FIG. 130. CAPTURE OF DOLON (LUCANIAN KRATER IN BRITISH MUSEUM).
Book XVI. 666 ff. Sarpedon carried off by Hypnos and Thanatos.
See Louvre F 388; but this scene is hardly to be distinguished from those with Memnon (see below, p. 132).
Book XVII. 60 ff. Combat of Menelaos and Euphorbos, and fight over his body.
B.M. A 749 = Baumeister, i. p. 730, fig. 784[1395]; and see E 20.
123 ff. Combat over body of Patroklos.
Exekias kylix (Munich 339 = Reinach, ii. 36); Reinach, ii. 95; Millin-Reinach, i. 49; Berlin 2264 (Oltos and Euxitheos) = Wiener Vorl. D. 2, 1 = Engelmann-Anderson, xiv. 76.
Book XVIII. 367 ff. (1) Thetis in the smithy of Hephaistos.
Berlin 2294 = Overbeck, Her. Bildw. 18, 6.
(2) Hephaistos polishing Achilles’ shield.
Röm. Mitth. ii. (1887), p. 242.
Book XIX. 1–18. Thetis and the Nereids bringing the armour to Achilles.
(a) Riding on sea-monsters over the waves (all late vases).
B.M. F 69; Jatta 1496 = Reinach, i. 112; Roscher, iii. 221–24; and see Heydemann, Nereiden mit Waffen.
(b) Presenting the weapons to Achilles.
B.M. E 363; Millin-Reinach, i. 14.
364 ff. Achilles arming.
Athens 671 = Wiener Vorl. ii. 6; Overbeck, Her. Bildw. xviii. 4, 7; vase by Amasis at Boston (Report for 1901, No. 5).
Book XXI. 114 ff. Combat of Achilles and Lykaon.
B.M. F 173.
Book XXII. 188 ff. Achilles pursuing Hector round the walls of Troy.
Reinach, ii. 102 (now in Boston: see Museum Report for 1898, No. 42).
209 ff. Zeus weighing the heroes’ souls in his scales.[1396]
B.M. B 639; Bibl. Nat. 385 = Reinach, i. 89; Millin-Reinach, i. 19 = Baumeister, ii. p. 921, fig. 994.
306 ff. Death of Hector.
B.M. E 468; Munich 421; Reinach, ii. 101 = Helbig, 106; Boston Mus. Report for 1899, p. 79, No. 31 (parody). Cf. Millingen, Anc. Uned. Mon. i. 4 = Engelmann-Anderson, Odyss. iii. 15.
437 ff. Andromache suckling Astyanax (compare only).
B.M. E 509.
Book XXIII. 157 ff. Funeral games for Patroklos.
François vase (chariot-race, etc.).
175 ff. Sacrifice of Trojan captives on the pyre of Patroklos.
Naples 3254 = Reinach, i. 187.
Book XXIV. 16 ff. Achilles dragging Hector’s body past the tomb of Patroklos.
B.M. B 543 and Forman Sale Cat. 306 = Reinach, ii. 100 (now in B.M.)[1397]; Berlin 1867 = Reinach, ii. 99; Naples 2746.
141 ff. Achilles offering his hair to the river Spercheios.
B.M. E 555 (?).
448 ff. Priam begging Achilles for the body of Hector; the Achaean princes deliberating over the ransom.
Munich 404 (= Overbeck, Her. Bildw. pl. 20, 3), and 890 (= Reinach, ii. 99); Petersburg 422 = Reinach, i. 138 = Baumeister, i. p. 739, fig. 792; Reinach, i. 172 = Vienna 328; Athens 889 = Ath. Mitth. 1898, pl. 4 (B.F., but poor).
580 ff. Hector’s body carried out to prepare for burial.
Petersburg 422 (as above).
Among the events of the war between the death of Hector and the final fall of Troy, those which relate to the final exploits of Achilles are most prominent, and especially the encounters with Memnon, and with Penthesileia, his death and the events arising out of it. The story of Achilles’ fight with Penthesileia, and the death of the Amazon queen, is less frequently depicted, but there are some very fine examples remaining.[1398] Other representations of Amazons arming, setting out, or in combat may be placed here, but except where Penthesileia is specially indicated it is better to regard them as having no definite reference to the Trojan story.[1399] A remarkable painting on an Apulian amphora depicts the slaying of Thersites by Achilles in the presence of Phoinix and Diomedes. Thersites had insulted Achilles after his slaying of Penthesileia.[1400]
The story of Memnon is related on the vases in several scenes, beginning with his equipment and departure for the fray.[1401] Next we see the great fight of Achilles and Memnon over the body of Antilochos,[1402] at which the respective mothers of the heroes, Thetis and Eos, are usually present as spectators.[1403] The result of the fight was fatal to Memnon, whose body we see carried off by Thanatos and Hypnos,[1404] or by Eos herself,[1405] for burial in his native land. Eos is also represented mourning over him.[1406] The Psychostasia, or weighing of souls by Zeus (see p. 130), has also been referred to this event. The body of Antilochos is finally rescued and carried off by Nestor.[1407]
Lastly, we find a few possible representations of the death of Achilles,[1408] and others, more certainly to be identified, of the battle raging round his body, in which Diomedes is wounded[1409]; also of Ajax carrying the body off out of the battle,[1410] and the subsequent mourning of the Nereids over it.[1411] A representation of the ghost of a warrior, winged and fully armed, flying over a ship,[1412] is to be regarded as that of Achilles, though to what event it alludes is not clear. The dispute over the hero’s armour and the suicide of the disappointed Ajax are introduced by a scene representing the fetching of Neoptolemos, his son, from Skyros, where he bids farewell to Lykomedes and Deidameia[1413]; of the quarrel between Ajax and Odysseus there are also several representations.[1414] It was decided finally by Athena, who is represented presiding over the Greek chiefs as they vote[1415]; or, according to another version, they cast lots before her statue.[1416] The armour is then awarded to Neoptolemos,[1417] who, according to an oracle, was indispensable for the capture of Troy. Ajax goes mad with disappointment, and finally commits suicide by falling on his sword[1418]; the episode of his slaying the sheep is not, however, represented.
The Ἰλίου Πέρσις, or sack of Troy, which is so vividly represented on many of the vases of advanced and late style, may be said to begin with the episode of the seizure of the Palladion by Odysseus and Diomede.[1419] It is rapidly followed by the construction of the wooden horse and its entry into the city.[1420] There is, however, only one certain representation of the death of Laokoön to be traced,[1421] and none of the traitorous Sinon.
Several vases, especially of the later epoch, collect the chief episodes in a frieze or in a series of groups, including the rape of Kassandra by Ajax, son of Oileus, the death of Priam and Astyanax, the recapture of Helen by Menelaos, and the flight of Aeneas; other scenes represented are the leading back of Aithra by Akamas and Demophon, and the sacrifice of Polyxena and subsequent blinding of Polymestor by Hecuba.
I. General.
Berlin 1685 (= Overbeck, Her. Bildw. pl. 26, 1) and 2281; Plate LIV. = Furtwaengler and Reichhold, pl. 25 (Brygos in Louvre); Naples 2422 = Furtwaengler and Reichhold, pl. 34 = Baumeister, i. pl. 14, fig. 795; B.M. F 160, F 278.
II. (a) Ajax seizing Kassandra at the altar of Athena.
B.F. B.M. B 242, 379; Berlin 1698; Roscher, ii. p. 979.
R.F. B.M. E 336, E 470; Reinach, i. 221, 338 = Roscher, ii. pp. 985, 981; Bourguignon Sale Cat. 33.
Late. B.M. F 209; Roscher, ii. p. 983.
(b) Death of Priam and Astyanax.[1422]
(1) Priam only.
B.M. B 241; Röm. Mitth. iii. (1888), pp. 108–9; Reinach, ii. 109; Berlin 3996. [Priam dead in all except second.]
(2) Priam usually seated on altar; Neoptolemos swings body or head of Astyanax.
B.M. B 205; Berlin 2175, 3988; Reinach, i. 221, ii. 109; J.H.S. xiv. pl. 9. [See also under I.]
(3) Andromache or Hecuba with body of Astyanax.
Millin-Reinach, ii. 37 (Lasimos in Louvre; also identified as Archemoros: see p. 118).
(c) Menelaos and Helen.
B.M. E 161, 263; Reinach, i. 437, 3 (Hieron), ii. 34; Helbig, 43 (= Mus. Greg. ii. 49, 2), and ii. p. 325 (= Baumeister, i. p. 746, fig. 798); Millingen, Anc. Uned. Mon. pl. 32; Louvre G 3 (Pamphaios); Reinach, i. 222 = Wiener Vorl. D. 8, 1; Noel des Vergers, Étrurie, iii. pl. 39.
(d) Akamas and Demophon with Aithra.
B.M. B 244 (?), E 458; Overbeck, Her. Bildw. pl. 26, 13.
(e) Flight of Aeneas with family.
B.M. B 173, B 280; Reinach, ii. 110 (= Munich 903), 116, 273; Baumeister, i. p. 31, fig. 32; Helbig, 201 = Mus. Greg. ii. 85, 2; Naples 2481; Bibl. Nat. 261; Louvre F 122 = Wiener Vorl. 1890–91, pl. 5, 1.
(f) Sacrifice of Polyxena.
Plate XXIII. = J.H.S. xviii. pl. 15 (B.M.); Overbeck, Her. Bildw. pl. 27, 19.
(g) Polymestor blinded.
Reinach, i. 91 = Hill, Illustrations of School Classics, p. 170 (now in B.M.).
(h) Ajax stabbing a captive (?).
Reinach, i. 88.
From Furtwaengler and Reichhold.
The Sack of Troy; Kylix by Brygos in Louvre.
Among the various adventures described by the Cyclic poets in the Νοστοί, few seem to have found their way into the vase-paintings except the fate of Agamemnon, the interview of Menelaos with Proteus (told in the Odyssey), and, of course, the adventures of Odysseus.
The house of Atreus and its story will be dealt with later under the heading of the Oresteia: we turn now to the Odyssey, scenes from which are surprisingly few in Greek art, and appear to have attracted the painter less than the more stirring events of the Iliad. The following, however, have been identified:
Book II. 94 ff. Penelope at her loom.
Reinach, i. 191.
Book III. 12 ff. Arrival of Telemachos at Nestor’s house in Pylos.
Berlin 3289 = Roscher, iii. 298 = Engelmann-Anderson, iii. 13.
Book IV. 349 ff. The story of Menelaos’ interview with Proteus.
Naples 1767 = Mus. Borb. xiii. 58 = Engelmann-Anderson, iv. 22.
Book V. 228 ff. Odysseus navigating the sea on a raft.
Oxford 262, Cat. pl. 26 (burlesque). See also B.M. E 156 (Odysseus and Leukothea).
Book VI. 126 ff. Nausikaa washing clothes.
Munich 420 = Reinach, ii. 110 = Roscher, s.v.
Alkinoös and Nausikaa (parody).
Reinach, i. 153.
Book IX. 345 ff. Odysseus offering wine to Polyphemos.
Boston Mus. Report, 1899, p. 60.
371 ff. Odysseus putting out the eye of Polyphemos.
Plate XVI. = Helbig, i. p. 435, No. 641 (Aristonoös); Bibl. Nat. 190 = Reinach, i. 64; B.M. B 154; Louvre F 342 = Gaz. Arch. 1887, pl. 1; Berlin 2123; Arch. Anzeiger, 1895, p. 35; Jahrbuch, 1891, pl. 6: see Bolte, Monum. ad Odyss. pert. p. 2.
420 ff. Odysseus escaping under the ram.
B.M. B 407, 502, 687; Karlsruhe 167 = J.H.S. iv. p. 249; Louvre A 482; Reinach, i. 64: see also Ath. Mitth. 1897, pl. 8 (a very early instance); generally, J.H.S. iv. p. 248 ff., and Rev. Arch. xxxi. (1897), p. 28 ff.
Book X. 210 ff. Odysseus and Kirke (see J.H.S. xiii. p. 82).
(a) Arrival of Odysseus.
Reinach, i. 142 = Roscher, ii. 1195.
(b) Transformations of comrades.
Reinach i. 396; Berlin 2342 = ibid. i. 418; Boston Mus. Report, 1899, pp. 59, 61 (both early B.F.).
(c) Odysseus and Kirke.
J.H.S. xiii. pls. 2 (Athens 956), 4 (in B.M.), p. 81 (Oxford 262); and see Reinach, i. 142.
Book XI. 23 ff. Odysseus sacrificing before his visit to Hades.
Bibl. Nat. 422 = Reinach, i. 126 = Baumeister, ii. p. 1040, fig. 1254.
Book XII. 164–200. Odysseus passing the Sirens.
Athens 958 = J.H.S. xiii. pl. 1; B.M. E 440; and see J.H.S. vi. pl. 49, p. 20 (= Louvre F 123); Corinthian aryballos in Boston (Strena Helbigiana, p. 31).
Scenes from the last twelve books are even rarer:
Book XVIII. 35 ff. Odysseus and Iros.
Reinach, ii. 357.
Book XIX. 385 ff. Odysseus recognised by Eurykleia.
Reinach, i. 191.
394 ff. The story of Autolykos.
In connection herewith see Munich 805 = Reinach, i. 277 for a possible representation of the betrothal of Laertes and Antikleia (Hermes, 1898, p. 641; Robert, Homer. Becher, p. 90 ff.; Hyginus, Fab. 201).
Book XXI. 393—XXII. 5 ff. The slaying of the suitors.
Berlin 2588 = Reinach, i. 217.
The scenes from the Oresteia cover roughly the same ground as the great trilogy of Aeschylos, together with the Iphigeneia in Tauris and the Andromache of Euripides. We have first the murder of Agamemnon by Klytaemnestra with her axe.[1423] Next, Elektra making her offerings at the tomb of Agamemnon, sometimes accompanied by her sister Chrysothemis.[1424] It must be borne in mind that the “type” of this scene does not differ in any respect from ordinary scenes of “offering at a stele,” and therefore, where the names are not given or are obviously modern additions, this interpretation is at best a doubtful one. The same applies to the next series of vases, on which Orestes meets Elektra at the tomb[1425]; but there seems to be one undoubted instance of Orestes and Pylades with the urn containing the supposed ashes of the former (cf. Soph. Electra, 1098 ff.).[1426] The next group to be dealt with shows us Orestes slaying Aegisthos,[1427] while Klytaemnestra is held back by Talthybios[1428]; and, finally, the death of Klytaemnestra herself.[1429]
Orestes is then pursued by the Furies,[1430] and seeks refuge at Delphi, where he is purified by Apollo at the Omphalos[1431]; and he is also seen at Athens, where he afterwards sought the protection of Athena.[1432] Other vases, nearly all of late date, and therefore under the influence of the Euripidean tragedy, represent Orestes accompanied by Pylades, arrived at the temple of the Tauric Artemis, where Iphigeneia presents Pylades with the letter.[1433] Lastly, we have the death of Neoptolemos at the hand of Orestes at Delphi.[1434]
It will now be necessary to deal with sundry isolated subjects, which do not admit of being grouped together round the name of any one great hero or any particular legend. There are, however, a certain number which may perhaps be regarded as having a special connection with Athens, and with these we will begin.[1435] Some of the specially Athenian myths have already been discussed in other connections, notably the story of Theseus (p. 108), the dispute of Athena and Poseidon (p. 24), the sending of Triptolemos (p. 27), and the rape of Kephalos by Eos[1436] and of Oreithyia by Boreas (p. 80). There remain then the following:
(1) The birth of Erichthonios, who is represented as received by Athena from Gaia emerging out of the earth, in the presence of Kekrops and his daughters. It only occurs on the later R.F. vases; the type closely resembles that of the birth of Dionysos (p. 19).
B.M. E 372; Berlin 2537 = Reinach, i. 208 = Wiener Vorl. B. 12; Munich 345 = Reinach, i. 66; and Reinach, i. 113 = Wiener Vorl. iii. 2. Also a scene from the childhood of Erichthonios: B.M. E 788.
(2) The reception of Dionysos in Attica (by Ikarios or Amphiktion).
B 149, B 153, and E 166 in the British Museum appear to refer to this, but not certainly. See above, p. 56.
(3) The story of Tereus and his daughters, Prokne and Philomela.[1437]
(a) Tereus meeting Apate (Deceit); Prokne and Philomela in chariots.
Naples 3233 = Reinach, i. 240.
(b) Prokne and the dumb Philomela:
Reinach, i. 308 (in Louvre).
(c) Aedonaia slaying Itys.
J.H.S. viii. p. 440 (= Munich 799a).
(4) The three sons of Pandion, Lykos, Nisos, and Pallas,[1438] with Orneus the son of Erechtheus.
Reinach, i. 510 = Roscher, ii. 2187.
(5) The death of Prokris by the agency of Kephalos.
B.M. E 477 (with Siren as soul of Prokris or death-deity).
(6) Kreousa defended by Apollo from the attack of Ion.
Reinach, i. 375: cf. Eur. Ion. 1250 ff.
(7) Danaos taking refuge in Attica (?).
Reinach, i. 244 = Wiener Vorl. iii. 4, 2 (in Louvre).
(8) Echelos carrying off Basile.[1439]
Arch. Anzeiger, 1895, p. 39: see p. 27.
(9) The story of Diomos, the eponymous deme-hero (?).
B.M. B 178 = J.H.S. xiii. p. 116.
(10) Kodros, the last king of Athens.
Bologna 273 = Baumeister, iii. p. 1998, fig. 2148 = Jahrbuch, 1898, pl. 4.
The Kodros cup (completely published in Wiener Vorl. i. 4) is decorated with groups of figures intended to illustrate the legendary history of the great Attic families, in accordance with the genealogising tendencies of the period (about 450 B.C.). The outer scenes represent Theseus taking leave of Aigeus, and Ajax taking leave of Lykos; and Aigeus and Ajax (Aias) are eponymous heroes of two Attic tribes. On the Meidias vase in the British Museum[1440] we see a group of Athenian tribal heroes, such as Akamas, Antiochos, Demophon, and Hippothon, together with Medeia, who is also connected with Athens in the Theseus scene of the Kodros cup.
Other isolated myths which occasionally appear on vases, but defy more exact classification, may be briefly recorded here:
(1) Admetos and Alkestis.
Bibl. Nat. 918 = Reinach, i. 395 = Dennis, Etruria2, ii. frontispiece. See also p. 69.
(2) Agamedes and Trophonios as prisoners fed by Augias.
Louvre E 632 = Reinach, i. 349 (see Paus. ix. 37, 5; Ann. dell’ Inst. 1885, p. 130).
(3) Agrios seized by Oineus and bound on the altar.
B.M. F 155: see Anton. Liber. 37 and Vogel, Scenen Eur. Trag. p. 125.
(4) Atalante offering a cup to her antagonist Hippomenes.
R.F. kotyle in B.M.
(5) Atreus and Thyestes (the latter as suppliant in the former’s palace?).
Millingen-Reinach, 23 = Wiener Vorl. B. 4, 1.
(6) Daidalos and Ikaros, flight of.
Naples 1767 = Gaz. Arch. 1884, pls. 1–2.
(7) Glaukos in the tomb brought to life by the seer Polyeidos.
B.M. D 5 = Plate XL.: see Apollod. iii. 3, 1.
(8) Kanake’s suicide.
Reinach, i. 448.
(9) Laios, Keleos, Kerberos, and Aigolios stung by bees when stealing the honey on which the infant Zeus was fed.
B.M. B 177: cf. Anton. Liber. 19 and Roscher, i. p. 154.
(10) Lykourgos destroying his children in a frenzy.
B.M. F 271; Naples 3219 = Reinach, i. 125, and 3237 = Baumeister, ii. pp. 834–35. See also Reinach, i. 333: Lykourgos slaying Thoas; and p. 56.
(11) Melampus healing the daughters of Proitos from their madness at the altar of Artemis Lusia, in the presence of Dionysos.
Naples 1760 = Millingen-Reinach, 52 = Wiener Vorl. B. 4, 3.
(12) Merope (a scene from the tragedy of that name).
Munich 810 = Reinach, i. 363: see Vogel, Scenen Eur. Trag. p. 118.
(13) Pandareos with the golden dog of Zeus, which he stole.
Louvre A 478 = Hermes 1898, p. 638; Bull. de Corr. Hell. 1898, p. 586.
(14) Peleus wrestling with Atalante.
Munich 125 (= Reinach, ii. 120 = Furtwaengler and Reichhold, pl. 31), and 584 = Reinach, ii. 88; Bibl. Nat. 818 = Gaz. Arch. 1880, pl. 14; Micali, Mon. Ined. pl. 41.
(15) Peleus hunting a stag.
Berlin 2538 = Reinach, ii. 162: cf. Apollod. iii. 13, 3.
FIG. 131. PENTHEUS SLAIN BY MAENADS (BRITISH MUSEUM).
(16) Pentheus torn to pieces by his mother Agave and the frenzied Maenads.
B.M. E 775 = Fig. 131; Munich 807 = Baumeister, ii. p. 1204, fig. 1396; Jatta 1617 = Müller-Wieseler, Denkmaeler, ii. 37, 436; Jahrbuch, 1892, pl. 5 (and see p. 154); Gaz. Arch. 1879, pls. 4–5 (?).
(17) Phaon with Chryse and Philomele.
Furtwaengler and Reichhold, pl. 59 (vase in Palermo, formerly interpreted as Dionysos and Ariadne: see text, p. 296, for the correct interpretation).
(18) Phineus invoking the gods.
B.M. E 291 = Wiener Vorl. C. 8, 1. For other Phineus scenes, see pp. 81, 115.
(19) The madness of Salmoneus.
Amer. Journ. of Arch. 1899, pl. 4 (interpreted as Athamas): cf. Class. Review, 1903, p. 276 and Harrison, Prolegomena to Gk. Religion, p. 61.
(20) Thoas placed in the chest by Hypsipyle.
Berlin 2300 = Reinach, i. 273: see Ap. Rhod. i. 622, and Hartwig, Meistersch. p. 374.
(21) Aktor and Astyoche (uncertain reference).
Jahrbuch, 1902, pl. 2 (in Boston): see ibid. p. 68, Il. ii. 513 and 658; Schol. in Pind. Ol. vii. 42.
(22) The foundation of Boiae in Laconia by the appearance of a hare.
Reinach, ii. 333 = Inghirami, Vasi Fitt. 120 (this is exceedingly doubtful).
(23) Two boys delivered to a Nymph (unknown myth).
Wiener Vorl. E. 12, 3.
The story of Orpheus often finds a place on vases of the R.F. period,[1441] but is chiefly confined to two episodes, his playing the lyre among a group of Thracians[1442] (the men recognisable by their costume, see p. 179), and his pursuit by the Thracian women[1443] and subsequent death at their hands.[1444] In one scene his head after his death is made use of as an oracle.[1445] He is often present in under-world scenes (see p. 68), but not always in connection with the fetching back of Eurydike.[1446]
Thamyris, a quasi-legendary figure, appears contending with the Muses for pre-eminence with the lyre[1447]; on one fine R.F. vase he is accompanied by Sappho,[1448] who, though strictly an historical personage, appears among the Muses in quasi-mythical guise; he also plays the lyre among Amazons.[1449] Other semi-historical persons enveloped in a cloud of fable are: Taras, the founder of Tarentum[1450]; Midas, who is generally represented with asses’ ears, and is depicted judging the Seilenos who was caught in his rose-garden and is led before him with hands tied[1451]; and Minos, who appears at the slaying of the Minotaur by Theseus,[1452] and in the under-world as one of the judges of souls.[1453]
Nor must we omit to mention the Amazons, who play such a large part on Greek vases; besides their connection with various legendary events, they are often employed purely as decorative figures. Mention has already been made of their combats with Herakles and Theseus, and of the part played by their queen Penthesileia in the Trojan War[1454]; and we also find them in such scenes as the Judgment of Paris[1455] and Herakles’ fight with Kyknos.[1456] They also contend with Gryphons[1457]; and many battle scenes in which they are opposed to Greek warriors may also be here alluded to as not admitting of more definite identification.[1458] They are further represented arming and preparing for the fray,[1459] or setting out on horseback,[1460] or defending a besieged city[1461]; and as decorative figures we see them charging,[1462] stringing bows[1463] and discharging arrows,[1464] blowing a trumpet,[1465] running by the side of a horse or checking a restive animal,[1466] or fastening a shoe[1467]; or in peaceful converse with a Greek warrior,[1468] or else without any distinguishing action.[1469] Nearly all these subjects belong to the R.F. and later periods.
We may conclude this section with an account of the monstrous semi-human, semi-bestial creatures, which play a large part in the decoration of Greek vases, and appear in connection with many legends. Such are the Centaurs, half man, half horse; the Gorgons, winged women with snaky locks; the Harpies, also found on early vases in the form of winged women; and mythical creatures like Pegasos, the Chimaera, or the Minotaur.
The Centaurs, who probably symbolise mountain torrents or other forces of nature, appear (mostly on early vases) in combat with Herakles, either in troops or in single combat, as in the stories of Nessos, Dexamenos, and Eurytion[1470]; or, again, in the scenes so often celebrated in the sculptured friezes and metopes of Greek temples, where they contend with Theseus and Peirithoös,[1471] or with the Thessalian Lapiths.[1472] Among the latter a common episode is the death of Kaineus, whom the Centaurs buried in the earth, showering rocks upon him.[1473] In a more peaceful aspect appear the aged Centaurs, Pholos and Cheiron, especially in the stories of Herakles and Achilles,[1474] both of whom are brought to the latter for their youthful education.[1475] As the friend of Peleus Cheiron often assists at his capture of Thetis.[1476] Centaurs, especially Pholos, are sometimes represented returning from the chase,[1477] or as single decorative figures[1478]; in one case they fight with cocks.[1479] Nike in one or two instances is drawn in her chariot by male or female Centaurs[1480]; and, finally, representations of youthful Centaurs are found, though usually they are middle-aged.[1481]
The Gorgons appear almost exclusively in connection with the Perseus legend,[1482] but are besides frequently found as decorative figures, especially on B.F. vases,[1483] in the running attitude characteristic of archaic art, in one case between two Sphinxes.[1484] Besides these, the head or mask of the Gorgon Medusa, familiar at all periods as a decorative motive of Greek art—first with an ugly and grotesque face, afterwards refined and beautiful—is often found by itself on Greek vases, especially as an interior central ornament of B.F. kylikes.[1485]
Harpies, conventionally associated through the medium of the Roman poets[1486] with the human-headed bird-form which really denotes the Siren, are found invariably on vases in the form of winged women.[1487] They are, as has been elsewhere noted (p. 81), associated with the Boreades[1488] as symbolical of evil and good influences of winds, and probably should be regarded as personifications of the southern breezes (the malevolent influence of which is seen in the sirocco). Traditionally they were supposed to guard the Garden of the Hesperides in Africa, whence the hot baleful winds come. The story of Phineus is probably to be explained on these lines.[1489] A Harpy appears at the recovery of Zeus’ golden dog from Pandareos.[1490]
That the human-headed bird represents a Siren in Greek art is amply attested by the representations of Odysseus’ adventure with the vocal enchantresses.[1491] Their appearance on the so-called Harpy monument of Xanthos, however, shows them in another aspect, that of death-deities[1492]—not necessarily of a violent and rapacious character, as on a vase in Berlin,[1493] but gentle and kindly. So, again, a Siren is represented in connection with a tomb[1494]; and in a scene representing a banquet in Elysium they are depicted crowning the dead.[1495] On some vases we find a Siren playing a flute or a lyre (probably merely fanciful subjects)[1496]; or, again, two Sirens kissing each other.[1497] As mere decorative motives their appearances are countless, and many early vases are modelled in the form of Sirens[1498]; sometimes they have human arms[1499]; in one case a bird’s wings and a fish-tail[1500]; or, again, more anomalously, bearded masculine heads.[1501] More rarely they are seen flying.[1502]
The Sphinx is familiar in the first place as the monster, half woman, half dog, which vexed the city of Thebes till slain by Oedipus; this story is often alluded to on vases,[1503] but many groups of a man and a Sphinx have probably no special meaning.[1504] The Sphinx has sometimes a sepulchral reference,[1505] and is grouped with other figures, such as Atlas[1506] or a Seilenos[1507] (the latter probably a scene from a Satyric drama). Like the Siren, she is exceedingly common as a decorative figure,[1508] especially in the friezes of animals and monsters so dear to the early vase-painters. Her invariable form is that of a winged lion or dog with a woman’s bust.
The Gryphon, a kind of dragon composed of an eagle’s head and lion’s body and legs (occasionally a bird’s), is almost exclusively decorative[1509]; but on the later vases we find the fabulous combat of the Oriental Arimaspi with the Gryphons who guarded the mountain of gold in the Far East (cf. Plate XLII.)[1510]; or, again, they contend with the Amazons,[1511] with Scythians,[1512] or with ordinary Greek warriors.[1513] In one instance an Arimasp woman is seen shooting at a Gryphon of curious type.[1514] Further, they draw the chariots of deities, such as Persephone,[1515] and Dionysos[1516]; and we have already seen Apollo coming on a Gryphon from the Hyperborean regions.[1517]
Pegasos, the winged steed of Bellerophon, and the monster Chimaera which he slew, also appear as decorative figures[1518]; and the former draws the chariots of Apollo and of a woman,[1519] and also appears as a constellation with the moon and stars.[1520] A human-headed monster attacked by a hero seems to have been suggested by the Chimaera on a companion vase.[1521] The Minotaur is generally seen in connection with Theseus, but also appears as a single or decorative figure,[1522] and one vase appears to represent the youthful monster in his mother’s lap.[1523] Other monsters found occasionally on vases are Skylla, who appears, not in connection with the story of Odysseus, but with those of Perseus and Andromeda,[1524] and Phrixos and Helle,[1525] or as a single figure[1526]; and Lamia, a vampire or ogress in the form of a hideous old woman, who is seen undergoing torture from Satyrs,[1527] and in another unexplained scene.[1528] Another type of monster, the serpent-footed giant Typhon, has already been mentioned.[1529] Yet another and a unique type is that of the Nymphs with serpent bodies which protect vines from the attacks of goats.[1530]
Lastly, another creation of fancy, though not strictly mythological, is the ἰππαλεκτρύων or “cock-horse,” a bird with horse’s head, which appears on some B.F. vases ridden by a youth.[1531] This may also be a convenient place for mentioning the common decorative subject of Pygmies fighting with cranes.[1532]
The number of vases on which undoubted historical subjects have been discovered is very limited, though the old systems of interpretation exerted much ingenuity in eliciting an historical meaning from many scenes of daily life, with or without names inscribed over the figures. In the instances given below, the names are given in most cases, obviating all doubts. It is worth noting that the subjects chosen are not as a rule those that would most obviously suggest themselves. They fall into two classes, one relating to historical events and persons, the other to literary celebrities:
I. (1) The weighing of silphium by Arkesilas, one of the descendants of Battos, who ruled at Kyrene—probably the second of the name (B.C. 580–550). This scene occurs on a Cyrenaic cup in the Bibliothèque at Paris (Cat. 189: see Vol. I., p. 342, Fig. 92), which is probably a contemporary production.
(2) Kroisos, the king of Lydia, on the funeral pyre (B.C. 545). See above, p. 6.
Fig. 132 = Reinach, i. 85 = Baumeister, ii. p. 796, fig. 860 (in Louvre).