History of Ancient Pottery: Greek, Etruscan, and Roman. Volume 2 (of 2)
by H. B. Walters · English · Gutenberg #48155 · 1,416,567 chars · public domain (US)
The Project Gutenberg eBook of History of Ancient Pottery: Greek, Etruscan, and Roman. Volume 2 (of 2)
This eBook is for the use of anyone anywhere in the United States and
most other parts of the world at no cost and with almost no restrictions
whatsoever. You may copy it, give it away or re-use it under the terms
of the Project Gutenberg License included with this eBook or online
at www.gutenberg.org. If you are not located in the United States,
you will have to check the laws of the country where you are located
before using this eBook.
Title: History of Ancient Pottery: Greek, Etruscan, and Roman. Volume 2 (of 2)
Author: H. B. Walters
Samuel Birch
Release date: February 7, 2015 [eBook #48155]
Most recently updated: October 24, 2024
Language: English
Other information and formats: www.gutenberg.org/ebooks/48155
Credits: Produced by KD Weeks, Chris Curnow and the Online
Distributed Proofreading Team at http://www.pgdp.net (This
file was produced from images generously made available
by The Internet Archive)
*** START OF THE PROJECT GUTENBERG EBOOK HISTORY OF ANCIENT POTTERY: GREEK, ETRUSCAN, AND ROMAN. VOLUME 2 (OF 2) ***
Transcriber’s Note:
This version of the text cannot represent certain typographical
effects. Italics are delimited with the ‘_’ character as _italic_. Bold
font is delimited by the ‘=’ character. Superscripted and subscripted
characters are shown as ‘^2’ and ‘_{2}’ respectively.
This text includes the rendering of ancient Greek inscriptions, using
the alphabets of a number of different regions, not all of which exist
in the unicode character set. Some are printed in reverse order (right
to left) and some are also mirror-imaged. It is not possible to render
these inscriptions as text without a wholesale loss of information
about the variant forms. Each inscription, therefore, is simply
rendered using modern Greek characters, including several archaic
characters (koppa = Ϙ and digamma= Ϝ) which are supported in unicode
fonts. These inscriptions are better viewed, obviously, in the HTML or
epub versions which can be found at Project Gutenberg.
Minor errors and inconsistency in punctuation and formatting have been
silently corrected. Please see the transcriber’s note at the end of
this text for details regarding the handling of any other textual
issues encountered during its preparation.
Footnotes appeared in the printed text numbered sequentially on each
page. They have been renumbered to be unique across the text, and are
gathered at the end of each chapter. The occasional references to them
by the original number have been changed as well.
Volume I of this text is available separately from Project Gutenberg at:
https://www.gutenberg.org/ebooks/48154
------------------------------------------------------
HISTORY OF ANCIENT POTTERY
------------------------------------------------------
PLATE XLIX
[Illustration:
ATTIC BLACK-FIGURED HYDRIA:
HARNESSING OF HORSES TO CHARIOT
(BRITISH MUSEUM).
]
------------------------------------------------------
HISTORY OF ANCIENT POTTERY
GREEK, ETRUSCAN, AND ROMAN
BY H. B. WALTERS, M.A., F.S.A.
BASED ON THE WORK OF
SAMUEL BIRCH
IN TWO VOLUMES
VOLUME II
WITH 300 ILLUSTRATIONS
INCLUDING 8 COLOURED PLATES
[ILLUSTRATION]
NEW YORK
CHARLES SCRIBNER’S SONS
1905
PRINTED BY
HAZELL, WATSON
AND VINEY, LD.,
LONDON AND AYLESBURY,
ENGLAND.
CONTENTS OF VOLUME II
PAGE
CONTENTS OF VOLUME II v
LIST OF PLATES IN VOLUME II ix
LIST OF TEXT-ILLUSTRATIONS IN VOLUME II xi
PART III
THE SUBJECTS ON GREEK VASES
–
CHAPTER XII
_INTRODUCTORY—THE OLYMPIAN DEITIES_
Figured vases in ancient literature—Mythology and
art—Relation of subjects on vases to literature—Homeric and
dramatic themes and their treatment—Interpretation and
classification of subjects—The Olympian deities—The
Gigantomachia—The birth of Athena and other Olympian
subjects—Zeus and kindred subjects—Hera—Poseidon and marine
deities—The Eleusinian deities—Apollo and
Artemis—Hephaistos, Athena, and Ares—Aphrodite and
Eros—Hermes and Hestia 1–53
CHAPTER XIII
_DIONYSOS AND MISCELLANEOUS DEITIES_
Dionysos and his associates—Ariadne, Maenads, and
Satyrs—Names of Satyrs and Maenads—The Nether World—General
representations and isolated subjects—Charon, Erinnyes,
Hekate, and Thanatos—Cosmogonic deities—Gaia and
Pandora—Prometheus and Atlas—Iris and
Hebe—Personifications—Sun, Moon, Stars, and
Dawn—Winds—Cities and countries—The Muses—Victory—Abstract
ideas—Descriptive names 54–92
CHAPTER XIV
_HEROIC LEGENDS_
Kastor and Polydeukes—Herakles and his twelve labours—Other
contests—Relations with deities—Apotheosis—Theseus and his
labours—Later scenes of his life—Perseus—Pelops and
Bellerophon—Jason and the Argonauts—Theban legends—The
Trojan cycle—Peleus and Thetis—The Judgment of Paris—Stories
of Telephos and Troilos—Scenes from the Iliad—The death of
Achilles and the Fall of Troy—The Odyssey—The Oresteia—Attic
and other legends—Orpheus and the
Amazons—Monsters—Historical and literary subjects 93–153
CHAPTER XV
_SUBJECTS FROM ORDINARY LIFE_
Religious subjects—Sacrifices—Funeral scenes—The Drama and
burlesques—Athletics—Sport and games—Musical scenes—Trades
and occupations—Daily life of women—Wedding scenes—Military
and naval subjects—Orientals and Barbarians—Banquets and
revels—Miscellaneous subjects—Animals 154–186
CHAPTER XVI
_DETAILS OF TYPES, ARRANGEMENT, AND ORNAMENTATION_
Distinctions of types—Costume and attributes of individual
deities— Personifications—Heroes—Monsters—Personages in
everyday life—Armour and shield-devices—Dress and
ornaments—Physiognomical expression on vases—Landscape and
architecture—Arrangement of subjects—Ornamental
patterns—Maeander, circles, and other geometrical
patterns—Floral patterns—Lotos and palmettes—Treatment of
ornamentation in different fabrics 187–235
CHAPTER XVII
_INSCRIPTIONS ON GREEK VASES_
Importance of inscriptions on vases—Incised
inscriptions—Names and prices incised underneath
vases—Owners’ names and dedications—Painted
inscriptions—Early Greek alphabets—Painted inscriptions on
early vases—Corinthian, Ionic, Boeotian, and Chalcidian
inscriptions—Inscriptions on Athenian vases—Dialect—Artists’
signatures—Inscriptions relating to the
subjects—Exclamations—Καλός-names—The Attic alphabet and
orthography—Chronology of Attic inscriptions—South Italian
vases with inscriptions 236–278
PART IV
ITALIAN POTTERY
CHAPTER XVIII
_ETRUSCAN AND SOUTH ITALIAN POTTERY_
Early Italian civilisation—Origin of Etruscans—Terramare
civilisation—Villanuova period—Pit-tombs—Hut-urns—Trench-
tombs—Relief-wares and painted vases from Cervetri—Chamber-
tombs—Polledrara ware—Bucchero ware—Canopic jars—Imitations
of Greek vases—Etruscan inscriptions—Sculpture in
terracotta—Architectural decoration—Sarcophagi—Local pottery
of Southern Italy—Messapian and Peucetian fabrics 279–329
CHAPTER XIX
_TERRACOTTA IN ROMAN ARCHITECTURE AND SCULPTURE_
Clay in Roman architecture—Use of bricks—Methods of
construction—Tiles—Ornamental antefixae—Flue-tiles—Other
uses—Inscriptions on bricks and tiles—Military tiles—Mural
reliefs—List of subjects—Roman sculpture in
terracotta—Statuettes—Uses at Rome—Types and
subjects—Gaulish terracottas—Potters and centres of
fabric—Subjects—Miscellaneous uses of terracotta—Money-boxes
—Coin-moulds 330–392
CHAPTER XX
_ROMAN LAMPS_
Introduction of lamps at Rome—Sites where found—Principal
parts of lamps—Purposes for which used—Superstitious and
other uses—Chronological account of forms—Technical
processes—Subjects—Deities—Mythological and literary
subjects—_Genre_ subjects and animals—Inscriptions on
lamps—Names of potters and their distribution—Centres of
manufacture 393–429
CHAPTER XXI
_ROMAN POTTERY: TECHNICAL PROCESSES, SHAPES, AND USES_
Introductory—Geographical and historical limits—Clay and
glaze—Technical processes—Stamps and moulds—_Barbotine_ and
other methods—Kilns found in Britain, Gaul, and Germany—Use
of earthenware among the Romans—Echea—Dolia and
Amphorae—Inscriptions on amphorae—Cadus, Ampulla, and Lagena
—Drinking-cups—Dishes—Sacrificial vases—Identification of
names 430–473
CHAPTER XXII
_ROMAN POTTERY, HISTORICALLY TREATED; ARRETINE WARE_
Roman Pottery mentioned by ancient writers—“Samian”
ware—Centres of fabric—The pottery of
Arretium—Characteristics—Potters’ stamps—Shapes of Arretine
vases—Sources of inspiration for decoration—“Italian
Megarian bowls”—Subjects—Distribution of Arretine wares 474–496
CHAPTER XXIII
_ROMAN POTTERY (continued); PROVINCIAL FABRICS_
Distribution of Roman pottery in Europe—Transition from
Arretine to provincial wares—_Terra sigillata_—Shapes and
centres of fabric—Subjects—Potters’ stamps—Vases with
_barbotine_ decoration—The fabrics of Gaul—St.
Rémy—Graufesenque—“Marbled” vases—Vases with inscriptions
(Banassac)—Lezoux—Vases with medallions (Southern
Gaul)—Fabrics of Germany—_Terra sigillata_ in Britain—Castor
ware—Upchurch and New Forest wares—Plain
pottery—_Mortaria_—Conclusion 497–555
INDEX 557
LIST OF PLATES IN VOLUME II
(_Except where otherwise noted, the objects are in
the British Museum_)
PLATE
XLIX. Attic black-figured hydria: Harnessing of horses
to chariot (_colours_) _Frontispiece_
TO FACE PAGE
L. Contest of Athena and Poseidon: vase at
Petersburg (from Baumeister) 24
LI. Kotyle by Hieron: Triptolemos at Eleusis 26
LII. The Under-world, from an Apulian vase at Munich
(from Furtwaengler and Reichhold) 66
LIII. Helios and Stars (the Blacas krater) 78
LIV. The Sack of Troy: kylix by Brygos in Louvre
(from Furtwaengler and Reichhold) 134
LV. Scenes from funeral lekythi (Prothesis and cult
of tomb) 158
LVI. Early Etruscan red ware 300
LVII. Etruscan hut-urn and Bucchero ware 302
LVIII. Etruscan imitations of Greek vases 308
LIX. Etruscan antefix and sarcophagus 316
LX. Sarcophagus of Seianti Thanunia 322
LXI. Roman mural reliefs: Zeus and Dionysos 366
LXII. Roman mural reliefs: Theseus; priestesses 370
LXIII. Roman lamps (1st century B.C.) 402
LXIV. Roman lamps: mythological and literary subjects 412
LXV. Roman lamps: miscellaneous subjects 416
LXVI. Moulds and stamp of Arretine ware 492
LXVII. Gaulish pottery (Graufesenque fabric) 520
LXVIII. Gaulish pottery from Britain (Lezoux fabric) 526
LXIX. Romano-British and Gaulish pottery 544
LIST OF TEXT-ILLUSTRATIONS IN VOLUME II
FIG. PAGE
111. Gigantomachia, from Ionic vase _Mon. dell’ Inst._
in Louvre 13
112. Poseidon and Polybotes, from _Gerhard_
kylix in Berlin 14
113. The birth of Athena _Brit. Mus._ 16
114. Hermes slaying Argos (vase at _Wiener Vorl._
Vienna) 20
115. Poseidon and Amphitrite _Ant. Denkm._
(Corinthian pinax) 23
116. Apollo, Artemis, and Leto _Mon. dell’ Inst._ 30
117. Aphrodite and her following Ἐφ. Ἀρχ.
(vase at Athens) 43
118. Eros with kottabos-stand _Brit. Mus._ 48
119. Hermes with Apollo’s oxen (in _Baumeister_
the Vatican) 51
120. Dionysos with Satyrs and _Brit. Mus._
Maenads (Pamphaios hydria) 59
121. Maenad in frenzy (cup at _Baumeister_
Munich) 63
122. Charon’s bark (lekythos at _Baumeister_
Munich) 70
123. Thanatos and Hypnos with body _Brit. Mus._
of warrior 71
124. Nike sacrificing bull _Brit. Mus._ 88
125. Herakles and the Nemean lion _Brit. Mus._ 96
126. Herakles bringing the boar to _Brit. Mus._
Eurystheus 97
127. Apotheosis of Herakles (vase _Arch. Zeit._
at Palermo) 107
128. Peleus seizing Thetis _Brit. Mus._ 121
129. Judgment of Paris (Hieron cup _Wiener Vorl._
in Berlin) 122
130. Capture of Dolon _Brit. Mus._ 129
131. Pentheus slain by Maenads _Brit. Mus._ 142
132. Kroisos on the funeral pyre _Baumeister_
(Louvre) 150
133. Alkaios and Sappho (Munich) _Baumeister_ 152
134. Scene from a farce _Brit. Mus._ 161
135. Athletes engaged in the _Brit. Mus._
Pentathlon 163
136. Agricultural scenes _Baumeister_
(Nikosthenes cup in Berlin) 170
137. Warrior arming; archers _Hoppin_
(Euthymides amphora in Munich) 176
138. Banqueters playing kottabos _Brit. Mus._ 181
139. Maeander or embattled pattern 212
140. Maeander (Attic) 212
141. Maeander (Ionic) 212
142. Maeander and star pattern 212
143. Maeander (Attic, 5th century) 213
144. Maeander (Attic, about 480
B.C.) 213
145. Net-pattern 215
146. Chequer-pattern 216
147. Tangent-circles 216
148. Spirals under handles
(Exekias) 217
149. Wave-pattern (South Italy) 218
150. Scale-pattern (Daphnae) 218
151. Guilloche or plait-band
(Euphorbos pinax) 219
152. Tongue-pattern 219
153. Egg-pattern 220
154. Leaf- or chain-pattern 221
155. Ivy-wreath (black-figure
period) 222
156. Ivy-wreath (South Italian) 222
157. Laurel-wreath (South Italian) 223
158. _Vallisneria spiralis_
(Mycenaean) 224
159. Lotos-flower (Cypriote) 224
160. Lotos-flowers and buds _Riegl_
(Rhodian) 225
161. Palmette-and lotos-pattern
(early B.F.) 225
162. Lotos-buds (Attic B.F.) 226
163. Chain of palmettes and lotos
(early B.F.) 226
164. Palmettes and lotos under
handles (Attic B.F.) 227
165. Palmette on neck of red-bodied
amphorae 228
166. Enclosed palmettes (R.F.
period) 228
167. Oblique palmettes (late R.F.) 229
168. Palmette under handles (South
Italian) 230
169. Rosette (Rhodian) 231
170. Rosette (Apulian) 231
171. Facsimile of inscription on _Brit. Mus._
Tataie lekythos 242
172. Facsimile of Dipylon _Ath. Mitth._
inscription 243
173. Scheme of alphabets on Greek
vases 248
174. Facsimile of inscription on _Roehl_
Corinthian pinax 251
175. Facsimile of signatures on _Furtwaengler and
François vase Reichhold_ 257
176. Facsimile of signature of _Brit. Mus._
Nikias 259
177. Figure with inscribed scroll
(fragment at Oxford) 264
178. Etruscan tomb with cinerary _Ann. dell’ Inst._
urn 285
179. Villanuova cinerary urns from _Notizie_
Corneto 286
180. Painted pithos from Cervetri _Gaz. Arch._
in Louvre 293
181. Canopic jar in bronze-plated _Mus. Ital._
chair 305
182. Etruscan alphabet, from a vase _Dennis_ 312
183. Terracotta sarcophagus in _Dennis_
Brit. Mus. 318
184. Painted terracotta slab in _Dennis_
Louvre 319
185. Askos of local Apulian fabric _Brit. Mus._ 326
186. Krater of “Peucetian” fabric _Notizie_ 328
187. Concrete wall at Rome _Middleton_ 338
188. Concrete wall faced with brick _Middleton_ 339
189. Concrete arch faced with brick _Middleton_ 339
190. Diagram of Roman wall- _Blümner_
construction 340
191. Roman terracotta antefix _Brit. Mus._ 343
192. Method of heating in Baths of _Middleton_
Caracalla 347
193. Flue-tile with ornamental
patterns 348
194. Stamped Roman tile _Brit. Mus._ 354
195. Inscribed tile in Guildhall
Museum 359
196. Inscribed tile from London 363
197. Mask with name of potter _Brit. Mus._ 377
198. Gaulish figure of Aphrodite _Blanchet_ 383
199. Gaulish figure of Epona _Blanchet_ 386
200. Terracotta money-box _Jahrbuch_ 390
201. Terracotta coin-mould _Daremberg and
Saglio_ 392
202. Lamp from the Esquiline _Ann. dell Inst._ 399
203. “Delphiniform” lamp 399
204. Lamp with volute-nozzle 400
205. Lamp with pointed nozzle 400
206. Lamp with grooved nozzle 401
207. Lamp with plain nozzle 401
208. Lamp with heart-shaped nozzle 402
209. Mould for lamp _Brit. Mus._ 405
210. Lamp with signature of Fortis _Brit. Mus._ 424
211. Stamps used by Roman potters 440
212. Roman kiln at Heddernheim _Ann. dell’ Inst._ 444
213. Kiln found at Castor 447
214. Plan of kiln at Heiligenberg _Daremberg and
Saglio_ 450
215. Section of ditto _Daremberg and
Saglio_ 450
216. Ampulla _Brit. Mus._ 466
217. Lagena from France 467
218. Arretine bowl in Boston: death _Philologus_
of Phaëthon 484
219. Arretine krater with Seasons _Brit. Mus._ 488
220. “Italian Megarian” bowl _Brit. Mus._ 491
221. Gaulish bowl of Form 29 500
222. Gaulish bowl of Form 30 501
223. Gaulish bowl of Form 37 502
224. Vase of St.-Rémy fabric _Déchelette_ 517
225. Vase of Aco, inscribed _Déchelette_ 518
226. Vase of Banassac fabric from _Mus. Borb._
Pompeii 525
227. Medallion from vase of _Brit. Mus._
Southern Gaul: scene
from the _Cycnus_ 531
228. Medallion from vase: Atalanta _Gaz. Arch._
and Hippomedon 532
229. Jar from Germany, inscribed _Brit. Mus._ 537
230. Roman mortarium from _Brit. Mus._
Ribchester 551
PART III
THE SUBJECTS ON GREEK VASES
CHAPTER XII
_INTRODUCTORY—THE OLYMPIAN DEITIES_
Figured vases in ancient literature—Mythology and art—Relation of
subjects on vases to literature—Homeric and dramatic themes and
their treatment—Interpretation and classification of
subjects—The Olympian deities—The Gigantomachia—The birth of
Athena and other Olympian subjects—Zeus and kindred
subjects—Hera—Poseidon and marine deities—The Eleusinian
deities—Apollo and Artemis—Hephaistos, Athena, and
Ares—Aphrodite and Eros—Hermes and Hestia.
The representation of subjects from Greek mythology or daily life on
vases was not, of course, confined to fictile products. We know that
the artistic instincts of the Greeks led them to decorate almost every
household implement or utensil with ornamental designs of some kind, as
well as those specially made for votive or other non-utilitarian
purposes. But the fictile vases, from the enormous numbers which have
been preserved, the extraordinary variety of their subjects, and the
fact that they cover such a wide period, have always formed our chief
artistic source of information on the subject of Greek mythology and
antiquities.
Although (as has been pointed out in Chapter IV.) ancient literature
contains scarcely any allusions to the painted vases, we have many
descriptions of similar subjects depicted on other works of art, such
as vases of wood and metal, from Homer downwards. The cup of Nestor
(Vol. I. pp. 148, 172) was ornamented with figures of doves[1], and
there is the famous description in the first Idyll of Theocritus[2] of
the wooden cup (κισσύβιον) which represented a fisherman casting his
net, and a boy guarding vines and weaving a trap for grasshoppers,
while two foxes steal the grapes and the contents of his dinner-basket;
the whole being surrounded, like the designs on some painted vases,
with borders of ivy and acanthus. The so-called cup of Nestor
(νεστορίς) at Capua[3] was inscribed with Homeric verses, and the
σκύφος or cup of Herakles with the taking of Troy[4]. Anakreon
describes cups ornamented with figures of Dionysos, Aphrodite and Eros,
and the Graces[5]; and Pliny mentions others with figures of Centaurs,
hunts and battles, and Dionysiac subjects[6]. Or, again, mythological
subjects are described, such as the rape of the Palladion[7], Phrixos
on the ram[8], a Gorgon and Ganymede[9], or Orpheus[10]; and other
“storied” cups are described as being used by the later Roman emperors.
But the nearest parallels to the vases described in classical
literature are probably to be sought in the chased metal vases of the
Hellenistic and Roman periods.[11] We read of _scyphi Homerici_, or
beakers with Homeric scenes, used by the Emperor Nero, which were
probably of chased silver[12]; and we have described in Chapter XI.
what are apparently clay imitations of these vases, usually known as
“Megarian bowls,” many bearing scenes from Homer in relief on the
exterior.
In attempting a review of the subjects on the painted vases, we are met
with certain difficulties, especially in regard to arrangement. This is
chiefly due to the fact that each period has its group of favourite
subjects; some are only found in early times, others only in the later
period. Yet any chronological method of treatment will be found
impossible, and it is hoped that it will, as far as possible, be
obviated by the general allusions in the historical chapters of this
work to the subjects characteristic of each fabric and period.
Embracing as they do almost the whole field of Greek myth and legend,
the subjects on Greek vases are yet not invariably those most familiar
to the classical student or, if the stories are familiar, they are not
always treated in accordance with literary tradition. On the other
hand, it must be borne in mind that the popular conception of Greek
mythology is not always a correct one, for which fact the formerly
invariable system of approaching Greek ideas through the Latin is
mainly responsible. The mythology of our classical dictionaries and
school-books is largely based on Ovid and the later Roman compilers,
such as Hyginus, and gives the stories in a complete connected form,
regarding all classical authorities as of equal value, and ignoring the
fact that many myths are of gradual growth and only crystallised at a
late period, while others belong to a relatively recent date in ancient
history.[13]
The vases, on the other hand, are contemporary documents, free from
later euhemerism and pedantry, and presenting the myths as the Athenian
craftsmen knew them in the popular folk-lore and religious observances
of their day. It cannot be too strongly insisted upon that a
vase-painter was never an illustrator of Homer or any other writer, at
least before the fourth century B.C. (see Vol. I. p. 499). The epic
poems, of course, contributed largely to the popular acquaintance with
ancient legends, and offered suggestions of which the painter was glad
to avail himself; but he did not, therefore, feel bound to adhere to
his text. This will be seen in the list of Homeric subjects given below
(p. 126 ff.); and we may also refer here to the practice of giving
fanciful names to figures, which obtains at all periods, and has before
now presented obstacles to the interpreter.
The relation of the subjects on vases to Greek literature is an
interesting theme for enquiry, though, in view of what has already been
said, it is evident that it must be undertaken with great caution. The
antiquity and wide popularity of the Homeric poems, for instance, would
naturally lead us to expect an extensive and general use of their
themes by the vase-painter. Yet this is far from being the case. The
_Iliad_, indeed, is drawn upon more largely than the _Odyssey_; but
even this yields in importance as a source to the epics grouped under
the name of the Cyclic poets. It may have been that the poems were
instinctively felt to be unsuited to the somewhat conventional and
monotonous style of the earlier vase-paintings, which required simple
and easily depicted incidents. We are therefore the more at a loss to
explain the comparative rarity of subjects from the _Odyssey_, with its
many adventures and stirring episodes; scenes which may be from the
_Iliad_ being less strongly characterised and less unique—one
battle-scene, for instance, differing little from another in method of
treatment. But any subject from the _Odyssey_ can be at once identified
by its individual and marked character. It may be that the _Odyssey_
had a less firm hold on the minds of the Greeks than the _Iliad_, which
was more of a national epic, whereas the _Odyssey_ was a stirring
romance.[14] It may also be worth noting that scenes from the _Odyssey_
usually adhere more closely to the Homeric text than those from the
_Iliad_.
Another reason for the scarcity of Iliad-scenes may be that the Tale of
Troy as a whole is a much more comprehensive story, of which the
_Iliad_ only forms a comparatively small portion. Hence the large
number of scenes drawn both from the Ante-Homerica and the
Post-Homerica, such as the stories of Troilos and Memnon, or the sack
of Troy. The writings of the Cyclic poets begin, as Horace reminds us,
_ab ovo_,[15] from the egg of Leda, and the Kypria included the whole
story of the marriage of Peleus and Thetis, the subsequent Judgment of
Paris, and his journey to Greece after Helen, scenes from all these
events being extremely popular on the vases.[16] The _Patrokleia_ deals
with the events of the earlier years of the war, the _Aithiopis_ of
Arktinos with the stories of Penthesileia and Memnon, and the death of
Achilles, and the _Little Iliad_ of Lesches with the events of the
tenth year down to the fall of Troy. All provided frequent themes for
the vase-painter, as may be seen by a reference to a later page (119
ff.). The _Iliupersis_ of Arktinos and Lesches might almost be
reconstructed from two or three large vases, whereon all the episodes
of the catastrophe are collected together (see p. 134); but when we
come to the _Nostoi_ of Agias and the Telegonia, the vase-painters
suddenly fail us, the stories of Odysseus’ wanderings and Orestes’
vengeance seeming to supply the deficiency.
Luckenbach[17] has pointed out that the only right method of
investigating the relation is to begin with vase-paintings for which
the sources are absolutely certain, as with scenes from the _Iliad_ and
_Odyssey_. In this way the subjects from other epics can be rightly
estimated and the contents of the poems restored. Further, in
investigating the sources of the vase-painters, and the extent to which
they adhered to them or gave free play to the imagination, the three
main periods of vase-painting must be separately considered, though the
results in each case prove to be similar. By way of exemplifying these
methods he enters in great detail into certain vase-subjects, their
method of treatment on vases of the different periods, and their
approximation to the text. Thus, the funeral games for Patroklos (_Il._
xxiii.) are depicted on the François vase (see p. 11) with marked
deviations from Homer’s narrative; and not only this, but without
characterisation, so that if the performers were not named the subject
could hardly have been identified. To note one small point, all Homeric
races took place in two-horse chariots (_bigae_), but on B.F. vases
four-horse _quadrigae_ are almost invariably found.[18]
Subjects of a more conventional character, such as battle scenes,
farewell scenes, or the arming of a warrior, present even more
difficulty. Even when names occur it is only increased. We must assume
that the vase-painter fixed on typical names for his personages,
without caring whether he had literary authority. In some cases the
_genre_ scenes seem to be developed from heroic originals, in others
the contrary appears to be the case.[19] It is not, however, unfair to
say that the Epos was the vase-painter’s “source.” The only doubtful
question is the _extent_ of his inspiration; and, at all events, it was
a _source_ in the sense that no other Greek literature was until we
come to the fourth century.
Turning now to the consideration of later literature,[20] we find in
Hesiod a certain parallelism of theme to the vases, but little trace of
actual influence. Indirectly he may have affected the vase-painter by
his crystallisation of Greek mythology in the Theogony, where he
establishes the number of the Muses (l. 77), and also the names of the
Nereids.[21] It is, however, interesting to note the Hesiodic themes
which were also popular with the vase-painters: the creation of
Pandora; the fights of Herakles and Kyknos, and of Lapiths and
Centaurs, and the pursuit of Perseus by the Gorgons; the contest of
Zeus with Typhoeus (or Typhon); and the birth of Athena.[22]
The influence of lyric poetry was even slighter. Somewhat idealised
figures of some of the Greek lyrists appear on R.F. vases, such as
Sappho and Anakreon (see p. 152); but this is all. In regard to Pindar
and Bacchylides, the idealising and heroising tendencies of the age may
be compared with the contemporary tendency of vase-paintings, and the
latter may often be found useful to compare with—if not exactly to
illustrate—the legends which the two poets commemorate. For instance,
in the ode of Bacchylides in which he describes the fate of Kroisos,
there is a curious deviation from the familiar Herodotean version, the
king being represented as voluntarily sacrificing himself.[23] The only
vase-painting dealing with this subject (Fig. 132, p. 150) apparently
reproduces this tradition.
With the influence of the stage we have already dealt elsewhere.[24]
With the exception of the Satyric drama, it can hardly be said to have
made itself felt, except in the vases of Southern Italy, in the fourth
century B.C., but indications of the Satyric influence may be traced in
many R.F. Attic vases, no doubt owing to their connection with the
popular Dionysiac subjects. On a vase in Naples[25] are represented
preparations for a Satyric drama. When we reach the time of tragic and
comic influence, we not only find the subjects reproduced, but even
their stage setting; in other words, the vases are not so much intended
to illustrate the written as the acted play, just as it was performed.
The whole question is admirably summed up by Luckenbach[26] in the
following manner: (1) The Epos is the chief source of all
vase-paintings from the earliest time to the decadence inclusive, and
next comes Tragedy, as regards the later vases only; of the influence
of other poetry on the formation of myths in vase-paintings there is no
established example. (2) _Vase-paintings are not illustrations_, either
of the Epos or of the Drama, and there is no intention of reproducing a
story accurately; hence great discrepancies and rarity of close
adherence to literary forms; but the salient features of the story are
preserved. (3) Discrepancies in the naming of personages are partly
arbitrary, partly due to ignorance; the extension of scenes by means of
rows of bystanders, meaningless, but thought to be appropriate, is of
course a development of the artist’s, conditioned by exigencies of
space. Anachronisms on vases are of frequent occurrence. (4) Such
scenes as those of warriors arming or departing are always the
painter’s own invention, ordinary scenes being often “heroised” by the
addition of names. But individuals are not necessarily all or always to
be named; and, again, the artist often gives names without
individualising the figures. (5) In the archaic period successive
movements of time are often very naïvely blended (see p. 10); the
difference between art and literature is most marked in scenes where a
definite moment is not indicated. (6) Vase-paintings often give a
general survey of a poem, the scene not being drawn from one particular
passage or episode. The features of one poem are in art sometimes
transferred to another.
The attention that has been paid now for many years to collecting,
assorting, and critically discussing the material afforded by the vases
has much diminished the difficulties of this most puzzling branch of
archaeology. It has been chiefly lightened by the discovery from time
to time of inscribed vases, though, as has just been noted, even these
must be treated with caution; and even now, of course, there are
numerous subjects the interpretation of which is either disputed or
purely hypothetical. But we can at least pride ourselves on having
advanced many degrees beyond the labours of early writers on the
subject, down to the year 1850.
When painted vases first began to be discovered in Southern Italy, the
subjects were supposed to relate universally to the Eleusinian or
Dionysiac mysteries, and this school of interpretation for a long time
found favour in some quarters, even in the days of Gerhard and De
Witte. But it was obvious from the first that such interpretations did
not carry the investigator very far, and even in the eighteenth century
other systems arose, such as that of Italynski, who regarded the
subjects as of historical import.[27] Subsequently Panofka endeavoured
to trace a connection between the subjects and the names of artists or
other persons recorded on the vases, or, again, between the subjects
and shapes. The latter idea, of course, contained a measure of truth,
as is seen in many instances[28]; but it was, of course, impossible to
follow out either this or the other hypothesis in any detail.
The foundations of the more scientific and rational school of
interpretation were laid as early as the days of Winckelmann, and he
was followed by Lanzi, Visconti, and Millingen, and finally Otto Jahn,
who, as we have seen, practically revolutionised the study of
ceramography. Of late, however, the question of the interpretation of
subjects has been somewhat relegated to the background, owing to the
overwhelming interest evoked by the finds of early fabrics or by the
efforts of German and other scholars to distinguish the various schools
of painting in the finest period.
Millingen, in the Introduction to his _Vases Grecs_, drew up a
classification of the subjects on vases which need not be detailed
here, but which, with some modifications, may be regarded as holding
good to the present day. He distinguishes ten classes, the first three
mythological, the next four dealing with daily life, and the three last
with purely decorative ornamentation. A somewhat similar order is
adopted by Müller in his _Handbuch_, by Gerhard in his _Auserlesene
Vasenbilder_, and by Jahn in his Introduction to the Munich Catalogue
(p. cc ff.). In the present and following chapters the arrangement and
classification of the subjects adhere in the main to the system laid
down by these writers; and as the order is not, of course,
chronological in regard to style, reference has been made where
necessary to differences of epoch and fabric.[29] It may be convenient
to recapitulate briefly the main headings under which the subjects are
grouped.
I. The Olympian deities and divine beings in immediate connection
with them, such as Eros and marine deities.
(_a_) In general; (_b_) individually. (Chapter XII.)
II. Dionysos and his cycle, Pan, Satyrs, and Maenads. (Page 54 ff.)
III. Chthonian and cosmogonic deities, personifications, and minor
deities in general. (Page 66 ff.)
IV. Heroic legends and mythology in general.
(_a_) Herakles; (_b_) Theseus, Perseus, and other heroes; (_c_)
local or obscure myths; (_d_) the Theban and Trojan stories;
(_e_) monsters. (Chapter XIV.)
V. Historical subjects. (Page 149 ff.)
VI. Scenes from daily life and miscellaneous subjects (for detailed
classification see p. 154). (Chapter XV.)
The number of subjects to be found on any one vase is of course usually
limited to one, two, or at most three, according to the shape. Usually
when there is more than one the subjects are quite distinct from one
another; though attempts have been made in some cases, as in the B.F.
amphorae, to trace a connection.[30] On the other hand, the R.F.
kylikes of the strong period often show a unity of subject running
through the interior and exterior scenes, whether the theme is
mythological or ordinary.[31] It was only in exceptional cases that an
artist could devote his efforts to producing an entire subject, as on
some of the large kylikes with the labours of Theseus,[32] or the vases
representing the sack of Troy.[33] The great François vase in Florence
is a striking example of a mythology in miniature, containing as it
does more than one subject treated in the fullest detail. And here
reference may be made to the main principles which governed the method
of telling a story in ancient art, and prevailed at different
periods.[34] The earliest and most simple is the _continuous_ method,
which represents several scenes together as if taking place
simultaneously, although successive in point of time. This method was
often employed in Oriental art, but is not found in Hellenic times; it
was, however, revived by the Romans under the Empire, and prevailed all
through the early stages of Christian art. Secondly, there is the
_complementary_ method, which aims at the complete expression of
everything relating to the central event. The same figures are not in
this case necessarily repeated, but others are introduced to express
the action of the different subjects, all being collected in one space
without regard to time, as in the continuous style. This is of Oriental
origin, and is first seen in the description of Achilles’ shield; it is
also well illustrated in the François vase, in the story of Troilos.
Here the death of Troilos is not indeed actually depicted, but the
events leading up to it (the water-drawing at the fountain and the
pursuit by Achilles) and those consequent on it (the announcement of
the murder to Priam and the setting forth of Hector to avenge it) are
all represented without the repetition of any figures. Lastly, there is
the _isolating_ method, which is purely Hellenic, being developed from
the complementary. This is best illustrated by the Theseus kylikes,
with their groups of the labours, which, it should be remembered, are
not continuous episodes in one story, but single events separated in
time and space, and collected together with a sort of superficial
resemblance to the other methods.
Some description of the François vase has been given elsewhere (Vol. I.
p. 370)[35]; but as it is unique in its comprehensiveness, and as a
typical presentation of the subjects most popular at the time when
vase-painters had just begun to pay special attention to mythology, it
may be worth while to recapitulate its contents here. The subjects are
no less than eleven in number, arranged in six horizontal friezes, with
figures also on the handles, and there are in all 115 inscriptions
explaining the names of the personages and even of objects (_e.g._
ὑδρία, for the broken pitcher of Polyxena). Eight of these subjects
belong to the region of mythology:—(1) On the neck: the hunt of the
Calydonian boar, and (2) the landing of Theseus and Ariadne at Naxos,
accompanied by dancing youths and maidens. (3) On the shoulder: chariot
race at the funeral games of Patroklos, and (4) combat of Centaurs and
Lapiths (with Theseus). (5) On the body: the marriage of Peleus and
Thetis, attended by the gods in procession. (6) On the body: the death
of Troilos (see above), and (7) the return of Hephaistos to Olympos.
(8) On each of the handles, Ajax with the body of Achilles. On the flat
top of the lip is represented (9) a combat of pigmies and cranes; on
either side of the foot (10) a lion and a panther devouring a bull and
stag, Gryphons, Sphinxes, and other animals; and on the upper part of
the handles (11) Gorgons and figures of the Asiatic Artemis (see p. 35)
holding wild animals by the neck.
* * * * *
It is, of course, impossible to indicate all the subjects on the
thousands of painted vases in existence; and it must also be remembered
that many are of disputed meaning. The succeeding review must therefore
only be considered as a general summary which aims at omitting nothing
of any interest and avoiding as far as possible useless repetition. In
the references appended under each subject the principle has been
adopted of making them as far as possible representative of all
periods, and also of selecting the most typical and artistic examples,
as well as the most accessible, publications.[36]
In dealing with the subjects depicted on Greek vases, we naturally
regard the Olympian deities as having the preeminence. We will
therefore begin by considering such scenes as have reference to actions
in which those deities were engaged, and, secondly, representations of
general groups of deities, either as spectators of terrestrial events
or without any particular signification. It will then be convenient to
deal with the several deities one by one, noting the subjects with
which each is individually connected. We shall in the following chapter
proceed to consider the subordinate deities, such as those of the
under-world and the Dionysiac cycle, and personifications of nature and
abstract ideas. Chapter XIV. will be devoted to the consideration of
heroic legends, mythological beings, and historical subjects; and in
Chapter XV. will be discussed all such subjects as relate to the daily
life of the Greeks.
THE OLYMPIAN DEITIES
One of the oldest and most continuously popular subjects is the
=Gigantomachia=, or Battle of the Gods and Giants, which forms part of
the Titanic and pre-heroic cosmogony, and may therefore take precedence
of the rest. The Aloadae (Otos and Ephialtes), strictly speaking, are
connected with a different event—the attack on Olympos and chaining of
Ares; but the scenes in which they occur are so closely linked with the
Gigantomachy proper that it is unnecessary to differentiate them. We
also find as a single subject the combat of Zeus with the snake-footed
Typhon.[37]
The _locus classicus_ of Greek art for the Gigantomachia is of course
the frieze of the great altar at Pergamon (197 B.C.), but several vases
bear representations almost as complete, though it is not as a rule
possible to identify the giants except where their names are
inscribed.[38] Most vases give only one to three pairs of combatants.
[Illustration: FIG. 111. GIGANTOMACHIA, FROM IONIC VASE IN LOUVRE.]
Some pairs are found almost exclusively together, _e.g._ Athena and
Enkelados, or Ares and Mimas; Artemis and Apollo are generally opposed
to the Aloadae Otos and Ephialtes, Zeus to Porphyrion, and Poseidon to
Polybotes (Fig. 112) or Ephialtes. Hestia alone, the “stay-at-home”
goddess of the hearth, is never found in these scenes, but Dionysos,
Herakles, and the Dioskuri all take their part in aiding the Olympian
deities. Zeus hurls his thunderbolts[39]; Poseidon is usually depicted
with his trident, or hurling the island of Nisyros (indicated as a rock
with animals painted on it) upon his adversary[40]; Hephaistos uses a
pair of tongs with a burning coal in them as his weapon[41]; and
Dionysos is in some cases aided by his panther.[42] Aeolus occurs once
with his bag of winds.[43]
[Illustration: FIG. 112. POSEIDON AND THE GIANT POLYBOTES, FROM THE
KYLIX IN BERLIN.]
The following groups can be identified on vases by inscriptions or
details of treatment:—
Zeus and Agasthenes, Hyperbios, and Ephialtes: Louvre E 732 (Fig. 111).
Zeus and Porphyrion: Berlin 2531.
Hera and Harpolykos: Louvre E 732.
Hera and Rhoitos (miswritten Phoitos): Berlin 2531.
Poseidon and Polybotes: Louvre E 732; Berlin 2531 = Fig. 112.
Poseidon and Ephialtes: Reinach, ii. 188.
Apollo and Ephialtes: Berlin 2531.
Artemis and Otos: Reinach, ii. 164.
Artemis and Aigaion: Berlin 2531.
Hephaistos and Euryalos: B.M. E 47.
Hephaistos and Klytios: Berlin 2293.
Athena and Enkelados: B.M. B 252; Louvre E 732; _Él. Cér._ i. 8.
Ares and Mimas: Berlin 2531; B.M. B 617.
Hermes and Hippolytos: Berlin 2293.
Hermes and Polybios (?): Louvre E 732.
Dionysos and Eurymedon: _Bull. de Corr. Hell._ xx. pl. 7.
Athena with arm of Akratos: Berlin 2957 = _Él. Cér._ i. 88.
Death of Otos (supposed): Bibl. Nat. 299 = Reinach, ii. 255.
Among scenes supposed to take place in Olympos, the most important is
the =Birth of Athena= from the head of Zeus.[44] Usually she is
represented as a diminutive figure actually emerging from his head, but
in one or two instances she stands before him fully developed,[45] as
was probably the case in the centre of the east pediment of the
Parthenon. This subject is commoner on B.F. vases, and does not appear
at all after the middle of the fifth century.[46] In most cases several
of the Olympian deities are spectators of the scene; sometimes
Hephaistos wields his axe or runs away in terror at the result of his
operations[47]; in others the Eileithyiae or goddesses of child-birth
lend their assistance.[48] On a R.F. vase in the Bibliothèque Nationale
Athena flies out backwards from Zeus’ head.[49]
In accordance with a principle already discussed (Vol. I. p. 378), the
composition or “type” of this subject is sometimes adopted on B.F.
vases for other groups of figures, where the absence of Athena shows
clearly that the birth scene is not intended, and no particular meaning
can be assigned to the composition.[50]
Representations of the =Marriage of Zeus and Hera= cannot be pointed to
with certainty in vase-paintings. On B.F. vases we sometimes see a
bridal pair in a chariot accompanied by various deities, or figures
with the attributes of divinities[51]; but the chief figures are not in
any way characterised as such, and it is better to regard these scenes
as idealisations of ordinary marriage processions. On the other hand,
there are undoubted representations of Zeus and Hera enthroned among
the Olympian deities or partaking of a banquet.[52]
[Illustration: FIG. 113. THE BIRTH OF ATHENA (BRIT. MUS. B 244).]
The story of the enchaining of Hera in a magic chair by Hephaistos, and
her subsequent liberation by him, is alluded to on many vases, though
one episode is more prominent than the others. Of the expulsion of
Hephaistos from heaven we find no instance, and of the release of Hera
there is only one doubtful example[53]; but we find a parody of the
former’s combat with Ares, who forces him to liberate Hera.[54] The
episode most frequent is that of the =return of Hephaistos= in a
drunken condition to Olympos, conducted by Dionysos and a crowd of
Satyrs; of this there are fine examples on vases of all periods.[55] On
earlier vases Hephaistos rides a mule; on the later he generally
stumbles along, leaning on Dionysos or a Satyr for support.
On the François vase we see Zeus and Hera, with an attendant train of
deities, Nymphs, and Muses, going in a chariot to the nuptials of
Peleus and Thetis; on many vases we have the reception of the deified
Herakles among the gods of Olympos[56]; and on others groups of deities
banqueting or without particular signification.[57] But on the late
Apulian vases it is a frequent occurrence to find an upper row of
deities as spectators of some event taking place just below: thus they
watch battles of Greeks and Persians,[58] or such scenes as the
contract between Pelops and Oinomaos,[59] the madness of Lykourgos,[60]
the death of Hippolytos,[61] and others from heroic legend, which it is
unnecessary to specify here; only a few typical ones can be
mentioned.[62] They also appear as spectators of scenes in or relating
to the nether-world.[63]
* * * * *
=Zeus= appears less frequently than some deities, and seldom alone; but
still there are many myths connected with him, besides those already
discussed. As a single figure he appears enthroned and attended by his
eagle on a Cyrenaic cup in the Louvre[64]; or again in his chariot,
hurling a thunderbolt[65]; in company with his brother-gods of the
ocean and under-world, Poseidon and Hades, he is seen on a kylix by
Xenokles.[66] He is also found with Athena,[67] with Hera, Apollo,
Artemis, Aphrodite, and Hermes[68]; and frequently with Herakles at the
latter’s reception into heaven.[69] In one instance he settles a
dispute between Aphrodite and Persephone.[70] He receives libations
from Nike,[71] or performs the ceremony himself, attended by Hera,
Iris, and Nike,[72] and is also attended by Hebe and Ganymede as
cupbearers.[73] His statue, especially that of Ζεὺς Ἑρκεῖος at Troy,
sometimes gives local colour to a scene.[74]
Most of the scenes in which he appears relate to his various love
adventures, among which the legends of Europa, Io, and Semele are the
most conspicuous; but first of his numerous _amours_ should perhaps be
mentioned his wooing of his consort Hera. He carries her off while
asleep from her nurse in Euboea,[75] and also appears to her in the
form of a cuckoo.[76] The rape of Ganymede by his eagle appears once or
twice on vases,[77] but more generally Zeus himself seizes the youth
while he is engaged in bowling a hoop or otherwise at play.[78] On a
fine late vase with Latin inscriptions Ganymede appears in Olympos,[79]
and he is also depicted as a shepherd.[80]
Semele Zeus pursues and slays with the thunderbolt[81]; the birth of
her son Dionysos from his thigh is represented but rarely on vases, and
is liable to confusion with other subjects. This story falls into three
episodes: (1) the reception of the infant by Hermes from Dirke, in
order to be sewn into Zeus’ thigh[82]; (2) the actual birth scene[83];
(3) the handing over of the child to the Nymphs.[84] Of his visit to
Alkmena there are no certain representations, but two comic scenes on
South Italian vases[85] may possibly refer to it, and one of them at
least seems to be influenced by the burlesque by Rhinton, from which
Plautus borrowed the idea of his _Amphitruo_. The apotheosis of
Alkmena, when her husband places her on a funeral pyre after
discovering her misdeed, is represented on two fine South Italian vases
in the British Museum; in one case Zeus looks on.[86] His appearing to
Leda in the form of a swan only seems to find one illustration on a
vase, but in one case he is present at the scene of Leda with the
egg.[87]
He is also depicted descending in a shower of gold on Danaë[88]; or as
carrying off the Nymphs Aegina and Thaleia[89]; or, again, with an
unknown Nymph, perhaps Taygeta.[90] In the form of a bull, on which
Europa rides, he provides a very favourite subject, of which some fine
specimens exist.[91] One variation of the type is found on an Apulian
vase, where Europa advances to caress the bull sent by Zeus to fetch
her.[92] The story of Io[93] resolves itself into several scenes, all
of which find illustration on the vases: (1) the meeting of Io and Zeus
when she rests at the shrine of Artemis after her wanderings[94]; (2)
Io in the form of a cow, guarded by Argos[95]; (3) the appearance of
her deliverer Hermes[96]; (4) Hermes attacks and slays Argos (Fig.
114).[97]
[Illustration:
From _Wiener Vorlegeblätter_.
FIG. 114. HERMES SLAYING ARGOS IN PRESENCE OF ZEUS (VASE AT VIENNA).]
]
In addition, the presence of Zeus may be noted in various scenes from
heroic or other legends, which are more appropriately discussed under
other headings[98], such as the freeing of Prometheus[99], the combat
of Herakles and Kyknos[100], or the weighing of the souls of Achilles
and Hector[101]; at the sending of Triptolemos, the flaying of Marsyas,
the death of Aktaeon, and that of Archemoros[102]; at the creation of
Pandora and the Judgment of Paris[103]; the rape of the Delphic tripod
and that of the Leukippidae, at Peleus’ seizing of Thetis,[104] and
with Idas and Marpessa.[105] The story of the golden dog of Zeus, which
was stolen by Pandareos, is referred to under a later heading.[106]
* * * * *
=Hera= apart from Zeus appears but seldom, but there are a few scenes
in which she is found alone; of those in which she is an actor or
spectator some have been already described, the most important being
the story of Hephaistos’ return to heaven.[107] As her figure is not
always strongly characterised by means of attributes, it is not always
to be identified with certainty. As a single figure she forms the
interior decoration of one fine R.F. kylix,[108] and her ξόανον, or
primitive cult-idol, is sometimes found as an indication of the scene
of an action.[109] On one vase she is represented at her toilet.[110]
There is a vase-painting which represents Hera on her throne offering a
libation to Prometheus, an aged figure who stands before her.[111] She
is also present at the liberation of Prometheus[112]; in a scene
probably intended for the punishment of Ixion[113]; at the creation of
Pandora[114]; and in scenes from the story of Io.[115] She suckles the
child Herakles in one instance,[116] and in another appears with him in
the garden of the Hesperides[117]; she is also present at his
reconciliation with Apollo at Delphi,[118] and at his apotheosis,[119]
receiving him and Iolaos.[120] On an early Ionic vase she appears
contending with him in the presence of Athena and Poseidon, and wears a
goat-skin head-dress, as in the Roman type of Juno Sospita or
Lanuvina.[121]
The scene in which she appears most frequently is the Judgment of Paris
(see below, p. 122); she is also present at the birth of Dionysos[122];
at the stealing of Zeus’ golden dog by Pandareos[123]; at the contest
between Apollo and Marsyas[124]; at the slaughter of the Niobids[125];
and with Perseus and Athena.[126]
She appears sometimes with Hebe, Iris, and Nike, from whom she receives
libations[127]; and in one scene, apparently from a Satyric drama, she
and Iris are attacked by a band of Seileni and rescued by Herakles.[128]
* * * * *
[Illustration:
From _Ant. Denkm._
FIG. 115. POSEIDON AND AMPHITRITE ON A CORINTHIAN PINAX.
]
=Poseidon= is a figure somewhat rare in archaic art as a whole,
especially in statuary, but is more frequently seen on vases, mostly in
groups of deities, or as a spectator of events taking place in or under
the sea, his domain. Among subjects already discussed, he is present at
the birth of Athena,[129] at the nuptials of Zeus and Hera,[130] and in
assemblies of the Olympian gods, generally with his consort
Amphitrite[131]; he also takes part in the Gigantomachia and the
reception of Herakles into Olympos.[132] He is represented in a group
with his brother deities of the higher and nether world, Zeus and
Hades[133]; with Apollo, Athena, Ares, and Hermes[134]; among the
Eleusinian deities at the sending forth of Triptolemos[135]; and
occasionally in Dionysiac scenes as a companion of the wine-god.[136]
As a single figure he is frequently found on the series of archaic
tablets or _pinakes_ found near Corinth, and also in company with
Amphitrite (Fig. 115)[137]; on later vases not so frequently.[138] In
one instance he rides on a bull,[139] in others on a horse, sometimes
winged[140]; elsewhere he drives in a chariot with Amphitrite and other
deities[141]; he watches the Sun-god in his car rising out of the
waves[142]; and one vase has the curious subject of Poseidon, Herakles,
and Hermes engaged in fishing.[143]
------------------------------------------------------
PLATE L
[Illustration:
From _Baumeister_.
ATHENA AND POSEIDON CONTENDING FOR ATTICA; VASE FROM KERTCH (AT
PETERSBURG).
]
------------------------------------------------------
Among scenes in which he plays an active part the most interesting is
the dispute with Athena for the ownership of Attica, also represented
on the west pediment of the Parthenon[144]; his love adventures,
especially his pursuit of Amymone[145] and Aithra,[146] are common
subjects, but in many cases the object of his pursuit cannot be
identified.[147] He receives Theseus under the ocean,[148] and possibly
in one case Glaukos, on his acceptance as a sea-god[149]; he is also
present at the former’s recognition by Aigeus.[150] He is seen at the
death of Talos,[151] and with Europa crossing the sea.[152] In
conjunction with other deities, chiefly on late Italian vases, he is
present as a spectator of various episodes, such as the adventures of
Bellerophon, Kadmos, or Pelops, the rape of Persephone, the creation of
Pandora, the death of Hippolytos, and in one historical scene, a battle
of Greeks and Persians.[153] He superintends several of the adventures
of Herakles, notably those in which he is specially interested, as the
contests with Antaios and Triton[154]; and he supports Hera in her
combat with that hero.[155] He is also seen with Perseus on his way to
slay Medusa,[156] and among the Gorgons after that event.[157]
* * * * *
In connection with Poseidon it may be convenient to mention here other
divinities and beings with marine associations—such as Okeanos, Nereus,
and Triton, and the Nereids or sea-nymphs, daughters of Nereus, with
the more rarely occurring Naiads. Of these the name of Okeanos occurs
but once, on the François vase. The figure itself has disappeared, but
the marine monster on which he rides to the wedding of Peleus and
Thetis, and the inscription, remain. =Nereus= appears as a single
figure, with fish-tail and trident,[158] but is most frequently met
with in connection with the capture of his daughter Thetis by Peleus,
either as a spectator or receiving the news from a Nereid.[159] He also
watches the contest of Herakles with Triton,[160] himself encountering
the hero in some cases.[161] On one vase Herakles has seized his
trident and threatens him by making havoc of his belongings.[162] He
appears at Herakles’ combat with Kyknos,[163] and at his
apotheosis,[164] and also offers a crown to Achilles.[165] In one case
he is found in Dionysos’ company.[166] With his daughter Doris he
watches the pursuit of another Nereid by Poseidon.[167]
=Triton= is found as a single figure,[168] and (chiefly on B.F. vases)
engaged in a struggle with Herakles.[169] He also carries Theseus
through the sea to Poseidon,[170] and watches the flight of Phrixos and
Helle over the sea.[171] The group of deities represented by Ino and
Leukothea, Palaimon, Melikertes, and Glaukos appear in isolated
instances,[172] as do Proteus[173] and Skylla[174]—the latter as single
figures, without reference to their connection with the _Odyssey_. A
monstrous unidentified figure, with wings and a serpentine fish-tail,
which may be a sea-deity (in one case feminine), is found on some early
Corinthian vases[175]; possibly Palaimon is intended.
=The Nereids=, who are often distinctively named, are sometimes found
in groups,[176] especially watching the seizure of Thetis or bearing
the news to Nereus[177]; or, again, carrying the armour of Achilles
over the sea and presenting it to him.[178] On one vase they mourn over
the dead Achilles.[179] They are also present at the reception of
Theseus,[180] the contest of Herakles and Triton,[181] and with Europa
on the bull.[182] Kymothea offers a parting cup to Achilles[183]; the
Naiads, who are similar beings, present to Perseus the cap, sword,
shoes, and wallet.[184] They are also found grouped with various
deities,[185] and even one in the under-world.[186] Thetis appears once
as a single figure, accompanied by dolphins[187]; for her capture by
Peleus and relations with Achilles, see p. 120 ff.
* * * * *
=The Eleusinian deities= Demeter and Persephone (or Kore) are usually
found together, not only in scenes which have a special reference to
their cult, but in general assemblies of the gods. They once appear in
the Gigantomachia.[188] Scenes which refer to the Eleusinian cycle are
found exclusively on later examples,[189] and as a rule merely
represent the two chief deities grouped with others, such as Dionysos
and Hekate, and with their attendants, Iacchos, Eumolpos, and
Eubouleus.[190] One vase represents the initiation of Herakles, Kastor,
and Polydeukes in the Lesser Mysteries of Agra[191]; another, the birth
of Ploutos, who is handed to Demeter in a cornucopia by Gaia, rising
from the earth, in the presence of Persephone, Triptolemos, and
Iacchos[192]; and others, the birth of Dionysos or Iacchos—a very
similar composition.[193] Demeter and Persephone are represented
driving in their chariot, with attendant deities and other
figures,[194] or standing alone, carrying sceptre and torches
respectively,[195] or pouring libations at a tomb (on a sepulchral
vase).[196] They are present at the carrying off of Basile by Echelos
(a rare Attic legend),[197] and Demeter alone is seen, once at the
birth of Athena,[198] once at the slaughter of the dragon by
Kadmos,[199] once enthroned,[200] and once with Dionysos as
Thesmophoros, holding an open roll with the laws (θεσμοί) of her
cult.[201]
------------------------------------------------------
PLATE LI
[Illustration: KOTYLE BY HIERON: TRIPTOLEMOS AT ELEUSIS (BRITISH
MUSEUM).]
------------------------------------------------------
Closely connected with Eleusis is the subject of the sending forth of
_Triptolemos_ as a teacher of agriculture in his winged car. This is
found on vases of all periods,[202] but is best exemplified on the
beautiful kotyle of Hieron in the British Museum (Plate LI.), where,
besides Olympian and Chthonian deities, the personification of Eleusis
is present. Besides the other Eleusinian personages, Keleos and
Hippothoon are also seen.[203] Triptolemos is generally seated in his
car, but in one or two cases he stands beside it[204]; in another he is
just mounting it.[205] On the latter vase Persephone holds his plough.
On a vase in Berlin Triptolemos appears without his car, holding a
ploughshare; Demeter presents him with ears of corn, and Persephone
holds torches.[206]
=Persephone= is also seen with Iacchos,[207] who, according to various
accounts, was her son or brother. She appears with Aphrodite and
Adonis,[208] and one vase is supposed to represent the dispute between
her and Aphrodite over the latter, which was appeased by Zeus.[209]
The story of the rape of Persephone by Hades, her sojourn in the
under-world, and her return to earth is also chiefly confined to the
later vases, especially the incident of the rape.[210] In the elaborate
representations of the under-world on late Apulian vases she generally
stands or sits with Hades in a building in the centre.[211] She is
often depicted in scenes representing the carrying off of Kerberos by
Herakles,[212] or banqueting with Hades.[213] On both early and late
vases Hermes, in his character of Psychopompos, is seen preparing to
conduct her back from the nether world (see Plate XLV.),[214] or
actually on his way.[215] In another semi-mystical version of the
return of Persephone, signifying the return of spring and vegetation,
her head or part of her body emerges from the earth,[216] in one case
accompanied by the head of Dionysos, whereat Satyrs and Maenads flee
affrighted.[217] The interpretation of some of these scenes, however,
has been much questioned.[218]
* * * * *
The number of vases with subjects representing the three Delphic
deities—=Apollo=, =Artemis=, and =Leto=—is considerable. The
appearances of Apollo, at any rate, are probably only exceeded in
number by those of Athena, Dionysos, and Herakles. It is, in fact,
impossible to make a complete enumeration of the groups in which Apollo
occurs, and a general outline alone can be given.[219]
Apollo as a single figure is often found both on B.F. and R.F. vases,
usually as Kitharoidos, playing his lyre; sometimes also he is
distinguished by his bow.[220] As Kitharoidos he is usually represented
standing,[221] but in some cases is seated.[222] He is sometimes
accompanied by a hind[223] or a bull (Apollo Nomios?).[224] He is
represented at Delphi seated on the Pythoness’ tripod,[225] or is
seated at an altar,[226] or pours a libation.[227] He rides on a
swan[228] or on a Gryphon,[229] and also crosses the sea on a
tripod.[230] In some scenes he is characterised as Daphnephoros,[231]
holding a branch of laurel, or is represented in the attitude
associated with Apollo Lykeios, resting with one hand above his
head.[232] In one scene the type of Apollo Kitharoidos closely
resembles that associated with the sculptor Skopas.[233]
[Illustration:
From _Mon. dell’ Inst._ ix.
FIG. 116. APOLLO, ARTEMIS, AND LETO.
]
When he is grouped with Artemis, the latter deity usually carries a bow
and quiver,[234] or they pour libations to one another;[235] but more
commonly they stand together, without engaging in any action. They are
also depicted in a chariot.[236] More numerous are the scenes in which
Leto is also included (as Fig. 116), though she is not always to be
identified with certainty.[237] In this connection may be noted certain
scenes relating to Apollo’s childhood: his birth is once
represented,[238] and on certain B.F. vases a woman is seen nursing two
children (one painted black, the other white), which may denote Leto
with her infants, though it is more probably a symbolic representation
of Earth the Nursing-mother (Gaia Kourotrophos; see p. 73).[239]
Tischbein published a vase of doubtful authenticity, which represents
Leto with the twins fleeing from the serpent Python at Delos[240]; but
in two instances Apollo certainly appears in Leto’s arms, in one case
shooting the Python with his bow.[241]
With these three is sometimes joined Hermes—in one instance at Delphi,
as indicated by the presence of the _omphalos_[242]; or, again, Hermes
appears with Apollo alone, or with Apollo and Artemis.[243] Poseidon is
seen with Apollo, generally accompanied by Artemis and Hermes, also by
Leto and other indeterminate female figures.[244] In conjunction with
Athena, Apollo is found grouped with Hermes, Dionysos, Nike, and other
female figures; also with Herakles.[245] With Aphrodite he is seen in
toilet scenes, sometimes anointed by Eros.[246] In one case they are
accompanied by Artemis and Hermes,[247] and on one vase Apollo is
grouped with Zeus and with Aphrodite on her swan.[248] He accompanies
the chariots of various deities, such as Poseidon, Demeter, and
Athena,[249] especially when the latter conducts Herakles to
heaven.[250]
Apollo, in one case, is associated with the local Nymph Kyrene on a
fragment of a vase probably made in that colony.[251] He frequently
receives libations from Nike,[252] and in one case is crowned by
her.[253] With Nymphs and female figures of indeterminate character he
occurs on many (chiefly B.F.) vases, sometimes as receiving a
libation.[254] On several red-figured vases he is accompanied by some
or all of the nine Muses, one representing their contest with Thamyris
and Sappho.[255] He and Artemis are specially associated with marriage
processions, whether of Zeus and Hera or of ordinary bridal
couples.[256] Apollo also appears in a chariot drawn by a boar and a
lion at the marriage of Kadmos and Harmonia.[257]
In Dionysiac scenes he is a frequent spectator[258]; he greets Dionysos
among his thiasos,[259] joins him in a banquet,[260] or accompanies
Ariadne’s chariot[261] or the returning Hephaistos[262]; listens to the
Satyr Molkos playing the flutes,[263] or is grouped with Satyrs and
Maenads at Nysa.[264] More important and of greater interest are the
scenes which depict the legend of Marsyas, and they may fitly find a
place here. The story is told in eight different episodes on the vases,
which may be thus systematised:
1. Marsyas picks up the flutes dropped by Athena: Berlin 2418 =
Baumeister, ii. p. 1001, fig. 1209: cf. Reinach, i. 342 (in
Boston).
2. First meeting of Apollo and Marsyas: Millin-Reinach, i. 6.
3. The challenge: Berlin 2638.
4. Marsyas performing: B.M. E 490; Reinach, i. 452 (Berlin 2950), i.
511 (Athens 1921), ii. 312; Jatta 1093 = Reinach, i. 175 =
Baumeister, ii. p. 891, fig. 965.
5. Apollo performing: Jatta 1364 = _Él. Cér._ ii. 63; _Wiener Vorl._
vi. 11.
6. Apollo victorious: Reinach, ii. 310; Petersburg 355 = Reinach, i.
14 = _Wiener Vorl._ iii. 5.
7. Condemnation of Marsyas: Naples 3231 = Reinach, i. 405; Reinach,
ii. 324.
8. Flaying of Marsyas: Naples 2991 = Reinach, i. 406 (a vase with
reliefs); Roscher, ii. 2455 = _Él. Cér._ ii. 64.
Among other scenes in which Apollo (generally accompanied by Artemis)
plays a personal part, the following may be mentioned: the slaying of
the Niobids by the two deities[265]; the slaying of Tityos by
Apollo[266] (in one case Tityos is represented carrying off Leto, who
is rescued by Apollo)[267]; and various love adventures in which Apollo
is concerned.[268] The name of the Nymph pursued by him in the latter
scenes cannot, as a rule, be identified; one vase appears to represent
him contending with Idas for the possession of Marpessa.[269] He also
heals the Centaur Cheiron (this appears in burlesque form),[270] and
protects Creusa from the wrath of Ion.[271] He is seen seeking for the
cattle stolen from him by Hermes, and contending with that god over the
lyre.[272] He frequently appears in Birth of Athena scenes as
Kitharoidos,[273] and also at the sending forth of Triptolemos[274] or
in the under-world.[275] In one case he appears (with Athena, Artemis,
and Herakles) as protecting deity of Attica, watching a combat of
Greeks and Amazons.[276] On one vase there is a possible reference to
Apollo Smintheus, with whom the mouse was especially associated.[277]
Like other deities, Apollo and Artemis are frequently found on Apulian
vases as spectators of the deeds of heroes, or other events in which
they are more or less interested; some of these subjects have already
been specified (see above, p. 17). Apollo especially is often seen in
connection with the story of Herakles, or the Theban and Trojan
legends. One burlesque scene represents his carrying off the bow of
Herakles to the roof of the Delphic temple,[278] and the subject of the
capture of the tripod, with the subsequent reconciliation, is of very
frequent occurrence.[279] As Apollo Ismenios, the patron of Thebes, he
is a spectator of the scene of the infant Herakles strangling the
snakes[280]; in one case he is represented disputing with Herakles over
a stag,[281] which may be another version of the story of the Keryneian
stag, a scene in which he also occurs.[282] He is seen with Herakles
and Kyknos,[283] Herakles and Kerberos,[284] and is very frequently
present at the apotheosis of the hero.[285]
Apollo and Artemis watch Kadmos slaying the dragon,[286] and one or
other of them is present at the liberating of Prometheus[287]; Apollo
alone is seen with Oedipus and Teiresias,[288] and watches the slaying
of the Sphinx by the former.[289] Among Trojan scenes he is sometimes
present at the Judgment of Paris,[290] also at the sacrifice of
Iphigeneia, the pursuit of Troilos, the combats of Achilles and Ajax
with Hector, and the recognition of Aithra by her sons.[291] He is, of
course, frequently seen in subjects from the Oresteia, both in Tauris
and at Delphi,[292] and at the death of Neoptolemos before the latter
temple.[293] The pair are also seen at the carrying off of Basile by
Echelos (see p. 140).[294]
The ξόανον, or primitive cult-statue, of Apollo is sometimes
represented; in one case Kassandra takes refuge from Ajax before it,
instead of the usual statue of Athena.[295]
* * * * *
The appearances of =Artemis=, as distinct from Apollo, need not detain
us long; she is sometimes found in mythological scenes, but frequently
as a single figure, of which there are some fine examples.[296] A
winged goddess grasping the neck or paws of an animal or bird with
either hand frequently occurs on early vases, and is usually
interpreted as Artemis in her character of πότνια θηρῶν or mistress of
the brute creation, sometimes called the Asiatic or Persian
Artemis.[297] On an early Boeotian vase (with reliefs) at Athens is a
curious representation of Artemis Diktynna, a quasi-marine form of the
goddess, originally Cretan (?); on the front of her body is represented
a fish, and on the either side of her is a lion.[298] As a single
figure she appears either with bow or quiver, or with lyre, sometimes
accompanied by a stag or hind, or dogs[299]; she also rides on a
deer[300] or shoots at a stag.[301] Or, again, she is attended by a
cortège of Nymphs[302] or rides in a chariot.[303] Like that of Apollo,
her ξόανον is sometimes introduced into a scene as local colouring.[304]
The myth with which she is chiefly associated is that of Aktaeon, which
may find a place here, though in most cases Aktaeon alone is
represented, being devoured by his hounds.[305] A curious subject on a
vase at Athens appears to be the burial of Aktaeon, Artemis being
present.[306] She is also represented at the sacrifice of Iphigeneia,
for whom a stag was substituted by her agency,[307] and in connection
with the same story at her shrine in Tauris.[308] She is especially
associated with Apollo in such scenes as the contest with and flaying
of Marsyas,[309] the rape of the Delphic tripod by Herakles[310] and
the subsequent reconciliation,[311] or the appearance of Orestes at
Delphi.[312] The two deities sometimes accompany nuptial processions in
chariots, Artemis as _pronuba_ holding a torch, but it is not easy to
say whether these scenes refer to the nuptials of Zeus and Hera or are
of ordinary significance.[313] A scene in which she pursues a woman and
a child with bow and arrow may have reference to the slaughter of the
Niobids.[314]
Other scenes in which she is found are the Gigantomachia[315] and the
Birth of Athena[316]; or she is seen accompanying the chariots of
Demeter[317] and Athena,[318] and with Aphrodite and Adonis.[319] She
disputes with Herakles over the Keryneian stag[320]; and is also
present when he strangles the snakes,[321] and at his apotheosis in
Athena’s chariot.[322] She attends the combat of Paris and
Menelaos,[323] and as protecting deity of Attica she watches a combat
of Greeks and Amazons.[324] A vase in Berlin, on which are depicted six
figures carrying chairs (Diphrophori, as on the Parthenon frieze) and a
boy with game, may perhaps represent a procession in honour of
Artemis.[325]
* * * * *
=Hephaistos= is a figure who appears but seldom, and never as
protagonist, except in the case of his return to Olympos,[326] a
subject already discussed (p. 17), as has been his appearance in the
Gigantomachia[327] and at the birth of Athena.[328] In conjunction with
the last-named goddess he completes the creation and adornment of
Pandora on two fine vases in the British Museum[329]; he is also
present at the birth of Erichthonios.[330] His sojourn below the ocean
with Thetis and the making of Achilles’ armour also occur.[331]
Representations of a forge on some B.F. vases may have reference to the
Lemnian forge of Hephaistos and his Cyclopean workmen.[332] He is also
seen with Athena,[333] at the punishment of Ixion,[334] and taking part
in a banquet with Dionysos.[335]
* * * * *
More important than any of the other Olympian deities, for the part she
plays in vase-paintings, is =Athena=, the great goddess of the Ionic
race, and especially of Athens. Of her birth from the head of Zeus we
have already spoken, as also of the part she plays in the Gigantomachia
(p. 15). The separate episode of her combat with Enkelados (her
invariable opponent) is frequently depicted on B.F. vases[336]; but in
one instance she tears off the arm of another giant, Akratos.[337] We
have also seen her assisting at the creation of Pandora,[338] and
contending with Poseidon for Attica.[339] She receives the infant
Dionysos at the time of his birth,[340] and is also generally present
at that of Erichthonios,[341] and once with Leto at that of Apollo and
Artemis.[342] She is, of course, an invariable actor in Judgment of
Paris scenes, in one of which she is represented washing her hands at a
fountain in preparation for the competition.[343]
From assemblies of the gods she is rarely absent, and she is also
associated with smaller groups of divinities, such as Apollo and
Artemis (p. 31), with Ares or Hephaistos,[344] or with Hermes,[345] or
in Eleusinian[346] or Dionysiac scenes.[347] Thus she assists at the
slaying of the Niobids,[348] and on one vase is confronted with
Marsyas, before whom she has just dropped the flutes.[349] Scenes in
which she appears receiving a libation from Nike are extremely
common[350]; and she is also found with Iris and Hebe.[351] In one
instance she herself pours a libation to Zeus.[352]
Generally the companion of princes and patroness of heroes, she
protects especially Herakles, whom she aids in his exploits and conveys
finally in her chariot to Olympos, where he is introduced by her to
Zeus.[353] Some scenes represent the two simply standing together[354];
in others she welcomes and refreshes him after his labours,[355] and in
one case he is supposed to be represented pursuing her.[356] It is
unnecessary to particularise here the various scenes in which she
attends Herakles (see p. 95 ff.); but one may be mentioned as peculiar,
where she carries him off in her chariot with the Delphic tripod which
he has just stolen.[357] Another rare scene connected with the Herakles
myths is one in which, after the fight with Kyknos (see p. 101), Zeus
protects her from the wrath of Ares.[358] Another of her favourite
heroes is Theseus,[359] and she is even more frequently associated with
Perseus, whom she assists to overcome and escape from the Gorgons.[360]
She gives Kadmos the stone with which to slay the dragon,[361] and is
also seen with Bellerophon,[362] Jason and the Argonauts,[363] and
Oedipus.[364] She is present at the rape of Oreithyia by Boreas,[365]
at the punishment of Ixion,[366] and at the setting out of
Amphiaraos[367]; at the stealing of Zeus’ golden dog by Pandareos[368];
also at the rape of the Leukippidae by the Dioskuri,[369] and of Basile
by Echelos (see p. 140),[370] and in a scene from the tragedy of
Merope.[371]
The scenes where she is assisting the Greek heroes in the Trojan War
are almost too numerous to specify, her favourite being of course
Achilles; her meeting with Iris (_Il._ viii. 409) is once
depicted,[372] and she also appears in connection with the dispute over
Achilles’ arms.[373] She is not so frequently seen with her other
favourite, Odysseus, but in one instance she is present when he meets
with Nausikaa,[374] and also when he blinds Polyphemos.[375] On the
numerous vases representing Ajax and Achilles (or other heroes) playing
at draughts, the figure or image of the goddess is generally present in
the background.[376] The same type on B.F. vases is adopted for the
subject of two heroes casting lots before her statue[377]; lastly, she
appears as the friend and patron of Orestes when expiating the slaying
of his mother.[378]
As a single figure Athena is represented under many types and with
various attributes, seated with her owl[379] or in meditation,[380]
writing on tablets[381] or holding the ἀκροστόλιον of a ship[382];
playing on a lyre[383] or flutes,[384] or listening to a player on the
flute or lyre[385]; with a man making a helmet,[386] or herself making
the figure of a horse,[387] and in a potter’s workshop.[388] On an
early vase she appears between two lions[389]; or she is accompanied by
a hind (here grouped with other goddesses).[390] She is depicted
running,[391] and occasionally is winged[392]; or she appears mounting
a chariot, accompanied by various divinities.[393] As the protecting
goddess of Attica she watches a combat of Greeks and Amazons[394]; she
also attends the departure or watches combats of ordinary
warriors,[395] or receives a victorious one.[396] In one instance she
carries a dead warrior home.[397]
There are many representations of her image, either as a ξόανον or
cultus-statue, or recalling some well-known type of later art. Among
the former may be mentioned her statue at Troy, whereat Kassandra takes
refuge from Ajax,[398] and the Palladion carried off by Odysseus and
Diomede.[399] Among the latter, three can be traced to or connected
with creations of Pheidias: viz. the chryselephantine Parthenos
statue[400]; the Lemnian type, holding her helmet in her hand (Plate
XXXVI.)[401]; and the Promachos, in defensive attitude, with shield and
spear.[402] The last-named type (earlier, of course, than the famous
statue on the Acropolis) is that universally adopted for the figure of
Athena on the obverse of the Panathenaic amphorae, on which she is
depicted in this attitude between two Doric columns surmounted by cocks
(on the later examples by figures of Nike or Triptolemos).[403] Her
statue is also represented as standing in a shrine or heroön[404]; or
as the recipient of a sacrifice or offering.[405] Her head or bust
alone appears on several vases.[406]
* * * * *
=Ares=, in the few instances in which he appears on vases, is generally
in a subordinate position; he is a spectator at the birth of
Athena[407]; and appears twice on the François vase, at the wedding of
Peleus and Thetis, and again in an attitude of shame and humility, to
indicate the part he played in the story of Hephaistos and Hera; of his
combat with the former god mention has already been made (p. 16). In
the Gigantomachia his opponent is Mimas, with whom he also appears in
single combat[408]; and he aids his son Kyknos against Herakles and
Athena.[409] He is seen in several of the large groups of Olympian
deities,[410] or in smaller groups, _e.g._ with Poseidon and
Hermes,[411] with Apollo, Artemis, and Leto,[412] or with Athena[413]
or his spouse Aphrodite[414]; also with Dionysos, Ariadne, and
Nereus.[415] He also receives a libation from Hebe.[416] He is seen at
the birth of Pandora,[417] the punishment of Ixion,[418] the slaying of
the Niobids,[419] the apotheosis of Herakles,[420] and the contest of
that hero with the Nemean lion.[421] In some cases his type is not to
be distinguished from that of an ordinary warrior or hero, as in one
case where he or a warrior is seen between two women.[422]
* * * * *
=Aphrodite= seldom appears as a protagonist on vases, and in fact plays
a small personal part in mythology. Apart from scenes of a fanciful
nature she is usually a mere spectator of events; but as she is not
often characterised by any distinctive attribute, there is in many
cases considerable difficulty in identifying her personality. This is
especially the case on B.F. vases, on which her appearances are
comparatively rare. One vase represents her at the moment of her birth
from the sea in the presence of Eros and Peitho[423]; she also appears
(on late vases only) with Adonis,[424] embracing him, and in two
instances mourning for him after his death[425]; but caution must be
exercised in most cases in identifying this subject, which is but
little differentiated from ordinary love scenes. One scene apparently
represents Zeus deciding a dispute between her and Persephone over
Adonis.[426]
More commonly she is seen riding over the sea on a goose or swan,[427]
of which there is one exceedingly beautiful example in the British
Museum; here she is to be recognised as the Heavenly Aphrodite
(Ourania), whereas in her character of Pandemos (profane or unlicensed
love) she rides on a goat.[428] In other instances the swan draws her
chariot over the sea,[429] or she is borne by a pair of Erotes,[430] or
sails in a shell, as in the story of her birth and appearance in the
island of Kythera[431]; in others, again, her chariot is drawn (on
land) by the Erotes,[432] or by a lion, wolf, and pair of boars.[433]
She is also represented at her toilet[434] or bathing,[435] in the
latter case in the attitude of the _Vénus accroupie_ of sculpture; in
these instances again there is often difficulty in distinguishing from
scenes of ordinary life. Again, she is represented spinning,[436]
playing with a swan,[437] or caressing a hare,[438] or in company with
a young hunter,[439] possibly meant for Adonis.
[Illustration:
From Ἐφ. Ἀρχ. 1897.
FIG. 117. APHRODITE AND HER FOLLOWING (VASE AT ATHENS).
]
In many scenes she is grouped with a cortège of attendant Nymphs and
personified figures, often with names attached.[440] Besides Eros, the
following are found on these vases: Pothos (Longing) and Himeros
(Charm), Hygieia (Health), Peitho (Persuasion), Paidia (Play),
Pandaisia (Good Cheer), Eunomia (Orderliness), Euthymia (Cheerfulness),
Eudaimonia (Happiness), Hedylogos (Winning Speech), and Kleopatra (a
fancy name). Eros himself she embraces[441] and suckles,[442] and in
some cases he assists in her toilet, perfuming her hair from an unguent
flask,[443] or adjusting her sandals[444]; he is seldom absent from her
side on the later vases. In one instance Aphrodite and two Erotes make
a basket of golden twigs.[445] Their heads or busts are also found on
late vases, as is that of Aphrodite alone.[446]
In relation to other mythological subjects she is frequently found in
assemblies of the gods, especially in the spectator groups on Apulian
vases[447]; also at the birth of Athena (rarely),[448] at the marriage
of Zeus and Hera,[449] and in the Gigantomachia (very rare).[450] She
is seen among the Eleusinian deities,[451] and in scenes from the
nether world[452]; and she accompanies the chariots of Athena and
Demeter.[453] She also accompanies Poseidon in his wooing of
Amymone,[454] and is present at the slaying of Argos by Hermes,[455]
the punishment of Aktaeon[456] and the contest of Apollo and
Marsyas,[457] and the wooing of Europa by Zeus.[458] She is also
grouped with Apollo and the Muses listening to Thamyris and Sappho.[459]
She is seldom seen with Herakles, but is present at his
apotheosis,[460] and also with him in the Garden of the
Hesperides[461]; she is once seen with Theseus,[462] and is present at
the rape of the Leukippidae by the Dioskuri.[463] Other heroes with
whom she is connected (chiefly as a spectator on the Apulian vases) are
Kadmos, Meleager, Perseus, and Pelops.[464] In the tale of Troy,
however, she plays a more important part. The Judgment of Paris is, of
course, the scene with which she is chiefly connected[465]; in one
instance she appears alone with Paris, unless Anchises be here
meant.[466] She is present at the first meeting and wedding of Peleus
and Thetis[467]; at the toilet of Helen, and at her carrying off by
Paris[468]; she assists her son Aeneas in his combat with Diomede,[469]
and is present at the rape of Kassandra.[470] Helen takes refuge from
Menelaos with her in her temple[471]; and finally she assists Aeneas to
escape with the aged Anchises from Troy.[472]
* * * * *
Besides the scenes in which he appears with Aphrodite, =Eros= is a
sufficiently important personage on vases to demand a section to
himself. On the black-figured vases he never appears, nor on the
earlier red-figured ones is it possible to find many instances, but
towards the end of the fifth century his popularity is firmly
established, while on the Italian vases, especially the the later
Apulian, his presence is almost invariable, not only in mythological
scenes, but in subjects from daily life. As a single figure he occurs
again and again, generally holding a wreath, mirror, box, fan, or some
object which may be regarded as signifying a lover’s present.
Concurrently with his increasing popularity we note the change that
comes over the conception of his personality. Beginning as a full-grown
youth of fair proportions, his form gradually attenuates and becomes
more juvenile, or even in some cases infantile, as in Hellenistic art;
while on the Apulian vases it assumes an androgynous, altogether
effeminate character. His hair is arranged in feminine fashion, and his
person is adorned with earrings, bracelets, anklets, and chains,
remaining otherwise entirely nude, except that he sometimes wears soft
shoes of a feminine kind (see Plate XLIV. and Fig. 118).
On the red-figured vases he generally appears as a single figure,
though on those of the “fine” style he is often in attendance on
Aphrodite; roughly speaking, it may be said that he figures in all
scenes that deal with the passion of Love, such as the Judgment of
Paris,[473] the story of Adonis,[474] the marriage of Dionysos and
Ariadne,[475] or the love-affairs of Zeus, Poseidon, and other
gods.[476]
In other legends in which Love plays a part, such as the stories of
Jason and Medeia,[477] Phaidra and Hippolytos,[478] Peleus and Thetis
(or Theseus and Ariadne),[479] Pelops and Hippodameia,[480] Paris and
Helen,[481] he is also to be seen; as also at the carrying off of
Persephone.[482] Moreover, he occurs in several scenes where the reason
is not so apparent, as at the birth of Erichthonios,[483] in the Garden
of the Hesperides,[484] at the suckling of Herakles by Hera,[485] with
Herakles and a Centaur,[486] and in the nether world[487]; also with
deities such as Zeus, Athena, Nike, Helios and Selene, and
Dionysos[488]; anointing the head of Apollo.[489] The cosmogonic
conception of Eros and his connection with Gaia is referred to in the
next chapter under the latter heading (p. 73). Two Erotes draw the
chariot of Demeter and Persephone[490]; and he is also seen in company
with the Nereids.[491] His presence in Dionysiac scenes, especially on
the later vases, is often to be noted, though without any special
meaning to be attached to it[492]; in one instance he is carried on the
back of a Seilenos.[493] In many of these scenes he merely accompanies
Aphrodite, and they do not therefore require enumeration. Lastly, he is
seen in company with Sappho,[494] the great poetess of Love.
In non-mythological scenes he is found almost as frequently, especially
in toilet scenes,[495] or what we may regard as “scenes of courting”;
but on the later vases these exhibit little or no action, and are not
worth considering in detail, with a few exceptions. Thus we see Eros in
marriage processions,[496] in musical scenes,[497] and at
banquets[498]; at a sacrifice to a term[499]; watching girls play the
game of _morra_[500] (“How many fingers do I hold up?”); swinging them,
or being danced on their feet[501]; in scenes of fruit- and
incense-gathering[502]; or pouring wine into a krater.[503] He appears
with Agon (see p. 89) training in the palaestra.[504] He pursues a
youth or a girl,[505] embraces a girl,[506] or is carried by her
pick-a-back[507]; offers a hare to a youth,[508] or drives a youth with
a whip from an altar[509]; and in one instance is about to chastise
with a slipper two youths who are playing with a top and hoop[510];
these two latter scenes may be regarded as implying the power of Eros
over youth. He is also seen shooting an arrow at a woman,[511] an idea
characteristic of Anacreontic and Alexandrine poetry. Another scene
which recalls the wall-paintings of the Hellenistic Age is on a vase in
the British Museum, representing two Erotes being weighed in
scales.[512]
As a single figure he pursues a hare or kills a snake[513]; crouches
before a plant[514]; is represented armed with shield and spear[515];
or places a sash or wreath on a tripod.[516] He is borne in a chariot
by horses or swans,[517] or rides on a horse, deer, dog, or swan.[518]
He is also seen playing various games, such as the _kottabos_ or
_morra_,[519] see-sawing or playing knucklebones,[520] or with a ball
or hoop or toy-boat.[521] Or he plays the flute or lyre[522]; or plays
with animals, such as a deer, dove, swan[523]; or finally (on Apulian
vases) with a toy which resembles a wheel, and was probably used for
magic purposes, as several passages of literature indicate.[524]
[Illustration: FIG. 118. EROS WITH KOTTABOS-STAND (BRIT. MUS.).]
Lastly, we must give a survey of the frequent representations of Eros
flying through the air carrying some attribute, which are so universal
on the Italian vases, though some of the earliest types also represent
him in this manner. Thus he carries a hare, or dove or other bird[525];
fruit (such as grapes or pomegranates), flowers, and branches[526];
wreaths, dishes of fruit, baskets, vases of various forms, and a spit
of meat[527]; thyrsi, tambourines, lyres, torches, incense-burners,
strigils, and ladders[528]; fans, parasols, mirrors, toilet-boxes,
strings of beads, and sashes, or balls.[529]
* * * * *
Among the other associates of Aphrodite the chief are Peitho, Pothos,
and Himeros, of whom mention has already been made. =Peitho=, except
where her name is given, is not always easy to identify; the other two
are not differentiated from Eros in form, and are, in fact, only
variations of the conception of Love, as are the more rarely occurring
Phthonos (_Amor invidiosus_)[530] and Talas (_Amor infelix_), the
latter of whom is associated with Sappho.[531] Peitho is found with
Himeros in one instance,[532] and in another with Eukleia[533]; she
also accompanies Aphrodite in Eleusinian and other scenes,[534] at the
deliverance of Andromeda,[535] in the Garden of the Hesperides,[536]
and at the rape of Helen[537] and the Leukippidae,[538] and at the
recovery of Helen by Menelaos[539]; she consoles her when mourning for
Adonis[540]; and is present at the moment of her birth.[541] Like Eros,
she is seen in company with Sappho,[542] and she also appears with
Meleager and Atalante.[543]
* * * * *
=Pothos= and =Himeros= are seen floating over the sea with Eros on a
fine R.F. vase in the British Museum,[544] and at the Judgment of
Paris[545]; and grouped together generally as Erotes, they may be
distinguished on some late vases. Pothos attends at the toilet of
Helen,[546] and plays the flutes in a Dionysiac scene.[547] Himeros is
seen swinging Paidia (another of Aphrodite’s following)[548]; at the
marriage of Herakles and Hebe[549]; presenting a crown to
Dionysos,[550] or removing his shoes,[551] and accompanying him in a
scene of preparation for the Satyric drama.[552]
* * * * *
=Hermes=, the messenger of the gods, is a common figure on vases of all
periods, but chiefly as a subordinate agent, though he plays a leading
part in some scenes, and frequently occurs as a single figure.[553]
Some small vases are decorated merely with his head, wearing the winged
petasos.[554] He is represented passing over the sea with a lyre,[555]
carrying a ram,[556] riding on a ram or goat,[557] or reclining on the
latter animal[558]; also as making a libation[559] or sacrificing a
goat.[560] He presides over the palaestra,[561] and is also seen
standing between Sphinxes,[562] or again (apparently as a statue)
standing by a fountain.[563] In one scene he leads a dog disguised as a
pig,[564] and he is also represented tending a flock of sheep,[565] or
fishing.[566]
The story so vividly recounted in the Homeric hymn of his infantile
theft of Apollo’s oxen is given in several scenes, including his taking
refuge in his cradle (Fig. 119)[567]; he is also represented with his
mother Maia,[568] and disputing with Apollo over the lyre which he
invented.[569] The only other myth in which he plays a chief part is
his pursuit of the Nymph Herse in the presence of her father Kekrops
and her sister Aglauros.[570] He appears in the Gigantomachia (in one
instance as Zeus’ charioteer),[571] frequently at the birth of
Athena,[572] and with the bridal _cortège_ of Zeus and Hera[573]; also
in numerous assemblies of the Olympian deities, especially on the
Apulian vases.[574] He is present at the seizing of Ganymede,[575] and
defends Hera against an attack of Seileni.[576] His slaying of Argos
and deliverance of Io has already been mentioned[577]; and he assists
in recovering the golden dog of Zeus which was stolen by Pandareos.[578]
[Illustration:
From _Baumeister_.
FIG. 119. HERMES WITH APOLLO’S OXEN.
]
He is present at the return of Hephaistos,[579] at Poseidon’s capture
of Amymone,[580] with Aphrodite mourning for Adonis,[581] and with
Apollo slaying Tityos and the Niobids and contending with Marsyas,[582]
also at his reconciliation with Herakles.[583] He accompanies the
chariots of Poseidon, Apollo, and Athena,[584] and also those of
mortals, especially in wedding processions[585]; and he is also seen
with Eos and Selene,[586] Kastor and Polydeukes,[587] Prometheus,[588]
Leda at the finding of the egg,[589] and at the birth of Pandora.[590]
He is specially associated with Zeus, Apollo, Athena, and
Dionysos,[591] and also appears with Aphrodite Pandemos[592]; he is not
infrequently found in Dionysiac scenes[593]; and to him is entrusted
the newly born Dionysos to be handed over to the Nymphs of Nysa.[594]
On B.F. vases he is frequently seen leading a procession of Nymphs.[595]
As a Chthonian deity he is present in many scenes relating to the
nether world, especially on the large Apulian vases,[596] and in
connection with the Eleusinian myths, such as the carrying off of
Persephone.[597] As Psychagogos or Psychopompos he is seen in Hades
waiting to conduct Persephone to earth, or actually _en route_ with
her.[598] He frequently performs the same office for mortals,
conducting them to Charon’s bark.[599] He is also found in company with
Thanatos,[600] and with Herakles bringing back Alkestis.[601] A unique
scene with Hermes in his Chthonian capacity is on a vase where he is
represented chaining up Kerberos[602]; and another, yet more curious,
depicts him standing by a jar (πίθος) from which a number of small
winged figures (εἴδωλα or ghosts) are flying out, with a supposed
reference to the Athenian festival of the Πιθοίγια.[603]
In the stories of Herakles he plays an important part, as also in those
of Theseus and other heroes, and he is frequently visible in scenes
from the Trojan legends. He conveys the infant Herakles to Cheiron for
instruction,[604] and conducts the hero to Hades to fetch
Kerberos[605]; he is also seen feasting or bathing with him,[606] and
in company with him and Athena,[607] and most frequently in connection
with his apotheosis.[608] With Theseus he is found more rarely[609];
but he frequently accompanies Perseus in his flight from the
Gorgons.[610] In other heroic scenes he is often one of the spectator
deities on Apulian vases. In one instance he is seen banqueting with an
unidentified hero.[611]
In the Trojan legends his chief appearance is as conductor of the
goddesses to the Judgment of Paris[612]; and in one case he accompanies
Peleus when bringing the infant Achilles to Cheiron.[613] He also
assists Zeus in weighing the souls of Achilles and Hector,[614]
conducts Priam to Achilles,[615] and is present in many other scenes
which need not be recounted in detail. A scene difficult of explanation
represents him accompanying Odysseus in a chariot.[616]
A Herm or terminal figure of Hermes is a not uncommon feature on vases,
especially of the R.F. period,[617] and generally as the object of a
sacrifice made to it.[618]
Last of the Olympian deities comes =Hestia=, who is usually coupled
with Hermes; she, however, only appears on a few vases in gatherings of
the Olympian deities,[619] as on the François vase, where she attends
the nuptials of Peleus and Thetis, and at the marriage of Herakles and
Hebe.[620]
-----
Footnote 1:
_Il._ xi. 635: cf. Athen, xi. 489 F.
Footnote 2:
i. 27 ff.: cf. Vol. I. p. 180.
Footnote 3:
Athenaeus, xi. p. 489 B.
Footnote 4:
_Ibid._ p. 782 B.
Footnote 5:
_Od._ 5.
Footnote 6:
_H.N._ xxxiii. 155.
Footnote 7:
_Ibid._ 156.
Footnote 8:
Mart. viii. 51: cf. Juv. i. 76.
Footnote 9:
Stat. _Theb._ i. 543.
Footnote 10:
Virg. _Ecl._ iii. 46.
Footnote 11:
Schreiber, _Alexandr. Toreutik, passim_; Robert in _50^{tes}
Winckelmannsfestprogr._ 1890.
Footnote 12:
Suet. _Ner._ 47: see Vol. I. pp. 134, 185, 499.
Footnote 13:
Cf. Miss Harrison, _Mythol. and Monum. of Athens_, p. ii; and see
Vol. I. p. 13.
Footnote 14:
See on this subject _J.H.S._ xiii. p. 83.
Footnote 15:
_Art. Poet._ 147.
Footnote 16:
See Luckenbach in _Jahrb. für Class. Phil._ Suppl.-Bd. xi. (1880), p.
575 ff.
Footnote 17:
_Op. cit._ p. 493 ff.
Footnote 18:
The only exceptions are in the Panathenaic contests, which are of
course not epic: cf. B.M. B 130–31.
Footnote 19:
See on this subject _Comm. in hon. T. Mommseni_, p. 163 ff.; _Arch.
Zeit._ 1876, p. 116; Dumont-Pottier, i. p. 366, and, _J.H.S._ x. p.
13 ff.
Footnote 20:
Luckenbach, _op. cit._ p. 560 ff.
Footnote 21:
There is only one vase (Naples 2296 = Reinach, _Répertoire_, i. 476)
on which the names of the Nereids are derived from Homer.
Footnote 22:
_Op. et Di._ 60 ff.; _Scut._ 345 ff., 178, 216; _Theog._ 820, 924 ff.
Footnote 23:
See _J.H.S._ xviii. p. 267.
Footnote 24:
Vol. I. p. 472: see also below, p. 159. On the subject generally see
Vogel, _Scenen Eur. Trag._; Huddilston, _Gk. Tragedy in
Vase-paintings_; Engelmann, _Arch. Studien zu den Tragikern_.
Footnote 25:
Reinach, i. p. 114.
Footnote 26:
_Op. cit._ p. 636.
Footnote 27:
See for further details of early theories Vol. I. p. 21.
Footnote 28:
_E.g._ the B.F. hydriae with water-drawing scenes; the funeral
lekythi; and the R.F. cups with their subjects relating to banquets
and revels.
Footnote 29:
See also Chapters VI.–XI. throughout.
Footnote 30:
Morgenthau, _Zusammenhang d. Bilder auf gr. Vasen_.
Footnote 31:
Cf. for instance E 39, 45, 47, 48, in B.M.
Footnote 32:
See below, p. 108.
Footnote 33:
See p. 134.
Footnote 34:
This subject has been admirably treated by Wickhoff in his _Roman
Art_ (Eng. edn.), p. 13 ff.
Footnote 35:
The publication of this vase by Furtwaengler and Reichhold, _Gr.
Vasenmalerei_, pls. 1–3, 11–13, with full discussion of subjects and
technical details, has now superseded all previous illustrations. The
only other complete ones were in _Mon. dell’ Inst._ iv. 54–8
(Reinach, i. p. 134–36) and _Wiener Vorl._ ii. pls. 1–5. The general
view given in Plate XXVIII. is reproduced from the first-named work.
Footnote 36:
For the abbreviations used in the following notes see the
Bibliography (Vol. I.).
Footnote 37:
Munich 125 = Reinach, ii. 120 = Furtwaengler and Reichhold, pl. 32;
B.M. F 237: cf. also B.M. B 62.
Footnote 38:
The best and most complete examples are as follows:—B.F.: B.M. B 208;
Reinach, i. 162 = Louvre E 732. R.F.: B.M. E 47, 469; Berlin 2293,
2531 (both in _Wiener Vorl._ i. pls. 8 and 5; the latter very good);
Bibl. Nat. 573 = Reinach, ii. 256. Best of all (late R.F.), a grand
vase found in Melos (_Monum. Grecs_, 1875, pt. 4, pls. 1–2 = _Wiener
Vorl._ viii. 7), on which no less than eighteen deities are engaged,
but none of the giants are named. Hera, Hephaistos, and Amphitrite
are absent. Figs. 111 and 112 give two of these—E 732 in Louvre, and
the interior of Berlin 2531.
Footnote 39:
_Arch. Anzeiger_, 1890, p. 8.
Footnote 40:
Reinach, ii. 188 = _Él. Cér._ i. 5.
Footnote 41:
B.M. E 47; Berlin 2293.
Footnote 42:
B.M. B 253, E 443 (and see p. 56).
Footnote 43:
_Bull. de Corr. Hell._ xx. (1896), pl. 7: cf. the archaic frieze of
the Siphnian treasury at Delphi.
Footnote 44:
B.F.: B.M. B 147 (a very fine early example, but much restored), 244
(Fig. 113), 424; Berlin 1704 (also good). R.F.: B.M. E 15, E 410
(fine); Reinach, ii. 207.
Footnote 45:
Reinach, i. 171.
Footnote 46:
Reinach in _Revue des Études Grecques_, 1901, p. 127, traces the
subject to a Megarian origin.
Footnote 47:
_B.M. Vases_, ii. p. 11.
Footnote 48:
B.M. B 147, 218, 244.
Footnote 49:
_Cat._ 444.
Footnote 50:
See B.M. B 157, B 341; also Berlin 1899 (= _Él. Cér._ i. 22) and
Reinach, ii. 21, 2.
Footnote 51:
_E.g._ B.M. B 197 (a fine vase, by Amasis?) and B 298: see on the
subject Foerster, _Hochzeit des Zeus und Hera_.
Footnote 52:
B.M. E 82; Wernicke, _Ant. Denkm._ pl. 1, 7 = Reinach, ii. 266.
Footnote 53:
Petersburg 355 = Reinach, i. 14 = _Wiener Vorl._ iii. 5 (also
interpreted as a sculptor finishing off a statue of Hera).
Footnote 54:
B.M. F 269 (gods nicknamed respectively Daidalos and Enyalios).
Footnote 55:
B.F.: François vase; B.M. B 42 (Plate XXI.), 264; Vienna 218; Athens
628 = _Ath. Mitth._ 1894, pl. 8. R.F.: Bibl. Nat. 539 = Reinach, ii.
261; Reinach, ii. 3 = Millin-Reinach, i. 9; Reinach, ii. 311; Munich
776 = Baumeister, i. p. 644, fig. 714 = Furtwaengler and Reichhold,
pl. 29; Munich 780 = _Él. Cér._: i. pl. 46 A = _Wiener Vorl._ i. 9, 3.
Footnote 56:
See below, p. 107; the best examples are Berlin 2278 = _Ant. Denkm._
i. 9 (Sosias); B.M. B 379; Reinach, ii. 76 (in Berlin).
Footnote 57:
B.M. B 345; E 67, 444; Berlin 2060; Reinach, i. 157, 1, 2 and 203 =
Baumeister, iii. pl. 93, fig. 2400 (by Oltos and Euxitheos, a very
fine example); a late instance, Petersburg 419 = Reinach, i. 161.
Footnote 58:
Reinach, i. 98; 194 (Dareios in council).
Footnote 59:
B.M. F 278; Reinach, i. 379.
Footnote 60:
B.M. F 271.
Footnote 61:
B.M. F 279.
Footnote 62:
Numerous examples will be found in the pages of Reinach’s
_Répertoire_.
Footnote 63:
Rape of Persephone: Reinach, i. 99; other scenes, _ibid._ i. 355;
B.M. F 270.
Footnote 64:
E 668 = Reinach, i. 435; and cf. Jatta 1405 = Reinach, i. 483; Bibl.
Nat. 489.
Footnote 65:
Reinach, ii. 287.
Footnote 66:
B.M. B 425: cf. _Mus. Greg._ ii. 21, 1.
Footnote 67:
_Él. Cér._ i. 82 (also i. 22?), and Vienna 329.
Footnote 68:
_Él. Cér._ ii. 30 (may be Poseidon); Micali, _Mon. Ined._ 37, 3; B.M.
E 432 (Artemis); Naples S.A. 702 = Reinach, i. 499 and Reinach, ii.
183 (Aphrodite); Bibl. Nat. 229 (Zeus with Hera, Athena, Ares, and
Hermes); _Arch. Anzeiger_, 1898, p. 189, and _Boston Mus. Report_,
1899, No. 15 (with Hermes).
Footnote 69:
B.M. B 166, B 379, B 424, E 262; Furtwaengler and Reichhold, 20;
Berlin 1857 (H. plays lyre); Petersburg 1775 = _Wiener Vorl._ iii. 9,
1 = Reinach, i. 302 (parody): and see below, p. 107.
Footnote 70:
Reinach, i. 156, 1.
Footnote 71:
_Él. Cér._ i. 14 (now in B.M.); Munich 345 = Reinach, i. 66.
Footnote 72:
_Arch. Anzeiger_, 1895, p. 38 (fine polychrome pyxis in Berlin).
Footnote 73:
B.M. E 381; _Él. Cér._ i. 20.
Footnote 74:
B.M. F 278; Roscher, iii. p. 969.
Footnote 75:
Hartwig, _Meistersch._ pl. 68 (in Louvre): cf. Eusebius, _Prep.
evang._ iii. 84_b_.
Footnote 76:
_Él. Cér._ i. 29A (doubtful).
Footnote 77:
Reinach, i. 335, 2.
Footnote 78:
_Él. Cér._ i. 18 (= Helbig, ii. p. 310, No. 104); Bibl. Nat. 416 =
Reinach, i. 472; Berlin 2032 = Reinach, i. 334.
Footnote 79:
_Röm. Mitth._ 1887, pl. 10.
Footnote 80:
B.M. F 542.
Footnote 81:
B.M. E 313; Reinach, i. 408.
Footnote 82:
Petersburg 1792 = Reinach, i. 1: see Robert, _Arch. Märchen_, pl. 2,
p. 179 ff.
Footnote 83:
Petersburg 1793 = Reinach, i. 3; Bibl. Nat. 219 = _Mon. Ant. di
Barone_, pl. 1; _Boston Mus. Report_, 1895, No. 27: see also for the
first Robert, _Arch. Märchen_, pl. 3, p. 189.
Footnote 84:
B.M. E 182; Bibl. Nat. 440 = Reinach, ii. 260; and see p. 55, note
644.
Footnote 85:
B.M. F 150; _Jahrbuch_, i. (1886), p. 276 (see Vol. I. p. 473).
Footnote 86:
B.M. F 149 (signed by Python) = _J.H.S._ xi. pl. 6; B.M. F 193.
Footnote 87:
B.M. F 286; Reinach, i. 278.
Footnote 88:
B.M. E 711; Petersburg 1723 = Baumeister, i. p. 406, fig. 447 (both
R.F.).
Footnote 89:
Aegina: Helbig, ii. p. 311, No. 113 = Wernicke, _Ant. Denkm._ 6, 4;
Berlin 3239 = _Él. Cér._ i. 17; _Boston Mus. Report_ for 1895, No. 39
(a sister brings the news to her father Asopos). Thaleia: Reinach,
ii. 285 = _Él. Cér._ i. 16 = Wernicke, 6, 3.
Footnote 90:
Reinach, ii. 144: see below, p. 82.
Footnote 91:
B.F.: Louvre E 696 = Reinach, i. 162; Athens 853 = Reinach, i. 507;
_id._ ii. 49. R.F.: B.M. E 231; Munich 208 = Jahn, _Entführung d.
Europa_, pl. 7 (polychrome on white); Petersburg 1637 = Reinach, i.
24, and 1915 = Reinach, i. 22 (Europa brought to Zeus). Late: B.M. F
184; Naples 3218 = Jahn, _op. cit._ pl. 1 (Eros on bull).
Footnote 92:
Helbig, ii. p. 312, No. 118 = Overbeck, _Kunstmythol. Atlas_, pl. 6,
fig. 13.
Footnote 93:
See generally _Boston Mus. Report_, 1900, p. 62, and _Jahrbuch_,
1903, p. 37; also _Wiener Vorl._ 1890–91, pl. 12.
Footnote 94:
Berlin 3164, and Reinach, ii. 16 = _Él. Cér._ i. 25, 26.
Footnote 95:
Reinach, i. 407.
Footnote 96:
_Ibid._ i. 111, 1 = Berlin 2651 (R.F.), and 111, 2 = Munich 573 =
_Wiener Vorl._ 1890–91, pl. 12, 1 (B.F.); _Boston Mus. Report_, 1900,
No. 21.
Footnote 97:
B.M. B 164; Bibl. Nat. 302 = _Él. Cér._ iii. 97; Reinach, i. 363;
Vienna 338 = _Wiener Vorl._ 1890–91, pl. 11, 1 = Fig. 114; _ibid._ i.
111, 4 = Jatta 1498 = _Wiener Vorl._ 1890–91, pl. 12, 2.
Footnote 98:
See generally Overbeck, _Kunstmythol._ ii. p. 27 ff., 181 ff.
Footnote 99:
Reinach, i. 388.
Footnote 100:
See p. 101; Zeus defending Athena against Ares after the combat,
_Arch. Anzeiger_, 1898, p. 51 (Boston vase).
Footnote 101:
See p. 130.
Footnote 102:
B.M. E 140; Reinach, i. 342, 405, 452; _ibid._ i. 229; i. 235.
Footnote 103:
B.M. E 467 and _J.H.S._ xxi. pl. 1; Petersburg 1807 = Reinach, i. 7.
Footnote 104:
B.M. B 316; E 224; Naples 2638 = Reinach, i. 78.
Footnote 105:
Munich 745 = Furtwaengler and Reichhold, pl. 16.
Footnote 106:
See p. 141.
Footnote 107:
See above, p. 16.
Footnote 108:
Munich 336 = Overbeck, _Kunstmythol. Atlas_, pl. 9, 19; head only,
_Él. Cér._ i. 29; also perhaps in Naples 2900 = Baumeister, iii. p.
1653, fig. 1714; but more probably Aphrodite is intended.
Footnote 109:
Overbeck, _op. cit._ iii. p. 18; Reinach, i. 231, ii. 16.
Footnote 110:
_Él. Cér._ i. 34.
Footnote 111:
Bibl. Nat. 542 = Reinach, i. 141.
Footnote 112:
Reinach, i. 388.
Footnote 113:
B.M. E 155.
Footnote 114:
B.M. E 467.
Footnote 115:
B.M. B 164; Berlin 3164; Reinach, i. 111, 4.
Footnote 116:
B.M. F 107.
Footnote 117:
Naples 2873 = Millin-Reinach, i. 3: cf. B.M. F 148 and Reinach, i.
301.
Footnote 118:
Reinach, ii. 4.
Footnote 119:
B.M. B 379; Berlin 2278; Furtwaengler and Reichhold, 20.
Footnote 120:
Bibl. Nat. 253 = Reinach, i. 399.
Footnote 121:
B.M. B 57: cf. the Hera αἰγοφάγος at Sparta (Paus. iii. 15, 9).
Footnote 122:
Petersburg 1792 = Reinach, i. 1; Bibl. Nat. 219.
Footnote 123:
_Bull. de Corr. Hell._ 1898, p. 586.
Footnote 124:
Jatta 1093 = Reinach, i. 175.
Footnote 125:
Reinach, i. 463.
Footnote 126:
Naples 2202 = Dubois-Maisonneuve, _Introd._ pls. 45–46.
Footnote 127:
Reinach, ii. 9, 321 and _Él. Cér._ i. 30 (Hebe); Reinach, ii. 325
(Iris).
Footnote 128:
B.M. E 65 = Reinach, i. 193.
Footnote 129:
B.M. B 147, E 410.
Footnote 130:
B.M. B 197.
Footnote 131:
B.M. E 82; Berlin 2278 = _Ant. Denkm._ i. 9.
Footnote 132:
See above, p. 13 (esp. Berlin 2531 (Fig. 112), Reinach, ii. 188 =
_Él. Cér._ i. 5, _Boston Mus. Report_, 1898, No. 41, and Helbig, ii.
p. 304, No. 81 = _Mus. Greg._ ii. pl. 56, 1); B.M. B 166; Berlin
2278; Reinach, ii. 76; Louvre F 30 = _Rev. Arch._ xiii. (1889), pl. 4
(by Amasis).
Footnote 133:
B.M. B 425: cf. _Mus. Greg._ ii. 21, 1.
Footnote 134:
B.M. B 212, B 262, and Reinach, ii. 23, 30 = Munich 145 (Apollo);
_Boston Mus. Report_, 1896, No. 1, and Athens 750 (Hermes); Athens
838, _Él. Cér._ ii. 30(?), iii. 13, 36 A (Athena and Hermes); B.M. B
191 (Ares and Hermes), B 228 (Athena, Ares, Herakles); _Bourguignon
Sale Cat._ 41 (Apollo, Eros, Nereids, Papposilenos).
Footnote 135:
B.M. E 140.
Footnote 136:
Reinach, ii. 35; and see B.M. E 445.
Footnote 137:
Berlin 347–473 (alone), 474–537 (with A.): see also 787–833;
specimens published in _Ant. Denkm._ i. pls. 7–8 (_e.g._ Fig. 115 =
Berlin 495).
Footnote 138:
B.M. E 322; Berlin 2164; Bibl. Nat. 363 = Reinach, ii. 257, 4;
_ibid._ ii. 22, 8; Petersburg 1531, 2164. With Amphitrite pouring a
libation: _Wiener Vorl._ vii. 2 (Duris in Louvre).
Footnote 139:
Reinach, ii. 35.
Footnote 140:
Athens 880; Bibl. Nat. 314.
Footnote 141:
Berlin 1869; Athens 836; Reinach, ii. 22; B.M. B 254 (Ἀφροδίτη
inscribed by error for Ἀμφιτρίτη).
Footnote 142:
Naples 3219 = Reinach, i. 125.
Footnote 143:
_Él. Cér._ iii. 14.
Footnote 144:
Plate L.: cf. Bibl. Nat. 222 = Reinach, ii. 251 = Rayet and
Collignon, p. 121.
Footnote 145:
Reinach, i. 124, 465, ii. 22 (Jatta 1346), 181; Athens 1171 =
Heydemann, _Gr. Vas._ pl. 2, 1. Amymone alone may be intended on
Bibl. Nat. 359.
Footnote 146:
B.M. E 174; Reinach, ii. 23 = Helbig, ii. p. 309, No. 102.
Footnote 147:
Bibl. Nat. 432 = Millin-Reinach, ii. 20; _Él. Cér._ iii. 20–25; Bibl.
Nat. 370; Reinach, i. 286 = _Wiener Vorl._ viii. 2, by Brygos
(perhaps the Nymph Salamis: cf. _J.H.S._ ix. p. 56; the scenes on the
exterior of this cup may refer to Kychreus, the son of Poseidon and
Salamis, and the snake slain by him). Athens 1551 = Heydemann, _Gr.
Vas._ pl. 1, fig. 2, seems to represent Poseidon pursuing a Nereid.
Footnote 148:
_J.H.S._ xviii. pp. 277–79, and cf. pl. 14 (Louvre G 104, by
Euphronios), where Theseus is received by Amphitrite.
Footnote 149:
Bibl. Nat. 418 = _J.H.S._ xviii. p. 278.
Footnote 150:
B.M. E 264.
Footnote 151:
Reinach, i. 361.
Footnote 152:
_E.g._ i. 36.
Footnote 153:
Reinach, i. 108, 195; Berlin 2634; Reinach, i. 379; i. 99; B.M. E
467; B.M. F 279; Reinach, i. 98.
Footnote 154:
B.M. B 196, Munich 114 = Reinach, i. 422; Reinach, ii. 61; and see
B.M. B 228; Reinach, i. 301; ii. 66 (Kyknos).
Footnote 155:
B.M. B 57.
Footnote 156:
_Ath. Mitth._ 1886, pl. 10 (with the Graiae); _Mon. Grecs_, 1878, pl.
2 (in Louvre).
Footnote 157:
Millin-Reinach, ii. 4.
Footnote 158:
B.M. B 428 = Roscher, iii. 247.
Footnote 159:
B.M. E 9, 73; Reinach, i. 64, i. 78 (= Naples 2638), ii. 278; _Wiener
Vorl._ vii. 2 (Duris in Louvre); Munich 369 = Furtwaengler and
Reichhold, 24 (Hieron): all R.F. See also p. 120.
Footnote 160:
B.M. B 201; Reinach, i. 346, 6–7.
Footnote 161:
B.M. B 225, E 162; Bibl. Nat. 255 = Reinach, ii. 61. See p. 101.
Footnote 162:
Reinach, i. 339.
Footnote 163:
Berlin 1732 = Reinach, ii. 66 (inscribed Ἅλιος Γέρων).
Footnote 164:
Reinach, ii. 76.
Footnote 165:
Naples 3352 = Reinach, i. 485.
Footnote 166:
B.M. B 551.
Footnote 167:
Athens 1551.
Footnote 168:
B.M. E 109; Berlin 1676 = Reinach, ii. 22; Louvre F 148.
Footnote 169:
B.M. B 223, 311; Reinach, i. 227, ii. 61, 1. See p. 101.
Footnote 170:
_J.H.S._ xviii. p. 277.
Footnote 171:
Naples 3412 = Reinach, i. 498.
Footnote 172:
B.M. B 166 (Palaimon?), E 156 (Leukothea: see p. 136); Reinach, i.
319 (Ino?): for possible instances of Melikertes see Berlin 779, 780,
914, and Roscher, ii. p. 2635.
Footnote 173:
Naples 1767 = Engelmann-Anderson, _Atlas to Homer_, _Od._ pl. iv. 22;
B.M. B 201.
Footnote 174:
B.M. F 218.
Footnote 175:
Berlin 1007, 1008; _Él. Cér._ iii. 31 and 32 B (fem.); see Vol. I. p.
314.
Footnote 176:
_Ant. Denkm._ i. 59 (Branteghem Coll. 85); B.M. E 774 (names given to
fancy scene): see also Munich 331; Naples 2638 = Reinach, i. 78, 2;
and Kretschmer, _Gr. Vaseninschr._ p. 200.
Footnote 177:
See p. 25, note 159; also Reinach, p. 231.
Footnote 178:
B.M. F 69; Jatta 1496 = Reinach, i. 112; Reinach, i. 300; Roscher,
iii. 221–24: see generally Heydemann’s _Nereiden mit Waffen_.
Footnote 179:
Louvre E 643 = Reinach, i. 311.
Footnote 180:
Reinach, i. 83, 232.
Footnote 181:
_Ibid._ ii. 61.
Footnote 182:
Berlin 3241 = Roscher, iii. 218; Petersburg 1915 = Reinach, i. 21.
Footnote 183:
Reinach, i. 286.
Footnote 184:
B.M. B 155.
Footnote 185:
_Bourguignon Sale Cat._ 41; and in assemblies of the gods, Reinach,
ii. 76.
Footnote 186:
Naples 3222 = Reinach, i. 167.
Footnote 187:
Vase in Boston (1900 Report, No. 4): cf. for a Nereid(?) with
dolphins, Louvre G 3.
Footnote 188:
_Mon. Grecs_, 1875, pt. 4, pls. 1–2.
Footnote 189:
The best example is a votive plaque found at Eleusis in 1895 (Athens
1968 = Ἐφ. Ἀρχ. 1901, pl. 1): see also Petersburg 1792 and 525 =
Reinach, i. 1 and 11 = Baumeister, i. pp. 474–75.
Footnote 190:
For other deities in Eleusinian scenes, see under Aphrodite, Hermes,
Dionysos, Hekate.
Footnote 191:
B.M. F 68.
Footnote 192:
_Rev. Arch._ xxxvi. (1900), p. 93.
Footnote 193:
Petersburg 1792–93 = Reinach, i. 1, 3.
Footnote 194:
Reinach, ii. 32; B.M. F 90.
Footnote 195:
Reinach, ii. 321; Athens 1844 = _Ath. Mitth._ 1881, pl. 4.
Footnote 196:
Athens 1626 = Dumont-Pottier, pl. 37.
Footnote 197:
_Arch. Anzeiger_, 1895, p. 39 (Berlin): cf. Ἐφ. Ἀρχ. 1893, pl. 9, and
see p. 140 below.
Footnote 198:
Berlin 1704 = Reinach, i. 197.
Footnote 199:
Berlin 2634.
Footnote 200:
Athens 1120 = _Ath. Mitth._ 1901, pl. 8.
Footnote 201:
Reinach, ii. 329 (very dubious): cf. a terracotta from Cyprus in B.M.
(A 326).
Footnote 202:
B.F.: Reinach, ii. 32–33. R.F.: B.M. E 140 (Plate LI.); E 183, E 281,
E 469; Petersburg 1207 = Reinach, i. 10; _Wiener Vorl._ iv. 7, 4.
Late: Petersburg 350 = Reinach, i. 12; Helbig, 127 = Millin-Reinach,
ii. 31, and 152 = Reinach, ii. 34; _Wiener Vorl._ i. 6.
Footnote 203:
_Él. Cér._ iii. 62; a newly acquired R.F. amphora in B.M.: see also
Roscher, _E.g._ Keleos, p. 1028; Reinach, i. 286 (?); Munich 336.
Footnote 204:
B.M. E 274 and Munich 299: see Overbeck, _Kunstmythol._ iii. p. 535.
Footnote 205:
Bibl. Nat. 424 = Reinach, i. 463.
Footnote 206:
_Ath. Mitth._ 1899, pl. 7.
Footnote 207:
Naples S.A. 11 = Reinach, i. 401.
Footnote 208:
Reinach, i. 124.
Footnote 209:
_Ibid._ i. 156, 1: see Apollod. iii. 14, 4, and Hygin. _Astron._ ii.
7.
Footnote 210:
B.F.: B.M. B 310. R.F.: Reinach, i. 99, 156, 2; B.M. F 277;
Baumeister, i. pl. 7, fig. 462: and see Helbig, 144 = Overbeck,
_Kunstmythol. Atlas_, 18, 12.
Footnote 211:
See below, p. 67; also Berlin 1844 and _Mus. Greg._ ii. 21, 1, for
earlier examples.
Footnote 212:
Reinach, i. 389 and 401 (= Naples S.A. 11); _ibid._ ii. 70.
Footnote 213:
B.M. E 82, F 68.
Footnote 214:
B.F.: B.M. B 261; Munich 728 = Reinach, ii. 48. Late: B.M. F 332 =
Plate XLV.
Footnote 215:
Reinach, i. 522, 1 = Roscher, ii. p. 1378; Baumeister, i. p. 423,
fig. 463 (inscribed).
Footnote 216:
Reinach, i. 228 (Berlin 2646) and 348 (Boston); _Arch. Anzeiger_,
1895, p. 37 (Berlin); Harrison, _Prolegomena to Gk. Religion_, p. 277
(vase in Dresden; Satyrs astonished; Hermes present).
Footnote 217:
Reinach, i. 144 = Louvre F 311 = Baumeister, i. p. 445, fig. 493.
Footnote 218:
Robert, _Arch. Märchen_, p. 198 ff.: see _J.H.S._ xix. p. 232, xx. p.
106 ff., and _Jahrbuch_, vi. (1891), p. 113; also below, under
Ge-Pandora (p. 73), and Harrison, _Prolegom. to Gk. Religion_, p. 277
ff.
Footnote 219:
For a more complete tabulation see Overbeck, _Kunstmythologie_, vol.
iv., especially pp. 42 ff., 322 ff.; also the plates of vol. ii. of
the _Él. Cér._, and the Atlas to Overbeck, pls. 19 to end.
Footnote 220:
Bibl. Nat. 367 = Reinach, ii. 257.
Footnote 221:
B.M. B 260, 681.
Footnote 222:
B.M. B 592; Berlin 1868.
Footnote 223:
_Él. Cér._ ii. 3; ii. 6A = Petersburg 411.
Footnote 224:
B.M. B 195, F 145(?); Berlin 1867; Reinach, ii. 29.
Footnote 225:
Reinach, ii. 286.
Footnote 226:
B.M. E 80.
Footnote 227:
B.M. E 516; _Él. Cér._ ii. 4.
Footnote 228:
B.M. E 232; Reinach, ii. 157, 296; _Wiener Vorl._ A. 10, 2.
Footnote 229:
B.M. E 543; Reinach, ii. 228; Berlin 2641 = _Él. Cér._ ii. 44.
Footnote 230:
Helbig, 97 = Reinach, i. 79 = Baumeister, i. p. 102, fig. 108.
Footnote 231:
Millin-Reinach, i. 46; Petersburg 411 = _Él. Cér._ ii. 6A.
Footnote 232:
B.M. F 311; Naples 2902 = _Él. Cér._ ii. 97A.
Footnote 233:
Reinach, ii. 310 = _Él. Cér._ ii. 65.
Footnote 234:
B.M. B 260, 548, E 274, 383, 514; Brygos vase in Louvre = Reinach. i.
246; Naples R.C. 169 = Reinach, i. 313 (Artemis with torch; localised
at Delphi by a crow on the omphalos).
Footnote 235:
_Él. Cér._ ii. 10 (Berlin 2206) and 32; Vienna 331; Reinach, ii. 27;
B.M. E 579; _Forman Sale Cat._ 356.
Footnote 236:
B.M. E 262; Reinach ii. 26 (= Louvre F 297), 284 (?); on Melian
amphora (Athens 475 = Rayet and Çollignon, pl. 3), Apollo in chariot,
before which stands Artemis with stag.
Footnote 237:
B.M. B 680, E 256; Reinach, ii. 27–8, 45 (Naples S.A. 192); Athens
1342.
Footnote 238:
Athens 1962 (Leto about to bring forth, assisted by Eileithyia).
Footnote 239:
B.M. B 168, 213; _Mus. Greg._ ii. 39, 1 a; _Él. Cér._ ii. 2. Nyx
(Night) was similarly represented on the Kypselos chest (Paus. v. 18,
1).
Footnote 240:
Reinach, ii. 310.
Footnote 241:
Berlin 2212 = Overbeck, _Kunstmythol._ iv. p. 378; Bibl. Nat. 306 =
_Él. Cér._ ii. 1 A.
Footnote 242:
Berlin 2645 = Reinach, i. 397 (Apollo on omphalos, with hind);
Reinach, ii. 26 (Louvre F 297), 28 (Bibl. Nat. 443), i. 184 (Fig.
116); B.M. E 502 (omphalos); Athens 1362 (by Mys, a fine example).
Footnote 243:
Reinach, ii. 29; B.M. B 215, 245; Petersburg 9 = Reinach, ii. 24
(Apollo crowned by woman); _Él. Cér._ ii. 39; Bibl. Nat. 428; Munich
157.
Footnote 244:
B.M. B 212, 262; Reinach, ii. 23, 323; _Él. Cér._ ii. 30 (?), 36 C:
and cf. _Bourguignon Sale Cat._ 41.
Footnote 245:
B.M. B 238; Reinach, ii. 24 (Munich 47), 25, 30; Naples 1891 = _Él.
Cér._ ii. 35; Munich 609 = Reinach, ii. 42.
Footnote 246:
B.M. F 311, 399.
Footnote 247:
B.M. E 785.
Footnote 248:
Reinach, ii. 183.
Footnote 249:
_Ibid._ ii. 25 (?), 32, 72–73; B.M. B 203, and _Wiener Vorl._ 1889,
pl. 6, 1; and see generally Overbeck, _Kunstmythol._ iv. p. 51.
Footnote 250:
B.M. B 199–201, 211, etc.; Reinach, ii. 72; Berlin 1827 (all B.F.).
Footnote 251:
B.M. B 6; see Vol. I. p. 344.
Footnote 252:
Reinach, i. 253; _Él. Cér._ ii. 47–48 (also Iris).
Footnote 253:
Naples 1762 = Millingen-Reinach, 29.
Footnote 254:
B.M. B 259, 261; E 323, 415; _Él. Cér._ ii. 13 (= Reinach, ii. 27).
In some of these Artemis may be intended.
Footnote 255:
Berlin 2388; _Él. Cér._ ii. 79, 80, 83, 86 (a fine example); Jatta
1538 = Reinach, i. 526; Helbig, 133 = _Mus. Greg._ ii. 15, 2; and cf.
_Boston Mus. Report_ for 1898, No. 54 (A. as a neat-herd?).
Footnote 256:
B.M. B 197, 298; B.M. B 257, Reinach, ii. 154, and Millingen-Reinach,
44.
Footnote 257:
_Wiener Vorl._ C. 7, 3 = Roscher, ii. 842.
Footnote 258:
B.M. B 195, 255–56, 258; F 77; Reinach, ii. 23.
Footnote 259:
Petersburg 1807 = Reinach, i. 8 = Baumeister, i. p. 104, fig. 110.
Footnote 260:
Munich 62 = Reinach, ii. 75.
Footnote 261:
B.M. B 179.
Footnote 262:
Reinach, ii. 31.
Footnote 263:
Reinach, ii. 287 = _Él. Cér._ ii. 62 (inscribed ΑΕΛΙΟΣ: see below, p.
78).
Footnote 264:
Millin-Reinach, i. 54.
Footnote 265:
B.F.: _Ant. Denkm._ i. 22. R.F.: B.M. E 81; Reinach, i. 227 = Vol. I.
p. 442. Late: Jatta 424 = Reinach, i. 463; Naples 3246 = Roscher,
iii. 407 (Niobe at grave of children).
Footnote 266:
B.F.: Reinach, i. 244 (= Louvre E 864), 245; Bibl. Nat. 171 = _ibid._
ii. 252. R.F.: B.M. E 278.
Footnote 267:
Louvre G 42 = Reinach, ii. 26.
Footnote 268:
B.M. E 64 (= Reinach, i. 111), E 170 (= _E.g._ i. 185); _Él. Cér._
ii. 21; and see Millin-Reinach, i. 71.
Footnote 269:
Munich 745 = Reinach, i. 67 = Furtwaengler and Reichhold, 16: see
also Bibl. Nat. 171 = Reinach, ii. 253.
Footnote 270:
B.M. F 151.
Footnote 271:
Reinach, i. 375.
Footnote 272:
Helbig 227 = Reinach, i. 357; _E.g._ ii. 259 = Bibl. Nat. 820 (?).
Footnote 273:
B.M. B 147.
Footnote 274:
Naples 690, 3245.
Footnote 275:
Reinach, i. 355.
Footnote 276:
Millin-Reinach, ii. 25.
Footnote 277:
Reinach, ii. 297.
Footnote 278:
Petersburg 1777 = Reinach, i. 153.
Footnote 279:
See below, p. 103.
Footnote 280:
B.M. F 479.
Footnote 281:
Reinach, ii. 56, 3: see p. 97.
Footnote 282:
_Ibid._ i. 233.
Footnote 283:
Berlin 1732 = Reinach, ii. 66.
Footnote 284:
Reinach, ii. 69.
Footnote 285:
See p. 106, note 1219, for B.F. scenes; for R.F. (in Olympos),
Reinach, i. 222 and ii. 76.
Footnote 286:
Berlin 2634.
Footnote 287:
Reinach, i. 388.
Footnote 288:
Overbeck, _Her. Bildw._ pl. 2, 11 = _Wiener Vorl._ 1889, 9, 6.
Footnote 289:
B.M. E 696.
Footnote 290:
Berlin 2633; Reinach, ii. 87 (?); _Wiener Vorl._ E. 11 = _Jahrbuch_,
1894, p. 252.
Footnote 291:
B.M. F 159; François vase; Helbig 106 = Reinach, ii. 101; _Wiener
Vorl._ vi. 7 (Duris in Louvre); B.M. E 468, Helbig 232 = Reinach, ii.
59; Reinach, i. 218.
Footnote 292:
Reinach i. 105 (Naples 3223) and i. 504; B.M. F 166, Berlin 3256,
Naples 1984 = Reinach, i. 390, 2, and _Anzeiger_, 1890, p. 90
(Berlin).
Footnote 293:
Reinach, i. 321.
Footnote 294:
_Arch. Anzeiger_, 1895, p. 39 (Berlin).
Footnote 295:
B.M. E 336: cf. Reinach, i. 218 and Overbeck, _Kunstmythol._ iv. p.
15.
Footnote 296:
_Röm. Mitth._ 1888, pl. 1; Hartwig, _Meistersch._ pl. 67, 2; _E.g._
p. 602 ff. (cultus-statue of the moon-goddess, Artemis Munychia); and
see note 299.
Footnote 297:
Vol. I. p. 289; Berlin 301 = Reinach, i. 380; Naples 304 = Reinach,
i. 380; Baumeister, i. p. 132, fig. 139; François vase; _Arch.
Anzeiger_, 1890, p. 2 (Karlsruhe).
Footnote 298:
Athens 462 = Reinach, i. 517: see $1$2 1892, p. 219 ff.
Footnote 299:
_Él. Cér._ ii. 7 (with hind and lyre); Bibl. Nat. 365 = Reinach, ii.
257 (drawing arrow from quiver); Bibl. Nat. 491 = _Gaz. Arch._ 1885,
pl. 32; Reinach, i. 494 (with two dogs); Froehner, _Musées de
France_, pl. 4.
Footnote 300:
_Él. Cér._ ii. 8, 43; Naples 3253 = Reinach, i. 194; B.M. F 274;
Reinach, ii. 228.
Footnote 301:
B.M. E 432.
Footnote 302:
Millin-Reinach, ii. 77.
Footnote 303:
B.M. E 262 = Reinach, ii. 45; and see _Él. Cér._ ii. 9 (in Louvre).
Footnote 304:
Naples 2200 = Reinach, i. 379; Berlin 3164; Reinach, ii. 16 (?).
Footnote 305:
B.F.: Athens 882 = Heydemann, _Gr. Vas._ pl. 8, 3; _Él. Cér._ ii. 103
C. Late: B.M. F 176, F 480 (Etruscan); Berlin 3239 = _Él. Cér._ ii.
103 B; Reinach, i. 229 and 250 (the former of these now at Boston).
Footnote 306:
Athens 835 = _Ath. Mitth._ 1890, pl. 8.
Footnote 307:
B.M. F 159.
Footnote 308:
Reinach, i. 104, 133, 158, 504.
Footnote 309:
Athens 1921 = Reinach, i. 511.
Footnote 310:
B.M. B 195, B 316, E 255; Bibl. Nat. 251 = Reinach, ii. 252.
Footnote 311:
Reinach, ii. 4.
Footnote 312:
_Ibid._ i. 132.
Footnote 313:
B.M. B 197, B 298; Reinach, ii. 154: cf. B.M. B 257.
Footnote 314:
_Él. Cér._ ii. 90.
Footnote 315:
See above, p. 15.
Footnote 316:
B.M. E 410.
Footnote 317:
Reinach, ii. 32.
Footnote 318:
B.M. B 203.
Footnote 319:
Reinach, i. 499.
Footnote 320:
B.M. B 231; Reinach, i. 233.
Footnote 321:
B.M. F 479.
Footnote 322:
B.M. B 320; Reinach, ii. 72; in Olympos, B.M. B 379, Berlin 2278, and
Reinach, ii. 76.
Footnote 323:
_Wiener Vorl._ vi. 7 = Duris kylix in Louvre.
Footnote 324:
Millin-Reinach, ii. 25.
Footnote 325:
_Arch. Anzeiger_, 1895, p. 36.
Footnote 326:
See note 326 on p. 17.
Footnote 327:
B.M. E 47; Berlin 2293.
Footnote 328:
B.M. B 147, B 244; B.M. E 410; Bibl. Nat. 444.
Footnote 329:
E 467 and D 4.
Footnote 330:
Berlin 2537 = Reinach, i. 208; _ibid._ i. 66 (Munich 345), 113.
Footnote 331:
Berlin 2294; and see below, p. 130.
Footnote 332:
B.M. B 507; _Él. Cér._ i. 51: cf. p. 171.
Footnote 333:
Bibl. Nat. 820 = Reinach, ii. 259 (?).
Footnote 334:
Reinach, i. 330.
Footnote 335:
B.M. B 302, and cf. F 68.
Footnote 336:
B.M. B 252: see _Arch. Journ._ ii. p. 67.
Footnote 337:
Berlin 2957 = _Él. Cér._ i. 88 (Etruscan).
Footnote 338:
B.M. D 4; E 467.
Footnote 339:
Plate L.; and see p. 24.
Footnote 340:
B.M. E 182; Petersburg 1792 = Reinach, i. 1.
Footnote 341:
Berlin 2537; B.M. E 372; Munich 345 = Reinach, i. 66; _Wiener Vorl._
iii. 2 = Reinach, i. 113.
Footnote 342:
Athens 1962.
Footnote 343:
Reinach, i. 126: for other examples see p. 122.
Footnote 344:
Bibl. Nat. 216 = _Él. Cér._ iv. 96 (Ares); Bibl. Nat. 820 = Reinach,
ii. 259 (Hephaistos).
Footnote 345:
B.M. E 268; Bibl. Nat. 220 (= Reinach, ii. 211) and 229; and see
under Hermes, p. 52, note 591.
Footnote 346:
Reinach, i. 11.
Footnote 347:
B.M. B 552; Berlin 2179 = _Wiener Vorl._ iii. 6; _Mus. Greg._ ii. 38,
2_E.g._ (with Poseidon and Dionysos).
Footnote 348:
Reinach, i. 463.
Footnote 349:
Berlin 2418 = Baumeister, ii. p. 1001, fig. 1209: cf. B.M. E 490 and
Reinach, i. 342 (in Boston); Reinach, i. 175, 510, 511 (Athens 1921).
Footnote 350:
_Él. Cér._ i. 68, 76 A; with N. sacrificing, _Boston Mus. Report_,
1898, No. 51.
Footnote 351:
B.M. E 324 (Hebe?); Reinach, ii. 323 (Hebe?); _ibid._ 324 (Iris).
Footnote 352:
Vienna 329: cf. _Él. Cér._ i. 82 (A. with Z., but not pouring
libation).
Footnote 353:
See p. 106 for these scenes, in which she is almost invariably
present.
Footnote 354:
B.M. B 198, B 498; Helbig 93 = _$1_ ii. 54, 2.
Footnote 355:
B.M. D 14; Berlin 2626 = _Coll. Sabouroff_, i. 67; Millin-Reinach,
ii. 41.
Footnote 356:
Reinach, ii. 75 (doubtful).
Footnote 357:
Stackelberg, pl. 15.
Footnote 358:
_Arch. Anzeiger_, 1898, p. 51 (vase in Boston).
Footnote 359:
B.M. E 48; Berlin 2179 = _Wiener Vorl._ iii. 6; _Boston Mus. Report_,
1900, No. 25; Reinach, i. 55, 6 (Petersburg 116), 91, 421 (Petersburg
2012), ii. 271; and see _Wiener Vorl._ E. 12, 2.
Footnote 360:
B.M. B 155, 248, 380, E 181, 493, F 83; Bibl. Nat. 277 = Reinach, i.
290; _Mon. Grecs_, 1878, pl. 2.
Footnote 361:
B.M. E 81; Petersburg 2189 = Reinach, i. 5(?).
Footnote 362:
Reinach, i. 108, 195, 331.
Footnote 363:
_Ibid._ i. 102, 226.
Footnote 364:
B.M. E 696.
Footnote 365:
Reinach, i. 184.
Footnote 366:
B.M. E 155.
Footnote 367:
Reinach, i. 480.
Footnote 368:
_Bull. de Corr. Hell._ 1898, p. 586.
Footnote 369:
Reinach, i. 231.
Footnote 370:
_Arch. Anzeiger_, 1895, p. 39 (Berlin).
Footnote 371:
Reinach, i. 363.
Footnote 372:
_Ibid._ ii. 296: see pp. 77, 128.
Footnote 373:
At meeting of Paris and Helen, Athens 1942 = Reinach, i. 402; at
combat of Ajax and Hector, _Wiener Vorl._ vi. 7 (Duris in Louvre); at
dispute over the arms, B.M. E 69; and see for other instances,
Reinach, i. 3, 82, 138, 174, 218; ii. 59, 266.
Footnote 374:
Reinach, ii. 110.
Footnote 375:
Vase in Boston: see 1899 Report, No. 16.
Footnote 376:
See below, p. 124.
Footnote 377:
B.M. B 541, E 160.
Footnote 378:
Reinach, i. 5 (?), 158, 390; _Arch. Anzeiger_, 1890, p. 90 (Berlin).
Footnote 379:
Berlin 2313 = Reinach, i. 416 = _Wiener Vorl._ vii. 4, 3.
Footnote 380:
B.M. E 316 = Plate XXXVI.
Footnote 381:
Reinach, ii. 123 (= Munich 1185), 262 (= Bibl. Nat. 369).
Footnote 382:
B.M. E 299.
Footnote 383:
Berlin 1846 = Reinach, ii. 30 (before Dionysos).
Footnote 384:
Reinach, i. 342.
Footnote 385:
_Ibid._ ii. 166; _Boston Mus. Report_, 1896, No. 1.
Footnote 386:
_Él. Cér._ i. 83.
Footnote 387:
Berlin 2415 = Reinach, i. 343 (the Trojan horse?).
Footnote 388:
Vol. I. p. 223, Fig. 72.
Footnote 389:
Reinach, i. 501.
Footnote 390:
_Ibid._ ii. 44.
Footnote 391:
B.M. E 515, 519.
Footnote 392:
_Röm. Mitth._ 1897, pl. 12; Bibl. Nat. 260; Louvre F 380.
Footnote 393:
B.M. B 203; Reinach, ii. 73; with Poseidon, Athens 836; with Hermes,
Benndorf, _Gr. u. Sic. Vasenb._ pl. 4, 1.
Footnote 394:
Millin-Reinach, ii. 25.
Footnote 395:
Reinach, ii. 125, 130; Bibl. Nat. 232, 256 = Rein. ii. 254.
Footnote 396:
_Ibid._ i. 44.
Footnote 397:
Bibl. Nat. 260.
Footnote 398:
B.M. B 242, 379, 541, E 160, 470, F 160, 209, 278; Munich 65 =
Reinach, i. 76; Naples 2422 = Furtwaengler and Reichhold, 34.
Footnote 399:
See below, p. 133.
Footnote 400:
B.M. E 494, E 696; E 716 (moulded vase); and cf. B 611 (Nikephoros).
Footnote 401:
B.M. B 222, E 305 (Pl. XXXVI.), E 324, E 515; _Él. Cér._ i. 82; Bibl.
Nat. 219; _Bull. de Corr. Hell._ 1898, p. 586.
Footnote 402:
For a fine example of Athena Promachos see Athens 1169 = Benndorf,
_Gr. u. Sic. Vasenb._ 31, 2.
Footnote 403:
See Vol. I. p. 389, and Plates XXXIII., XXXIV.; also the B.M.
examples B 130–46, 602–12.
Footnote 404:
_Él. Cér._ i. 67.
Footnote 405:
B.M. B 80; Berlin 1686 = Rayet-Collignon, pl. 7; Reinach, ii. 122;
Athens 1858 = Reinach, i. 396 (identified as Athena Nike or Onka);
for the trophy-like form of the figure on the last-named cf. the
coins of Pergamon inscribed Ἀθηνᾶς Νικηφόρον: see also for a curious
subject Benndorf, _Gr. u. Sic. Vasenb._ pl. 31, fig. 1.
Footnote 406:
B.M. D 22; Bibl. Nat. 472 = Reinach, i. 131, 4.
Footnote 407:
B.M. B 147; Reinach, i. 156.
Footnote 408:
B.M. B 617; Berlin 2531; Bibl. Nat. 573 = Reinach, ii. 256; Athens
1259 = Reinach, i. 506.
Footnote 409:
See p. 101; for his subsequent attack on Athena, _Arch. Anzeiger_,
1898, p. 51 (vase in Boston).
Footnote 410:
B.M. E 67, E 82; Reinach, i. 203.
Footnote 411:
B.M. B 191, B 228.
Footnote 412:
_Amer. Journ. of Arch._ 1896, p. 6, fig. 4.
Footnote 413:
Bibl. Nat. 216 (= _Él. Cér._ iv. 96) and 229.
Footnote 414:
_Él. Cér._ iv. 94–95; B.M. E 82, and Berlin 2278 (in assemblies of
gods); _Gaz. Arch._ 1876, pl. 34.
Footnote 415:
B.M. B 551; and see Athens 903.
Footnote 416:
_Él. Cér._ iv. 98.
Footnote 417:
B.M. E 467.
Footnote 418:
B.M. E 155.
Footnote 419:
Reinach, i. 463.
Footnote 420:
B.M. B 379; Berlin 1961 (= Reinach, ii. 43) and 2278; Bibl. Nat. 254.
Footnote 421:
Reinach, ii. 91.
Footnote 422:
_Él. Cér._ iv. 99.
Footnote 423:
_Röm. Mittheil._ 1899, pl. 7: cf. Paus. vii. 8.
Footnote 424:
B.M. F 108, 373 (?); Millingen-Reinach, 26; Reinach, i. 119, 265,
325, 479 (?); _Él. Cér._ iv. 66 (?).
Footnote 425:
Reinach, i. 499 = Naples S.A. 702; also Naples 2900 =
Millingen-Reinach, 41 = Baumeister, iii. p. 1653, fig. 1714.
Footnote 426:
Reinach, i. 156.
Footnote 427:
B.M. D 2; _J.H.S._ xii. pl. 13; _Jahrb._ 1886, pl. 11, 2; Berlin 2636
(_Él. Cér._ iv. 5) and 2688 (= Benndorf, _Gr. u. Sic. Vasenb._ 37,
3); Reinach, ii. 7, 183. Late: B.M. F 240, 556.
Footnote 428:
Berlin 2635 = _Jahrbuch_, 1889, p. 208 = Roscher, iii. 1514.
Footnote 429:
Berlin 2660.
Footnote 430:
_Él. Cér._ iv. 6.
Footnote 431:
_Arch. Anzeiger_. 1898, p. 137 (Dresden vase): cf. Paul, _E.g._ Fest.
iii. _E.g._ Cytherea and the B.M. terracottas D 89–91.
Footnote 432:
B.M. E 712, 775; Athens 1944; Reinach, i. 124, ii. 323; Inghirami,
_Vasi Fitt._ 324.
Footnote 433:
Reinach, i. 353.
Footnote 434:
B.M. E 230, F 311; Athens 1588 = Roscher, iii. p. 2119 (Fig. 117);
Reinach, i. 39, ii. (290; _Burlington Fine Arts Club Cat._ 1903), p.
108, No. 46.
Footnote 435:
Reinach, ii. 301, 320; Berlin 2707 = _Coll. Sabouroff_, pl. 62, 2.
Footnote 436:
Petersburg 1983 = Reinach, i. 15.
Footnote 437:
Froehner, _Musées de France_, pl. 13, 4.
Footnote 438:
Berlin 4126 = Reinach, i. 128.
Footnote 439:
B.M. E 699 = _J.H.S._ xi. pl. 4.
Footnote 440:
B.M. E 224, 697, 698, 775; Berlin 3257 (with Eunomia and Euthymia at
marriage of Herakles and Hebe); Naples S.A. 316 = Reinach, i. 477
(with Eukleia, Klymene, and Pannychis); _Mon. Grecs_, 1889–90, pls.
9–10 (without names); Fig. 117 = Athens 1588 = Roscher, iii. p. 2119
(with Kore, Hebe, Eudaimon, Harmonia, and others).
Footnote 441:
Reinach, ii. 315; Millin-Reinach, i. 65.
Footnote 442:
Reinach, i. 198.
Footnote 443:
B.M. E 230, E 289, and cf. F 311; Baumeister, i. p. 618, fig. 687 (?
see p. 57, note 710).
Footnote 444:
_Él. Cér._ iv. 38.
Footnote 445:
Stackelberg, pl. 30: cf. B.M. E 697.
Footnote 446:
Reinach, i. 129; B.M. F 258; Bibl. Nat. 1005, 1133 (head of A.
adorned by two Erotes).
Footnote 447:
See above, p. 17.
Footnote 448:
B.M. E 15; Reinach, i. 156(B.F.).
Footnote 449:
B.M. B 197.
Footnote 450:
_Mon. Grecs_, 1875, pls. 1–2.
Footnote 451:
Petersburg 350, 525 = Reinach, i. 11–12; _Rev. Arch._ xxxvi. (1900),
p. 93.
Footnote 452:
B.M. F 270, 332; Reinach, i. 355–56, 479.
Footnote 453:
B.M. B 203; F 90.
Footnote 454:
Reinach, i. 124, 465; ii. 181.
Footnote 455:
Berlin 3164; Reinach, i. 111, 4 and 416.
Footnote 456:
Berlin 3239.
Footnote 457:
Reinach, i. 405, 452 (Berlin 2950); ii. 197.
Footnote 458:
Helbig 118 = Overbeck, _Kunstmythol. Atlas_, 6, 13.
Footnote 459:
Reinach, i. 526.
Footnote 460:
Reinach, i. 481; Berlin 2278; Furtwaengler-Reichhold, 20; at marriage
with Hebe, Berlin 3257.
Footnote 461:
B.M. E 224.
Footnote 462:
Reinach, i. 91.
Footnote 463:
B.M. E 224.
Footnote 464:
Naples 3226 = Millin-Reinach, ii. 7 (Kadmos); B.M. F 271 (Pelops);
Reinach, i. 188, and _Jahrbuch_, 1896, pl. 2 (Perseus); Naples S.A.
11 = Reinach, i. 401 (Meleager).
Footnote 465:
See below, p. 122.
Footnote 466:
Millingen-Reinach, 43: cf. Berlin 3244 for another possible Anchises.
Footnote 467:
B.M. E 424; François vase.
Footnote 468:
Reinach, i. 437.
Footnote 469:
B.M. E 73; _Tyszkiewicz Coll._ pl. 18 (now in Boston).
Footnote 470:
B.M. F 209.
Footnote 471:
Reinach, i. 222, and cf. i. 437 and B.M. F 278 (statue of A.); Noel
des Vergers, _Étrurie_, iii. pl. 39.
Footnote 472:
B.M. B 173, 280; Reinach, ii. 116.
Footnote 473:
B.M. E 289; Reinach, i. 7, 15, 126; _Wiener Vorl._ A. 10, 3.
Footnote 474:
B.M. F 108 (anointing Adonis’ hair).
Footnote 475:
B.M. E 129.
Footnote 476:
Zeus and Danaë: B.M. E 711; Europa: B.M. E 231, F 184, Naples 3218
(Eros on bull); Reinach, i. 22, 24.
Footnote 477:
Reinach, i. 449.
Footnote 478:
B.M. F 272, 279; _Arch. Anzeiger_, 1890, p. 89 (Berlin).
Footnote 479:
B.M. E 424; Plate XXXIX. fig. 2.
Footnote 480:
B.M. F 271, 331; Reinach, i. 235.
Footnote 481:
Reinach, i. 9, 402 (Athens 1942), 437.
Footnote 482:
Reinach, i. 156, ii. 309.
Footnote 483:
_Ibid._ i. 66.
Footnote 484:
B.M. E 227.
Footnote 485:
B.M. F 107.
Footnote 486:
Reinach, i. 22.
Footnote 487:
B.M. F 270; Reinach, i. 355, 455 (with Orpheus).
Footnote 488:
Reinach, i. 66; _E.g._ i. 100, 167; B.M. F 152, 194; Gerhard, _Akad.
Abhandl._ pl. 7, fig. 1 = Inghirami, _Vasi Fitt._ 394 (with Helios
and Selene ?see p. 79, note 954); B.M. F 74 and F 102 (Herakles).
Footnote 489:
B.M. F 311: cf. F 399.
Footnote 490:
B.M. F 90.
Footnote 491:
B.M. F 69: cf. _Bourguignon Sale Cat._ 41.
Footnote 492:
B.M. E 228, 428, 435, 703; F 58, 60, 72, 382; Millin-Reinach, ii. 16
(offers wreath to D.).
Footnote 493:
Millin-Reinach, i. 20.
Footnote 494:
Reinach, i. 525, 526.
Footnote 495:
B.M. E 225, 229, 705; F 138, 308, 310, 332.
Footnote 496:
Reinach, i. 206.
Footnote 497:
B.M. E 126, 189, 191.
Footnote 498:
B.M. F 48.
Footnote 499:
Athens 1946 = Dumont-Pottier, i. pl. 21, 5.
Footnote 500:
B.M. E 205 (?); Reinach, i. 412.
Footnote 501:
B.M. F 123 (cf. p. 50, note 547); Reinach, ii. 315 = Baumeister, ii.
p. 780, fig. 834.
Footnote 502:
B.M. E 704; E 721.
Footnote 503:
Reinach, i. 232.
Footnote 504:
_Bull. de Corr. Hell._ 1899, p. 158 = _Burlington Club Cat._ 1903, p.
97, No. 11.
Footnote 505:
B.M. E 397, Reinach, ii. 142; B.M. E 217, 360, 702, Reinach, ii. 315.
Footnote 506:
Reinach, ii. 317; Hartwig, _Meistersch._ pl. 22, fig. 1 (? see p. 80,
note 970).
Footnote 507:
Reinach, ii. 191.
Footnote 508:
Naples 2961.
Footnote 509:
B.M. E 297.
Footnote 510:
Hartwig, _Meistersch._ pl. 27, p. 262.
Footnote 511:
Petersburg 1181 = Reinach, ii. 318: cf. Reinach, i. 250, and _Arch.
Anzeiger_, 1890, p. 89 (see p. 46, note 478).
Footnote 512:
F 220.
Footnote 513:
B.M. E 293; Reinach, i. 465.
Footnote 514:
B.M. E 652.
Footnote 515:
Bibl. Nat. 366 = _Él. Cér._ iv. 51.
Footnote 516:
B.M. E 526, 528.
Footnote 517:
Reinach, i. 479; _Ibid._ i. 57.
Footnote 518:
Reinach, i. 55, Millin-Reinach, ii. 59; Reinach, ii. 324, _Él. Cér._
iv. 53; Reinach, i. 347; _E.g._ ii. 248, B.M. F 555.
Footnote 519:
B.M. F 579 = Fig. 118; Reinach, i. 277.
Footnote 520:
Baumeister, iii. p. 1573, fig. 1633; B.M. E 501.
Footnote 521:
B.M. E 706, Naples 2872 = Reinach, ii. 169; B.M. E 296, _Él. Cér._
iv. 49; B.M. F 221.
Footnote 522:
B.M. E 241, Reinach, i. 229, ii. 302; _Él. Cér._ iv. 50.
Footnote 523:
B.M. E 213; Reinach, i. 36; B.M. F 68, F 441.
Footnote 524:
B.M. F 223, 279, 373: cf. Theocr. ii. 30 (ῥόμβος); Hor. _Epod._ xvii.
7 (_turbo_).
Footnote 525:
B.M. E 118, 571; F 219, 257, Reinach, i. 312 (dove), _Él. Cér._ iv.
49 (cock).
Footnote 526:
B.M. E 13; F 294, 340, 378; Reinach, i. 528, B.M. F 17, 308, 409.
Footnote 527:
B.M. F 132, 225, 278, 280, 258 (two Erotes holding wreath); F 165,
176, 329, 389; F 310; F 234, 257, 306, 414, 440; E 518.
Footnote 528:
B.M. F 349; E 242, F 391; Baumeister, i. p. 498, fig. 540; B.M. F
387, 481; F 294, 382, Millin-Reinach, i. 20 (torch and bow); B.M. F
443; E 239; F 308, 414 (Plate XLIV.).
Footnote 529:
B.M. F 420, 434; F 456; F 13, 219, 292, 325; F 31, 280, 317, 323; F
37; E 293, 388; F 31, 63, 234, 278; F 280, 315, 337, 373.
Footnote 530:
Naples S.A. 11 = Reinach, i. 401 (at death of Meleager).
Footnote 531:
_Abhandl. d. k. sächs. Gesellsch._ viii. pl. 1, fig. 1 (with Sappho).
Footnote 532:
B.M. E 222; also at the toilet of Aphrodite (Fig. 117 above).
Footnote 533:
Raoul-Rochette, _Mon. Inéd._ 8.
Footnote 534:
Petersburg 350 = Reinach, i. 12; _Rev. Arch._ xxxvi. (1900), p. 93;
Reinach, i. 124.
Footnote 535:
Reinach, i. 188.
Footnote 536:
B.M. E 224.
Footnote 537:
Reinach, i. 437.
Footnote 538:
B.M. E 224.
Footnote 539:
Noel des Vergers, _Étrurie_, iii. pl. 39.
Footnote 540:
Naples 2900 = Millingen-Reinach, 41.
Footnote 541:
_Röm. Mitth._ 1899, pl. 7.
Footnote 542:
Reinach, i. 526.
Footnote 543:
Roscher, iii. p. 1811.
Footnote 544:
B.M. E 440.
Footnote 545:
Berlin 2633.
Footnote 546:
B.M. E 226.
Footnote 547:
Reinach, ii. 302: see also _Boston Mus. Report_, 1900, No. 11, and
Jatta 1093 = Heydemann, _Satyr- u. Bakchennamen_, pl. 1 (holding
grapes).
Footnote 548:
Munich 234 = Reinach, i. 298 = Baumeister, iii. p. 1571, fig. 1632.
Footnote 549:
Berlin 3257.
Footnote 550:
Reinach, ii. 200.
Footnote 551:
Jatta 1093.
Footnote 552:
Naples 3240 = Reinach, i. 114.
Footnote 553:
B.M. B 32; Louvre G 10; Reinach, ii. 276.
Footnote 554:
Berlin 4003 = _Coll. Sabouroff_, i. pl. 50.
Footnote 555:
B.M. E 58.
Footnote 556:
Louvre F 159; _Él. Cér._ iii. 87.
Footnote 557:
Berlin 2727 and Reinach, i. 159; Berlin 1881.
Footnote 558:
B.M. B 549.
Footnote 559:
_Él. Cér._ iii. 73 (Hermaios), 76.
Footnote 560:
Millin-Reinach, i. 51.
Footnote 561:
Reinach, ii. 276.
Footnote 562:
B.M. B 32; Athens 592 = _Ath. Mitth._ 1893, pl. 2.
Footnote 563:
B.M. B 332.
Footnote 564:
Vienna 321 (cf. Ar. _Ach._ 729 ff.).
Footnote 565:
Reinach, ii. 25.
Footnote 566:
_Él. Cér._ iii. 14 and 75.
Footnote 567:
Louvre E 702 = Reinach, i. 354; Helbig, 227 = Reinach, i. 357 =
Baumeister, i. p. 680, fig. 741 (Fig. 119).
Footnote 568:
Reinach, ii. 25; De Witte, _Coll. à l’Hôtel Lambert_, pl. 1.
Footnote 569:
Bibl. Nat. 820 = Reinach, ii. 259.
Footnote 570:
_Él. Cér._ iii. 93; Millin-Reinach, i. 70; Reinach, ii. 330.
Footnote 571:
B.M. F 237, and see above, p. 15.
Footnote 572:
Berlin 1702 (Hermes Kyllenios), and see p. 15.
Footnote 573:
B.M. B 197; Reinach, ii. 266.
Footnote 574:
See above, p. 17.
Footnote 575:
Reinach, i. 472.
Footnote 576:
B.M. E 65.
Footnote 577:
See p. 20.
Footnote 578:
Louvre A 478 (_Hermes_, 1898, p. 638); _Bull. de Corr. Hell._ 1898,
p. 586.
Footnote 579:
Reinach, i. 234.
Footnote 580:
_Ibid._ i. 124.
Footnote 581:
_Ibid._ i. 499.
Footnote 582:
_Ibid._ i. 244; i. 463; i. 175.
Footnote 583:
_Ibid._ ii. 4.
Footnote 584:
B.M. B 203 (Athena); Reinach, ii. 22, 26, 73; Benndorf, _Gr. u. Sic.
Vasenb._ 4, 1.
Footnote 585:
B.M. B 340; E 44, 459; Reinach, ii. 125, 152, 275.
Footnote 586:
Athens 1345 = _J.H.S._ xix. pl. 10; Millin-Reinach, ii. 37 (Lasimos
in Louvre).
Footnote 587:
Millin-Reinach, ii. 44.
Footnote 588:
Reinach, i. 388.
Footnote 589:
_Ibid._ i. 380.
Footnote 590:
B.M. E 467; _J.H.S._ xxi. pl. 1.
Footnote 591:
See generally under those deities; for H. and Athena: B.M. B 144,
Reinach, i. 257, ii. 42 (Panathenaic); B.M. E 268, Reinach, i. 520
(Athens 477), ii. 25, 211 (Bibl. Nat. 220).
Footnote 592:
Berlin 2635 = _Jahrbuch_, 1889, p. 208.
Footnote 593:
B.M. B 257, 259, 267, 302 (banqueting); Berlin 2160 (with the Satyr
Oreimachos); Reinach, i. 129 (playing lyre).
Footnote 594:
B.M. B 424, E 492; Petersburg 1792, 1793 (= Reinach, i. 1 and 3);
Helbig, 103 = Rayet and Collignon, p. 223; Reinach, i. 93, ii. 310;
and see _Ath. Mitth._ 1889, pl. 1, p. 1 ff, and p. 55, note 642.
Footnote 595:
B.M. B 230; Oxford 222; Reinach, ii. 29.
Footnote 596:
See p. 69.
Footnote 597:
B.M. F 277; Reinach, i. 99: cf. _Rev. Arch._ xxxvi. (1900), p. 93.
Footnote 598:
See p. 28; also Naples 1989 = _Él. Cér._ iii. 91, and Reinach, i. 522.
Footnote 599:
Reinach, i. 456; Berlin 2455; Munich 209 = Fig. 122, p. 70.
Footnote 600:
Athens 1093 = Roscher, ii. p. 2678; Berlin 2991.
Footnote 601:
Louvre F 60.
Footnote 602:
Bibl. Nat. 269.
Footnote 603:
_J.H.S._ xx. p. 101: cf. the story of Pandora’s “box,” and see Vol.
I. p. 152 and p. 75 below.
Footnote 604:
Munich 611 = Reinach, i. 419.
Footnote 605:
Reinach, i. 389, ii. 32, 70.
Footnote 606:
B.M. B 167, B 301; B 229.
Footnote 607:
Reinach, i. 297, 323, ii. 70, 74–75.
Footnote 608:
B.M. B 166, 318, 379; Louvre F 116–117; Reinach, i. 222, 368, ii. 76.
Footnote 609:
Bibl. Nat. 172; Reinach, i. 91, ii. 271.
Footnote 610:
B.M. B 248, B 280, E 493; Bibl. Nat. 277 = Reinach, i. 290; _E.g._
ii. 48; _Mon. Grecs_, 1878, pl. 2 (represents an earlier episode).
Footnote 611:
Bibl. Nat. 224.
Footnote 612:
See p. 122.
Footnote 613:
Athens 966.
Footnote 614:
Reinach, i. 89, 144.
Footnote 615:
_Ibid._ i. 138, ii. 99.
Footnote 616:
_Wiener Vorl._ 1890–91, 10 (Louvre).
Footnote 617:
_Él. Cér._ iii. 78–81; Bibl. Nat. 839: see Roscher, i. p. 2393.
Footnote 618:
B.M. B 362, 627, E 585; Berlin 1928, 2172; Schreiber-Anderson, 16, 8,
and 14, 3.
Footnote 619:
B.M. B 345, E 444; Berlin 2278; Reinach, i. 203; _Ath. Mitth._ 1889,
pl. 1.
Footnote 620:
_Forman Sale Cat._ 364.
CHAPTER XIII
_DIONYSOS AND MISCELLANEOUS DEITIES_
Dionysos and his associates—Ariadne, Maenads, and Satyrs—Names of
Satyrs and Maenads—The Nether World—General representations and
isolated subjects—Charon, Erinnyes, Hekate, and
Thanatos—Cosmogonic deities—Gaia and Pandora—Prometheus and
Atlas—Iris and Hebe—Personifications—Sun, Moon, Stars, and
Dawn—Winds—Cities and countries—The Muses—Victory—Abstract
ideas—Descriptive names.
§ 1. DIONYSOS AND HIS ASSOCIATES
The most important deity in Greek mythology outside the Olympian circle
is undoubtedly =Dionysos=; but the part that is played by him and his
attendant train in Greek art is out of all proportion even to this, at
least in the vase-paintings. Apart from what we may regard as strictly
mythological subjects, such as the Birth of Dionysos and scenes in
which other gods or heroes are introduced, the number and variety of
the themes are so great that an exhaustive enumeration is quite
impossible; nor indeed would it repay the trouble to give a complete
list of what may for convenience be termed Dionysiac scenes. Suffice it
to say that they occur with equal frequency on the vases of all periods
from the middle of the sixth century onwards.
The personages with whom we have to deal in this section are, besides
Dionysos himself, his spouse Ariadne, Pan, with his “double” Aegipan,
and the motley rout of Satyrs, Seileni, and Maenads, who appear either
in the wine-god’s company or by themselves. Dionysos is generally
accompanied by one or more Maenads or Seileni, whether engaged in some
definite action, such as pouring wine or playing flutes, or no; but he
is also not infrequently seen as a single figure.[621] On the earlier
vases he is elderly and bearded, but on the later youthful and
beardless. He is occasionally represented with horns,[622] or in the
form of a man-headed bull.[623] He is depicted sacrificing at an
altar,[624] pouring a libation,[625] or slaying a fawn[626] or goat
χιμαιροφόνος[627]; banqueting,[628] or playing on the lyre.[629] He
rides on a bull,[630] goat,[631] mule,[632] or panther,[633] or in a
winged chariot[634]—in one case drawn by Gryphons, in another by a
Gryphon, bull, and panther[635]—or in a chariot shaped like a
ship[636]; or is carried by a Seilenos.[637] On a beautiful cup by
Exekias[638] he sails over the ocean in a boat, the mast of which grows
into a vine. We are reminded in this scene of the Homeric hymn (xix.)
and the story of the Tyrrhenian pirates, a subject which, according to
one interpretation, is represented on a vase at Athens.[639]
His birth is not often represented, and chiefly on R.F. vases[640]; it
has been referred to already in detail, in reference to Zeus. When
handed over to Hermes,[641] the newly born infant is conveyed by that
god to Nysa, where he is finally delivered to a Seilenos, to be nursed
by the Nymphs of that place.[642] Or he is handed directly to a Nymph
by Zeus,[643] or, by a curious error or confusion on the artist’s part,
to Ariadne, his future bride.[644] There is a possible representation
of the Indian Dionysos or Bassareus,[645] India being the land whence
he was fabled to come; and other vases represent various events
connected with his first manifestation of himself in Greece: such as
the madness he brought on Lykourgos, who refused to receive him,[646]
and his subsequent sacrifice after his triumph[647]; the death of the
similarly contumelious Pentheus (the story on which the plot of the
_Bacchae_ turns)[648]; or his supposed visit to the Athenian
Ikarios.[649] He sometimes appears with his mother Semele, whom he
brings back from Hades[650]; in one or two instances their heads are
seen rising from the ground to indicate their return from the nether
world.[651] They are then solemnly introduced into Olympos.[652]
Dionysos is frequently grouped with various deities, such as Apollo,
Athena, and Hermes[653]; or they are seen in his company at a
banquet.[654] He sometimes appears at the birth of Athena,[655] the
apotheosis of Herakles,[656] and his marriage with Hebe[657]; or in
heroic scenes, such as the Judgment of Paris,[658] or the combat of
Herakles and Kyknos.[659] He appears with the Seileni who attack Hera
and Iris,[660] and brings back Hephaistos to Olympos.[661] He
frequently takes part in the Gigantomachia, usually in single
combat,[662] being aided by his panther, and sometimes by Seileni and
Maenads.[663] Sometimes he is seen preparing for this event, wearing a
cuirass, while Satyrs or Maenads hold the rest of his armour.[664] He
is also grouped with Gaia Κουροτρόφος,[665] and with Poseidon and
Nike[666]; or accompanies the chariot of Athena[667]; and is seen in
more than one assembly of the Olympian deities.[668]
His wooing and consoling of the deserted Ariadne[669] is an attractive
and popular subject, and several vases seem to represent the nuptial
ceremonies between the pair,[670] or the preparations for the same,
with Eros assisting at the bride’s toilet.[671] Numerous are the
instances in which he is seen grouped with Ariadne, often in loving
embrace,[672] and generally surrounded by his cortège,[673] but also
alone. Or, again, he and Ariadne drive in a chariot drawn by
lions,[674] panthers,[675] stags,[676] or goats[677]; in two cases
Ariadne drives her own chariot alone,[678] in another Dionysos is seen
alone in a four-horse chariot.[679] They are also seen reclining
together at a banquet,[680] sometimes accompanied by Herakles and other
deities.[681] On a vase of quasi-Etruscan style[682] we see the
sleeping Ariadne surrounded by Dionysos, Satyrs, and Maenads. This
presumably refers to the scene in Naxos.
The numerous vases on which Dionysos appears, with or without
Ariadne, accompanied by a throng of Satyrs and Maenads, sometimes
in high revelry, sometimes in more peaceful circumstances, may next
be mentioned, though it is not necessary to cite more than a few
typical examples[683]; equally numerous are smaller groups, where
only one or two followers appear, but only a few of these need be
particularised.[684] Thus we see him in peaceful converse with
Maenads or Nymphs[685]; seizing them with amorous intent[686];
listening to a Satyr playing the lyre or flute[687]; or going to a
banquet, accompanied by Satyrs with torches[688]; or feeding a
bird.[689] In banquet scenes he receives drink from a Satyr,[690]
or plays at the kottabos (see p. 182)[691]; or Seileni steal his
food and drink.[692] He watches a Lydian woman dancing in
armour,[693] or dances himself to the flutes played by an
actor.[694] In one instance he is seen leaving his chariot to join
in the revels of his followers[695]; in another he takes part in
the orgies of the Scythian Agathyrsi,[696] and he is seen in a
drunken condition, supported by one of his followers.[697] He is
not infrequently grouped with Eros, from whom he receives drink or
a wreath[698]; also with Pan,[699] or with semi-personified figures
such as Komos (Revelry)[700] or Oinopion (Wine-drinker).[701]
=Pan= only makes his appearance on late vases, usually in Dionysiac
groups,[702] or as a single figure on the smaller Apulian wares; when
he is depicted with goat’s legs and squat proportions, he is usually
called Aegipan[703]; or, again, Paniskos, when he has the form of a
beardless youth.[704] He surprises a Nymph asleep,[705] and is
sometimes associated with the Nymph Echo.[706]
[Illustration: FIG. 120. DIONYSOS WITH SATYRS AND MAENADS (HYDRIA BY
PAMPHAIOS IN BRIT. MUS.).]
Dionysos’ connection with the Attic drama is more specially indicated
by scenes in which he appears as the inventor or patron of tragedy,
presenting a tragic mask to a young actor[707]; he also appears in an
elaborate scene representing the preparations for a Satyric drama.[708]
As the object of worship he is sometimes seen in a form which implies a
reference to some primitive cult, as an aniconic pillar-image (ξόανον
or βαίτυλος)[709]; or, again, in the form of a tree (Dionysos
Dendrites), and homage is paid to him by Maenads.[710] Besides
sacrifices to his image, we see sacrificial dances performed,[711] or
choragic tripods consecrated to him.[712] His statue is once seen at a
fountain.[713]
* * * * *
We must now treat of the scenes in which Seileni and Satyrs, Maenads
and Nymphs, appear independently of Dionysos, or in particular actions
without relation to him. They are, indeed, often, if not invariably,
present in all scenes in which he takes part, whether mythological or
of a less definite character; as, for instance, the return of
Hephaistos to Olympos,[714] in which the gods are usually accompanied
by a more or less riotous escort of Satyrs, and others as already
mentioned. The attack of the Satyrs on Iris and Hera has been alluded
to in connection with the latter[715]; and they seldom elsewhere appear
in relation to the Olympian deities or other myths, except in those
scenes which depict the rising of Persephone or Ge-Pandora from the
earth.[716] But Satyrs and Maenads are sometimes represented as
performing sacrifices, not only to Dionysos,[717] but also to
Herakles,[718] or to a terminal figure of Hermes.[719] We turn next to
scenes of more general character.
There are numerous vases, especially of the R.F. period, on which
groups of Satyrs and Maenads are represented in revels of a more or
less wild and unrestrained character, or else in more peaceful
association. Those in which Dionysos himself is present have already
been enumerated, but the general types may be now considered. It may,
perhaps, be possible to distinguish two, or even three, classes of this
subject: the inactive groups of Satyrs and Maenads[720]; those in which
they rush along in frenzy and unrestrained licence, brandishing their
thyrsi, or with tambourines (_tympana_) and other musical
instruments[721]; and, lastly, scenes of convivial revelry (κῶμοι), in
which they are engaged in drinking from all sorts of vessels.[722]
Sometimes these revels are strictly confined to Satyrs, and then they
become absolutely licentious in character[723]; or, again, a group of
Maenads unattended tear along with torches, thyrsi, and musical
instruments[724]; or, lastly, both join in dances hand-in-hand, a
subject which on early vases is often adopted for a long frieze
encircling a vase.[725]
As a pendant to these, many subjects and single figures must here be
mentioned which seem to be excerpts from the larger compositions, as
well as independent motives presenting special features found in the
more elaborate scenes. We begin with subjects in which both Satyrs and
Maenads take part, among which we find a favourite subject to be the
gathering of fruit,[726] especially grapes, and the processes of the
vintage.[727] Satyrs offer drink to Maenads,[728] or play the flutes
for them to dance to[729]; and there is a favourite series of subjects
of an amorous character, in which the Satyrs pursue the objects of
their passion,[730] or surprise them asleep,[731] seize them and
overcome their struggles to escape,[732] and finally enfold them in
embraces,[733] or carry them on their shoulders.[734] Satyrs are also
seen surprising women while bathing[735]; and a group of them appear
astonished at the sunrise.[736]
* * * * *
We may next dismiss briefly the scenes which depict =Maenads= alone,
usually as single figures. They sometimes appear in a state of frenzy
(Fig. 121),[737] dancing with snakes twisted round their arms,[738] or
playing castanets,[739] or tearing a kid to pieces (χιμαιροφόνος).[740]
In quieter fashion they ride on a mule[741] or bull,[742] or are seen
accompanied by hinds, goats, and panthers,[743] or playing with a cat
and bird.[744]
* * * * *
[Illustration:
From _Baumeister_.
FIG. 121. MAENAD IN FRENZY (CUP AT MUNICH).
]
=Satyrs= in independent scenes often appear in burlesque guise, attired
and acting as athletes,[745] or as warriors,[746] with the Amazonian
_pelta_,[747] or even enacting the part of Herakles in the Garden of
the Hesperides[748]; and are present in other scenes of a burlesque
nature, which may often be derived from the Satyric drama, such as one
in which they carry ghosts (εἴδωλα) with torches.[749] There is also a
long list of scenes of miscellaneous character: a Seilenos
washing,[750] or piling up bedding(?)[751]; fishing[752]; as potter,
poking a furnace[753]; acting as footman to a girl and carrying a
parasol[754]; flogging a youth,[755] or holding a boy Satyr on his
hand[756]; caressing a hare[757]; and so on. Satyrs fight with
torches[758]; sport with deer and other animals[759]; ride on goats,
asses, and mules,[760] or lead them along[761]; and in one instance a
Satyr has fallen off his mule, and a companion runs to help him[762];
in another, two Satyrs draw a third in a cart.[763] They are seen
carrying chairs[764] and vessels of various kinds, such as amphorae,
situlae, kraters, rhyta,[765] or wine-skins[766]; also seated on
wine-skins or wine-jars,[767] playing games with jugs and
wine-jars,[768] balancing drinking-cups on their backs,[769] pouring
wine into a jar[770] or drawing it out from the mixing-bowl,[771] or
playing games, such as see-saw or ball.[772] Many of these scenes are
from the interiors of R.F. cups, to which they were well adapted, the
varied attitudes giving so much scope for the ingenuity of the daring
artists of the period. Scenes in which Satyrs play the lyre or flute
are, very numerous.[773]
A feature of the numerous Dionysiac subjects on vases is the tendency
to individualise Satyrs and Maenads by means of names, sometimes
meaningless, sometimes names otherwise known in mythology, and
frequently personifications of abstract conceptions, such as we shall
see later to be very common on vases of all periods; in these cases
they usually have some relation to the character or occupation of the
personages to whom they are attached. The Satyrs Marsyas and Olympos
sometimes appear in the larger compositions[774]; the former has been
already mentioned in another connection. There is also a curious
representation of Akratos,[775] the deity of unmixed wine (a liquid
which to the Greeks implied an extravagance of revelry, owing to the
intoxicating nature of the undiluted beverage). A type of Seilenos
covered from head to foot with shaggy skin, and known as Papposeilenos,
is often found on the later vases.[776] It is difficult to distinguish
in all cases between Seileni and Satyrs on the vases, and the exact
differences between the various types have not yet been properly
elucidated, so that the terms are of necessity somewhat
conventional.[777] The equine type of Satyr, with horse’s hoofs as well
as tail, which is so frequently found on the sixth-century Ionic vases,
has been noted elsewhere.[778] The young beardless Satyr is mostly
found in the later period.
The number of vases on which Satyrs and Maenads are distinguished by
name is very large, but only a few of the more important need be
mentioned, along with some of the more curious names from the isolated
instances.[779] On a vase in Berlin[780] no less than ten Maenads are
named—Anthe (Flower), Choro (Dance), Chrysis (Gold), Kale (Beauty),
Kisso (Ivy), Makaria (Blessed), Naia, Nymphe, Phanope, and Periklymene
(Renowned); on one at Leyden[781] six—Dorkis, Io, Klyto, Molpe (Song),
Myro, and Xantho (Fair-hair). On the former vase a Seilenos is
expressly so named, and on the latter are four Satyrs with names; on a
kylix by Brygos in the British Museum[782] the Seileni attacking Iris
are styled Babacchos, Dromis, Echon, Terpon, etc.[783]
Other Satyr-names are Briacchos,[784] Dithyrambos,[785] Demon,[786]
Hedyoinos (Sweet Wine),[787] Hybris (Insolence),[788] Hedymeles (Sweet
Song),[789] Komos (Revelry),[790] Kissos (Ivy),[791] Molkos,[792]
Oinos,[793] Oreimachos,[794] Simos (Snub-nose),[795] Tyrbas (Rout).[796]
The Maenads’ names are if anything more numerous: Bacche,[797] Choiros
(Pig!),[798] Doro,[799] Eudia (Calm),[800] Eudaimonia (Happiness),[801]
Euthymia (Good Cheer),[802] Erophyllis,[803] Galene (Calm),[804] Hebe
(Youth),[805] Komodia (Comedy) and Tragoedia (Tragedy),[806] Kalyke
(Bud),[807] Lilaia,[808] Mainas,[809] Nymphaia,[810] Opora (Harvest)
and Oreias (Mountain-Nymph),[811] Oinanthe,[812] Pannychis (All-night
Revel),[813] Polyerate (Well-beloved),[814] Philomela,[815] Sime
(Snub-nose),[816] Terpsikome,[817] Thaleia,[818] Rodo (Rose),[819]
Paidia,[820] and Kraipale,[821] a name which is not easy to render in
classical English, but which denotes the results following on a night’s
debauch.
------------------------------------------------------
PLATE LII
[Illustration:
From _Furtwaengler and Reichhold_.
THE UNDER-WORLD, FROM AN APULIAN VASE AT MUNICH.
]
------------------------------------------------------
§ 2. THE NETHER WORLD
The Chthonian character of Dionysos brings us by a natural transition
to the =deities of the under-world=, and in connection therewith it
will be convenient to treat of Death-deities of all kinds, as well as
scenes representing the life of the nether regions.
Of Demeter and Persephone, the Chthonian goddesses _par excellence_, we
have already spoken (p. 27), and of the myths connected with them, such
as the rape of the latter by =Hades= or Pluto, the king of the realms
named after him. It is owing to this connection with Persephone that
Hades is found in such scenes as the sending forth of Triptolemos,[822]
or at her return to the upper world,[823] as well as at the rape of his
consort. He is frequently seen in company with her, as the rulers of
the nether world,[824] especially on the large Italian “under-world
vases” referred to below, and sometimes they are represented banqueting
together.[825] As king of the nether world he is appropriately grouped
with his brothers Zeus and Poseidon, the rulers of the air and
ocean.[826] He is occasionally carried by Herakles on his
shoulders,[827] but the meaning of this subject is uncertain. He also
appears as a single figure, with sceptre and cornucopia.[828]
The only general representations of the under-world are to be found on
the large Apulian vases made for sepulchral purposes (Vol. I. p. 476),
of which some half-dozen are conspicuous for the number of subjects and
figures they contain. All these are collected together in the _Wiener
Vorlegeblätter_, Series E., the list being as follows:—
(1) Munich 849 = _Wiener Vorl._ E. pl. 1 = Reinach, i. 258
(2) Naples 3222 = ” pl. 2 = ” i. 167
(3) Karlsruhe 388 = ” pl. 3, 1 = ” i. 108
(4) Naples S.A. 709 = ” pl. 3, 2 = ” i. 455
(5) Petersburg 424 = ” pls. 4 and
5, 1 = ” i. 355
(6) Petersburg 426 = ” pl. 6, 2 = ” i. 479
No. (1) is reproduced in Plate LII. On a smaller scale, or fragmentary,
are the following:—
(7) Petersburg 498 = _Wiener Vorl._ E. pl. 5, 2
(8) B.M. F 270 = ” pl. 6, 1 = Reinach, i. 356
(9) Karlsruhe 256 = ” pl. 6, 3 = ” i. 455
(10) Jatta Coll. 1094 = ” pl. 6, 4 = ” i. 356
(11) Naples S.A. 11 = ” pl. 6, 5 = ” i. 401
There are also three B.F. vases having reference to the under-world,
though in the first two cases it is probable that the scene relates to
the return of Persephone (see p. 28), the accompanying figure of
Sisyphos only being introduced to mark the locality:—
(12) B.M. B 261 (Hades, Persephone, Hermes, Sisyphos).
(13) Munich 728 = _Wiener Vorl._ E. pl. 6, 6 = Reinach, ii. 48 (similar
scene).
(14) Berlin 1844 (Persephone and Sisyphos only).
On the Apulian vases there is usually in the centre a pillared building
representing the palace of Hades, in which he and his spouse stand or
sit; round this are grouped various figures and episodes connected with
the nether regions: Herakles carrying off Kerberos[829]; Orpheus with
his lyre, sometimes accompanied by Eurydike[830]; persons undergoing
punishment, such as Sisyphos with his rock[831]; Tantalos threatened
with a rock, not as in the usual legend suffering from thirst[832]; the
Danaids with their hydriae[833]; and Theseus and Peirithoös sitting
with their hands bound behind them.[834] In one instance a Fury, at the
instance of Hades and Hekate, is binding one, the other having already
entered on his punishment[835]; in another we see Theseus liberated and
about to depart from his friend (see below, p. 111).[836]
Among the administrators of these penalties are Aiakos, Minos, and
Rhadamanthos, the judges of the souls[837]; the Erinnyes or
Furies[838]; and allegorical personages, such as Dike (Justice),[839]
Ananke (Necessity),[840] or Poinae (Punishments).[841] Of the Chthonian
deities, Hermes,[842] Hekate,[843] Triptolemos,[844] and Iacchos[845]
are present. Olympian deities are also sometimes introduced as
spectators.[846] Other figures introduced are Megara with the two
children of Herakles[847]; Pelops with Myrtilos and Hippodameia[848]; a
group of the Blessed Shades[849]; and (but not on this class of vase)
Oknos with his ass, a subject depicted by Polygnotos in his great
fresco at Delphi.[850] The subject of Ixion on the wheel is usually
found by itself, but occurs on the neck of one of the Apulian
vases.[851]
Another subject which may be associated with the above scenes is that
of _Charon_ and his bark; on the vases, however, its significance is
purely sepulchral, as it is confined to the Attic white lekythi (Vol.
I. p. 459), on some of which the dead man is represented entering the
ferry-boat.[852] Some vases of Etruscan fabric also represent groups of
Chthonian deities, especially Charon, who in the mythology of that
people is no longer “the grim ferryman that poets write of,” but
_Charun_, a hideous demon wielding a huge hammer.[853] In one instance
he separates Alkestis from Admetos[854]; in another he watches Ajax
stabbing a captive Trojan.[855]
[Illustration:
From _Baumeister_.
FIG. 122. CHARON’S BARK (LEKYTHOS AT MUNICH).
]
The _Erinnyes_ or Furies play an important part in the nether-world
scenes,[856] and one is also represented at the punishment of
Ixion.[857] They pursue Orestes after the slaughter of his mother and
Aigisthos to Delphi and Tauris,[858] and even when with Pylades he
comes to make himself known to Electra.[859] Among other mythological
scenes they are found at the combat of Herakles and Kyknos[860]; with
Pelops,[861] and with Medeia and Jason[862]; and threatening with
punishment the hero Agrios, who is seized and bound upon an altar by
Oineus and Diomedes.[863] _Kerberos_ is once seen without Herakles in
the under-world vases[864]; and there is a very curious representation
of his being chained up by Hermes.[865]
_Hekate_ as a Chthonian deity frequently appears on the under-world
vases[866]; she is also connected with Eleusinian scenes and
legends,[867] such as the sending of Triptolemos,[868] the birth of
Dionysos or Iacchos,[869] or with the rape and return of
Persephone.[870] She appears also as a single figure.[871] Allusion has
already been made to the Chthonian associations of Hermes, Triptolemos,
and Iacchos (pp. 27, 52).
[Illustration: FIG. 123. THANATOS AND HYPNOS WITH BODY OF WARRIOR (FROM
BRIT. MUS. D 58).]
_Thanatos_, the personification of Death, appears on vases[872] almost
exclusively in one aspect, as the bearer of souls in conjunction with
Hypnos (Sleep); they convey the body of Memnon from Troy to his home in
Egypt,[873] and this type is borrowed for other scenes (_e.g._ on the
funeral lekythi) in which an ordinary warrior is borne “to his long
home.”[874] In one instance Thanatos is seen urging Ajax on to commit
suicide[875]; he also appears on another vase where the subject may
relate to the story of Ixion.[876] Representations of Death-demons or
Harpies,[877] and of Κῆρες θανάτοιο, or small winged figures boding or
signifying death,[878] are by no means uncommon. It has been held by
some writers that the personifications of Thanatos above referred to
are more properly to be regarded as Κῆρες θανάτοιο.[879] These small
winged figures are also employed to represent a soul escaping from a
deceased person[880]; or, again, to indicate the souls of Achilles and
Hector (or Memnon) when weighed by Zeus (see below, pp. 130, 132).[881]
We also find actual representations on B.F. vases of the ghost of a
hero, especially in Trojan scenes; he floats through the air fully
armed, with large wings.[882]
§ 3. COSMOGONIC AND OTHER DEITIES
In the next instance it will be found appropriate to discuss sundry
representations which are connected with the earlier or Titanic
cosmogony, although, with the exception of the Gigantomachia, already
discussed, allusions thereto are comparatively rare on vases.
Chief among these personages is =Ge= or =Gaia=, the Earth-mother, half
Titanic, half Chthonian, who is usually represented as a figure rising
half out of the ground, with flowing hair. She thus appears in several
Gigantomachia scenes (as the mother of the giants, who were Γηγενεῖς,
earth-born),[883] and at the birth of Dionysos and Erichthonios, where
she hands the child to Athena.[884] As a full-length figure she appears
protecting her sons Tityos and Antaios against Apollo and Herakles
respectively[885]; also in certain doubtful scenes on B.F. vases as the
Nursing-mother (Κουροτρόφος), with two children in her arms,[886]
though we have already seen (p. 30) that these are susceptible of
another interpretation. Finally, the series of scenes in which men are
represented hammering on the head of a female figure rising from the
earth[887] may be regarded as referring to Gaia, with allusion to the
custom of smiting on the earth to raise spirits. In this connection
Gaia is undoubtedly to be identified with Pandora (see below).[888] A
cognate subject is that of a similar female head or bust in company
with Eros, sometimes found on late Italian vases.[889] If Gaia is here
intended, her connection with Eros finds some support in the poetic
cosmogonies[890]; otherwise it may be Aphrodite.
The story of _Kronos_, who swallowed the stone given to him by his wife
Rhea in place of his children, is possibly depicted on one vase,[891]
though the genuineness thereof is open to doubt. The stone is enveloped
in drapery to prevent discovery. A bust of Kronos has also been
identified on a vase.[892] The story of Zagreus and his destruction by
the Titans, which belongs to the same cycle, also finds one or two
representations. One vase appears to represent them devouring him
piecemeal.[893]
Another personage who may perhaps be regarded as of pre-Olympian origin
is _Themis_, who comes between Gaia and Apollo in the occupation of the
prophetic stool at Delphi (Aesch. _Eum._ 2). Aigeus, the father of
Theseus, is represented as consulting her seated on her tripod,[894]
and one vase has been supposed to depict her conversing with Zeus
before the birth of Dionysos.[895] She also appears at the Judgment of
Paris.[896]
_Kybele_, the mother of the gods, only occurs in one or two doubtful
instances, with the lion which is usually associated with her.[897]
Among the primitive and recondite Greek cults which go back to a remote
origin, that of =the Kabeiri= may perhaps be mentioned here. Previous
to the discovery, in 1887–88, of their sanctuary near Thebes, little
was known, either from literary or monumental sources, of these
mysterious deities; but the excavations on this site yielded large
quantities of pottery with scenes relating to their cult, mostly of a
burlesque character.[898] Among these was one very interesting fragment
representing (with names inscribed) the Kabeiros and his son (Pais)
banqueting, and attended by two deities known as Mitos and
Pratoleia.[899] Lenormant noticed that the spectator-deities on an
under-world vase in the British Museum correspond exactly to the four
Cabeiric deities as described by certain ancient authorities.[900]
Turning next to myths which treat of the semi-divine personages of the
earliest cosmogony, we have the legends given by Hesiod of Prometheus
and the creation of =Pandora=; and we may include with them the Titan
Atlas. Pandora, it has been already noted, is only a variation of
Gaia,[901] and this is borne out by the name given to her on a
beautiful polychrome cup in the British Museum representing her
creation, completed by Hephaistos and Athena.[902] She is there named
Ἀνεσιδώρα, “She who sends up gifts,” _E.g._ from the earth. The subject
is not so popular as might have been expected, but appears on two other
vases in the Museum, in each case with Olympian deities as spectators
of the event, and on a beautiful vase now at Oxford.[903] The story of
the opening of the πίθος has not found its way into art, but its
connection with the Athenian feast of the πιθοίγια is curiously
illustrated in one instance.[904]
=Prometheus= too is seldom seen, and chiefly on B.F. vases. In one case
he receives a libation from Hera,[905] and there are two or three
representations of his liberation by Herakles.[906] On a Cyrenaic cup
he is grouped with Atlas, the vulture pecking at his breast, while the
other groans under the burthen of the heavens.[907] =Atlas= is found
almost exclusively with Herakles in connection with his visit to the
Garden of the Hesperides. Either he is actually present in the
Garden[908] or is confronted with the hero, who in some cases bears his
burden for him while he obtains the apples.[909] He is also seen in
company with a Sphinx.[910]
* * * * *
We now come to discuss a few subordinate deities or semi-divine
personages who do not fall into any of the preceding categories.
=Asklepios=, chiefly a figure of later art, is exceedingly rare on
vases. There is, in fact, only one on which he can certainly be
identified. This is a late R.F. vase at Athens, on which he is seen
reclining on a couch feeding a serpent and accompanied by Hygieia.[911]
Nor does the latter occur elsewhere, though her name, as already noted
(p. 43), is sometimes given to one of the personified figures attending
on Aphrodite.[912] =Eileithyia=, the goddess of childbirth, generally
appears, in duplicated form, assisting Zeus at the birth of
Athena,[913] or Leto at that of Apollo and Artemis.[914] She is closely
related to Artemis, and a representation of a goddess who has been
identified as Artemis-Eileithyia may be seen on an early Boeotian vase
with reliefs at Athens.[915]
=Iris=, the messenger of the gods, is usually distinguished from Nike
by her caduceus or herald’s staff, and from Hebe by her wings. She is
often depicted as a single figure,[916] or pouring a libation to Hera,
Athena, or other deities.[917] She is associated more especially with
Hera, as Hermes is with Zeus, and attends on the former in several
scenes of assemblages of the gods.[918] In company with Hera she is
attacked by a troop of Seileni and defended by Herakles,[919] and on
another vase she is similarly surprised by a troop of Centaurs.[920]
She assists at the creation of Pandora,[921] at the Judgment of
Paris,[922] and at the wedding of Peleus and Thetis,[923] and also
appears in the Garden of the Hesperides.[924] She is also seen with
Paris carrying off Helen[925]; and with Menelaos fetching her
back[926]; and in another scene, apparently drawn from a Homeric source
(_Il._ viii. 397 ff.), where she dissuades Athena and Hera from taking
sides in the war, at the behest of Zeus.[927] She conveys the infant
Herakles to the Centaur Cheiron,[928] and is also seen in company with
a warrior.[929]
=Hebe= in Olympos performs somewhat similar functions to Iris, more
particularly that of pouring out wine for the gods.[930] She is also
specially associated with Herakles at and after his apotheosis,[931]
appearing as his bride in several instances.[932] Besides these, she
frequently appears in assemblies of the gods,[933] or at the punishment
of Marsyas,[934] or the Judgment of Paris.[935]
§ 4. PERSONIFICATIONS
The next group of deities with which we have to deal is that of the
various personifications which are to be found in great numbers on
vases of all periods, especially the later. These naturally fall under
several headings, which, following the lines of the classification
adopted by M. Pottier in a valuable article on the subject,[936] we may
distribute as follows:—
1. Physical (Sun, Moon, Dawn, Winds, etc.). 2. Geographical
(Cities, Rivers, Mountains, etc.). 3. Products of earth
(Wine, Harvest, etc.). 4. Groups of various kinds (Muses,
Nymphs, etc.). 5. Physical conditions (Health, Old Age,
etc.). 6. Social advantages (Wealth, Peace, Victory, etc.).
7. Ethical ideas (Justice, Envy, Strife, etc.). 8.
Metaphysical ideas (Necessity, Law, etc.). 9. Social
enjoyments (Comedy, Tragedy, Revelry, etc.). 10. Descriptive
names.
Of some of these, indeed, we have already treated—such as the beings
included in the following of Aphrodite and Dionysos, Ge-Pandora, Hebe
(Youth), and the deities of the nether world. The rest we now proceed
to consider in order, beginning with natural phenomena, and firstly
those of an astronomical character.
I. =Helios=, the Sun, who in some senses, especially in the mythology
of the Roman poets, is identical with Phoebus Apollo, is only once so
identified on vases.[937] He is usually depicted in his four-horse
chariot rising out of the sea (as on the eastern pediment of the
Parthenon), either as a single figure or in connection with some myth,
indicating that the action takes place at sunrise. As a single figure
he appears both on early and late vases, on the latter, usually, as an
upper decoration on the large Apulian kraters.[938] He is also
accompanied by Eos (Dawn) and Selene (Moon), by Hemera (Day), or by
Eros[939]; but in most cases he and Selene appear together, the latter
descending as he rises (as on the Parthenon pediment). Thus on R.F.
vases they denote the time of the action, as when Theseus descends
below the sea to visit Poseidon,[940] or as on the Blacas krater in the
British Museum, when Eos pursues Kephalos.[941] On the latter vase four
stars are also depicted diving into the sea, to indicate their setting.
On Apulian vases he is present at the seizure of Persephone,[942] at
the flight of Pelops from Oinomaos,[943] at the madness of
Lykourgos,[944] at the Judgment of Paris,[945] and in the Garden of the
Hesperides.[946] In one instance a group of Satyrs start back
affrighted at his appearance.[947] There are two instances of his
encounter with Herakles, who endeavoured to stay his progress with his
bow.[948]
------------------------------------------------------
PLATE LIII
[Illustration: HELIOS AND STARS, FROM THE BLACAS KRATER IN THE BRITISH
MUSEUM.]
------------------------------------------------------
=Selene=, the Moon, appears in many of the scenes already described
under Helios, as on the Blacas krater. She is depicted under two types,
either on horseback[949] or driving a chariot like Helios,[950] both as
a single figure and in other scenes; and she is sometimes characterised
by the lunar disc or crescent. Besides the scenes already referred to,
she appears on horseback at the birth of Dionysos[951] and at the
pursuit of Medeia by Jason.[952] The magic arts used by Thessalian
witches to draw down the moon from heaven are also the subject of a
vase-painting,[953] where two women essay to perform this feat by means
of a rope, addressing her, “O Lady Moon!”
=Stars= are occasionally represented with an astronomical reference, as
on the Blacas krater, where they appear in the form of youths, or
grouped with Helios, Selene, and Eos.[954] Phosphoros, the Morning
Star, may be identified in this connection, represented as a youth
running[955]; but in other cases they are not personified, as on a vase
which represents the moon and stars with the constellation Pegasos.[956]
=Hemera=, the Day, we have already once noted; but in art she is hardly
to be distinguished from Eos (Dawn). Nor can Nyx (Night) be identified
with certainty on vases.[957] =Eos= is not an uncommon figure,
especially on R.F. vases, and she also plays a part in certain myths.
As a single figure she appears rising from the sea in, or driving, a
four-horse chariot like Helios,[958] her steeds in one case being named
Phlegethon and Lampon. She is also represented flying with two hydriae,
from which she pours out dew upon the earth.[959] She is frequently
seen pursuing or carrying Kephalos[960] or Tithonos,[961] and is
present at the apotheosis of Alkmena.[962] At the combat of her son
Memnon with Achilles she and the other mother, Thetis, are generally
present.[963] She also pleads with Zeus for her son’s safety,[964] and
bears away his body after the fatal issue of the fight.[965]
Next we have to deal with =the Winds=, as personified by the figures of
Boreas, Zephyros, etc. As single figures they seldom appear, though we
have possible instances of _Boreas_, with the unusual type of a
serpent’s tail,[966] or simply as a winged male figure.[967] A wind-god
is seen in an episode from the Gigantomachia opposing the chariot of
Zeus,[968] and another in an assemblage of deities round Apollo
Kitharoidos.[969] _Zephyros_ is seen pursuing Hyakinthos,[970] and he
and Boreas together bear the body of a warrior to the tomb in the same
manner as Hypnos and Thanatos.[971] But the most important subject
connected with Boreas is his pursuit of the Athenian maiden Oreithyia,
a frequent scene on the later R.F. vases,[972] some being very fine
examples. Erechtheus, Kekrops, and the Nymphs Aglauros, Herse, and
Pandrosos, are usually present, and the latter in one case announce the
news to Kekrops or Erechtheus.[973] Boreas is also depicted in the act
of punishing Phineus by blinding him, and attacked by the latter’s
friend Parebios.[974]
On some early B.F. vases we find winged beings which may be styled
_Boreades_, in conjunction with Harpies, apparently representing the
influences of good and evil winds respectively.[975] Zetes and Kalais,
the sons of Boreas, will be treated of in the story of the
Argonautika.[976] The _Aurae_ or breezes have been identified on a
well-known vase in the British Museum,[977] and on an Apulian vase in
the same collection is a head undoubtedly intended for Aura.[978] The
_Hyades_ or rain-goddesses in two instances extinguish the flames of a
funeral pyre at the bidding of Zeus, at the apotheosis of Alkmena[979]
and of Herakles[980]; in one of the latter instances they are named
Arethusa and Premnusia. They also receive the infant Dionysos.[981]
_Echo_ belongs perhaps rather to the Dionysiac cycle, appearing as the
beloved of Pan.[982]
* * * * *
II. We may next consider the personifications of =cities and
countries=, which are, indeed, in some cases more than merely
symbolical figures, being actual goddesses with a definite cult, such
as the Nymph Kyrene, who often appears on works of art.[983] On the
great Naples vase representing Dareios in a council of war,
personifications of _Hellas_ and _Asia_ are placed among the
spectator-deities,[984] and the former seems also to be indicated on a
similar vase with a battle of Greeks and Persians.[985] On one of the
late vases with the subject of Pelops and Oinomaos, a personification
of the locality _Olympia_ appears to be similarly present,[986] just as
on the Hieron kotyle the personification of Eleusis is included among
the Eleusinian and other deities at the sending forth of
Triptolemos.[987] The city of _Thebes_ is personified in several
instances, especially as a spectator of Kadmos slaying the dragon[988];
also on a “Megarian” bowl with reliefs in the British Museum, the
subjects on which are taken from the _Phoenissae_ of Euripides.[989]
_Nemea_, the scene of Herakles’ victory over the lion, and of the death
of Archermos, is similarly personified as a Nymph in the
representations of both subjects,[990] and the town of _Krommyon_ as a
Nymph protests against the slaying of the sow by Theseus.[991] The
Nymph _Sparta_ occurs once, dismounting from her horse.[992] Two cups
of the early B.F. class usually known (from their subjects) as
Cyrenaic, bear representations of the Nymph _Kyrene_ (see above)—in one
case with Apollo, in the other holding a branch of silphium (the local
product) and surrounded by Boreads and Harpies (see above).[993]
Among the Greek islands, _Aegina_ and _Salamis_ were supposed to have
derived their names from Nymphs beloved of Zeus and Poseidon, who are
represented pursuing these quasi-personified figures[994]; we may also
regard Europa as coming under that category.[995] Zeus also pursues
_Taygeta_, who is connected with the mountain in Laconia.[996] On one
vase we find the names of the islands _Delos_, _Euboea_, and
_Lemnos_,[997] given, presumably in pure fancy, to two Maenads and a
Satyr in a Dionysiac scene where all the figures are named. A more
genuine instance is that of the Nymph _Krete_ on the Talos vase,
indicating the locality.[998]
Turning to other geographical features, we have Mount _Olympos_
transformed into a lyre-playing companion of Satyrs[999]; or, again,
river-gods such as _Acheloös_, who as a combination of man and bull, or
with a fish-body like Triton, wrestles with Herakles.[1000] The river
_Nile_ appears once, but not personified—only as an indication of
landscape.[1001] In connection with the city of Thebes we find
personifications of the local river _Ismenos_ and the local
fountain-Nymphs _Dirke_ and _Krenaia_.[1002]
* * * * *
III. Natural products, such as Oinos (Wine) and Opora (Harvest), are
only found personified among the Dionysiac conceptions with which we
have already dealt (p. 65); to these two names we may add those of
Hedyoinos (Sweet Wine), Kissos (Ivy), Kalyke (Bud), and Rodo (Rose),
the three latter coming more under the heading of pet-names than of
strict personifications.
* * * * *
IV. Our next class includes certain groups of personages (all feminine)
which for the most part hold their own throughout all periods of art
and literature, and are, so to speak, more crystallised into definite
mythological personages, associated with the gods and human beings of
the legendary ages. These are the Muses, the Charites or Graces, the
Horae or Seasons, the Moirae or Fates, and the Erinnyes or Furies.
=The Muses= do not appear so frequently in vase-paintings as in
sculpture, and mostly on later vases. Two fine R.F. examples of the
whole nine (with their appropriate attributes) call for mention[1003];
other vases give a more limited number, or even single figures[1004];
but it must be remembered that in such cases identification is
difficult, as characterisation by means of a lyre or scenic mask does
not necessarily connote the presence of a Muse. On one vase Terpsichore
is seen with two figures inscribed as Mousaios and Melousa[1005]; but
these may be no more than fancy names for an ordinary group of
musicians. Five of them are seen in a group with Apollo, Thamyris, and
Sappho,[1006] and elsewhere they accompany Apollo.[1007]
The _Graces_ can nowhere be identified on Greek vases, though they form
a well-known type in sculpture; but there is an Etruscan kylix in the
British Museum (probably copied from a Greek original), which appears
to represent them as an interior group.[1008] The _Horae_ or Seasons
appear (without distinctive names) on the François vase at the nuptials
of Peleus and Thetis, and on the Sosias cup[1009] in an Olympian
assemblage (three in each case); also two of them at the sending forth
of Triptolemos.[1010] The three _Moirae_ (Fates) appear on the François
vase (as above), and once also at the birth of Athena[1011]; the Furies
have already been discussed.[1012]
* * * * *
V. The personifications having reference to physical conditions (as
distinguished from ethical ideas) are comparatively few in number. They
inclu
Showing first 200,000 characters. Full text: gutenberg.org/ebooks/48155