303. Cf. Aisch. Pers. vs. 681–842, where the εἴδωλον of Dareios is one of the dramatis personae. Also Eur. Hek., where the prologue is spoken by the εἴδωλον of Polydoros.
304. Dilthey, Arch. 219, 1875, p. 71, followed also by Vogel, Scen. eur. Trag. p. 151. How do these scholars account for the appearance of Megara and her sons upon the ‘under-world’ vases where Herakles is also represented in his last labour of capturing Kerberos? This latter must have been finished and Herakles must have returned to the upper world before Megara and the boys could be thought of as in fact in the under-world.
305. Bild und Lied, p. 39 f.
307. Cp. among other places in the Medeia, vs. 133, 328, 405, 475 ff., 536 ff., 550, 1330.
308. Cf. the Dareios vase in Naples, also found in Canosa; pub. Baumeister’s Denkmäler, i. no. 449; also the costume of the judges on the so-called ‘under-world’ vases, pub. Wiener Vorlegeblätter, ser. E. 1–3.
309. Apoll. Rhod. 1. 122 and 341 ff.; Hyg. fab. 14; Diod. Sic. iv. 53. 4.
310. Apoll. Rhod. 1. 108 ff.; Apollod. 1. 9. 16; Hyg. fab. 14.
311. Apoll. Rhod. 1. 146 ff.; Paus., 1. 18. 1, relates that in the temple of the Dioskouroi in Athens, known also as the Anakeion, Mikon painted events from the Argonautic expedition.
312. Fig. 24. Heydemann, cat. Mus. Santangelo, no. 526. Pub. in Raoul-Rochette’s Choiseaux de Peintures, p. 263. Discussed by Jahn, Arch. Ztg. 1867, p. 59, and referred to by Vogel, Scen. eur. Trag. p. 151.
313. Fig. 25; pub. Raoul-Rochette, Choiseaux de Peintures, p. 277. Described by Jahn, Arch. Ztg. 1867, p. 60; cf. Vogel, op. cit. p. 79.
314. Fig. 26. Heydemann, no. 3221, A. Cf. Arch. Ztg. 1867, p. 62 and pl. 224. 1.
315. The Theban Cycle was handled in the Θηβαΐς and the Οἰδιπόδεια, from which the tragedians probably drew their material. For the subject in the fifth century B.C. vid. Benndorfs Heroon von Gjölbaschi, p. 187 ff. and pl. 24. A1–A5. Kapaneus’ catastrophe in attempting to storm the walls was often shown. Cf. Wiener Vorlegeblätter, 1889, pl. 11, nos. 13, 14, 16, 17. The death of Amphiaraos was another popular story. Cf. Wiener Vorlegeblätter, 1889, pl. 11. 8. 15. There are many interesting monuments which represent the conference of the chiefs before the assault. Cf. especially the famous Etruscan gem with inscriptions naming Polyneikes, Amphiaraos, Adrastos, Tydeus, and Parthenopaios; pub. Wiener Vorlegeblätter, 1889, pl. 11. 5; Baumeister, Denkmäler, iii. no. 1839, no. 369 in Bilderheft. An Etruscan mirror, Gerhard, Etruskische Spiegel, ii. pl. 178, gives Adrastos, Amphiaraos, and Tydeus.
316. Brit. Mus., vase cat. vol. iv. G 104. Pub. ibid. pl. 16. Cf. Class. Review, 1894, p. 325.
317. The fratricide, so common on the Etruscan urns, is rare on Greek monuments. (1) The group was on the Kypselos Chest (Paus. 5. 19, 6). (2) Pythagoras worked the brothers in marble (vid. Overbeck, Schriftquellen, no. 501). (3) One group on the Heroön from Gjölbaschi, cf. Benndorf, op. cit. pl. 24. A. 3. There are thirty urns representing the scene: vid. Körte, I rilievi delle urne etrusche, ii. pl. 8–20, and 36, and supplement. p. 261 ff. Cf. further Overbeck’s Bildwerke, pl. 5 and 6. An Etruscan mirror, which shows a composition remarkably like that in the inside of the Penthesileia kylix (Munich, no. 370, pub. Overbeck, Bildwerke, pl. 17. 3), and must be from a fifth century pattern, is perhaps the oldest of the extant representations. Vid. Gerhard, Etruskische Spiegel, v. pl. 95.
318. Brit. Mus., cat. iv. G 1051; pub. Wiener Vorlegeblätter, 1889, pl. 9. 13; Robert, Homerische Becher, p. 59; first correctly interpreted by Murray, Class. Rev. 1888, p. 328.