Transcriber’s Note:

Minor errors 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 textual issues encountered during its preparation. The end note also discusses the handling of the many Greek inscriptions.

Volume I of this text is available separately at Project Gutenberg at:

http://www.gutenberg.org/ebooks/48154

References to Volume I are linked as well for ease of navigation.

HISTORY OF ANCIENT POTTERY

PLATE XLIX

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

NEW YORK

CHARLES SCRIBNER’S SONS

1905

PRINTED BY

HAZELL, WATSON

AND VINEY, LD.,

LONDON AND AYLESBURY,

ENGLAND.

CONTENTS OF VOLUME II

LIST OF PLATES IN VOLUME II

(Except where otherwise noted, the objects are in

the British Museum)

LIST OF TEXT-ILLUSTRATIONS IN VOLUME II

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.

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]]

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]]

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]]

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]]

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

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

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]]

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.

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]]

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]]

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]]

[1]. Il. xi. 635: cf. Athen, xi. 489 F.

[2]. i. 27 ff.: cf. Vol. I. p. [180].

[3]. Athenaeus, xi. p. 489 B.

[4]. Ibid. p. 782 B.

[5]. Od. 5.

[6]. H.N. xxxiii. 155.

[7]. Ibid. 156.

[8]. Mart. viii. 51: cf. Juv. i. 76.

[9]. Stat. Theb. i. 543.

[10]. Virg. Ecl. iii. 46.

[11]. Schreiber, Alexandr. Toreutik, passim; Robert in 50^tes Winckelmannsfestprogr. 1890.

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

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

[14]. See on this subject J.H.S. xiii. p. 83.

[15]. Art. Poet. 147.

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

[17]. Op. cit. p. 493 ff.

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

[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.

[20]. Luckenbach, op. cit. p. 560 ff.

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

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

[23]. See J.H.S. xviii. p. 267.

[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.

[25]. Reinach, i. p. 114.

[26]. Op. cit. p. 636.

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

[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.

[29]. See also Chapters VI.–XI. throughout.

[30]. Morgenthau, Zusammenhang d. Bilder auf gr. Vasen.

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

[32]. See below, p. [108].

[33]. See p. [134].

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

[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.

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

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

[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.

[39]. Arch. Anzeiger, 1890, p. 8.

[40]. Reinach, ii. 188 = Él. Cér. i. 5.

[41]. B.M. E 47; Berlin 2293.

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

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

[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.

[45]. Reinach, i. 171.

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

[47]. B.M. Vases, ii. p. 11.

[48]. B.M. B 147, 218, 244.

[49]. Cat. 444.

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

[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.

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

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

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

[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.

[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).

[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.

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

[59]. B.M. F 278; Reinach, i. 379.

[60]. B.M. F 271.

[61]. B.M. F 279.

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

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

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

[65]. Reinach, ii. 287.

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

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

[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).

[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].

[70]. Reinach, i. 156, 1.

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

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

[73]. B.M. E 381; Él. Cér. i. 20.

[74]. B.M. F 278; Roscher, iii. p. 969.

[75]. Hartwig, Meistersch. pl. 68 (in Louvre): cf. Eusebius, Prep. evang. iii. 84b.

[76]. Él. Cér. i. 29A (doubtful).

[77]. Reinach, i. 335, 2.

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

[79]. Röm. Mitth. 1887, pl. 10.

[80]. B.M. F 542.

[81]. B.M. E 313; Reinach, i. 408.

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

[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.

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

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

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

[87]. B.M. F 286; Reinach, i. 278.

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

[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.

[90]. Reinach, ii. 144: see below, p. [82].

[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).

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

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

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

[95]. Reinach, i. 407.

[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.

[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.

[98]. See generally Overbeck, Kunstmythol. ii. p. 27 ff., 181 ff.

[99]. Reinach, i. 388.

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

[101]. See p. [130].

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

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

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

[105]. Munich 745 = Furtwaengler and Reichhold, pl. 16.

[106]. See p. [141].

[107]. See above, p. [16].

[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.

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

[110]. Él. Cér. i. 34.

[111]. Bibl. Nat. 542 = Reinach, i. 141.

[112]. Reinach, i. 388.

[113]. B.M. E 155.

[114]. B.M. E 467.

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

[116]. B.M. F 107.

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

[118]. Reinach, ii. 4.

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

[120]. Bibl. Nat. 253 = Reinach, i. 399.

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

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

[123]. Bull. de Corr. Hell. 1898, p. 586.

[124]. Jatta 1093 = Reinach, i. 175.

[125]. Reinach, i. 463.

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

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

[128]. B.M. E 65 = Reinach, i. 193.

[129]. B.M. B 147, E 410.

[130]. B.M. B 197.

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

[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).

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

[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).

[135]. B.M. E 140.

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

[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).

[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).

[139]. Reinach, ii. 35.

[140]. Athens 880; Bibl. Nat. 314.

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

[142]. Naples 3219 = Reinach, i. 125.

[143]. Él. Cér. iii. 14.

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

[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.

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

[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.

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

[149]. Bibl. Nat. 418 = J.H.S. xviii. p. 278.

[150]. B.M. E 264.

[151]. Reinach, i. 361.

[152]. E.g. i. 36.

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

[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).

[155]. B.M. B 57.

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

[157]. Millin-Reinach, ii. 4.

[158]. B.M. B 428 = Roscher, iii. 247.

[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.

[160]. B.M. B 201; Reinach, i. 346, 6–7.

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

[162]. Reinach, i. 339.

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

[164]. Reinach, ii. 76.

[165]. Naples 3352 = Reinach, i. 485.

[166]. B.M. B 551.

[167]. Athens 1551.

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

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

[170]. J.H.S. xviii. p. 277.

[171]. Naples 3412 = Reinach, i. 498.

[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.

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

[174]. B.M. F 218.

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

[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.

[177]. See p. 25, note [159]; also Reinach, p. 231.

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

[179]. Louvre E 643 = Reinach, i. 311.

[180]. Reinach, i. 83, 232.

[181]. Ibid. ii. 61.

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

[183]. Reinach, i. 286.

[184]. B.M. B 155.

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

[186]. Naples 3222 = Reinach, i. 167.

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

[188]. Mon. Grecs, 1875, pt. 4, pls. 1–2.

[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.

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

[191]. B.M. F 68.

[192]. Rev. Arch. xxxvi. (1900), p. 93.

[193]. Petersburg 1792–93 = Reinach, i. 1, 3.

[194]. Reinach, ii. 32; B.M. F 90.

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

[196]. Athens 1626 = Dumont-Pottier, pl. 37.

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

[198]. Berlin 1704 = Reinach, i. 197.

[199]. Berlin 2634.

[200]. Athens 1120 = Ath. Mitth. 1901, pl. 8.

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

[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.

[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.

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

[205]. Bibl. Nat. 424 = Reinach, i. 463.

[206]. Ath. Mitth. 1899, pl. 7.

[207]. Naples S.A. 11 = Reinach, i. 401.

[208]. Reinach, i. 124.

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

[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.

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

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

[213]. B.M. E 82, F 68.

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

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

[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).

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

[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.

[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.

[220]. Bibl. Nat. 367 = Reinach, ii. 257.

[221]. B.M. B 260, 681.

[222]. B.M. B 592; Berlin 1868.

[223]. Él. Cér. ii. 3; ii. 6A = Petersburg 411.

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

[225]. Reinach, ii. 286.

[226]. B.M. E 80.

[227]. B.M. E 516; Él. Cér. ii. 4.

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

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

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

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

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

[233]. Reinach, ii. 310 = Él. Cér. ii. 65.

[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).

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

[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.

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

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

[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).

[240]. Reinach, ii. 310.

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

[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).

[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.

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

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

[246]. B.M. F 311, 399.

[247]. B.M. E 785.

[248]. Reinach, ii. 183.

[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.

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

[251]. B.M. B 6; see Vol. I. p. [344].

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

[253]. Naples 1762 = Millingen-Reinach, 29.

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

[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?).

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

[257]. Wiener Vorl. C. 7, 3 = Roscher, ii. 842.

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

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

[260]. Munich 62 = Reinach, ii. 75.

[261]. B.M. B 179.

[262]. Reinach, ii. 31.

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

[264]. Millin-Reinach, i. 54.

[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).

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

[267]. Louvre G 42 = Reinach, ii. 26.

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

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

[270]. B.M. F 151.

[271]. Reinach, i. 375.

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

[273]. B.M. B 147.

[274]. Naples 690, 3245.

[275]. Reinach, i. 355.

[276]. Millin-Reinach, ii. 25.

[277]. Reinach, ii. 297.

[278]. Petersburg 1777 = Reinach, i. 153.

[279]. See below, p. [103].

[280]. B.M. F 479.

[281]. Reinach, ii. 56, 3: see p. 97.

[282]. Ibid. i. 233.

[283]. Berlin 1732 = Reinach, ii. 66.

[284]. Reinach, ii. 69.

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

[286]. Berlin 2634.

[287]. Reinach, i. 388.

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

[289]. B.M. E 696.

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

[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.

[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).

[293]. Reinach, i. 321.

[294]. Arch. Anzeiger, 1895, p. 39 (Berlin).

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

[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].

[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).

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

[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.

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

[301]. B.M. E 432.

[302]. Millin-Reinach, ii. 77.

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

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

[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).

[306]. Athens 835 = Ath. Mitth. 1890, pl. 8.

[307]. B.M. F 159.

[308]. Reinach, i. 104, 133, 158, 504.

[309]. Athens 1921 = Reinach, i. 511.

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

[311]. Reinach, ii. 4.

[312]. Ibid. i. 132.

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

[314]. Él. Cér. ii. 90.

[315]. See above, p. [15].

[316]. B.M. E 410.

[317]. Reinach, ii. 32.

[318]. B.M. B 203.

[319]. Reinach, i. 499.

[320]. B.M. B 231; Reinach, i. 233.

[321]. B.M. F 479.

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

[323]. Wiener Vorl. vi. 7 = Duris kylix in Louvre.

[324]. Millin-Reinach, ii. 25.

[325]. Arch. Anzeiger, 1895, p. 36.

[326]. See note [326] on p. [17].

[327]. B.M. E 47; Berlin 2293.

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

[329]. E 467 and D 4.

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

[331]. Berlin 2294; and see below, p. [130].

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

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

[334]. Reinach, i. 330.

[335]. B.M. B 302, and cf. F 68.

[336]. B.M. B 252: see Arch. Journ. ii. p. 67.

[337]. Berlin 2957 = Él. Cér. i. 88 (Etruscan).

[338]. B.M. D 4; E 467.

[339]. Plate [L].; and see p. [24].

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

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

[342]. Athens 1962.

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

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

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

[346]. Reinach, i. 11.

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

[348]. Reinach, i. 463.

[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).

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

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

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

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

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

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

[356]. Reinach, ii. 75 (doubtful).

[357]. Stackelberg, pl. 15.

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

[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.

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

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

[362]. Reinach, i. 108, 195, 331.

[363]. Ibid. i. 102, 226.

[364]. B.M. E 696.

[365]. Reinach, i. 184.

[366]. B.M. E 155.

[367]. Reinach, i. 480.

[368]. Bull. de Corr. Hell. 1898, p. 586.

[369]. Reinach, i. 231.

[370]. Arch. Anzeiger, 1895, p. 39 (Berlin).

[371]. Reinach, i. 363.

[372]. Ibid. ii. 296: see pp. [77], [128].

[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.

[374]. Reinach, ii. 110.

[375]. Vase in Boston: see 1899 Report, No. 16.

[376]. See below, p. [124].

[377]. B.M. B 541, E 160.

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

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

[380]. B.M. E 316 = Plate [XXXVI].

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

[382]. B.M. E 299.

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

[384]. Reinach, i. 342.

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

[386]. Él. Cér. i. 83.

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

[388]. Vol. I. p. [223], Fig. [72].

[389]. Reinach, i. 501.

[390]. Ibid. ii. 44.

[391]. B.M. E 515, 519.

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

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

[394]. Millin-Reinach, ii. 25.

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

[396]. Ibid. i. 44.

[397]. Bibl. Nat. 260.

[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.

[399]. See below, p. [133].

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

[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.

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

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

[404]. Él. Cér. i. 67.

[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.

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

[407]. B.M. B 147; Reinach, i. 156.

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

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

[410]. B.M. E 67, E 82; Reinach, i. 203.

[411]. B.M. B 191, B 228.

[412]. Amer. Journ. of Arch. 1896, p. 6, fig. 4.

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

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

[415]. B.M. B 551; and see Athens 903.

[416]. Él. Cér. iv. 98.

[417]. B.M. E 467.

[418]. B.M. E 155.

[419]. Reinach, i. 463.

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

[421]. Reinach, ii. 91.

[422]. Él. Cér. iv. 99.

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

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

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

[426]. Reinach, i. 156.

[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.

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

[429]. Berlin 2660.

[430]. Él. Cér. iv. 6.

[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.

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

[433]. Reinach, i. 353.

[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.

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

[436]. Petersburg 1983 = Reinach, i. 15.

[437]. Froehner, Musées de France, pl. 13, 4.

[438]. Berlin 4126 = Reinach, i. 128.

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

[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).

[441]. Reinach, ii. 315; Millin-Reinach, i. 65.

[442]. Reinach, i. 198.

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

[444]. Él. Cér. iv. 38.

[445]. Stackelberg, pl. 30: cf. B.M. E 697.

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

[447]. See above, p. [17].

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

[449]. B.M. B 197.

[450]. Mon. Grecs, 1875, pls. 1–2.

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

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

[453]. B.M. B 203; F 90.

[454]. Reinach, i. 124, 465; ii. 181.

[455]. Berlin 3164; Reinach, i. 111, 4 and 416.

[456]. Berlin 3239.

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

[458]. Helbig 118 = Overbeck, Kunstmythol. Atlas, 6, 13.

[459]. Reinach, i. 526.

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

[461]. B.M. E 224.

[462]. Reinach, i. 91.

[463]. B.M. E 224.

[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).

[465]. See below, p. [122].

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

[467]. B.M. E 424; François vase.

[468]. Reinach, i. 437.

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

[470]. B.M. F 209.

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

[472]. B.M. B 173, 280; Reinach, ii. 116.

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

[474]. B.M. F 108 (anointing Adonis’ hair).

[475]. B.M. E 129.

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

[477]. Reinach, i. 449.

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

[479]. B.M. E 424; Plate [XXXIX]. fig. 2.

[480]. B.M. F 271, 331; Reinach, i. 235.

[481]. Reinach, i. 9, 402 (Athens 1942), 437.

[482]. Reinach, i. 156, ii. 309.

[483]. Ibid. i. 66.

[484]. B.M. E 227.

[485]. B.M. F 107.

[486]. Reinach, i. 22.

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

[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).

[489]. B.M. F 311: cf. F 399.

[490]. B.M. F 90.

[491]. B.M. F 69: cf. Bourguignon Sale Cat. 41.

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

[493]. Millin-Reinach, i. 20.

[494]. Reinach, i. 525, 526.

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

[496]. Reinach, i. 206.

[497]. B.M. E 126, 189, 191.

[498]. B.M. F 48.

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

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

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

[502]. B.M. E 704; E 721.

[503]. Reinach, i. 232.

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

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

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

[507]. Reinach, ii. 191.

[508]. Naples 2961.

[509]. B.M. E 297.

[510]. Hartwig, Meistersch. pl. 27, p. 262.

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

[512]. F 220.

[513]. B.M. E 293; Reinach, i. 465.

[514]. B.M. E 652.

[515]. Bibl. Nat. 366 = Él. Cér. iv. 51.

[516]. B.M. E 526, 528.

[517]. Reinach, i. 479; Ibid. i. 57.

[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.

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

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

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

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

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

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

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

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

[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.

[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].).

[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.

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

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

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

[533]. Raoul-Rochette, Mon. Inéd. 8.

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

[535]. Reinach, i. 188.

[536]. B.M. E 224.

[537]. Reinach, i. 437.

[538]. B.M. E 224.

[539]. Noel des Vergers, Étrurie, iii. pl. 39.

[540]. Naples 2900 = Millingen-Reinach, 41.

[541]. Röm. Mitth. 1899, pl. 7.

[542]. Reinach, i. 526.

[543]. Roscher, iii. p. 1811.

[544]. B.M. E 440.

[545]. Berlin 2633.

[546]. B.M. E 226.

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

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

[549]. Berlin 3257.

[550]. Reinach, ii. 200.

[551]. Jatta 1093.

[552]. Naples 3240 = Reinach, i. 114.

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

[554]. Berlin 4003 = Coll. Sabouroff, i. pl. 50.

[555]. B.M. E 58.

[556]. Louvre F 159; Él. Cér. iii. 87.

[557]. Berlin 2727 and Reinach, i. 159; Berlin 1881.

[558]. B.M. B 549.

[559]. Él. Cér. iii. 73 (Hermaios), 76.

[560]. Millin-Reinach, i. 51.

[561]. Reinach, ii. 276.

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

[563]. B.M. B 332.

[564]. Vienna 321 (cf. Ar. Ach. 729 ff.).

[565]. Reinach, ii. 25.

[566]. Él. Cér. iii. 14 and 75.

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

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

[569]. Bibl. Nat. 820 = Reinach, ii. 259.

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

[571]. B.M. F 237, and see above, p. [15].

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

[573]. B.M. B 197; Reinach, ii. 266.

[574]. See above, p. [17].

[575]. Reinach, i. 472.

[576]. B.M. E 65.

[577]. See p. [20].

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

[579]. Reinach, i. 234.

[580]. Ibid. i. 124.

[581]. Ibid. i. 499.

[582]. Ibid. i. 244; i. 463; i. 175.

[583]. Ibid. ii. 4.

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

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

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

[587]. Millin-Reinach, ii. 44.

[588]. Reinach, i. 388.

[589]. Ibid. i. 380.

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

[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).

[592]. Berlin 2635 = Jahrbuch, 1889, p. 208.

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

[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].

[595]. B.M. B 230; Oxford 222; Reinach, ii. 29.

[596]. See p. [69].

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

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

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

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

[601]. Louvre F 60.

[602]. Bibl. Nat. 269.

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

[604]. Munich 611 = Reinach, i. 419.

[605]. Reinach, i. 389, ii. 32, 70.

[606]. B.M. B 167, B 301; B 229.

[607]. Reinach, i. 297, 323, ii. 70, 74–75.

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

[609]. Bibl. Nat. 172; Reinach, i. 91, ii. 271.

[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).

[611]. Bibl. Nat. 224.

[612]. See p. [122].

[613]. Athens 966.

[614]. Reinach, i. 89, 144.

[615]. Ibid. i. 138, ii. 99.

[616]. Wiener Vorl. 1890–91, 10 (Louvre).

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

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

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

[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]]

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]]

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

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:—

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

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]]

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]).

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

Helios and Stars, from the Blacas Krater in the British Museum.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

FIG. 124. NIKE SACRIFICING BULL (BRITISH MUSEUM F 66).

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

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

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

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

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

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

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

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

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

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

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

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

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

[622]. Petersburg 880 = Reinach, i. 13.

[623]. B.M. F 194.

[624]. B.M. E 257.

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

[626]. B.M. E 439.

[627]. B.M. E 362.

[628]. Athens 1583 = Rayet and Collignon, p. 291.

[629]. Bibl. Nat. 576 = Hartwig, Meistersch. pl. 33, 1.

[630]. Reinach, ii. 35.

[631]. Ibid. i. 159.

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

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

[634]. Reinach, ii. 32 (cf. Triptolemos).

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

[636]. B.M. B 79.

[637]. Mus. Greg. ii. 3, 3E.g..

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

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

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

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

[642]. Petersburg 2007 = Reinach, i. 7.

[643]. Bibl. Nat. 440 = Reinach, ii. 260.

[644]. Reinach, i. 93.

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

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

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

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

[649]. B.M. B 149, B 153, E 166.

[650]. B.M. F 194 (D. with bull’s head).

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

[652]. Berlin 1904.

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

[654]. B.M. B 302; E 66 (Herakles).

[655]. B.M. E 410.

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

[657]. Berlin 3257.

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

[659]. Berlin 1732 = Reinach, ii. 66.

[660]. B.M. E 65.

[661]. See p. [17].

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

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

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

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

[666]. B.M. E 445.

[667]. B.M. B 203.

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

[669]. Berlin 2179 = Wiener Vorl. iii. 6.