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.

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]

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]

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]