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]

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]

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]

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]

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]