tomb of Patroklos.
B.M. B 543 and _Forman Sale Cat._ 306 = Reinach, ii. 100 (now in
B.M.)[1397]; Berlin 1867 = Reinach, ii. 99; Naples 2746.
141 ff. Achilles offering his hair to the river Spercheios.
B.M. E 555 (?).
448 ff. Priam begging Achilles for the body of Hector; the
Achaean princes deliberating over the ransom.
Munich 404 (= Overbeck, _Her. Bildw._ pl. 20, 3), and 890 (=
Reinach, ii. 99); Petersburg 422 = Reinach, i. 138 = Baumeister,
i. p. 739, fig. 792; Reinach, i. 172 = Vienna 328; Athens 889 =
_Ath. Mitth._ 1898, pl. 4 (B.F., but poor).
580 ff. Hector’s body carried out to prepare for burial.
Petersburg 422 (as above).
Among the events of the war between the death of Hector and the final
fall of Troy, those which relate to the final exploits of Achilles are
most prominent, and especially the encounters with Memnon, and with
Penthesileia, his death and the events arising out of it. The story of
Achilles’ fight with Penthesileia, and the death of the Amazon queen,
is less frequently depicted, but there are some very fine examples
remaining.[1398] Other representations of Amazons arming, setting out,
or in combat may be placed here, but except where Penthesileia is
specially indicated it is better to regard them as having no definite
reference to the Trojan story.[1399] A remarkable painting on an
Apulian amphora depicts the slaying of Thersites by Achilles in the
presence of Phoinix and Diomedes. Thersites had insulted Achilles after
his slaying of Penthesileia.[1400]
The story of Memnon is related on the vases in several scenes,
beginning with his equipment and departure for the fray.[1401] Next we
see the great fight of Achilles and Memnon over the body of
Antilochos,[1402] at which the respective mothers of the heroes, Thetis
and Eos, are usually present as spectators.[1403] The result of the
fight was fatal to Memnon, whose body we see carried off by Thanatos
and Hypnos,[1404] or by Eos herself,[1405] for burial in his native
land. Eos is also represented mourning over him.[1406] The
Psychostasia, or weighing of souls by Zeus (see p. 130), has also been
referred to this event. The body of Antilochos is finally rescued and
carried off by Nestor.[1407]
Lastly, we find a few possible representations of the death of
Achilles,[1408] and others, more certainly to be identified, of the
battle raging round his body, in which Diomedes is wounded[1409]; also
of Ajax carrying the body off out of the battle,[1410] and the
subsequent mourning of the Nereids over it.[1411] A representation of
the ghost of a warrior, winged and fully armed, flying over a
ship,[1412] is to be regarded as that of Achilles, though to what event
it alludes is not clear. The dispute over the hero’s armour and the
suicide of the disappointed Ajax are introduced by a scene representing
the fetching of Neoptolemos, his son, from Skyros, where he bids
farewell to Lykomedes and Deidameia[1413]; of the quarrel between Ajax
and Odysseus there are also several representations.[1414] It was
decided finally by Athena, who is represented presiding over the Greek
chiefs as they vote[1415]; or, according to another version, they cast
lots before her statue.[1416] The armour is then awarded to
Neoptolemos,[1417] who, according to an oracle, was indispensable for
the capture of Troy. Ajax goes mad with disappointment, and finally
commits suicide by falling on his sword[1418]; the episode of his
slaying the sheep is not, however, represented.
The Ἰλίου Πέρσις, or =sack of Troy=, which is so vividly represented on
many of the vases of advanced and late style, may be said to begin with
the episode of the seizure of the Palladion by Odysseus and
Diomede.[1419] It is rapidly followed by the construction of the wooden
horse and its entry into the city.[1420] There is, however, only one
certain representation of the death of Laokoön to be traced,[1421] and
none of the traitorous Sinon.
Several vases, especially of the later epoch, collect the chief
episodes in a frieze or in a series of groups, including the rape of
Kassandra by Ajax, son of Oileus, the death of Priam and Astyanax, the
recapture of Helen by Menelaos, and the flight of Aeneas; other scenes
represented are the leading back of Aithra by Akamas and Demophon, and
the sacrifice of Polyxena and subsequent blinding of Polymestor by
Hecuba.
I. General.
Berlin 1685 (= Overbeck, _Her. Bildw._ pl. 26, 1) and 2281; Plate
LIV. = Furtwaengler and Reichhold, pl. 25 (Brygos in Louvre);
Naples 2422 = Furtwaengler and Reichhold, pl. 34 = Baumeister, i.
pl. 14, fig. 795; B.M. F 160, F 278.
II. (_a_) Ajax seizing Kassandra at the altar of Athena.
B.F. B.M. B 242, 379; Berlin 1698; Roscher, ii. p. 979.
R.F. B.M. E 336, E 470; Reinach, i. 221, 338 = Roscher, ii. pp. 985,
981; _Bourguignon Sale Cat._ 33.
Late. B.M. F 209; Roscher, ii. p. 983.
(_b_) Death of Priam and Astyanax.[1422]
(1) Priam only.
B.M. B 241; _Röm. Mitth._ iii. (1888), pp. 108–9; Reinach, ii. 109;
Berlin 3996. [Priam dead in all except second.]
(2) Priam usually seated on altar; Neoptolemos swings body or head
of Astyanax.
B.M. B 205; Berlin 2175, 3988; Reinach, i. 221, ii. 109; _J.H.S._
xiv. pl. 9. [See also under I.]
(3) Andromache or Hecuba with body of Astyanax.
Millin-Reinach, ii. 37 (Lasimos in Louvre; also identified as
Archemoros: see p. 118).
(_c_) Menelaos and Helen.
B.M. E 161, 263; Reinach, i. 437, 3 (Hieron), ii. 34; Helbig, 43 (=
_Mus. Greg._ ii. 49, 2), and ii. p. 325 (= Baumeister, i. p. 746,
fig. 798); Millingen, _Anc. Uned. Mon._ pl. 32; Louvre G 3
(Pamphaios); Reinach, i. 222 = _Wiener Vorl._ D. 8, 1; Noel des
Vergers, _Étrurie_, iii. pl. 39.
(_d_) Akamas and Demophon with Aithra.
B.M. B 244 (?), E 458; Overbeck, _Her. Bildw._ pl. 26, 13.
(_e_) Flight of Aeneas with family.
B.M. B 173, B 280; Reinach, ii. 110 (= Munich 903), 116, 273;
Baumeister, i. p. 31, fig. 32; Helbig, 201 = _Mus. Greg._ ii. 85,
2; Naples 2481; Bibl. Nat. 261; Louvre F 122 = _Wiener Vorl._
1890–91, pl. 5, 1.
(_f_) Sacrifice of Polyxena.
Plate XXIII. = _J.H.S._ xviii. pl. 15 (B.M.); Overbeck, _Her. Bildw._
pl. 27, 19.
(_g_) Polymestor blinded.
Reinach, i. 91 = Hill, _Illustrations of School Classics_, p. 170
(now in B.M.).
(_h_) Ajax stabbing a captive (?).
Reinach, i. 88.
------------------------------------------------------
PLATE LIV
[Illustration:
From _Furtwaengler and Reichhold_.
THE SACK OF TROY; KYLIX BY BRYGOS IN LOUVRE.
]
------------------------------------------------------
Among the various adventures described by the Cyclic poets in the
Νοστοί, few seem to have found their way into the vase-paintings except
the fate of Agamemnon, the interview of Menelaos with Proteus (told in
the _Odyssey_), and, of course, the adventures of Odysseus.
The house of Atreus and its story will be dealt with later under the
heading of the Oresteia: we turn now to the =Odyssey=, scenes from
which are surprisingly few in Greek art, and appear to have attracted
the painter less than the more stirring events of the _Iliad_. The
following, however, have been identified:
Book II. 94 ff. Penelope at her loom.
Reinach, i. 191.
Book III. 12 ff. Arrival of Telemachos at Nestor’s house in Pylos.
Berlin 3289 = Roscher, iii. 298 = Engelmann-Anderson, iii. 13.
Book IV. 349 ff. The story of Menelaos’ interview with Proteus.
Naples 1767 = _Mus. Borb._ xiii. 58 = Engelmann-Anderson, iv. 22.
Book V. 228 ff. Odysseus navigating the sea on a raft.
Oxford 262, _Cat._ pl. 26 (burlesque). See also B.M. E 156
(Odysseus and Leukothea).
Book VI. 126 ff. Nausikaa washing clothes.
Munich 420 = Reinach, ii. 110 = Roscher, _s.v._
Alkinoös and Nausikaa (parody).
Reinach, i. 153.
Book IX. 345 ff. Odysseus offering wine to Polyphemos.
_Boston Mus. Report_, 1899, p. 60.
371 ff. Odysseus putting out the eye of Polyphemos.
Plate XVI. = Helbig, i. p. 435, No. 641 (Aristonoös); Bibl. Nat.
190 = Reinach, i. 64; B.M. B 154; Louvre F 342 = _Gaz. Arch._
1887, pl. 1; Berlin 2123; _Arch. Anzeiger_, 1895, p. 35;
_Jahrbuch_, 1891, pl. 6: see Bolte, _Monum. ad Odyss. pert._ p. 2.
420 ff. Odysseus escaping under the ram.
B.M. B 407, 502, 687; Karlsruhe 167 = _J.H.S._ iv. p. 249; Louvre A
482; Reinach, i. 64: see also _Ath. Mitth._ 1897, pl. 8 (a very
early instance); generally, _J.H.S._ iv. p. 248 ff., and _Rev.
Arch._ xxxi. (1897), p. 28 ff.
Book X. 210 ff. Odysseus and Kirke (see _J.H.S._ xiii. p. 82).
(_a_) Arrival of Odysseus.
Reinach, i. 142 = Roscher, ii. 1195.
(_b_) Transformations of comrades.
Reinach i. 396; Berlin 2342 = _ibid._ i. 418; _Boston Mus. Report_,
1899, pp. 59, 61 (both early B.F.).
(_c_) Odysseus and Kirke.
_J.H.S._ xiii. pls. 2 (Athens 956), 4 (in B.M.), p. 81 (Oxford
262); and see Reinach, i. 142.
Book XI. 23 ff. Odysseus sacrificing before his visit to Hades.
Bibl. Nat. 422 = Reinach, i. 126 = Baumeister, ii. p. 1040, fig.
1254.
Book XII. 164–200. Odysseus passing the Sirens.
Athens 958 = _J.H.S._ xiii. pl. 1; B.M. E 440; and see _J.H.S._ vi.
pl. 49, p. 20 (= Louvre F 123); Corinthian aryballos in Boston
(_Strena Helbigiana_, p. 31).
Scenes from the last twelve books are even rarer:
Book XVIII. 35 ff. Odysseus and Iros.
Reinach, ii. 357.
Book XIX. 385 ff. Odysseus recognised by Eurykleia.
Reinach, i. 191.
394 ff. The story of Autolykos.
In connection herewith see Munich 805 = Reinach, i. 277 for a
possible representation of the betrothal of Laertes and Antikleia
(_Hermes_, 1898, p. 641; Robert, _Homer_. _Becher_, p. 90 ff.;
Hyginus, _Fab._ 201).
Book XXI. 393—XXII. 5 ff. The slaying of the suitors.
Berlin 2588 = Reinach, i. 217.
The scenes from the =Oresteia= cover roughly the same ground as the
great trilogy of Aeschylos, together with the _Iphigeneia in Tauris_
and the _Andromache_ of Euripides. We have first the murder of
Agamemnon by Klytaemnestra with her axe.[1423] Next, Elektra making her
offerings at the tomb of Agamemnon, sometimes accompanied by her sister
Chrysothemis.[1424] It must be borne in mind that the “type” of this
scene does not differ in any respect from ordinary scenes of “offering
at a _stele_,” and therefore, where the names are not given or are
obviously modern additions, this interpretation is at best a doubtful
one. The same applies to the next series of vases, on which Orestes
meets Elektra at the tomb[1425]; but there seems to be one undoubted
instance of Orestes and Pylades with the urn containing the supposed
ashes of the former (cf. Soph. _Electra_, 1098 ff.).[1426] The next
group to be dealt with shows us Orestes slaying Aegisthos,[1427] while
Klytaemnestra is held back by Talthybios[1428]; and, finally, the death
of Klytaemnestra herself.[1429]
Orestes is then pursued by the Furies,[1430] and seeks refuge at
Delphi, where he is purified by Apollo at the Omphalos[1431]; and he is
also seen at Athens, where he afterwards sought the protection of
Athena.[1432] Other vases, nearly all of late date, and therefore under
the influence of the Euripidean tragedy, represent Orestes accompanied
by Pylades, arrived at the temple of the Tauric Artemis, where
Iphigeneia presents Pylades with the letter.[1433] Lastly, we have the
death of Neoptolemos at the hand of Orestes at Delphi.[1434]
ATTIC LEGENDS
It will now be necessary to deal with sundry isolated subjects, which
do not admit of being grouped together round the name of any one great
hero or any particular legend. There are, however, a certain number
which may perhaps be regarded as having a special connection with
Athens, and with these we will begin.[1435] Some of the specially
Athenian myths have already been discussed in other connections,
notably the story of Theseus (p. 108), the dispute of Athena and
Poseidon (p. 24), the sending of Triptolemos (p. 27), and the rape of
Kephalos by Eos[1436] and of Oreithyia by Boreas (p. 80). There remain
then the following:
(1) The birth of Erichthonios, who is represented as received by
Athena from Gaia emerging out of the earth, in the presence of
Kekrops and his daughters. It only occurs on the later R.F. vases;
the type closely resembles that of the birth of Dionysos (p. 19).
B.M. E 372; Berlin 2537 = Reinach, i. 208 = _Wiener Vorl._ B. 12;
Munich 345 = Reinach, i. 66; and Reinach, i. 113 = _Wiener
Vorl._ iii. 2. Also a scene from the childhood of Erichthonios:
B.M. E 788.
(2) The reception of Dionysos in Attica (by Ikarios or Amphiktion).
B 149, B 153, and E 166 in the British Museum appear to refer to
this, but not certainly. See above, p. 56.
(3) The story of Tereus and his daughters, Prokne and Philomela.[1437]
(_a_) Tereus meeting Apate (Deceit); Prokne and Philomela in
chariots.
Naples 3233 = Reinach, i. 240.
(_b_) Prokne and the dumb Philomela:
Reinach, i. 308 (in Louvre).
(_c_) Aedonaia slaying Itys.
_J.H.S._ viii. p. 440 (= Munich 799_a_).
(4) The three sons of Pandion, Lykos, Nisos, and Pallas,[1438] with
Orneus the son of Erechtheus.
Reinach, i. 510 = Roscher, ii. 2187.
(5) The death of Prokris by the agency of Kephalos.
B.M. E 477 (with Siren as soul of Prokris or death-deity).
(6) Kreousa defended by Apollo from the attack of Ion.
Reinach, i. 375: cf. Eur. _Ion._ 1250 ff.
(7) Danaos taking refuge in Attica (?).
Reinach, i. 244 = _Wiener Vorl._ iii. 4, 2 (in Louvre).
(8) Echelos carrying off Basile.[1439]
_Arch. Anzeiger_, 1895, p. 39: see p. 27.
(9) The story of Diomos, the eponymous deme-hero (?).
B.M. B 178 = _J.H.S._ xiii. p. 116.
(10) Kodros, the last king of Athens.
Bologna 273 = Baumeister, iii. p. 1998, fig. 2148 = _Jahrbuch_,
1898, pl. 4.
The Kodros cup (completely published in _Wiener Vorl._ i. 4) is
decorated with groups of figures intended to illustrate the legendary
history of the great Attic families, in accordance with the
genealogising tendencies of the period (about 450 B.C.). The outer
scenes represent Theseus taking leave of Aigeus, and Ajax taking leave
of Lykos; and Aigeus and Ajax (Aias) are eponymous heroes of two Attic
tribes. On the Meidias vase in the British Museum[1440] we see a group
of Athenian tribal heroes, such as Akamas, Antiochos, Demophon, and
Hippothon, together with Medeia, who is also connected with Athens in
the Theseus scene of the Kodros cup.
* * * * *
Other isolated myths which occasionally appear on vases, but defy more
exact classification, may be briefly recorded here:
(1) Admetos and Alkestis.
Bibl. Nat. 918 = Reinach, i. 395 = Dennis, _Etruria_^2, ii.
frontispiece. See also p. 69.
(2) Agamedes and Trophonios as prisoners fed by Augias.
Louvre E 632 = Reinach, i. 349 (see Paus. ix. 37, 5; _Ann. dell’
Inst._ 1885, p. 130).
(3) Agrios seized by Oineus and bound on the altar.
B.M. F 155: see Anton. Liber. 37 and Vogel, _Scenen Eur. Trag._
p. 125.
(4) Atalante offering a cup to her antagonist Hippomenes.
R.F. kotyle in B.M.
(5) Atreus and Thyestes (the latter as suppliant in the former’s
palace?).
Millingen-Reinach, 23 = _Wiener Vorl._ B. 4, 1.
(6) Daidalos and Ikaros, flight of.
Naples 1767 = _Gaz. Arch._ 1884, pls. 1–2.
(7) Glaukos in the tomb brought to life by the seer Polyeidos.
B.M. D 5 = Plate XL.: see Apollod. iii. 3, 1.
(8) Kanake’s suicide.
Reinach, i. 448.
(9) Laios, Keleos, Kerberos, and Aigolios stung by bees when stealing
the honey on which the infant Zeus was fed.
B.M. B 177: cf. Anton. Liber. 19 and Roscher, i. p. 154.
(10) Lykourgos destroying his children in a frenzy.
B.M. F 271; Naples 3219 = Reinach, i. 125, and 3237 = Baumeister,
ii. pp. 834–35. See also Reinach, i. 333: Lykourgos slaying
Thoas; and p. 56.
(11) Melampus healing the daughters of Proitos from their madness at
the altar of Artemis Lusia, in the presence of Dionysos.
Naples 1760 = Millingen-Reinach, 52 = _Wiener Vorl._ B. 4, 3.
(12) Merope (a scene from the tragedy of that name).
Munich 810 = Reinach, i. 363: see Vogel, _Scenen Eur. Trag._ p.
118.
(13) Pandareos with the golden dog of Zeus, which he stole.
Louvre A 478 = _Hermes_ 1898, p. 638; _Bull. de Corr. Hell._
1898, p. 586.
(14) Peleus wrestling with Atalante.
Munich 125 (= Reinach, ii. 120 = Furtwaengler and Reichhold, pl.
31), and 584 = Reinach, ii. 88; Bibl. Nat. 818 = _Gaz. Arch._
1880, pl. 14; Micali, _Mon. Ined._ pl. 41.
(15) Peleus hunting a stag.
Berlin 2538 = Reinach, ii. 162: cf. Apollod. iii. 13, 3.
[Illustration: FIG. 131. PENTHEUS SLAIN BY MAENADS (BRITISH MUSEUM).]
(16) Pentheus torn to pieces by his mother Agave and the frenzied
Maenads.
B.M. E 775 = Fig. 131; Munich 807 = Baumeister, ii. p. 1204, fig.
1396; Jatta 1617 = Müller-Wieseler, _Denkmaeler_, ii. 37, 436;
_Jahrbuch_, 1892, pl. 5 (and see p. 154); _Gaz. Arch._ 1879,
pls. 4–5 (?).
(17) Phaon with Chryse and Philomele.
Furtwaengler and Reichhold, pl. 59 (vase in Palermo, formerly
interpreted as Dionysos and Ariadne: see text, p. 296, for the
correct interpretation).
(18) Phineus invoking the gods.
B.M. E 291 = _Wiener Vorl._ C. 8, 1. For other Phineus scenes,
see pp. 81, 115.
(19) The madness of Salmoneus.
_Amer. Journ. of Arch._ 1899, pl. 4 (interpreted as Athamas): cf.
_Class. Review_, 1903, p. 276 and Harrison, _Prolegomena to Gk.
Religion_, p. 61.
(20) Thoas placed in the chest by Hypsipyle.
Berlin 2300 = Reinach, i. 273: see Ap. Rhod. i. 622, and Hartwig,
_Meistersch._ p. 374.
(21) Aktor and Astyoche (uncertain reference).
_Jahrbuch_, 1902, pl. 2 (in Boston): see _ibid._ p. 68, _Il._ ii.
513 and 658; _Schol. in_ Pind. _Ol._ vii. 42.
(22) The foundation of Boiae in Laconia by the appearance of a hare.
Reinach, ii. 333 = Inghirami, _Vasi Fitt._ 120 (this is
exceedingly doubtful).
(23) Two boys delivered to a Nymph (unknown myth).
_Wiener Vorl._ E. 12, 3.
The story of =Orpheus= often finds a place on vases of the R.F.
period,[1441] but is chiefly confined to two episodes, his playing the
lyre among a group of Thracians[1442] (the men recognisable by their
costume, see p. 179), and his pursuit by the Thracian women[1443] and
subsequent death at their hands.[1444] In one scene his head after his
death is made use of as an oracle.[1445] He is often present in
under-world scenes (see p. 68), but not always in connection with the
fetching back of Eurydike.[1446]
_Thamyris_, a quasi-legendary figure, appears contending with the Muses
for pre-eminence with the lyre[1447]; on one fine R.F. vase he is
accompanied by Sappho,[1448] who, though strictly an historical
personage, appears among the Muses in quasi-mythical guise; he also
plays the lyre among Amazons.[1449] Other semi-historical persons
enveloped in a cloud of fable are: _Taras_, the founder of
Tarentum[1450]; _Midas_, who is generally represented with asses’ ears,
and is depicted judging the Seilenos who was caught in his rose-garden
and is led before him with hands tied[1451]; and _Minos_, who appears
at the slaying of the Minotaur by Theseus,[1452] and in the under-world
as one of the judges of souls.[1453]
* * * * *
Nor must we omit to mention the =Amazons=, who play such a large part
on Greek vases; besides their connection with various legendary events,
they are often employed purely as decorative figures. Mention has
already been made of their combats with Herakles and Theseus, and of
the part played by their queen Penthesileia in the Trojan War[1454];
and we also find them in such scenes as the Judgment of Paris[1455] and
Herakles’ fight with Kyknos.[1456] They also contend with
Gryphons[1457]; and many battle scenes in which they are opposed to
Greek warriors may also be here alluded to as not admitting of more
definite identification.[1458] They are further represented arming and
preparing for the fray,[1459] or setting out on horseback,[1460] or
defending a besieged city[1461]; and as decorative figures we see them
charging,[1462] stringing bows[1463] and discharging arrows,[1464]
blowing a trumpet,[1465] running by the side of a horse or checking a
restive animal,[1466] or fastening a shoe[1467]; or in peaceful
converse with a Greek warrior,[1468] or else without any distinguishing
action.[1469] Nearly all these subjects belong to the R.F. and later
periods.
* * * * *
We may conclude this section with an account of the monstrous
semi-human, semi-bestial creatures, which play a large part in the
decoration of Greek vases, and appear in connection with many legends.
Such are the Centaurs, half man, half horse; the Gorgons, winged women
with snaky locks; the Harpies, also found on early vases in the form of
winged women; and mythical creatures like Pegasos, the Chimaera, or the
Minotaur.
=The Centaurs=, who probably symbolise mountain torrents or other
forces of nature, appear (mostly on early vases) in combat with
Herakles, either in troops or in single combat, as in the stories of
Nessos, Dexamenos, and Eurytion[1470]; or, again, in the scenes so
often celebrated in the sculptured friezes and metopes of Greek
temples, where they contend with Theseus and Peirithoös,[1471] or with
the Thessalian Lapiths.[1472] Among the latter a common episode is the
death of Kaineus, whom the Centaurs buried in the earth, showering
rocks upon him.[1473] In a more peaceful aspect appear the aged
Centaurs, Pholos and Cheiron, especially in the stories of Herakles and
Achilles,[1474] both of whom are brought to the latter for their
youthful education.[1475] As the friend of Peleus Cheiron often assists
at his capture of Thetis.[1476] Centaurs, especially Pholos, are
sometimes represented returning from the chase,[1477] or as single
decorative figures[1478]; in one case they fight with cocks.[1479] Nike
in one or two instances is drawn in her chariot by male or female
Centaurs[1480]; and, finally, representations of youthful Centaurs are
found, though usually they are middle-aged.[1481]
=The Gorgons= appear almost exclusively in connection with the Perseus
legend,[1482] but are besides frequently found as decorative figures,
especially on B.F. vases,[1483] in the running attitude characteristic
of archaic art, in one case between two Sphinxes.[1484] Besides these,
the head or mask of the Gorgon Medusa, familiar at all periods as a
decorative motive of Greek art—first with an ugly and grotesque face,
afterwards refined and beautiful—is often found by itself on Greek
vases, especially as an interior central ornament of B.F. kylikes.[1485]
=Harpies=, conventionally associated through the medium of the Roman
poets[1486] with the human-headed bird-form which really denotes the
Siren, are found invariably on vases in the form of winged women.[1487]
They are, as has been elsewhere noted (p. 81), associated with the
Boreades[1488] as symbolical of evil and good influences of winds, and
probably should be regarded as personifications of the _southern_
breezes (the malevolent influence of which is seen in the sirocco).
Traditionally they were supposed to guard the Garden of the Hesperides
in Africa, whence the hot baleful winds come. The story of Phineus is
probably to be explained on these lines.[1489] A Harpy appears at the
recovery of Zeus’ golden dog from Pandareos.[1490]
That the human-headed bird represents a =Siren= in Greek art is amply
attested by the representations of Odysseus’ adventure with the vocal
enchantresses.[1491] Their appearance on the so-called Harpy monument
of Xanthos, however, shows them in another aspect, that of
death-deities[1492]—not necessarily of a violent and rapacious
character, as on a vase in Berlin,[1493] but gentle and kindly. So,
again, a Siren is represented in connection with a tomb[1494]; and in a
scene representing a banquet in Elysium they are depicted crowning the
dead.[1495] On some vases we find a Siren playing a flute or a lyre
(probably merely fanciful subjects)[1496]; or, again, two Sirens
kissing each other.[1497] As mere decorative motives their appearances
are countless, and many early vases are modelled in the form of
Sirens[1498]; sometimes they have human arms[1499]; in one case a
bird’s wings and a fish-tail[1500]; or, again, more anomalously,
bearded masculine heads.[1501] More rarely they are seen flying.[1502]
=The Sphinx= is familiar in the first place as the monster, half woman,
half dog, which vexed the city of Thebes till slain by Oedipus; this
story is often alluded to on vases,[1503] but many groups of a man and
a Sphinx have probably no special meaning.[1504] The Sphinx has
sometimes a sepulchral reference,[1505] and is grouped with other
figures, such as Atlas[1506] or a Seilenos[1507] (the latter probably a
scene from a Satyric drama). Like the Siren, she is exceedingly common
as a decorative figure,[1508] especially in the friezes of animals and
monsters so dear to the early vase-painters. Her invariable form is
that of a winged lion or dog with a woman’s bust.
=The Gryphon=, a kind of dragon composed of an eagle’s head and lion’s
body and legs (occasionally a bird’s), is almost exclusively
decorative[1509]; but on the later vases we find the fabulous combat of
the Oriental Arimaspi with the Gryphons who guarded the mountain of
gold in the Far East (cf. Plate XLII.)[1510]; or, again, they contend
with the Amazons,[1511] with Scythians,[1512] or with ordinary Greek
warriors.[1513] In one instance an Arimasp woman is seen shooting at a
Gryphon of curious type.[1514] Further, they draw the chariots of
deities, such as Persephone,[1515] and Dionysos[1516]; and we have
already seen Apollo coming on a Gryphon from the Hyperborean
regions.[1517]
_Pegasos_, the winged steed of Bellerophon, and the monster _Chimaera_
which he slew, also appear as decorative figures[1518]; and the former
draws the chariots of Apollo and of a woman,[1519] and also appears as
a constellation with the moon and stars.[1520] A human-headed monster
attacked by a hero seems to have been suggested by the Chimaera on a
companion vase.[1521] The _Minotaur_ is generally seen in connection
with Theseus, but also appears as a single or decorative figure,[1522]
and one vase appears to represent the youthful monster in his mother’s
lap.[1523] Other monsters found occasionally on vases are _Skylla_, who
appears, not in connection with the story of Odysseus, but with those
of Perseus and Andromeda,[1524] and Phrixos and Helle,[1525] or as a
single figure[1526]; and _Lamia_, a vampire or ogress in the form of a
hideous old woman, who is seen undergoing torture from Satyrs,[1527]
and in another unexplained scene.[1528] Another type of monster, the
serpent-footed giant _Typhon_, has already been mentioned.[1529] Yet
another and a unique type is that of the Nymphs with serpent bodies
which protect vines from the attacks of goats.[1530]
Lastly, another creation of fancy, though not strictly mythological, is
the ἰππαλεκτρύων or “cock-horse,” a bird with horse’s head, which
appears on some B.F. vases ridden by a youth.[1531] This may also be a
convenient place for mentioning the common decorative subject of
Pygmies fighting with cranes.[1532]
HISTORICAL SUBJECTS
The number of vases on which undoubted historical subjects have been
discovered is very limited, though the old systems of interpretation
exerted much ingenuity in eliciting an historical meaning from many
scenes of daily life, with or without names inscribed over the figures.
In the instances given below, the names are given in most cases,
obviating all doubts. It is worth noting that the subjects chosen are
not as a rule those that would most obviously suggest themselves. They
fall into two classes, one relating to historical events and persons,
the other to literary celebrities:
I. (1) The weighing of silphium by Arkesilas, one of the descendants of
Battos, who ruled at Kyrene—probably the second of the name (B.C.
580–550). This scene occurs on a Cyrenaic cup in the Bibliothèque
at Paris (_Cat._ 189: see Vol. I., p. 342, Fig. 92), which is
probably a contemporary production.
(2) Kroisos, the king of Lydia, on the funeral pyre (B.C. 545). See
above, p. 6.
Fig. 132 = Reinach, i. 85 = Baumeister, ii. p. 796, fig. 860 (in
Louvre).
[Illustration:
From _Baumeister_.
FIG. 132. KROISOS ON THE FUNERAL PYRE (VASE IN LOUVRE).
]
(3) Harmodios and Aristogeiton slaying the tyrant Hipparchos (B.C.
510).
B.F.: _Arch.-epigr. Mitth. aus Oesterr._ iii. (1879), pl. 6. R.F.;
Reinach, i. 449; and see a late Panath. amph. in B.M. (B 605).
(4) Diitrephes shot to death with arrows, B.C. 479 (?). See Paus. i.
23, 3, and Frazer’s note.
Bibl. Nat. 299 = _Jahrbuch_, 1892, p. 185 (but see Reinach, ii. p.
255, and p. 15 under Gigantomachia).
(5) The Persian king and queen.
Helbig, p. 281 = Reinach, i. 275 (see Hartwig, _Meistersch._ p. 525).
(6) The Persian king hunting.
Petersburg, 1790 = Reinach, i. 23 (Xenophantos): cf. Naples 2992.
(7) Dareios in council, with various deities and personifications as
spectators.
Naples 3253 = Reinach, i. 194 = Baumeister, i. pl. 6, fig. 449.
(8) Battle of Greeks and Persians (with spectator-deities, etc.).
Naples 3256 = Reinach, i. 98: see also p. 179; Reinach, ii. 84;
Hartwig, _Meistersch._ pls. 55–56 and p. 518.
(9) Battle of Greeks and Messapians.
Berlin 3264 = Reinach, i. 270.
II. (1) Sappho.
(_a_) As single figure.
De Witte, _Coll. à l’Hôtel Lambert_, pl. 3.
(_b_) With Alkaios.
Fig. 133 = Munich 753 = Baumeister, iii. p. 1543, fig. 1607.
(_c_) Reading her poems.
Athens 1241 = Dumont-Pottier, pl. 6 = Reinach, i. 526.
(_d_) In rivalry with Muses.
Jatta 1538 = Reinach, i. 526.
(_e_) With Eros (named Talas).
_Abhandl. d. k. sächs. Gesellsch._ viii. (1861), pl. 1, fig. 1: see p.
49.
(2) Aesop.
Helbig, 154 = Jahn, _Arch. Beitr._ pl. 12, fig. 2.
(3) Anakreon.
B.M. E 18: cf. E 266–67, 314–15; and see generally Jahn, _Gr. Dichter
auf Vasenb._ in _Abhandl. d. k. sächs. Gesellsch._ viii. (1861), p.
699 ff.
[Illustration:
From _Baumeister_.
FIG. 133. ALKAIOS AND SAPPHO (VASE IN MUNICH).
]
(4) Kydias of Hermione (a lyric poet: cf. Schol. _in_ Ar. _Nub._ 967)
and Nikarchos (a contemporary flute-player) are to be seen,
according to Jahn (_op. cit._ p. 740) on a psykter in the British
Museum (E 767), on which these names are inscribed over two
revellers; but the identification is exceedingly doubtful. See also
Munich 1096 = Jahn, _op. cit._ pl. 4, fig. 1.
III. Mention should also here be made of the names of historical renown
which often appear on R.F. vases with the word καλός (see Vol. I. p.
403, and below, p. 267), such as Alkibiades, Glaukon, Hipparchos,
Kleinias, Leagros, Megakles, and Miltiades. The question is dealt with
elsewhere, and it has been shown that only in one or two cases—_e.g._
Leagros, Glaukon, and Kleinias (the father of Alkibiades)—can an
identification with the historical personages be certainly maintained;
it is, however, of sufficient interest for reference in this chapter,
because the inscribed names may in some cases possibly refer to the
figures depicted on the vases.[1533]
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.
It is hardly possible to give within brief limits all the illustrations
that the vases afford, either directly or indirectly, of the religious
and secular life of the Greeks. It is, however, feasible to classify
these subjects under several headings, and to give a list of the most
typical and popular in each case. Thus we have:
1. Religious ceremonies and sacrifices.
2. Funeral scenes and offerings at tombs.
3. Subjects connected with the drama.
4. Athletic contests, games and sport, and musical scenes.
5. Trades and occupations.
6. Scenes from daily life of women and children.
7. Military and naval subjects.
8. Oriental and barbarian figures.
9. Miscellaneous subjects and compositions of no particular import.
10. Animals (mostly only decorative).
1. RELIGIOUS SUBJECTS
These mostly appear in the form of sacrifices, either before a simple
altar, or before the statue of some deity, a cult-image, or terminal
figure. Thus we have representations of the offering of a bull to
Athena,[1534] sacrifices to a primitive image of Dionysos[1535] or to a
terminal figure of Hermes,[1536] or a sacrifice or libation to
Persephone, Apollo, or other deities.[1537] A procession of six maidens
carrying chairs and a boy with game is probably in honour of
Artemis[1538]; and in another scene we have the Dioskuri coming to the
Theoxenia or feast prepared in their honour.[1539] Many other examples
may be found under the heading of the various Olympian deities. In
other instances we see the preparations for a sacrifice,[1540] or a
procession of figures with victims and sacrificial implements[1541];
the victims are either rams,[1542] bulls,[1543] goats,[1544] or
pigs.[1545] Other scenes of sacrifice represent the roasting of a piece
of meat held on a spit over a blazing altar[1546]; or two men stand
over a large krater on a stand, accompanied by a flute-player.[1547] In
many cases the sacrifice is doubtless intended to celebrate a dramatic,
agonistic, or other victory.[1548]
Among other religious scenes we have the dedication of a tripod,[1549]
religious festival dances,[1550] praying figures,[1551] men or women
burning incense over an altar or incense-burner[1552]; or scenes of
libation,[1553] a Metragyrtes or mendicant priest praying before
devotees,[1554] and a priest examining the entrails of a ram.[1555] An
ephebos is initiated and purified by the Διὸς κῴδιον[1556]; oaths are
taken over a tomb,[1557] or omens from birds on a tumulus[1558]; and
here perhaps may be mentioned a man making a gesture against the evil
eye.[1559] There is also a scene illustrative of the Πιθοίγια, an
Athenian feast[1560]; and a possible representation of the feast of
Adonis, and the “gardens” or pots of flowers exhibited on that
occasion.[1561] Lastly, there are scenes relating to votive offerings,
such as a figure of a child on a column offered to Athena,[1562] a
youth carrying a votive tablet,[1563] and others in which similar
votive tablets occur.[1564] The number of scenes which can be shown to
relate to Athenian festivals, or bear on Greek religious belief and
ritual, might be greatly expanded and multiplied, but at present little
has been done in this direction.[1565]
2. FUNERAL SCENES
Closely connected with these religious subjects are those which played
so large a part in the life of the Greeks, and found such a strong
reflection in their decorative art—namely, those which relate to the
burial and cult of the dead. The relation of Greek vases to the tomb
has been discussed elsewhere (Vol. I. p. 141 ff.), and it is sufficient
here to repeat that there are only three or four classes of vases which
yield undoubted evidence that they were expressly made for funeral
purposes, each belonging to a different period of the art.
In the earliest period we have the great Dipylon vases (Vol. I. p.
285), many of which represent funeral processions and rows of mourning
women[1566]; these were made for standing outside the tomb. In the B.F.
period there are the prothesis-amphorae, made likewise for placing
first round the bier and then on the tomb, as plainly shown in one
instance[1567]; and in the R.F. period the Athenian white lekythi are
decorated almost exclusively with sepulchral scenes. Among the vases of
the decadence a whole series of Lucanian and Campanian hydriae and
Apulian kraters and amphorae, as well as some late Athenian vases, the
Apulian examples being usually of enormous size, equally betray the
special purpose for which they were made.
On the B.F. vases the commonest subject is the _prothesis_ or
_conclamatio_, where the body is exposed on the bier and the mourners
stand round in attitudes of grief,[1568] a subject also occasionally
found on the lekythi.[1569] Elsewhere we have the carrying of the bier
to the tomb,[1570] accompanied by warriors, and the _depositio_ or
placing of the body therein.[1571] On the vases of this period the tomb
invariably assumes the form of a mound (χῶμα or tumulus),[1572] as it
appears in some mythical scenes already described.[1573] On the
lekythi, on the other hand, the tomb is in the form of a tall plain
_stele_, on a stepped base, crowned with an ornament of acanthus-leaves
or a palmette, and wreathed with coloured sashes, while vases and
baskets of flowers are sometimes placed on the steps.[1574] On the
vases of Southern Italy it is developed either into a tall column with
altar-like base,[1575] or into a large shrine or _heroön_, with columns
in front and gabled roof, within which stands the figure of the
deceased,[1576] or sometimes an acanthus-plant[1577] or several
vases.[1578]
The subjects on the white lekythi and later vases almost invariably
take the form of mourners,[1579] or men and women making offerings to
the dead, or placing sashes, wreaths, and vases on the tomb.[1580] Or,
again, we may note interesting parallels with the Athenian sepulchral
reliefs of the fourth century, which are mostly contemporaneous with
the vases.[1581] Thus we have “farewell scenes” between a man and
woman,[1582] or between two women[1583]; or the equestrian figure of a
warrior, as on the famous _stele_ of Dexileos,[1584] or a warrior
charging with his spear[1585]; or, again, a hare-hunt at a tomb,
perhaps with reference to the occupations of the deceased.[1586]
Sometimes the tomb of a warrior is indicated by his armour.[1587] The
interior of a tomb is occasionally shown, with a dead boy in it,[1588]
or a series of vases,[1589] or as in the story of Polyeidos.[1590] In
one instance a group of figures is placed on the top of the tomb.[1591]
Mythological figures are sometimes introduced, as Charon ferrying the
dead in his bark,[1592] or Hermes Psychopompos[1593]; or the type of
Thanatos and Hypnos (or that of Boreas and Zephyros) with Memnon is
borrowed for that of a warrior, a youth, or a woman whom they place in
the tomb.[1594] Occasionally we see the soul of the deceased as a small
flitting winged figure.[1595] On the Italian vases the figure of the
deceased usually appears inside the _heroön_, painted white, as if to
indicate a sculptured marble figure: a warrior with armour,[1596] or a
youth with his horse or dog,[1597] or pouring a libation from a
kantharos.[1598] These _heroa_ are always surrounded by figures of
women bearing baskets of offerings, unguent-vases, and wreaths, and by
youths as mourners.[1599]
------------------------------------------------------
PLATE LV
[Illustration:
SCENES FROM FUNERAL LEKYTHI (BRITISH MUSEUM).
1, PROTHESIS; 2, CULT OF TOMB.
]
------------------------------------------------------
Apart from the under-world scenes already described,[1600] the future
life is not illustrated by the vases, except in a curious scene on a
B.F. Cyrenaic cup, representing a banquet of the blessed, attended by
Sirens.[1601] There is also one single representation of the subject so
common on later Greek reliefs—the sepulchral banquet.[1602]
3. THE DRAMA
The relation of vase-paintings to the drama has already been discussed
in Chapter XI., in which it has been shown how the tragedies of
Euripides and the farces of Rhinthon influenced the artists of Southern
Italy. It may, however, be worth while to recapitulate here the actual
representations of actors or of scenes taking place on a stage,
together with some account of the numerous burlesques of mythical
subjects.
On one curious B.F. vase (probably late and imitative) we see a rude
representation of a tragic and a comic chorus,[1603] and occasionally
on vases of this period we find figures of actors dressed up as birds,
or otherwise in comic fashion.[1604] More important in this connection
are the fifth-century vases found on the site of the Cabeiric temple at
Thebes, several of which have parodies of well-known subjects, such as
Odysseus and Kirke, or Peleus bringing the young Achilles to
Cheiron.[1605] It seems probable that these scenes are actual
reproductions of burlesque performances connected with the worship of
the Kabeiri.
We look in vain for representations of scenes from Aristophanes and the
Old Comedy, though there are one or two vases which recall (if nothing
more) episodes in the _Acharnians_[1606] and _Frogs_.[1607] But for the
rest, these comic scenes are almost confined to the vases of Southern
Italy, especially those made at Paestum, with their presentations of
the φλύακες or fourth-century farces. A fairly exhaustive list of these
was made some years ago by Heydemann,[1608] and probably requires
little emendation as yet; we repeat below a number of the more
interesting subjects, and others may be collected from the foregoing
pages in which myths are burlesqued (the Judgment of Paris, the
apotheosis of Herakles, Oedipus and the Sphinx, etc.).[1609]
(1) Zeus visiting Alkmena: Schreiber-Anderson, 5, 8 = Heydemann,
_loc. cit._ p. 276: cf. B.M. F 150.
(2) Apollo healing the Centaur Cheiron: B.M. F 151.
(3) Herakles at Delphi; Apollo takes refuge on the roof of the
temple: Reinach, i. 153, 2 = Rayet and Collignon, p. 318.
(4) Combat of Hephaistos (Daidalos) and Ares (Enyalios): B.M. F 269.
(5) Herakles with the Kerkopes: Schreiber-Anderson, 5, 2 =
Heydemann p. 281.
(6) Herakles seizing Auge: Fig. 105, Vol. I. p. 474 = Reinach, i.
123 = Heydemann, p. 279.
(7) Burlesque of the story of Antigone: Reinach, i. 273.
(8) Rape of the Palladion: B.M. F 366.
(9) Death of Priam: Berlin 3045 = Reinach, i. 370, 8.
(10) Odysseus and Kirke: Jatta 901 = Heydemann, p. 271.
(11) Odysseus in Phaeacia: Reinach, i. 153, 1.
[Illustration: FIG. 134. SCENE FROM A FARCE (BRITISH MUSEUM, F 189).]
Other scenes represent single figures, such as Herakles,[1610] or Taras
on the dolphin[1611]; or subjects from farces of daily life, such as an
actor with a table of cakes[1612] or the drunken return from a
revel.[1613] Many scenes, again, have some reference to the Satyric
drama, as on the fine vase in Naples, where Dionysos and other figures
attend the preparations for a performance of that kind[1614]; or such
scenes as that of Hera and Iris attacked by Seileni,[1615] or those
relating to adventures of Herakles and Perseus with Satyrs.[1616] Other
subjects have no particular significance, such as an actor attired as a
Seilenos playing on the flute, or dancing, or with a Sphinx,[1617]
groups of actors[1618] (in one case dressing[1619]), a comic actor
among Satyrs and Maenads,[1620] and single figures.[1621] Some, which
are apparently mythological, defy explanation.[1622]
The influence of Tragedy on vase-paintings is an indirect one, and
entirely confined to the vases of Southern Italy on the one hand, and
to the plays of Euripides on the other. The subject has been discussed
at length elsewhere in this work,[1623] and it is unnecessary here to
give a list of the subjects on South Italian vases which can be traced
to the influence of Euripides. It has also been pointed out that this
influence made itself felt, not only in the actual choice of subjects,
but generally in their treatment and arrangement, in the
quasi-architectural setting of many scenes, and in the elaborate
costumes of the figures.
[Illustration: FIG. 135. ATHLETES ENGAGED IN THE PENTATHLON (BRITISH
MUSEUM, B 134).]
4. ATHLETICS AND SPORT
From the theatre we naturally turn to the palaestra and gymnasium,
which played so important a part in the public and private life of the
Greeks, and, like the former, may be said to be vested with a religious
significance, as exemplified in the Olympic and other great games.
Hardly any class of subject is found so frequently and consistently on
the vases. The series of Panathenaic amphorae alone supply instances of
every form of athletic exercise in which the Greeks indulged.[1624]
Many vases, especially the R.F. kylikes, represent groups of athletes
in the palaestra engaged in various exercises, such as boxing,
wrestling, running, and leaping[1625]; in other cases we have single
groups of boxers[1626] or wrestlers,[1627] or of the παγκράτιον, a
somewhat brutal combination of the two.[1628] A boxer is sometimes seen
putting on his caestus.[1629] The πένταθλον, which played so important
a part in the national games, is not infrequently found, though often
only three or four out of the five contests appear.[1630] Here, again,
we also find single figures of diskos-throwers[1631] or
javelin-throwers,[1632] representations of the long-jump,[1633] and men
marking the ground with a pick-axe or poles.[1634] An athlete is seen
binding round his javelin the cord or ἀγκύλη by which it was
thrown,[1635] and the pick-axe afore-mentioned also appears in such a
way as to indicate its general use by athletes—viz. for digging up the
ground over which jumps were made, by way of exercising the
limbs.[1636] A variation of the javelin contest was one in which the
competitors were mounted, and aimed at a shield set up as a target as
they rode past.[1637] Other important contests are the foot-race[1638];
the horse-race, generally taken part in by boys (κέλητες)[1639]; the
chariot-race[1640]; the torch-race (λαμπαδηδρομία)[1641]; and the race
of armed warriors (ὁπλιτοδρομία).[1642] In the latter contest various
types may be distinguished: the arming for the race[1643]; the
start[1644]; the race itself, with runners turning at the end of the
stadion[1645]; the finish[1646]; and a variation in which the runner
carried his armour.[1647] On the earlier vases this race is run in full
armour; on the later, only with helmets and shields. Frequently the
victorious athlete, horseman, or hoplite is seen proclaimed as
winner,[1648] and receiving his prize[1649]; also receiving a crown
from Nike.[1650]
Among more miscellaneous scenes may be mentioned athletes anointing
themselves[1651] and using the strigil[1652]; the κωρυκομαχία or
quintain[1653]; an athlete expiring[1654]; a girl-runner wounded in the
foot[1655]; men rolling discs[1656]; acrobats[1657] and female tumblers
performing contortions over swords, or lifting objects with their
feet.[1658] To the list of palaestra scenes may be added those where
Nike or another deity appears as patron of the palaestra watching the
athletes,[1659] and scenes of ephebi washing or bathing in preparation
for or after their contests.[1660] The athletes are often accompanied
by trainers, who use a forked stick to direct their movements.[1661] On
the later R.F. and the Italian vases it is a regular thing to find on
the reverse a roughly painted group of two or three athletes or ephebi,
usually wrapped in himatia and conversing together[1662]; in such cases
the palaestra is indicated by a pair of jumping-weights or a ball
suspended.
Subjects coming under the heading of what we call =Sport= are not so
common, and are practically limited to hunting scenes. They include
hare-hunts,[1663] stag-hunts,[1664] wolf-hunts and fox-hunts,[1665]
lion-hunts,[1666] and boar-hunts[1667]; in the latter on early B.F.
vases the figures often have fancy names, with a reference in some
cases to the hunt of the Calydonian boar, which created the type. Some,
especially B.F. vases, depict the departure of a hunter for the
chase,[1668] or his return loaded with game[1669]; or we see a party of
hunters resting (all with fancy names).[1670] A group of youths
capturing and taming a bull may also be mentioned here,[1671] and
horse-taming is similarly depicted.[1672] We see horses being
unharnessed, groomed, and watered,[1673] or exercised,[1674] and a man
with a backing horse[1675]; and we may also perhaps include among these
subjects scenes representing riding-lessons, a school for ephebi,[1676]
or a boy learning to mount a horse.[1677] A favourite subject for the
interiors of R.F. cups is that of a young Athenian on horseback,[1678]
often in Oriental or Thracian costume (see p. 179).[1679] On the B.F.
vases a horseman or a chariot is sometimes depicted in front view, a
notable exception to the preference of the time,[1680] and sometimes a
three-horse chariot takes the place of the quadriga.[1681] Among
miscellaneous chariot-scenes may be mentioned a goddess (?) and a hero
mounting chariots,[1682] a girl in a chariot drawn by hinds[1683]; and
people travelling in a country cart.[1684]
Among the various =Games= popular with Greek youths the favourite
is, perhaps, that of ball, which was often played by men mounted on
each other’s shoulders in two parties, this being known as
ἐφεδρισμός[1685]; a rougher variant, in which the ball was omitted
and victory was probably gained by overthrowing the opponent pair,
was known as ἐγκοτύλη.[1686] Women and children also play at ball,
as does Eros.[1687] Equally popular was cock-fighting[1688]; and we
also see a group of boys shooting with bow and arrows at a popinjay
or figure of a bird.[1689] Of indoor amusements the favourite is
the κότταβος, a popular relaxation after a banquet, often seen on
kylikes and other R.F. vases.[1690] Other games, more suitable to
younger boys, are top-spinning[1691] and bowling a hoop[1692];
others, again, in which boys and girls join, or even occasionally
Eros and Satyrs, are the games of _morra_ (_micare digitis_, or
“How many fingers do I hold up?”),[1693] and its variant, the
ὤμιλλα, played with knucklebones[1694]; swinging[1695] and
see-sawing[1696]; and flying a kite.[1697] A game of similar
character to the _morra_ is played by a winged girl, who places her
hands over the eyes of a boy in a chair.[1698] The so-called magic
wheel, which was twirled on a string, is almost exclusively used by
Eros on the vases of Southern Italy.[1699] Children with their
toys, such as go-carts, vases of various shapes, etc., are often
depicted on the smaller R.F. vases of the fine style, some of which
were perhaps actually made for playthings[1700]; and we often see
them accompanied by pet dogs, tortoises, and other animals.[1701]
Similarly there are representations of birds and beasts kept in
cages,[1702] and of grown-up people playing with pets: a youth and
girl with a mouse or jerboa,[1703] or a man with a Maltese
dog.[1704]
Equal in importance in the eyes of the Greeks was the other great
division of their education, μουσική; the wider sense in which they
used the word, the culture of the mind as opposed to that of the body
(γυμναστικη), admits of including under this heading school scenes as
well as musical performances. Among the former is the well-known kylix
of Duris in Berlin (Plate XXXIX.),[1705] where a teacher is seen
unrolling a manuscript on which appears an epic hexameter (see Chapter
XVII.); a pupil is about to write on tablets; and others undergo
instruction on the flute and lyre. Elsewhere we see a youth writing on
a tablet,[1706] or on his way to school[1707]; a man reading from a
roll[1708]; and a vivid representation of a schoolmaster giving a
writing lesson.[1709]
Lessons in music,[1710] singing,[1711] and dancing[1712] are by no
means infrequently represented, especially on R.F. vases; we have
already seen the young Herakles and Iphikles receiving instruction of
this kind,[1713] and on the vases both boys and girls take part in the
lessons. Dancing scenes include dances of maidens (very common on early
B.F. vases), or single figures of dancers[1714]; a girl dancing to the
flute or with castanets,[1715] or a youth to the music of a girl[1716];
a woman dancing the Pyrrhic dance in the attire of a warrior,[1717] and
a sacred Lydian dancer with her wicker head-dress.[1718] The grotesque
dancers on some early B.F. vases appear to be performing the
_kordax_.[1719]
Groups of musicians with no particular signification are often found,
generally playing the lyre and flute,[1720] or single figures, such as
a lyre-player in female costume,[1721] or in the distinctive
ὀρθοστάδιον of the musician.[1722] Other scenes relate to agonistic and
musical competitions, which often formed part of the great games; thus
we have on some Panathenaic vases and elsewhere contests for victory
with the lyre[1723] or flute.[1724] Sometimes the victorious musician
appears receiving the prize[1725] or a crown from Nike[1726]; he
usually stands on a _bema_ or raised platform. On one vase a poet
recites an epic to the sound of the flute; the opening words appear
proceeding from his mouth.[1727] On another a man is seen tuning his
lyre.[1728] Singing was a common recreation of banqueters or revellers,
especially as seen on R.F. vases.[1729]
[Illustration:
From _Baumeister_.
FIG. 136. AGRICULTURAL SCENES (CUP BY NIKOSTHENES IN BERLIN).
]
5. TRADES AND OCCUPATIONS
The trades and occupations represented on vases are very varied,
ranging from mining to shoemaking. The representations of miners in
caves which appear on some of the early Corinthian _pinakes_[1730] most
probably refer to the digging out of the clay for the potteries rather
than to mining for metals. This seems the more probable when it is
taken into consideration that potters’ workshops and furnaces are so
frequently depicted in the same series.[1731] Besides these we find
later instances of potters turning vases on the wheel,[1732] painting
them, or finishing them off,[1733] as already described in a previous
chapter: one vase represents the interior of a potter’s workshop with
vases in various stages[1734]; another, a man painting the design with
a sort of quill.[1735] Young men and girls are depicted negotiating the
purchase of completed vases in the shop.[1736] Another of the
Corinthian _pinakes_[1737] represents the exportation of vases in a
ship. Metal-work is represented by a well-known R.F. kylix in
Berlin,[1738] showing a bronze foundry, with statues in various stages
of completion; there are also representations of a smithy,[1739] in
some of which writers have seen an allusion to Hephaistos and the
Kyklopes (see p. 37). A man is depicted finishing off a bronze
helmet,[1740] or carrying a completed terminal figure[1741]; and of
similar import is the subject of Athena modelling a horse.[1742]
Agriculture is represented by vases in Berlin and the Louvre with
scenes of men ploughing with oxen (Fig. 136) or hoeing, sowers, and
mules carrying sacks of grain[1743]; and certain vase-paintings have
been interpreted as referring to the digging of a well.[1744] A man is
seen cutting down a tree,[1745] and another birds’-nesting.[1746]
Shepherds with flocks of sheep and goats are seen on two early Boeotian
vases,[1747] and also fishermen,[1748] and men crushing grapes in a
wine-press.[1749] The various stages of oil-making include the
gathering of the olives from a tree,[1750] the pressing in an
oil-press,[1751] and lastly the merchant measuring out and selling his
oil.[1752] A butcher is represented cutting up meat,[1753] and also the
preparing and cutting up of a tunny-fish,[1754] and the baking of
bread[1755]; on a B.F. vase two men weigh goods in a balance[1756]; and
the export of the silphium (?) on the Arkesilas vase may also be
mentioned here.[1757] Lastly, we have a shoemaker in his shop,[1758] a
carpenter working with an adze,[1759] and a boy going to market with
two baskets carried on a pole.[1760]
6. DAILY LIFE OF WOMEN
Scenes from the daily life of women form our next heading, and we
include therewith those relating to marriage or preparations for
nuptials, which play so important a part in woman’s life. The “type” of
a marriage procession on B.F. vases is, as we have seen (p. 16, and
Vol. I. p. 378), liable to be confused with the subject of the marriage
of Zeus and Hera; the bride and bridegroom appear in a four-horse
chariot, accompanied by persons who, if not deities, at any rate bear
similar attributes, such as the caduceus of Hermes or the torches of
Artemis (as _pronuba_).[1761] In scenes of simpler character the
wedding party walk in procession or drive in a cart.[1762] On later
vases the bride is generally led by the hand by her husband,
accompanied as before in appropriate fashion.[1763] We also find scenes
representing the bridal pair on their marital couch (_lectus
genialis_),[1764] and the return of the bride after the
ceremonies.[1765] Other scenes may possibly represent a
betrothal,[1766] a bridal toilet,[1767] or a nuptial sacrifice,[1768]
and, finally, the arrival of the bridal pair at their house, with a
servant preparing the marriage-bed.[1769]
More common, especially on R.F. vases of the fine style, are scenes
taken from the life of the women’s apartments (γυναικωνῖτις),[1770]
such as women at their toilet,[1771] spinning wool,[1772] or bleaching
linen,[1773] or embroidering.[1774] Under the heading of toilet scenes
are included single figures of women arranging their hair,[1775]
painting their faces,[1776] fastening on their girdles[1777] or
shoes,[1778] or putting clothes in a wardrobe.[1779] They also play
with cats or dogs[1780] or pet birds,[1781] and there is a subject
identified as a “consolation” scene.[1782] Again, we see women bathing
both in private and public baths,[1783] or even swimming[1784]; but in
some of these scenes the bath merely forms part of the toilet. Many of
these toilet scenes may perhaps be idealised and regarded as groups of
Aphrodite, the Graces, etc.[1785]
A favourite subject, but almost confined to the B.F. hydriae, is that
of maidens with pitchers on their heads fetching water from a fountain,
which is usually in the form of a building with columns and lion’s-head
spouts of water; the maidens, five or six in number, carry the empty
hydriae flat on their heads, the full ones upright.[1786] Women are
sometimes seen in gardens or orchards, gathering fruit[1787] or (on
late R.F. vases) frankincense.[1788] Other miscellaneous scenes which
cannot be classified are: a woman in bed,[1789] woman with
foot-pan,[1790] at a meal,[1791] reading from a scroll,[1792] burning
incense,[1793] spinning a top,[1794] balancing a stick,[1795] riding in
a mule-car[1796]; two or more women wrapped in one large cloak[1797];
and an accouchement scene.[1798] Those in which children appear include
a nurse and child[1799]; a child learning to walk[1800]; a mother, and
a child in a high chair[1801]; and a woman beating a child with a
slipper[1802]; subjects of children playing with toys, etc., have
already been discussed (p. 167). Finally, there are the scenes in which
women appear as jugglers[1803] or performing dances in armour,[1804] of
which mention has been made; these were probably amusements associated
with banquets (see p. 182; also _ibid._ for banquets in which women,
_i.e._ courtesans, take part).
A very common decoration of vases, especially the inferior ones of
Apulia, is that of a woman’s head, either as the main subject or in
some subsidiary part of the decoration; these, however, are so common
that they hardly call for detailed description.[1805]
7. MILITARY AND NAVAL SUBJECTS
Subjects of a military character on vases are chiefly confined to
three—the arming of warriors,[1806] their setting out in chariots, on
horseback, or on foot,[1807] and combats of two or more figures.[1808]
In all these cases we are confronted with the often-recurring
difficulty as to when such subjects have a mythological significance.
Especially on B.F. vases, familiar types—such as the departure of
Hector or the combat of Achilles and Memnon, to be identified in other
cases by inscriptions—occur again and again in the same form, only
diversified by the varying number of bystanders, which is generally
regulated by the space at the painter’s disposal. Even when names are
added they are often of a fanciful kind; and thus, for instance, we
find combats between Homeric heroes which have no counterpart in
literary record.[1809]
In the scenes of warriors arming we may note certain motives as
recurring with more or less frequency—such as that of a warrior putting
on his greaves,[1810] helmet,[1811] or cuirass (Fig. 137),[1812] or
lacing up his helmet.[1813] Kindred subjects are that of a warrior
taking his shield out of his case,[1814] or an archer drawing an arrow
from his quiver,[1815] testing an arrow,[1816] or stringing his
bow.[1817] We may also note the rarer occurrence of such scenes as the
harnessing of a chariot (Frontispiece)[1818] or the equipping of a
war-horse.[1819] In the departure scenes the usual type on B.F. vases
is that of a four-horse chariot to the right, which the warrior is
mounting or has mounted; a woman sometimes give him drink, and an old
man stands at the horses’ heads. This “type” is used for the departure
of Amphiaraos (cf. Berlin 1655), Hector, or other heroes.[1820] It is
sometimes varied by placing the quadriga to the front.[1821] Or, again,
the warrior is seen on horseback, accompanied by his groom,[1822] or a
company on foot set out in marching array.[1823] On later vases the
more usual version is that of a warrior receiving a libation or
“stirrup-cup” from a woman before his departure, but the same scenes
might be interpreted as referring to his successful return.[1824]
Unmistakable instances of the return are those scenes where he receives
a crown,[1825] or is brought back as a corpse by his comrades.[1826]
There are scenes representing warriors taking oaths or omens at a tomb,
or omens by the inspection of the liver of a victim, all before
departure for battle[1827]; and single figures are countless,
especially inside R.F. kylikes.[1828]
[Illustration:
From _Hoppin_.
FIG. 137. WARRIOR ARMING; SCYTHIAN ARCHERS (AMPHORA BY EUTHYMIDES
IN MUNICH).
]
Among the various scenes incident to warfare may be mentioned an
ambuscade,[1829] a wounded warrior dragged out of battle,[1830] a
warrior protecting himself from darts,[1831] the capture of a
prisoner,[1832] warriors carrying dead bodies,[1833] or human heads as
trophies of victory.[1834] Besides single figures of warriors,
heralds,[1835] trumpeters,[1836] slingers,[1837] and archers[1838]
often appear; or representations of the armour of a warrior[1839]; or
of the Δοκιμασία or parade of Athenian knights.[1840] Of a somewhat
burlesque character is a scene depicting warriors riding on ostriches
and dolphins.[1841]
* * * * *
Naval scenes are very rare, but we find occasional early
representations of sea-fights,[1842] as on the Dipylon vases, the
vessels on which appear to be biremes.[1843] On the B.F. and R.F. vases
we find war-galleys[1844] or merchant-vessels,[1845] usually in places
suitable for a row of ships—such as the outer edge of a kylix[1846] or
the broad rim of a _deinos_ or large bowl.[1847] These are specially
common on vases of “mixed” technique. The subject of “keel-hauling,”
the punishment administered to refractory sailors, must also find a
place here.[1848]
8. ORIENTALS AND BARBARIANS
Oriental figures which can neither be classified as mythological,
historical, or _genre_ subjects sometimes appear on vases. We have
already made mention of such quasi-mythological subjects as combats of
Gryphons with Arimaspi or other figures in Oriental attire.[1849]
Phrygian warriors, too, may be seen in some Trojan scenes—such as the
sack of Troy or the flight of Aeneas[1850]—but their presence in scenes
of departure or combat does not necessarily make the subject
mythological.[1851] It is not always easy to identify the nationality
of these barbarians, and the names usually given to them—Persian,
Phrygian, or Scythian—must in many cases be regarded as somewhat
conventional, except where details of costume are unmistakable.[1852]
Archers in Oriental costumes, wearing peaked caps with long lappets,
and close-fitting costume of jerkin and trousers (ἀναξυρίδες), stippled
over to indicate skin, are seen shooting arrows, on foot or on
horseback,[1853] or accompanying the chariots of Greek warriors,[1854]
or taking part in general combats[1855]; as also warriors blowing
trumpets.[1856] Persian warriors in combat with Greeks appear on R.F.
vases of the strong period,[1857] and may have some reference to the
historical events of the time. It is even suggested that one is copied
from the famous painting by Mikon of the battle of Marathon.[1858] One
vase represents a sort of triumphal procession, perhaps of a Persian
king, riding on a camel[1859]; and others depict Persians riding.[1860]
Those of undoubted historical signification have already been
mentioned.[1861] Scythians appear as mounted or unmounted
archers,[1862] a Scythian horseman is attacked by a lion,[1863] a
Scythian pursues two courtesans,[1864] and there is a curious scene
depicting the revels of the Scythian Agathyrsi.[1865] Thracians, in the
typical local costume of ζεῖρα (a thick cloak) and ἀλωπεκῆ (a fox-skin
cap), appear by themselves or with Orpheus and Boreas[1866]; Thracian
horsemen are represented setting out[1867]; and after the conquests of
Miltiades the local costume appears to have become fashionable among
the Athenian youth, as they are depicted wearing it on some
contemporary vases.[1868] The Thracian custom of tattooing is suggested
in some of the Orpheus scenes.[1869]
Figures of negroes are not very common on vases, though many of
fifth-century date and later are modelled in the form of negroes’
heads; but there is a small class of B.F. alabastra on which they are
represented in the traditional barbarian costume of trousers, etc., and
are armed with the Oriental battle-axe.[1870] In one case a negro
accompanies a camel.[1871] Ethiopians are seen conveying the body of
Memnon or an ordinary warrior to his grave,[1872] and one vase
represents an Ethiopian with a jug.[1873] A pair of Egyptian combatants
can be identified on a fragmentary vase from Daphnae (Defenneh).[1874]
Lastly, many of the vases of Southern Italy, especially those of
Campania, represent combats or leave-takings of native Osco-Samnite
warriors, in their typical costume of triangular cuirass, gaily plumed
helmet, and scanty tunic.[1875]
[Illustration: FIG. 138. BANQUETERS PLAYING KOTTABOS (BRITISH MUSEUM, E
70).]
9. BANQUETS AND REVELS
A group of subjects which play an important part on vases of all
periods, especially the height of the R.F. style, but which do not
exactly fall under any of the headings so far enumerated, is that of
scenes connected with banquets and revels, especially of Athenian
ephebi. In the ordinary “type” of banquets at all periods (as in other
branches of art) the participants recline on couches on their left
elbows, the right arm being free to use, and that hand often holding a
drinking-cup or other appropriate attribute.[1876] In this fashion the
gods—such as Dionysos, Hermes, or Herakles after his apotheosis—indulge
in the pleasures of the banquet and the wine-cup.[1877] There are
scenes which represent the preparations for a banquet,[1878] or young
men on their way thither[1879]; and in those depicting the feast itself
a table is often placed before the couch, on which viands of various
kinds are seen[1880]; or the krater (mixing-bowl) stands by, ready for
the drinkers to replenish their cups.[1881] Vases are also filled by
means of a funnel.[1882] The results of over-indulgence are sometimes
realistically indicated on the R.F. cups.[1883] After the
drinking-bouts come amusements of various kinds, notably the game of
the kottabos.[1884] No instances of this occur before the middle of the
R.F. period, and on the cups of that time it is usually only indicated
by the manner in which the banqueters twirl their kylikes with a finger
crooked in the handle,[1885] preparatory to throwing the remaining
drops of liquid at the little figure on the top of the kottabos-stand,
the hitting of which caused part of the apparatus to fall with a
ringing noise.[1886] On the latest Athenian and many Apulian vases the
stand is often represented as well,[1887] not only in position for the
game, but borne along by revellers.[1888] It is also carried by
Seileni, Maenads, or Eros, and used by Dionysos at his banquets.[1889]
Other amusements take the form of music and dancing. The banqueters
themselves play the lyre or flute,[1890] or listen to male and female
performers on those instruments,[1891] or a young girl dances for their
amusement.[1892] The women jugglers, tumblers, and acrobatic
sword-dancers who often appear on late vases[1893] no doubt often
contributed to the entertainment of the “gilded youth” of their day.
Sometimes a banqueter is represented reclining on his couch and
singing, the words in one or two cases being inscribed as proceeding
out of his mouth.[1894] Not only men but women are represented
banqueting, as on the psykter by Euphronios at Petersburg, which has a
group of courtesans.[1895] This character also appears on the R.F.
vases at the men’s banquets.[1896]
The κῶμος or revel is equally popular with the banquet. It usually
takes the form of a procession of young and elderly men in various
unrestrained attitudes,[1897] dancing,[1898] singing,[1899] playing the
lyre, flute, or other instruments,[1900] carrying drinking-cups and
other vessels,[1901] or balancing them in sportive manner.[1902]
Frequently these κῶμος scenes are of a Dionysiac character, the god
himself, Seileni, Satyrs, and Maenads taking part,[1903] and sometimes
human beings are mingled with them. On a vase of the series connected
with the comic stage (Fig. 134, p. 161) a father is seen dragging a
drunken youth home from a banquet; but these scenes of rioting are not
always necessarily conceived as taking place before or after social
festivities. On a red-figured cup at Petersburg the subject of the
return from the feast of the Brauronian Dionysos is depicted in most
realistic fashion, the revellers indulging in all sorts of buffoonery
and fantastic actions, which suggest an Athenian counterpart of modern
Bank Holiday amusements[1904]!
To turn to a subject of a quieter character, what may be termed “love
scenes” are not uncommon on vases, especially of the later period. On
the Apulian vases indeed such subjects are innumerable. The usual type,
occasionally found on earlier vases,[1905] is that of a youth and a
seated girl exchanging presents, such as mirrors, wreaths, baskets of
fruit or jewel-boxes, Eros being frequently present.[1906] Scenes of
this kind were originally interpreted somewhat fantastically, as having
some reference to the Eleusinian or other mysteries,[1907] an idea
which no one would now seriously hold. Similar scenes which have no
particular import, such as groups of women, often with Eros, occur on
many R.F. vases of the later fine style, especially the pyxides and
lekythi.[1908] They are all clearly fanciful, and belong to an age when
tastes resembled those of the eighteenth century in their
artificiality. There are also some instances, especially on the R.F.
vases, where the sentiment is more definitely expressed, and couples
are seen embracing or caressing one another in amorous fashion.[1909]
It is not necessary to make more than passing allusion to the many
vases on which this harmless sentiment is replaced by coarseness and
open indecency of treatment, some of which, however, belong to the very
finest stage of red-figure painting.
Finally, we may mention here a few subjects of a _genre_ character
which seem to defy classification, and yet are sufficiently definite to
require separate mention. Such are the scenes so common on the
interiors of R.F. kylikes, which represent ephebi in all kinds of
attitudes, or carrying all sorts of objects, the great aim of the
artist being to find the most suitable design to fill in the circular
space.[1910] Thus we have such subjects as a youth putting on a greave
or sandals,[1911] carrying a wine-amphora[1912] or a lyre,[1913]
playing with castanets,[1914] or pursuing a hare[1915]; reclining at a
banquet[1916]; armed with a club or a large stone[1917]; a man leading
a leopard,[1918] and a man who seems from his gestures to be treading
unawares on a snake[1919]; and others of an athletic or military
character, of which mention has already been made. There are also many
subjects which appear to have a meaning, yet are not mythological, and
cannot be satisfactorily explained; such instances it would, however,
hardly be profitable to describe in detail.
10. ANIMALS
The last class of subjects with which this section has to deal is that
of animals, as considered apart from human beings, or objects of what
modern painters term “still life.” In the historical chapters of this
work it has been shown what a large part the animal world played in the
decoration of vases down to the sixth century B.C., and also which were
the animals most frequently selected for the friezes and other
decorations of early vases. Most noteworthy in this respect are the
Mycenaean vases (Vol. I. p. 273), with their representations of
cuttle-fish (Plate XV.), the nautilus or argonaut,[1920] and other
marine subjects. But to these early vases in the present case no
further allusion need be made; as _subjects_ they have not as a rule
sufficient interest. On the Attic vases of the B.F. and R.F. periods
animals rarely form a principal subject on vases, though they still
sometimes appear in small friezes on the less important parts of the
vase; it may, therefore, be of interest to note a few typical instances
in which this feature retains its prominence. Sometimes we have
subjects with action: as, for instance, one in which a panther tears a
stag, and is attacked by an archer and an armed warrior[1921]; or a
lion attacks a panther, a bull, or a deer.[1922] Again, the interior of
a B.F. kylix is sometimes filled with an animal subject, such as a
wounded stag,[1923] or a deer scratching itself or grazing,[1924] or
other animals[1925]; and in a similar position on one R.F. kylix we
have an ass with its pack.[1926] Other animal subjects worth mentioning
are a sea-serpent,[1927] goats browsing on vines,[1928] a fox caught in
a trap,[1929] cats and mice,[1930] the appearance of the swallow.[1931]
There is a class of ware made in Southern Italy which takes the form of
flat plates or dishes, decorated with representations of fish and
molluscs, such as the pike or mullet, the cuttle-fish and various
shell-fish; these were clearly used for eating fish off, and they have
in the centre a hollow to receive the sauce.[1932] Friezes of fish are
not infrequently found on the vases of Apulia. Animals, especially
birds, sometimes appear in friezes on the early Ionic vases, such as
geese, quails, or guinea-fowl[1933]; cocks and hens confronted are more
common, especially in the B.F. period,[1934] and one late Italian vase
has an amusing group of a cock and goose greeting one another with the
words, “Ah, the goose!” “Oh, the cock!”[1935]
Lastly, of subjects from still life, distinct from their appearance in
figure subjects, we find the armour of a warrior,[1936] a
washing-basin,[1937] a flute-case,[1938] a lyre,[1939] a table with
bread upon it,[1940] and a collection of objects for the toilet.[1941]
-----
Footnote 1112:
Athens 1259 = Reinach, i. 506; _Mon. Grecs_, 1876, pls. 1–2.
Footnote 1113:
B. M. F 68.
Footnote 1114:
Reinach, ii. 186.
Footnote 1115:
Petersburg 2188 = Reinach, i. 8; Reinach, i. 279 (= Baumeister, i. p.
635, fig. 706) and 380. In _Ant. Denkm._ i. 59 (now at Boston) and in
Berlin 2430 they do not appear in this connection.
Footnote 1116:
B.M. B 170; Helbig, 78 = Reinach, i. 96 = _Wiener Vorl._ 1888, pl. 6,
1 (Exekias).
Footnote 1117:
Millin-Reinach, ii. 44 (doubtful; perhaps Zethos and Amphion).
Footnote 1118:
Petersburg 1924 and 1929 = Reinach, i. 9.
Footnote 1119:
Reinach, i. 244.
Footnote 1120:
_Ibid._ i. 363.
Footnote 1121:
B.M. E 696.
Footnote 1122:
François vase; Reinach, i. 230, ii. 119.
Footnote 1123:
Reinach, i. 361 = Furtwaengler and Reichhold, pls. 38–39.
Footnote 1124:
Bibl. Nat. 442 = Reinach, ii. 79 = _Wiener Vorl._ 1889, 12, 5.
Footnote 1125:
Jatta 1095 = Reinach, i. 119 (Phineus scene); Reinach, i. 226 (in
Louvre).
Footnote 1126:
Reinach, i. 231, 507 (= Athens 853), ii. 1: see generally Roscher’s
_Lexikon_, _s.v._ Leukippiden.
Footnote 1127:
B.M. E 224 = Furtwaengler and Reichhold, pls. 8–9; probably
influenced by the painting by Polygnotos of this subject (see Vol. I.
p. 443).
Footnote 1128:
Reinach, i. 484: cf. Bibl. Nat. 388.
Footnote 1129:
B.M. B 633 = _Wiener Vorl._ iv. 9, 3.
Footnote 1130:
Inghirami, _Vasi Fitt._ ii. 187: cf. Reinach, i. 361 (rev. of vase).
Footnote 1131:
See p. 19.
Footnote 1132:
B.M. F 479; Reinach, i. 229; _Gaz. Arch._ 1875, pl. 14 (in Louvre).
Footnote 1133:
B.M. F 107.
Footnote 1134:
Munich 611 and 291 = Reinach, i. 419, ii. 47.
Footnote 1135:
Munich 371 = _Ber. d. sächs. Gesellsch._ 1853, pl. 10, 1, p. 145. He
is represented as attacking Linos, who had found fault with his
playing.
Footnote 1136:
Reinach, i. 326 (Iphikles here with Linos).
Footnote 1137:
See _B.M. Cat. of Vases_, ii. p. 13.
Footnote 1138:
Reinach, ii. 70.
Footnote 1139:
Furtwaengler, however, thinks the subject is Herakles sacrificing a
bull (_Gr. Vasenmalerei_, p. 16: see below, p. 106).
Footnote 1140:
Cf. Paus. v. 19, 1: τρεῖς ἄνδρες ἀλλήλοις προσεχόμενοι.
Footnote 1141:
See p. 106.
Footnote 1142:
_Isthm._ iii. 90.
Footnote 1143:
B.F.: B.M. B 196, B 322; Munich 3 = Reinach, ii. 62; an early
Athenian example in _J.H.S._ xxii. pl. 2. R.F.: Reinach, i. 242 =
_Wiener Vorl._ v. 4 = Louvre G 103 (Euphronios); Athens 1166. See
also Vienna 322 = Reinach, i. 339 and Munich 605 = _Ber. d. sächs.
Gesellsch._ 1853, pl. 8, fig. 1.
Footnote 1144:
B.M. B 314; Berlin 2057; Louvre F 208 = Reinach, i. 452; Munich 1180
= Reinach, i. 255, 2, and Helbig, 228 = _Ber. d. sächs. Gesellsch._
1853, pls. 5, fig. 2, and 8, fig. 2; Reinach, i. 255, 1 = Baumeister,
i. p. 49, fig. 56; Reinach, i. 451. The only R.F. examples published
are Munich 401 (= Furtwaengler and Reichhold, pl. 32) and 605 (=
_Ber. d. sächs. Gesellsch._ 1853, pl. 7, fig. 1).
Footnote 1145:
See above, p. 72.
Footnote 1146:
Bibl. Nat. 322.
Footnote 1147:
Cambridge 43: cf. Pind. _Nem._ iv. 46.
Footnote 1148:
_J.H.S._ xiii. pp. 71–2.
Footnote 1149:
B.F.: B.M. B 197, B 364 (= _Wiener Vorl._ 1890–91, pl. 6, 1,
Nikosthenes); Berlin 1732 = Reinach, ii. 66 = _Wiener Vorl._ 1889, 1,
2 (Kolchos). R.F.: B.M. E 73; Reinach, ii. 47, 68, 1 (?), and i. 223
= _Wiener Vorl._ D. pl. 5 (Pamphaios).
Footnote 1150:
Jatta 1088 = Reinach, i. 475 = _Wiener Vorl._ iii. 4: see _Röm.
Mitth._ 1894, p. 285.
Footnote 1151:
_Arch. Anzeiger_, 1898, p. 51 (vase in Boston).
Footnote 1152:
B.F.: B.M. B 228, B 313; Berlin 1851–52. R.F.: Munich 251 = Reinach,
i. 259.
Footnote 1153:
B.M. E 437 = Reinach, ii. 62 = _Wiener Vorl._ D. 6, 2.
Footnote 1154:
B.F.: B.M. B 223, B 311; Berlin 1906; Louvre F 38 = _Wiener Vorl._
1889, pl. 5, fig. 3 (Timagoras); Reinach, i. 227. No good R.F.
examples (see Reinach, i. 346).
Footnote 1155:
B.F.: B.M. B 225; Bibl. Nat. 255 = Reinach, ii. 61. R.F.: B.M. E 162;
Athens 1202 = Benndorf, _Gr. u. Sic. Vasenb._ pl. 32, 4.
Footnote 1156:
Reinach, i. 339 (R.F.).
Footnote 1157:
B.M. B 226; Helbig, 27; Reinach, ii. 64 (one = Bologna 195). R.F.:
Reinach, i. 221 and i. 41 (= Petersburg 1272, curious).
Footnote 1158:
B.F.: _Amer. Journ. of Arch._ 1900, pl. 6 (Proto-Corinthian);
_J.H.S._ i. pl. 1; Berlin 336 (= Reinach, i. 448), 1670 (= _ibid._
ii. 64, 1), 1737. R.F.: Reinach, i. 221. Late: B.M. F 43;
Millin-Reinach, i. 68.
Footnote 1159:
Petersburg 1787 = Reinach, i. 40.
Footnote 1160:
B.F.: B.M. B 30; Berlin 1702; Helbig, 5; Athens 657 = _Ant. Denkm._
i. 57; Louvre E 852 = Reinach, i. 156. R.F.: B.M. E 42, E 176;
_Boston Mus. Report_ for 1900, p. 49, No. 17 (Aristophanes and
Erginos).
Footnote 1161:
_Mon. Antichi_, ix. pl. 3 (in B.M.); Naples 3089 = _ibid._ p. 10 =
Millingen-Reinach, 33.
Footnote 1162:
Berlin 1722; Reinach, i. 388.
Footnote 1163:
Louvre F 60.
Footnote 1164:
Oxford 249; Berlin 766–67; Munich 783; Reinach, ii. 59, 10. Late
R.F.: Berlin 2359. Parody: Schreiber-Anderson, pl. 5, 2 = _Jahrbuch_,
i. p. 280.
Footnote 1165:
Bibl. Nat. 393 = Reinach, i. 397.
Footnote 1166:
B.F.: Vienna 217 = Reinach, i. 169 (Caeretan hydria). R.F.: B.M. E
38; Athens 1175 = Dumont-Pottier, i. pl. 18; Berlin 2534. See
Hartwig, _Meistersch._ p. 53, note 1.
Footnote 1167:
B.M. E 364; Reinach, i. 229, 338, 392.
Footnote 1168:
Berlin 4027 = Reinach, i. 338: cf. Aelian, _Var. Hist._ i. 24.
Footnote 1169:
Reinach, i. 384, and see i. 475 and ii. p. 423; Louvre E 633 (capture
of heralds): see for the myth, Paus. ix. 17, 2, ix. 25, 4; Diod. Sic.
iv. 10; Apollod. ii. 4, 11.
Footnote 1170:
Athens 970.
Footnote 1171:
Berlin 1927 (?); B.M. E 290.
Footnote 1172:
_Arch. Anzeiger_, 1895, p. 37 (R.F. in Berlin).
Footnote 1173:
Bibl. Nat. 174.
Footnote 1174:
_Boston Mus. Report_ for 1898, No. 33.
Footnote 1175:
B.F.: B.M. B 195, B 316; Bibl. Nat. 251 = Reinach, ii. 252. R.F.:
B.M. E 255 (= Hoppin, _Euthymides_, pl. 5); E 318, E 458; Berlin 2159
= Wernicke-Graef, _Ant. Denkm._ pl. 27, fig. 3; Munich 401 =
Furtwaengler and Reichhold, pl. 32 (Phintias); Reinach, i. 224. Late:
Naples 1762 = Millingen-Reinach, 30.
Footnote 1176:
Stackelberg, pl. 15.
Footnote 1177:
Munich 1294 = Reinach, i. 403; _ibid._ ii. 4 = _Wiener Vorl._ ii. 8.
Footnote 1178:
B.M. B 57.
Footnote 1179:
Cambridge 100; and see _J.H.S._ xix. pl. 9.
Footnote 1180:
Helbig, 232 = Reinach, ii. 59; a B.F. example in _Röm. Mitth._ 1902,
pl. 5.
Footnote 1181:
B.M. E 65 = Reinach, i. 193.
Footnote 1182:
B.M. F 494; Berlin 3291; heads of Herakles and Omphale, Bibl. Nat.
866.
Footnote 1183:
Louvre E 635 = Reinach, i. 151 = Rayet and Collignon, pl. 6; _Mon.
Grecs_, 21–2 (1893–94), pl. 14 (in Louvre).
Footnote 1184:
B.M. B 165; Athens 477 = Reinach, i. 519 (Melian vase): see note 1186
below.
Footnote 1185:
_J.H.S._ xii. pl. 19; _Jahreshefte_, 1900, p. 64. The slaying of
Iphitos is represented on a white-ground cup in the Louvre,
_Monuments Piot_, ii. p. 53.
Footnote 1186:
Athens 477, according to Pottier in _Revue des Études Grecques_,
1895, p. 389.
Footnote 1187:
_Anzeiger_, 1891, p. 119 (in Berlin); a burlesque of the subject is
given in Fig. 105, Vol. I. p. 474.
Footnote 1188:
Millin-Reinach, ii. 71.
Footnote 1189:
Reinach, ii. 75.
Footnote 1190:
Fig. 107, Vol. I. p. 480.
Footnote 1191:
Oxford 322; Reinach, ii. 62 = Roscher, iii. p. 762.
Footnote 1192:
Naples 3359 = Reinach, i. 400; and see note 1186.
Footnote 1193:
B.M. F 68.
Footnote 1194:
Hartwig, _Meistersch._ pl. 38, p. 422.
Footnote 1195:
Bibl. Nat. 822 = Millin-Reinach, ii. 10; _Ber. d. sächs. Gesellsch._
1855, pls. 1–2. See above, p. 67.
Footnote 1196:
Reinach, i. 226.
Footnote 1197:
Berlin 2164: cf. Athens 1119 = _Ath. Mitth._ 1901, pp. 146, 149.
Footnote 1198:
B.M. B 473; Berlin 1856, 1919.
Footnote 1199:
Berlin 3256 (Argonautic?).
Footnote 1200:
B.M. E 494 (? see p. 106, note 1216); Reinach, ii. 180 =
Millingen-Reinach, 51. On Chryse see _Class. Review_, 1888, p. 123;
the same figure occurs on the B.M. vase E 224 in connection with the
rape of the Leukippidae.
Footnote 1201:
B.M. E 505: cf. for statue B.M. F 233.
Footnote 1202:
Jatta 423 = Reinach, i. 205.
Footnote 1203:
Millin-Reinach, ii. 25.
Footnote 1204:
Reinach; i. 257; and cf. B.M. F 211, F 278 for H. at Olympia; also
Stackelberg, pl. 42.
Footnote 1205:
B.M. B 198, B 498; Reinach, ii. 74–5; Louvre F 116–117 = Reinach, i.
297 (Nikosthenes); Helbig, 93 = _Mus. Greg._ ii. 54, 2.
Footnote 1206:
B.M. D 14; Munich 369 = Furtwaengler and Reichhold, pl. 24 (Duris);
Benndorf, _Gr. u. Sic. Vasenb._ 42, 4; Reinach, ii. 298.
Footnote 1207:
B.M. B 301, B 497, E 66; Berlin 1961 = Reinach, ii. 43; Berlin 2534
(with Seilenos); Munich 388 = Furtwaengler and Reichhold, pl. 4 (B.F.
and R.F. “bilingual”); Reinach. ii. 39; Millin-Reinach, i. 37; Athens
764 = Heydemann, _Gr. Vasenb._ pl. 3, 1.
Footnote 1208:
B.M. B 167.
Footnote 1209:
Benndorf, _Gr. u. Sic. Vasenb._ pl. 44 (in Petersburg).
Footnote 1210:
Reinach, ii. 318; Helbig, ii. p. 327 = Millingen-Reinach, 35;
_Philologus_, 1868, pl. 2.
Footnote 1211:
B.M. B 229: cf. Berlin 4027 and B.M. E 814.
Footnote 1212:
_Él. Cér._ iii. 14.
Footnote 1213:
Berlin 2293, 3988; Petersburg 523 = Reinach, i. 467; _Él. Cér._ i. 1;
_Mon. Grecs_, 1875, pl. 1.
Footnote 1214:
B.M. B 147; Reinach, ii. 21.
Footnote 1215:
B.M. B 228; Berlin 1857; Helbig, 25; Reinach, ii. 43: cf. Athens 791
= Heydemann, _Gr. Vasenb._ pl. 3, 2.
Footnote 1216:
See B.M. E 494; _J.H.S._ xviii. p. 275; Roscher, _Lexikon_, i. p.
2235; Bacchylides, _Od._ 16; also p. 96, note 1211.
Footnote 1217:
B.M. E 370.
Footnote 1218:
Munich 384 = Reinach, i. 130 = Baumeister, i. p. 307, fig. 322;
Reinach, i. 481.
Footnote 1219:
B.F.: B.M. B 199–201, 211 (Pl. XXIX.), 230, 317–21; Reinach, ii. 72;
Oxford 212 (no deities). R.F.: Helbig, 230 (A. about to mount
chariot).
Footnote 1220:
Bibl. Nat. 253 = Reinach, i. 399 and 254.
Footnote 1221:
Berlin 1827 = Reinach, ii. 74; Reinach, ii. 161.
Footnote 1222:
With Athena: B.M. F 238; Millingen-Reinach, 36. With Nike: B.M. F 64,
F 102; Reinach, i. 368, 481, and ii. 204; _Wiener Vorl._ E. pls. 7,
8, fig. 3 = _Mon. Grecs_, 1876, pl. 3 (in Louvre; parody; chariot
drawn by Centaurs).
Footnote 1223:
B.F.: B.M. B 166, B 379, B 424; Berlin 1691, 1857; Reinach, i. 359,
1, ii. 76 (in Berlin). R.F.: B.M. E 262 = Reinach, ii. 75; Berlin
2278 = Reinach, i. 70 = _Ant. Denkm._ i. 9 (Sosias); Furtwaengler and
Reichhold, pl. 20; Reinach, i. 222, 408 (Fig. 127). Late: Naples 2408
= Reinach, i. 323; Petersburg 1775 = Reinach, i. 302 (parody).
Footnote 1224:
B.F.: Louvre F 30 = _Rev. Arch._ xiii. (1889), pl. 4 (Amasis); F
116–117 = Reinach, i. 297 = _Wiener Vorl._ 1890–91, pl. 4, figs. 1–2
(Nikosthenes); Bibl. Nat. 254; Berlin 1961 = Reinach, ii. 43. R.F.:
Berlin 2626; Reinach, ii. 76, 186.
Footnote 1225:
B.M. E 262; Bonn 720 = _Jahrbuch_, 1892, p. 69; Athens 1346 =
Dumont-Pottier, i. pl. 15; B.M. F 178; Reinach, i. 251 (all R.F. or
late).
Footnote 1226:
B.M. E 244; Berlin 3257; _Forman Sale Cat._ 364: see p. 77.
Footnote 1227:
Berlin 2538 = Reinach, ii. 162.
Footnote 1228:
B.M. E 264 = _Wiener Vorl._ 1890–91, 8, 1; a similar vase in _Röm.
Mitth._ 1894, pl. 8, has been otherwise interpreted (see below, p.
110, note 1233).
Footnote 1229:
Petersburg 830 = Reinach, i. 150 = _Wiener Vorl._ A. 8 (Hieron).
Footnote 1230:
See on the subject generally _Museo Ital._ iii. p. 235.
Footnote 1231:
_Gaz. Arch._ 1884, pls. 44–6.
Footnote 1232:
_Wiener Vorl._ E. 12, 2.
Footnote 1233:
See _J.H.S._ xviii. pl. 14, and pp. 277–79 for three other instances;
the last, however, is susceptible of other interpretations.
Footnote 1234:
Bologna 273 = Baumeister, iii. p. 1999, fig. 2149. The B.M. vase E
264 (see p. 108, note 1228) _may_ have the same meaning, in which
case the woman holding the clue is a sort of “short-hand” allusion to
the adventure awaiting him. See also Reinach, ii. 81 (Theseus
receiving libation from Aithra).
Footnote 1235:
B.M. E 41 = Reinach, i. 532 (Chachrylion).
Footnote 1236:
Berlin 2179 = _Wiener Vorl._ iii. 6; Reinach, i. 222 = Plate XXXIX.
(also interpreted as Peleus and Thetis, see p. 120); Harrison and
Verrall, p. cxxxi (in Vienna): see also _Boston Mus. Report_ for
1900, p. 67, No. 25.
Footnote 1237:
Reinach, i. 91; ii. 264 (= Bibl. Nat. 421).
Footnote 1238:
Munich 7; B.M. E 41; Reinach, i. 87.
Footnote 1239:
B.M. E 157, 272, 450; Reinach, ii. 163 (now in B.M.; a complete and
magnificent example); Millin-Reinach, i. 10; Naples 2421, 3253, and
R.C. 239 = Reinach, ii. 278, i. 330, i. 482 (the first of these given
by Furtwaengler and Reichhold, pls. 26–8).
Footnote 1240:
B.M. F 272; Munich 368 = Hartwig, _Meistersch._ pls. 59, 60, and 805
= Reinach, i. 391; Reinach, ii. 181–82; _Boston Mus. Report_ for
1900, p. 50, No. 17 (Erginos and Aristophanes); and see under
Centaurs, p. 145.
Footnote 1241:
Munich 410 = Reinach, ii. 86 = Furtwaengler and Reichhold, pl. 33.
Footnote 1242:
Berlin 1731 = Roscher, iii. p. 1782, has been interpreted as the rape
of Helene.
Footnote 1243:
See Furtwaengler, _op. cit._ p. 177; and cf. Bibl. Nat. 256 =
Reinach, ii. 254. Berlin 3143 = Reinach, i. 373, may also represent a
rape by Theseus.
Footnote 1244:
Jatta 1094 = Reinach, i. 356: see also Reinach, i. 108, 455, and
above, p. 68.
Footnote 1245:
Munich 849 = Reinach, i. 258.
Footnote 1246:
_Ant. Denkm._ i. 59 (in Boston).
Footnote 1247:
See B.M. F 123 and F 272; also a vase in Berlin (_Arch. Anzeiger_,
1890, p. 89), where Eros shoots with his bow at Phaidra; Hippolytos
is present. Cf. also Naples 2900 = Millingen-Reinach, 41.
Footnote 1248:
B.M. F 279.
Footnote 1249:
Petersburg 1357 = Reinach, i. 244, and 1723 = Baumeister, i. p. 406,
fig. 448; Naples 3140 = _Mus. Borb._ ii. 30, 4; _Monuments Piot_, x.
pl. 8 (in Boston); and cf. Berlin 2300 = Reinach, i. 273.
Footnote 1250:
B.M. B 155, F 490 (?).
Footnote 1251:
B.M. F 83.
Footnote 1252:
Athens 1956 = _Ath. Mitth._ xi. (1886), pl. 10.
Footnote 1253:
B.M. B 471 = Fig. 97, Vol. I. p. 382; Berlin 3022 = Reinach, i. 172;
Munich 1187 = Reinach, ii. 109: cf. Bibl. Nat. 456.
Footnote 1254:
B.M. B 248, B 380; E 181, E 399; F 500; Berlin 1682 = Reinach, i.
441; Bibl. Nat. 277 = Reinach, i. 290; Munich 619 = Reinach, ii. 48.
Footnote 1255:
B.M. E 493; _Mon. Grecs_, 1878, pl. 2 (a fine example in the Louvre).
Footnote 1256:
Munich 619, 910 = Reinach, ii. 48–9; _Ant. Denkm._ i. 57. For
Chrysaor see Reinach, i. 172 (Louvre E 857), ii. 49, and Stackelberg,
39.
Footnote 1257:
Millin-Reinach, ii. 4.
Footnote 1258:
B.M. E 169 = _J.H.S._ xxiv. pl. 5, and F 185; Engelmann, _Arch.
Studien_, p. 6; and cf. Naples 3225; Millin-Reinach, ii. 3;
_Jahrbuch_, xi. (1896), pl. 2 (in Berlin). For the correct
explanation of the first-named vase see Petersen in _op. cit._ p. 104
ff.
Footnote 1259:
Berlin 1652 = Reinach, i. 217; Roscher, iii. p. 2053 (in Berlin; a
fine instance); Naples 3225, S.A. 24, S.A. 708 = Reinach, i. 188.
Footnote 1260:
Reinach, i. 344; _Jahrbuch_, vii. (1892), p. 38: cf. _Philologus_,
1868, pl. 1, fig. 1, and pl. 3.
Footnote 1261:
Millingen-Reinach, 3: see _Philologus_, 1868, pl. 1, figs. 2–3, p. 16.
Footnote 1262:
Berlin 2377 = Reinach, i. 289.
Footnote 1263:
_Jahrbuch_, 1892, p. 33.
Footnote 1264:
Naples 2202 = Dubois-Maisonneuve, _Introd._ pl. 46; Reinach, i. 284.
Footnote 1265:
B.M. E 610, E 715 (Plate XLVI., fig. 4).
Footnote 1266:
B.M. B 2: cf. Bibl. Nat. 977 for a similar figure inaccurately (?)
inscribed Oinomaos.
Footnote 1267:
B.M. F 331; Naples 1982 = Reinach, i. 292 (very doubtful; Oinomaos
absent: see p. 123, note 1361).
Footnote 1268:
B.M. F 271, 278; Naples 2200 = Reinach, i. 379; Athens 968 =
_Jahrbuch_, 1891, p. 34 (B.F.); Reinach, i. 290 = _Wiener Vorl._ i.
pl. 10, 2; Naples 2858 = _ibid._ pl. 10, 1 (subject doubtful).
Footnote 1269:
Naples 3255 = Reinach, i. 235; Reinach, i. 163 = Baumeister, ii. p.
1203, fig. 1395; Naples S.A. 697.
Footnote 1270:
Berlin 3072 = Reinach, i. 204.
Footnote 1271:
Naples 2200 = Reinach, i. 379.
Footnote 1272:
Naples 3222 = Reinach, i. 167.
Footnote 1273:
Jatta 1499 = Reinach, i. 127 = _Wiener Vorl._ viii. 8; _Boston Mus.
Report_, 1900, p. 68, No. 25.
Footnote 1274:
Naples 2418 = Dubois-Maisonneuve, _Introd._ pl. 69; _Wiener Vorl._
viii. 9, 1 = Roscher, ii. 282; Reinach, i. 287, ii. 318.
Footnote 1275:
_Amer. Journ. of Arch._ 1900, pl. 4; Louvre A 478; Reinach, i. 108
(Karlsruhe 388), 517 (Athens 1589), 331 (four late examples), and ii.
279; and see B.M. B 105, B 162; Naples 3253 = Reinach, i. 195; Berlin
3258.
Footnote 1276:
Petersburg 427 = Inghirami, _Vasi Fitt._ 3 (see Vol. I. p. 478 and
_Ann. dell’ Inst._ 1874, p. 35).
Footnote 1277:
Baumeister, i. p. 303, fig. 319; and see Reinach, i. 331, and Munich
805 = _ibid._ i. 277 (the latter so interpreted by Flasch, _Angebl.
Argonautenbilder_, p. 30 ff.).
Footnote 1278:
B.F.: François vase; Munich 333 = Reinach, ii. 119 = _Wiener Vorl._
1889, 2, 2; Berlin 1705; Helbig, 34 = _Mus. Greg._ ii. 90; Reinach,
i. 230. R.F.: Reinach, ii. 162, 210.
Footnote 1279:
Roscher, iii. p. 1811.
Footnote 1280:
_E.g._ B.M. B 37 (Plate XXI.), F 154; Vienna 217 = Reinach, i. 170.
See also p. 166.
Footnote 1281:
Naples S.A. 11 = Reinach, i. 401.
Footnote 1282:
Naples 3412 = Reinach, i. 498 = _Wiener Vorl._ B. 2, 1 (Assteas;
Phrixos also on ram); Reinach, ii. 309. For Phrixos on ram see Berlin
3345, and _Festschr. für Overbeck_, p. 17.
Footnote 1283:
_Tyszkiewicz Coll._ pl. 12 (the antiquity of this vase is very
questionable).
Footnote 1284:
Naples S.A. 270 = Reinach, i. 319.
Footnote 1285:
Reinach, i. 226, 1–3: see _Festschrift für O. Benndorf_, p. 67 and p.
133, note 5.
Footnote 1286:
See p. 81.
Footnote 1287:
Ionic cup in Würzburg, Reinach, i. 201 = Furtwaengler and Reichhold,
pl. 41; B.M. E 302; Jatta 1095 = Reinach, i. 119; Stackelberg, pl. 38
= Millingen, _Anc. Uned. Mon._ i. 15; and see Berlin 1682.
Footnote 1288:
Bibl. Nat. 442 = Reinach, ii. 79 = _Wiener Vorl._ 1889, 12, 5.
Footnote 1289:
_J.H.S._ x. p. 118 = Reinach, i. 226.
Footnote 1290:
Millingen-Reinach, 51 = Reinach, ii. 180: see above, p. 105.
Footnote 1291:
Munich 805 = Reinach, i. 277 = _Wiener Vorl._ iv. 3; but see Flasch,
_Angebl. Argonautenb._ p. 30 ff., and p. 137 (Laertes and Antikleia).
Footnote 1292:
Petersburg 422 = Reinach, i. 139; Baumeister, i. p. 123, fig. 128;
Millingen-Reinach, 6.
Footnote 1293:
Helbig, ii. p. 328 = Reinach, i. 102 = Baumeister, i. p. 124, fig.
129; Reinach, i. 137; but see Flasch, _Angebl. Argonautenb._ p. 24 ff.
Footnote 1294:
Naples 2413 = Roscher, ii. 81, and 3252 = Reinach, i. 449.
Footnote 1295:
Naples 3248 = Roscher, ii. 83.
Footnote 1296:
Millingen-Reinach, 7 = _Wiener Vorl._ ii. 8.
Footnote 1297:
Jatta 1501 = Reinach, i. 361 = Furtwaengler and Reichhold, pls. 38–39.
Footnote 1298:
Helbig, 179 = Reinach, i. 359 (ram led to caldron). B.M. B 221, B
328; Berlin 2188; Reinach, ii. 81 (ram placed in caldron; daughters
of Pelias usually present).
Footnote 1299:
Reinach, i. 336; _ibid._ 359 = Helbig 179 (P. led to slaughter by
daughters; M. waiting with knife).
Footnote 1300:
B.M. E 163 (J. as old man; ram in caldron).
Footnote 1301:
Naples S.A. 526.
Footnote 1302:
Munich 810 = Reinach, i. 363 = Baumeister, ii. p. 903, fig. 980;
Reinach, i. 402.
Footnote 1303:
Naples 3221 = Reinach, i. 402.
Footnote 1304:
Bologna 273 = Baumeister, iii. 1999, fig. 2149.
Footnote 1305:
B.M. E 224.
Footnote 1306:
Cf. the poem by Stesichoros, Ἄthla ἐpὶ Pelίa
Footnote 1307:
Berlin 1655 = Reinach, i. 199: see Vol. I. p. 319.
Footnote 1308:
_Bull. de Corr. Hell._ xxiii. p. 158; but see _Burlington Fine Arts
Club Cat._ (1903), p. 92, for another explanation; also p. 47.
Footnote 1309:
The only literary source for these stories (before Roman times) is in
the tragic poets. But subjects from the _Septem_ of Aeschylus are not
found on vases; and it is not until the Hellenistic period that any
real references to the Sophoclean and Euripidean plays occur. On some
of the Megarian bowls (Vol. I. p. 500) the subjects adhere very
closely to the text.
Footnote 1310:
B.M. E 81; Petersburg 2189 = Reinach, i. 5.
Footnote 1311:
B.M. B 505–6.
Footnote 1312:
Louvre E 669 = Reinach, i. 435, 1; Berlin 2634 = _Wiener Vorl._ i. 7
= Roscher, ii. 837; Naples 3226 = Millingen, _Anc. Uned. Mon._ i. pl.
27 (Assteas); Millin-Reinach, ii. 7 (in Louvre); _Röm. Mitth._ v.
(1890), p. 343.
Footnote 1313:
Athens 1858 = Reinach, i. 396: see p. 155, note 1548, for another
interpretation; also _Arch. Zeit._ 1865, p. 68, and Frazer,
_Pausanias_, v. p. 49.
Footnote 1314:
_Wiener Vorl._ C. 7, 3 = Roscher, ii. 842.
Footnote 1315:
Berlin 3296 = Reinach, i. 421 = Baumeister, i. p. 456, fig. 502. The
vase given in Millin-Reinach, ii. 44, may represent Zethos and
Amphion with Antiope.
Footnote 1316:
Reinach, i. 379.
Footnote 1317:
Berlin 3239; Naples 1769; _Wiener Vorl._ vi. 11 = Roscher, i. p. 903.
Footnote 1318:
Bibl. Nat. 372 = Reinach, i. 92 = Baumeister, ii. p. 1049, fig. 1266.
Footnote 1319:
B.M. E 696 = _J.H.S._ viii. pl. 81.
Footnote 1320:
B.F.: B.M. B 539; Stackelberg, pl. 16. R.F.: B.M. E 156; Vienna 336 =
Reinach, i. 177; _J.H.S._ xxiv. p. 314 (Oxford); Helbig, 186 =
Hartwig, _Meistersch_. pl. 73. See also parodies in _Philologus_,
1897, pl. 1 (in Boston), and _Arch. Anzeiger_, 1891, p. 119 (Berlin).
Footnote 1321:
See p. 147; _q.v._ also for Sphinx seizing Theban youth.
Footnote 1322:
_Wiener Vorl._ 1889, 9, 6.
Footnote 1323:
_Ibid._ pl. 8, 8 = Reinach, i. 376: see Roscher, iii. p. 736.
Footnote 1324:
Naples 2868 = _Wiener Vorl._ 1889, 9, 10. See also Chapter XVII.
Footnote 1325:
B.F.: Berlin 1655 = Reinach, i. 199 = _Wiener Vorl._ 1889, 10;
Kopenhagen 112 = Millingen-Reinach, 20; _J.H.S._ xviii. pl. 16 (?);
Roscher, i. p. 295. R.F.: Munich 151 = Overbeck, _op. cit._ iii. 5;
Petersburg 1650 = Reinach, i. 120, and 406 = _ibid._ i. 480.
Footnote 1326:
B.M. B 247; Berlin 1712.
Footnote 1327:
Millingen-Reinach, 20.
Footnote 1328:
_Ath. Mitth._ 1899, p. 361.
Footnote 1329:
Berlin 2395 = Reinach, i. 461: see _Arch. Zeit._ 1881, p. 258.
Footnote 1330:
Athens 960 = _Wiener Vorl._ 1889, 11, 8.
Footnote 1331:
_Jahrbuch_, viii. (1893), pl. 1: see Thiersch, _Tyrrhen. Amphoren_,
p. 56.
Footnote 1332:
B.M. D 7; Petersburg 523 = Reinach, i. 466 = _Wiener Vorl._ 1889, 11,
1.
Footnote 1333:
Naples 3255 = Reinach, i. 235 = Baumeister, i. p. 114, fig. 120;
perhaps also Millin-Reinach, ii. 37 (Lasimos in Louvre).
Footnote 1334:
Munich 144: cf. Naples 1766 = Overbeck, _Her. Bildw._ pl. 4, 4; and
see Reinach, ii. 284, Roscher, i. p. 296, and Stat. _Theb._ v. 699 ff.
Footnote 1335:
Kopenhagen 64 = Reinach, i. 259 = Baumeister, i. p. 17, fig. 19.
Footnote 1336:
Louvre E 640 = Reinach, i. 147 = _Wiener Vorl._ 1889, 11, 4;
Millingen-Reinach, 22 (?).
Footnote 1337:
Petersburg 452 = Reinach, i. 161 = _Wiener Vorl._ iii. 3.
Footnote 1338:
_J.H.S._ xviii. pl. 17, 1 (?).
Footnote 1339:
Jatta 423 and Berlin 3240 = Reinach, i. 205, 409 = _Wiener Vorl._
1889, pl. 9, figs. 14, 12; B.M. F 175 (?): see also Jatta 414 =
Reinach, i. 467 = _Wiener Vorl._ B. 4, 2.
Footnote 1340:
Reinach, i. 273.
Footnote 1341:
Petersburg 2188 = Reinach, i. 8; Berlin 2430 = _ibid._ i. 287 (Helen
coming forth); Reinach, i. 279 (= Baumeister, i. p. 635, fig. 706)
and 380; Micali, _Mon. Ined._ 38; _Ant. Denkm._ i. 59 (in Boston).
For the various versions of the myth see Roscher, _s.v._ Helena.
Footnote 1342:
_Boston Mus. Report_ for 1900, p. 70, No. 27; and cf. Reinach, i. 173.
Footnote 1343:
For a collected list of all vase-paintings connected with this story
see _Jahrbuch_, i. (1886), p. 201 ff.
Footnote 1344:
B.M. E 647; Munich 807 = Millingen-Reinach, 4; Louvre E 639 =
_Jahrbuch_, 1886, pl. 10, 1; Reinach, ii. 91; and see _ibid._ i. 222
= Plate XXXIX. (otherwise interpreted, p. 111).
Footnote 1345:
B.F.: B.M. B 215 (Fig. 128); Munich 380 = Reinach, ii. 115 =
Baumeister, iii. p. 1799, fig. 1882. R.F.: B.M. E 424; Berlin 2279 =
Baumeister, iii. p. 1797, fig. 1881 (Peithinos); Athens 1202 =
Benndorf, _Gr. u. Sic. Vasenb._ 32, 4; Athens 1588 = $1$2 1897, pl.
9; Munich 369 = Furtwaengler and Reichhold, pl. 24 (Duris); Overbeck,
_Her. Bildw._ pl. 7, fig. 8 (in Vatican).
Footnote 1346:
B.M. E 9, E 73; and see above, pp. 25, 26.
Footnote 1347:
Palermo 1503 = Overbeck, _Her. Bildw._ pl. 8, fig. 6: see also for
Cheiron p. 146.
Footnote 1348:
Furtwaengler and Reichhold, pl. 1.
Footnote 1349:
B.M. B 620; Berlin 4220; De Witte, _Coll. à l’Hôtel Lambert_, pl. 1;
Athens 966 (with Athena and Hermes); Louvre G 3 (Pamphaios); Micali,
_Storia_, pl. 87; B.M. B 77 = Fig. 98 (parody).
Footnote 1350:
Bibl. Nat. 538 = Reinach, i. 90 (doubtful); Jahn. _Arch. Beitr._ pl.
11 (?), and see p. 352 ff.
Footnote 1351:
Reinach, ii. 43.
Footnote 1352:
Bibl. Nat. 1047 = Reinach, i. 87.
Footnote 1353:
Reinach, i. 126 = Bibl. Nat. 422.
Footnote 1354:
See _J.H.S._ vii. p. 196 ff., whence this classification is taken.
Footnote 1355:
B.M. B 236–38; early Ionic vase in Munich, 123 = Furtwaengler and
Reichhold, pl. 21; Overbeck, _Her. Bildw._ pl. 9, fig. 2 (Xenokles);
_J.H.S._ vii. pl. 70, p. 198.
Footnote 1356:
B.F.: B.M. B 312. R.F.: B.M. E 445; Berlin 2536 = Roscher, iii. p.
1615.
Footnote 1357:
B.F.: B.M. B 171; Munich 1269 = Overbeck, _op. cit._ 9, 6. R.F.:
Berlin 2291 = Fig. 129 (Hieron); Reinach, i. 246 = Roscher, iii. p.
1610 (Brygos, in Louvre); Roscher, iii. p. 1617 (fine pyxis in
Kopenhagen; the goddesses in chariots).
Footnote 1358:
Berlin 2633; Petersburg 1807 = Reinach, i. 7; B.M. F 109, F 167;
Berlin 3240; Karlsruhe 259 = Furtwaengler and Reichhold, pl. 30;
_Ath. Mitth._ xxiv. (1899), p. 67 (R.F. kotyle in Berlin, Hermes
omitted).
Footnote 1359:
_Wiener Vorl._ E. 11 = _Jahrbuch_, ix. (1894), p. 252.
Footnote 1360:
_Boston Mus. Report_ for 1899, No. 30, and 1901, p. 35 (both from the
Kabeirion, Thebes).
Footnote 1361:
B.M. F 175; Athens 1942 = Reinach, i. 402; Petersburg 1924 = Reinach,
i. 9 = _Wiener Vorl._ C. 1, 3; Naples 1982 = Reinach, i. 292 (? See
p. 113, note 1267); Reinach, i. 375.
Footnote 1362:
B.M. E 226; Jatta 1619 = _Él. Cér._ iv. 72 = Roscher, i. 1961.
Footnote 1363:
B.M. E 69 = _Wiener Vorl._ vi. 2; Berlin 2291 = Reinach, i. 437, 1 =
Baumeister, i. p. 637, fig. 709 (Hieron); Petersburg 1929 = Reinach,
i. 9; Reinach, i. 437, 2 (Hieron and Makron): see also _Rev. Arch._
xxxiii. (1898), p. 399.
Footnote 1364:
B.M. F 175 (?).
Footnote 1365:
Millingen, _A.U.M._ i. 21 (fine R.F. vase in Louvre); _Röm. Mitth._
ii. (1887), pls. 11–12, 4; Berlin 1737 = _Wiener Vorl._ B. 9, 4.
Footnote 1366:
Naples 3352 = Reinach, i. 485; and see Bibl. Nat. 418 = Reinach, i.
83; also Roscher, _s.v._ Nereus.
Footnote 1367:
Reinach, i. 286 = Bibl. Nat. 851 = _Wiener Vorl._ B. 9, 2 (Epigenes).
Footnote 1368:
Berlin 2264 (Oltos and Euxitheos) = _Wiener Vorl._ D. 2, 1; Bibl.
Nat. 851 = Reinach, i. 287 = Roscher, iii. 295: see also Roscher,
iii. 1697–99 (setting out of Patroklos). As Nestor himself went to
the war, it is possible that this scene is to be regarded as taking
place during and not before it.
Footnote 1369:
Bologna 273 = _Wiener Vorl._ i. 4.
Footnote 1370:
B.M. E 16; Baumeister, i. p. 683, fig. 743; and see Overbeck, _Her.
Bildw._ pl. 13, 7, p. 276.
Footnote 1371:
_Jahrbuch_, 1902, pl. 2 (in Boston).
Footnote 1372:
_Iph. in Aul._ 192 ff.
Footnote 1373:
B.M. B 193 (Plate XXXI.), B 211, E 10; Helbig, 78 = Reinach, i. 96 =
_Wiener Vorl._ 1888, 6, 1 (Exekias). A “bilingual” example in Boston
(by Andokides? B.F. and R.F.): see _Amer. Journ. of Arch._ 1896, pp.
40–41, figs. 15–16. The latest example seems to be _Arch. Anzeiger_,
1892, p. 102.
Footnote 1374:
B.M. B 541, E 160: see below, p. 133, and _B.M. Cat._ iii. p 36.
Footnote 1375:
B.M. F 159 = _Wiener Vorl._ v. 9, 3.
Footnote 1376:
Reinach, i. 358 = Millingen-Reinach, 50; _ibid._ i. 145 = Baumeister,
iii. p. 1326, fig. 1479; Milani, _Mito di Filottete_, frontispiece.
Footnote 1377:
Bibl. Nat. 256 = Reinach, ii. 254: see p. 111, note 1243.
Footnote 1378:
Petersburg 1793 = Reinach, i. 3: for a more probable interpretation
(birth of Dionysos) see p. 19.
Footnote 1379:
Dubois-Maisonneuve, _Introd._ pl. 63; Engelmann, _Arch. Stud. zu den
Trag._ p. 17; and see Urlichs, _Beiträge_, pl. 4.
Footnote 1380:
Petersburg 1275 = Reinach, i. 152: cf. Millingen, _Anc. Uned. Mon._
i. pl. 22 (Overbeck, _Her. Bildw._ p. 296).
Footnote 1381:
Overbeck, _Her. Bildw._ 13, 9.
Footnote 1382:
B.M. E 382; Naples 2293 and R.C. 141 = Baumeister, iii. p. 1725, fig.
1807.
Footnote 1383:
_Boston Mus. Report_ for 1898, No. 40 (signed by Hieron).
Footnote 1384:
B.M. B 153.
Footnote 1385:
B.M. B 324, 542; _Forman Sale Cat._ 282 (= Reinach, i. 285, 1) and
308 (both in B.M.); Athens 620 = Reinach, i. 394 = _Wiener Vorl._
1888, 1, 1 (Timonidas); B.M. F 493 (caricature).
Footnote 1386:
Louvre E 703 = Reinach, ii. 92 (early Ionic); B.M. B 307; François
vase; Berlin 1685; Helbig, 130 = _Mus. Greg._ ii. 22, 1; B.M. E 10, E
13, and _Forman Sale Cat._ 339.
Footnote 1387:
Reinach, ii. 114–15 = Baumeister, iii. p. 1901, fig. 2000
(Euphronios); Reinach, i. 285, 3; Louvre G 18 = Reinach, i. 203, 3;
Louvre E 703 = Reinach, ii. 92; B.M. B 326.
Footnote 1388:
Munich 124 = Reinach, ii. 113.
Footnote 1389:
Berlin 2278 = _Ant. Denkm_. i. 10; and see Overbeck, _Her. Bildw._ p.
297.
Footnote 1390:
Reinach, ii. 198.
Footnote 1391:
_Ibid._ i. 306 = _Wiener Vorl._ iii. 1 (the names may be fanciful);
_ibid._ i. 77 (cf. Overbeck, _Her. Bildw._ p. 333).
Footnote 1392:
Louvre E 609 = Reinach, i. 395 = _Wiener Vorl._ 1888, 1, 3 (Chares
pyxis).
Footnote 1393:
Like others of the Homeric scenes on B.F. vases, this type is
sometimes used for an ordinary warrior taking leave of his family,
and unless names are given it is difficult to distinguish.
Footnote 1394:
Robert, in _Hermes_, 1901, p. 391, connects this scene with Book xix.
320 ff.
Footnote 1395:
The text is not exactly followed here. Menelaos kills Euphorbos in
the _Iliad_, but does not fight over his body with Hector as he does
on the vase. Possibly there is a confusion with the Patroklos episode
below.
Footnote 1396:
The “Psychostasia” is also referred to the combat of Achilles and
Memnon (p. 132).
Footnote 1397:
See, for a revised drawing of this vase, Hill, _Illustrations of
School Classics_, p. 105.
Footnote 1398:
B.M. B 209–10 (= _Wiener Vorl._ 1888, pl. 6, 2, 1889, pl. 3, 3 =
Reinach, ii. 105), B 323 (?), E 280; Munich 478 = Reinach, ii. 105,
and 370 = Furtwaengler-Reichhold, 6.
Footnote 1399:
See below, p. 144.
Footnote 1400:
_Boston Mus. Report_, 1903, No. 70: cf. Quint. Smyrn. i. 741 ff.
Footnote 1401:
Overbeck, _Her. Bildw._ 21, 16 = Roscher, ii. 2674; and see B.M. B
209 = Reinach, ii. 105.
Footnote 1402:
Millingen, _A.U.M._ i. 4 = Engelmann-Anderson, _Atlas to Od._ iii. 15
(? see above, under _Il._ xxii. 306 ff.); Reinach, ii. 105, 2.
Footnote 1403:
B.F.: Berlin 1147; Helbig, 8, 31 = _Mus. Greg._ ii. 28, 1, and 38,
1; Bibl. Nat. 207 = Reinach, ii. 254. R.F.: B.M. E 468;
Millingen-Reinach, 49 = Reinach, i. 358; _Tyszkiewicz Coll._ pl. 17
(now in Boston). In the last-named the subject is slightly varied.
Footnote 1404:
B.M. E 12 = _Wiener Vorl._ D. 3, 1; Reinach, i. 149; Louvre F 388
(?): see p. 71.
Footnote 1405:
Millingen, _A.U.M._ i. 5; _Wiener Vorl._ vi. 7 = Roscher, i. p. 1265
(in Louvre); Reinach, i. 347 = _Bourguignon Cat._ 19: cf. also Athens
1093 = Roscher, ii. 2678 (Eos, together with Thanatos and Hypnos, two
Keres).
Footnote 1406:
Helbig, 43 = _Mus. Greg._ ii. 49, 2.
Footnote 1407:
Reinach, ii. 106.
Footnote 1408:
B.M. E 808 (?).
Footnote 1409:
Reinach, i. 82.
Footnote 1410:
B.M. B 172; Munich 380 = Reinach, ii. 115; Helbig, 77 = _ibid._ ii.
107 (see below, p. 177); Bibl. Nat. 537 = Reinach, i. 90; _Boston
Mus. Report_ for 1899, No. 28 = _Arch. Anzeiger_, 1898, p. 51.
(Thetis present)
Footnote 1411:
Louvre E 643 = Reinach, i. 311; _ibid._ ii. 107 (?).
Footnote 1412:
B.M. B 240 = Reinach, ii. 99.
Footnote 1413:
Reinach, i. 304 (and i. 226, 1–3 (?), see p. 115); Engelmann, _Arch.
Stud. zu d. Trag._ p. 37: cf. _Sale Cat. Hôtel Drouot_, 11 May, 1903,
No. 100.
Footnote 1414:
Athens 475 = Baumeister, iii. p. 1955, fig. 2086 (Melian vase); B.M.
B 327, B 397, E 13; _Forman Sale Cat._ 298; Berlin 2000 = Robert,
_Bild u. Lied_, p. 217; Baumeister, i. p. 29, fig. 30; _Wiener Vorl._
1889, 5, 2 (in Louvre); Naples 3358 = Reinach, i. 313 = _Wiener
Vorl._ C. 8, 2. The type is derived from that of Herakles and Kyknos
(p. 101).
Footnote 1415:
B.M. E 69 = _Wiener Vorl._ vi. 2; Millin-Reinach, i. 66.
Footnote 1416:
B.M. B 541, E 160: see above, p. 124.
Footnote 1417:
Vienna 325 = Reinach, i. 174 = _Wiener Vorl._ vi. 1.
Footnote 1418:
Two Corinthian vases, _Arch. Anzeiger_, 1891, p. 116, and _Boston
Mus. Report_, 1899, No. 12; Louvre E 635 = Reinach, i. 151 = Rayet
and Collignon, p. 69; B.M. F 480 = Plate LVIII.; Reinach, i. 278.
Footnote 1419:
Petersburg 830 = Reinach, i. 150 = _Wiener Vorl._ A. 8; Naples 3231,
3235 = Reinach, i. 299, 102; parody, B.M. F 366.
Footnote 1420:
Bibl. Nat. 186 = _Jahrbuch_, vii. (1892), pl. 2; Munich 400 =
Reinach, ii. 116; Roscher, i. 1279.
Footnote 1421:
_Mon. Antichi_, ix. pl. 15: see _Jahrbuch_, 1891, pl. 4, p. 190.
Footnote 1422:
See for the various types _J.H.S_, xiv. p. 171.
Footnote 1423:
Berlin 2301 = Reinach, i. 381; Petersburg 812 = Reinach, i. 381 =
Millin-Reinach, i. 58 (doubtful).
Footnote 1424:
Reinach, ii. 16; Naples 2858 = Overbeck, _Her. Bildw._ pl. 28, 5;
_ibid._ 1755 = Baumeister, iii. p. 1848, fig. 1939; _ibid._ 1761 =
Millingen-Reinach, 16.
Footnote 1425:
B.M. D 33, F 57.
Footnote 1426:
Reinach, ii. 175: cf. _Boston Mus. Report_ for 1899, No. 38.
Footnote 1427:
Vienna 333 = Reinach, i. 169; Berlin 2184 = Reinach, i. 296 =
Baumeister, ii. p. 1113, fig. 1310; Reinach, i. 143; Roscher, iii.
969 (in Berlin).
Footnote 1428:
Vienna 333 = Reinach, i. 169 = Roscher, iii. 971; Reinach i. 381;
Millin-Reinach, ii. 24.
Footnote 1429:
B.M. E 446.
Footnote 1430:
Petersburg 349 = Reinach, i. 19; _ibid._ ii. 9, 316; Naples 1984 =
Baumeister, ii. p. 1116, fig. 1313.
Footnote 1431:
B.M. F 166; Reinach, i. 132 (in Louvre); Millin-Reinach, ii. 68;
Naples 1984; Helbig, 117 = Reinach, i. 390; _Arch. Anzeiger_, 1890,
p. 90 (Berlin); and cf. B.M. B 641 (possibly Orestes and Pylades at
Omphalos?).
Footnote 1432:
Petersburg 2189 (according to Roscher, iii. p. 993); but see Reinach,
i. 5, and above under Kadmos.
Footnote 1433:
Reinach, i. 105 = Naples 3223; _ibid._ 133 = Baumeister, i. p. 757,
fig. 808; _ibid._ i. 158 = Petersburg 420; Naples S.A. 24; and see
B.M. F 155, and Reinach, i. 279.
Footnote 1434:
Reinach, i. 321 = Baumeister, ii. p. 1009, fig. 1215 (Jatta Coll.).
Footnote 1435:
See generally on Athenian cults, as illustrated by vase-paintings,
Harrison, _Mythol. and Mon. of Athens_, Introd. p. xxi ff.
Footnote 1436:
On one of these vases the scene (in the interior of a cup) is watched
by a group of Athenians at the foot of a hill, round the outside of
the cup (Reinach, i. 107 = Hartwig, _Meistersch._ pls. 39–40).
Footnote 1437:
See Harrison, _op. cit._ p. lxxxiv ff.
Footnote 1438:
Cf. Strabo, ix. § 392, and see for Lykos in another connection p. 124
above. In the vase here given they witness the exploits of their
kinsman Theseus (on the obverse).
Footnote 1439:
Cf. $1$2 1893, pl. 9, p. 130 ff., and Frazer’s _Pausanias_, ii. p.
203.
Footnote 1440:
E 224 = Plate XLI. = Furtwaengler and Reichhold, pls. 8–9.
Footnote 1441:
Furtwaengler (_50^{tes} Winckelmannsfestprogr._ p. 163) refers the
Orpheus scenes to the Aeschylean tetralogy of the Lykourgeia.
Footnote 1442:
B.M. E 390; Naples 1978, 2889, 3143 (see Reinach, i. 176); Reinach,
i. 403 = Roscher, iii. p. 1181; Roscher, iii. p. 1179 (in Berlin).
Footnote 1443:
Munich 383; Reinach, i. 63; ii. 80.
Footnote 1444:
B.M. E 301; Naples 3114; Reinach, i. 186, 327 (= Roscher, iii. p.
1185–86); Roscher, iii. p. 1184: see also _J.H.S._ ix. p. 143.
Footnote 1445:
Reinach, i. 493 = Roscher, iii. p. 1178.
Footnote 1446:
She occurs on B.M. F 270, Petersburg 498, and Karlsruhe 256.
Footnote 1447:
Reinach, i. 96 = Helbig, 99; _Röm. Mitth._ 1888, pl. 9; and see
Naples 3143 = Reinach, i. 176.
Footnote 1448:
Jatta 1538 = Reinach, i. 526.
Footnote 1449:
Athens 1344 = Dumont-Pottier, i. pl. 14.
Footnote 1450:
Schreiber-Anderson, _Atlas_, pl. 5, 10 = Reinach, ii. 333, 5
(burlesque scene with actor as Taras on dolphin: see p. 160).
Footnote 1451:
B.M. E 447; Louvre F 166; Helbig, 189 = Reinach, i. 268; Reinach, i.
122; Benndorf, _Gr. u. Sic. Vasenb._ 53, 2; Naples 1851 = _Jahrbuch_,
1887, p. 113; _Ath. Mitth._ xxii. (1897), pl. 13: see for the myth,
Hdt. viii. 138 and Roscher, _s.v._
Footnote 1452:
Reinach, i. 147, 509; ii. 81, 271.
Footnote 1453:
Munich 849 = Reinach, i. 258.
Footnote 1454:
See pp. 99, 111, 132.
Footnote 1455:
_Wiener Vorl._ A. 10, 3.
Footnote 1456:
_Ibid._ iii. 4: see _Röm. Mitth._ 1894, p. 285.
Footnote 1457:
B.M. F 6, 85, 230; Reinach, i. 492, ii. 295.
Footnote 1458:
B.M. F 158, 278; Naples R.C. 239 (= Reinach, i. 482), 3253 (=
Reinach, i. 330 = _Wiener Vorl._ vii. 6b, 1), and 2421 (= Reinach,
ii. 278 = Furtwaengler and Reichhold, pls. 26–8); Millin-Reinach, i.
56 (= Bibl. Nat. 427) and 61; Millingen-Reinach, 37.
Footnote 1459:
B.M. E 12; Naples 2613; Louvre F 203; Munich 4 = Reinach, ii. 57;
Reinach, ii. 56.
Footnote 1460:
_Wiener Vorl._ 1889, 6, 2; B.M. B 158, 566; Micali, _Storia_, 91.
Footnote 1461:
Inghirami, _Vasi Fitt._ iv. 304 = Thiersch, _Tyrrhen. Amph._ p. 64.
Footnote 1462:
B.M. E 40; Hartwig, _Meistersch._ pl. 2, fig. 2 (Louvre G 35);
_ibid._ pl. 22, 2; Reinach, i. 166.
Footnote 1463:
Engelmann-Anderson, _Iliad_, v. 24, vi. 25.
Footnote 1464:
B.M. E 19; Vienna 231 = _Wiener Vorl._ 1890–91, 1, 6.
Footnote 1465:
B.M. B 591; Berlin 2264 = Reinach, i. 508, 4.
Footnote 1466:
_Boston Mus. Report_ for 1899, No. 22: see Hartwig, _Meistersch._ p.
119, note 1.
Footnote 1467:
Louvre A 256 = _Jahrbuch_, 1887, pl. 11.
Footnote 1468:
B.M. E 253, E 295.
Footnote 1469:
B.M. E 573.
Footnote 1470:
See above, p. 102.
Footnote 1471:
See above, p. 111.
Footnote 1472:
François vase; B.M. B 176, F 162, F 277; Reinach, i. 154 (= Naples
2411), 309 (Louvre E 700), 391 (Munich 805); Furtwaengler and
Reichhold, pl. 15 (a fine R.F. example).
Footnote 1473:
François vase; B.M. E 473; _J.H.S._ xvii. pl. 6; Munich 846 =
Millingen-Reinach, 8; _Mon. Antichi_, ix. pl. 2; Reinach, i. 22, 474,
ii. 272.
Footnote 1474:
For Herakles and Pholos see p. 102.
Footnote 1475:
B.M. B 620 (Achilles); Munich 611 = Reinach, i. 419 (Herakles);
Reinach, ii. 91 (Achilles); B.M. B 77 = Fig. 98 (parody).
Footnote 1476:
See _Jahrbuch_, 1886, pp. 202–4, Nos. 51–9, 94.
Footnote 1477:
Reinach, ii. 209, 289; Athens 1246: cf. B.M. B 226.
Footnote 1478:
Reinach, i. 58, 452; Helbig, 237 = _Mus. Greg._ ii. 82, 2_b_;
Benndorf, _Gr. u. Sic. Vasenb._ 8, 2.
Footnote 1479:
_Arch. Anzeiger_, 1890, p. 2.
Footnote 1480:
B.M. F 550; _Wiener Vorl._ E. pls. 7–8, fig. 3 (cf. p. 88).
Footnote 1481: