Footnote 616:
_Wiener Vorl._ 1890–91, 10 (Louvre).
Footnote 617:
_Él. Cér._ iii. 78–81; Bibl. Nat. 839: see Roscher, i. p. 2393.
Footnote 618:
B.M. B 362, 627, E 585; Berlin 1928, 2172; Schreiber-Anderson, 16, 8,
and 14, 3.
Footnote 619:
B.M. B 345, E 444; Berlin 2278; Reinach, i. 203; _Ath. Mitth._ 1889,
pl. 1.
Footnote 620:
_Forman Sale Cat._ 364.
CHAPTER 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]
[Illustration: FIG. 120. DIONYSOS WITH SATYRS AND MAENADS (HYDRIA BY
PAMPHAIOS IN BRIT. MUS.).]
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]
* * * * *
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]
* * * * *
[Illustration:
From _Baumeister_.
FIG. 121. MAENAD IN FRENZY (CUP AT MUNICH).
]
=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.
------------------------------------------------------
PLATE LII
[Illustration:
From _Furtwaengler and Reichhold_.
THE UNDER-WORLD, FROM AN APULIAN VASE AT MUNICH.
]
------------------------------------------------------
§ 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]
[Illustration:
From _Baumeister_.
FIG. 122. CHARON’S BARK (LEKYTHOS AT MUNICH).
]
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).
[Illustration: FIG. 123. THANATOS AND HYPNOS WITH BODY OF WARRIOR (FROM
BRIT. MUS. D 58).]
_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]
* * * * *
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]
------------------------------------------------------
PLATE LIII
[Illustration: HELIOS AND STARS, FROM THE BLACAS KRATER IN THE BRITISH
MUSEUM.]
------------------------------------------------------
=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]
[Illustration: FIG. 124. NIKE SACRIFICING BULL (BRITISH MUSEUM F 66).]
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.
-----
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.
CHAPTER 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).
[Illustration: FIG. 125. HERAKLES AND THE NEMEAN LION (BRITISH MUSEUM).]
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.).
[Illustration: FIG. 126. HERAKLES BRINGING THE BOAR TO EURYSTHEUS
(BRITISH MUSEUM).]
(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]
[Illustration:
From _Arch. Zeit._
FIG. 127. RECEPTION OF THE DEIFIED HERAKLES BY ZEUS, FROM A VASE AT
PALERMO.
]
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]
* * * * *
[Illustration: FIG. 128. PELEUS SEIZING THETIS (BRITISH MUSEUM).]
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]):
[Illustration:
From _Wiener Vorlegeblätter_
FIG. 129. THE JUDGMENT OF PARIS (CUP BY HIERON IN BERLIN).
]
(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.
Book 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.