,,greek ,,tragedy ,,in ,,the ,,light ,,of ,,vase ,,paintings ,illustration ,illustration3 7,size1 about #a #i7 ,,medeia ,,amphora ,,in ,,the ,,old ,,pinakothek1 ,,munich 7,vid4 p4 #ade ff47 ,,greek ,,tragedy ,,in ,,the ,,light ,,of ,,vase ,,paintings ,,by ,,john ,h4 ,,huddilston ,b4,a4 7,,harv471 ,,ph4,d4 7,,munich7 ,,formerly ,,instructor ,,in ,,greek ,,in ,,the ,,northwestern ,,university ,,author ,,of #8,,the ,,essentials ,,of ,,new ,,testament ,,greek' ,,and #8,,the ,,attitude ,,of ,,the ,,greek ,,tragedians ,,toward ,,art' ,london ,,macmillan ,,and ,,co41 ,,limited ,,new ,,york3 ,,the ,,macmillan ,,company #ahih ,oxford ,,horace ,,hart1 ,,printer ,,to ,,the ,,university ,,to ,,professor ,,carl ,,riemenschneider1 ,,ph4,d4 ,,german ,,wallace ,,college ,,berea1 ,,ohio ,,whose ,,rare ,,classical ,,scholarship ,,is ,,all ,,too ,,little ,,known ,,this ,,volume ,,by ,,one ,,of ,,his ,,former ,,pupils ,,is ,,affectionately ,,dedicated 1 1 1 4 ,,plutarch1 ,de ,gloria ,athen41 c4 #c4 ,nec mirum1 si ista1 quae tamen in aliquo posita sunt motu1 tantum in animis valent1 cum pictura1 tacens opus et habitus semper eiusdem1 sic in intimos penetrat adfectus1 ut ipsam vim dicendi nonnumquam superare videatur4 ,,quintilian1 ,inst4 ,orat41 xi4 #c4 #fg4 ,,preface ,although the archaeologists and mythologists constitute for the most part the number of those seriously concerned with ,greek vases1 there still remain many engaged in the study of ,greek literature for whom the vases are bound to possess an abiding value1 since they often relate the stories that ,homer1 ,pindar1 ,aischylos1 and ,euripides tell4 ,one may find on vases of the fourth1 fifth1 and sixth centuries ,b4,c4 illustrations for not a few of the famous pieces in ,greek poetry4 ,the paintings may have been an outgrowth of the common stock of legendary tales1 having their origin in the folk-lore1 and in such cases they are independent of the written literature and go along1 so to speak1 parallel with the work of the poets1 who drew from the same source4 ,these paintings are valuable as illustrations of the myths1 quite apart from any literary version of the same4 ,another class still more interesting1 perhaps1 owe their origin to some particular poem or play1 and are to be taken as direct products of the poets' work4 ,such are of prime importance for one who would understand the poet thoroughly4 ,the first class of paintings of the latter sort are based on ,homer and the ,cyclic poets4 ,after the epic literature1 the tragic drama became the chief formative force in ,greek legend and its representation in art4 ,yet here again1 as in the case of the ,cyclic poets1 one is compelled to interpret paintings inspired by works that have come down to us either as mere names or in a few wretched fragments4 ,the relation of these monuments to the lost literature is of paramount importance1 but the investigation is beset with many obstacles and will continue to be largely a field for the specialist4 ,extant tragedy and vase paintings1 however1 come together at so many points1 and the former is so illumined by the latter1 that every student of the classics should become acquainted with at least this part of ,greek ceramics4 ,the present work represents an attempt to bring this material together in a convenient and accessible form4 ,the first chapter1 which deals with the influence of tragedy on other classes of monuments1 is meant to be suggestive1 not exhaustive2 if ,i shall have succeeded here in setting the student to think along some new lines that in the end will place him in more direct touch with antiquity1 and help him to a better understanding of ,greek tragic poetry and the part it played in the artistic life of the ,greeks and ,romans1 my aim will have been achieved4 ,the foot-notes all the way through are intended to contain somewhat full references to the literature of the different topics1 and to be a sort of guide to one who desires to prosecute this study further4 ,in dealing with even the subject of vase paintings and extant tragedy1 it was not possible to omit saying a word regarding the general question of the earliest influence of the drama upon the vase painters2 this has been done1 however1 very briefly1 and is no more than a sketch4 ,some may think that the subject is disposed of too quickly2 many pages1 indeed1 might have been written to advantage on this much mooted point1 but this would have required going far aside from the task which ,i set myself2 and1 further1 it did not seem wise to encumber the work with a discussion necessarily of a nature to appeal to the archaeologist rather than to the student of ,aischylos and ,euripides4 ,it is the latter's needs that have been uppermost in my mind1 and it will be found that ,i have written for him first and for the archaeologist second4 ,my aim has been to collect and publish all paintings that can with a high degree of probability be said to be inspired by any of the extant tragedies1 and to unfold the relation of the two to each other in such a way as to throw the greatest possible light upon the interpretation of the literature4 ,many of the publications where one can find these paintings are so expensive and inaccessible that but a comparatively small number of classical students can make any use of the original works2 the result is that this important class of monuments has been very little used by philologists4 ,wherever it seemed necessary1 synopses of the plays have been given1 and these will place the student in possession of everything required for a full appreciation of the reproductions4 ,reference has been made to other monuments representing scenes based on the plays1 so that there is in fact a sort of archaeological commentary for those who care to go further and examine the general influence of the poet over the artist4 ,it should be borne in mind1 however1 that ,i have not been concerned with the myths involved except in so far as they were the forms invented or followed by the tragedians4 ,to be sure1 opinions will not be unanimous regarding the interpretation of some of the paintings1 but wherever ,i have not felt sure of the debt of the artist to a given play ,i have preferred not to publish the work2 some such are mentioned in a separate chapter1 where reference is also made to the literature4 ,my endeavour has been to keep as far as possible aloof from conjectures and reckless theories into which one is apt to be drawn in dealing with questions in archaeology2 sins of omission should be less reprehended in a work of this character than sins of commission1 and although ,i shall no doubt be judged guilty of both1 ,i hope to have erred rather on the side of the former4 ,it will be of special interest to archaeologists to have the painting on the ,medeia amphora1 in ,munich1 correctly published2 fig4 #bc gives for the first time the correct reading of the inscriptions1 and for this reason ,i could have wished that space had permitted a much larger reproduction4 ,the frontispiece1 presenting a general view of the whole vase1 will1 it is hoped1 be of some help in affording those who have not had an opportunity of seeing the originals1 some notion of the size and magnificent workmanship of this class of vases1 called so appropriately by the ,germans ,prachtamphoren4 ,another painting1 fig4 #c1 is published for the first time1 and fig4 #f1 taken from a photograph1 displaces the drawing in ,jahn's ,vasenbilder4 ,further than this1 the illustrations are the same as those that have already appeared elsewhere2 it has been possible for me to add new information regarding the whereabouts of some few vases4 ,on the spelling of ,greek names it need only be said that ,i have nearly always preferred the ,greek forms to the ,latin equivalents2 yet ,i have not gone so far as to write ,hiketides for ,supplices1 or ,hepta for ,septem2 neither did it seem advisable to disturb a word so common in ,english as is ,oedipus by writing it ,oidipous1 or much less ,oidipus4 ,my thanks are due to ,professor ,otto ,kern for help and encouragement while he was still at the ,university of ,berlin4 ,professor ,carl ,robert has lent me valuable assistance1 and ,i scarcely know whether ,i am more indebted to his suggestive replies to my numerous inquiries or to his writings1 which latter have been a constant inspiration to me4 ,professor ,a4 ,furtwngler1 whose profound knowledge in the field of ,greek ceramics1 as well as in every department of classical archaeology1 is well known1 has aided me by his counsel and has spared some of his valuable time to go over all the manuscript4 ,i wish to express my indebtedness to all these eminent scholars as well as to ,mr4 ,charles ,b4 ,newcomer1 ,m4,a41 who has been kind enough to read the proof1 and has favoured me with many valuable suggestions4 ,mrs4 ,huddilston1 who more than any one else has followed all the work1 deserves special mention2 there is scarcely a page that does not bear evidence of her sound judgement4 ,i indulge the hope that this little book may1 with all its defects 7and ,i am well aware they are many71 present much that is helpful in a field in which there is little addressed to the student of classical literature2 and this brings me to remark that ,i have long wondered why the editions of the ,greek tragedies are not enlivened more with reproductions of works of art pertaining to the myth involved4 ,there is no reason why the student who is set to read the ,choephoroi1 ,eumenides1 ,medeia1 or ,iphigeneia in ,tauris1 not to mention other plays1 should look only at the literary and philological sides of the author4 ,is it considered unscholarly to illustrate books of this sort1 or are the scholars who edit them ignorant of the archaeological apparatus8 ,the time is coming1 ,i firmly believe1 when these two departments of classical studies will not be so divorced as they are at present1 and when the monuments based upon a myth will be included in our text-books and examined quite as closely as is the text of the poet4 ,when ,greek art is thus made to supplement the study of the poetry1 the latter will be invested with a still greater charm than it now possesses4 ,more of the spirit is required and less of the letter1 and this is bound to be brought about when ,greek art is introduced more extensively into the instruction in ,greek studies4 ,i trust that these pages will be considered a contribution towards this manner of studying ,greek tragedy1 and that the plays which come in question will be read with renewed interest by all students1 and reviewed with pleasure and profit by those who are instructors in classics2 and again by those who in the various walks of life still have time and inclination to turn occasionally to the masterpieces of ,greek letters--works that will always remain substantial parts of the world's literary ballast4 ,j4 ,h4 ,,huddilston4 ,,london1 ,march1 #ahih4 ,,contents ,,chapter ,i ,,the ,,influence ,,of ,,greek ,,tragedy ,,upon ,,ancient ,,art ,,outside ,,of ,,the ,,vases ,,page #a4 ,,introductory #a #b4 ,,tragic ,,influences ,,in ,,sculpture #d #a4 ,greek ,sculpture #d #b4 ,the ,etruscan ,ash-,urns #aj #c4 ,the ,roman ,sarcophagi #ae #c4 ,,the ,,influence ,,of ,,tragedy ,,on ,,painting #bj #a4 ,on ,greek ,painting #ba #b4 ,the ,wall ,paintings of ,pompeii #bd #d4 ,,tragic ,,elements ,,on ,,the ,,etruscan ,,mirrors #bf #e4 ,,greek ,,tragedy ,,and ,,the #8,,megarian ,,bowls' #bg ,,chapter ,,ii ,,the ,,earliest ,,influence ,,of ,,tragedy ,,on ,,vase ,,painting #a4 ,,theories ,,advanced ,,for ,,the ,,earliest ,,traces #ca #b4 ,,earliest ,,evidence #cb #c4 ,,the ,,fifth ,,century ,b4,c4 #cc #d4 ,,the ,,fourth ,,century ,b4,c4 ,,and ,,the ,,conditions ,,in ,,lower ,,italy #cg ,,chapter ,,iii ,,aischylos ,,and ,,vase ,,painting #a4 ,,introduction #db #b4 ,,choephoroi #dc #c4 ,,eumenides #ee #d4 ,,the ,,lost ,,plays #gc ,,chapter ,,iv ,,sophokles ,,and ,,his ,,relation ,,to ,,vase ,,painting #ge ,,chapter ,v ,,euripides ,,and ,,vase ,,painting #a4 ,,introduction #gh #b4 ,,andromache #hc #c4 ,,bakchai #hh #d4 ,,hekabe #id #e4 ,,hippolytos #aja #f4 ,,iphigeneia ,,at ,,aulis #aab #g4 ,,iphigeneia ,,among ,,the ,,taurians #aba #h4 ,,kyklops #aci #i4 ,,medeia #add #aj4 ,,phoinissai #aga #aa4 ,,supplementary #agh ,a ,list of ,vase ,paintings sometimes referred to ,extant ,plays #agh ,a ,list of ,vase ,paintings referred to ,lost ,plays #agi ,,index #ahb ,,the ,,common ,,abbreviations ,,used ,,in ,,the ,,notes ,annali d4 ,inst4 ,annali dell' ,instituto di ,corrispondenza archeologica 7,rome74 ,arch4 ,anz4 ,archologischer ,anzeiger1 ,beiblatt zum ,jahrbuch des ,archologischen ,instituts 7,berlin74 ,arch4 ,ztg4 ,archologische ,zeitung 7,berlin74 ,athen4 ,mitth4 ,mittheilungen des ,k4 deutschen ,archologischen ,instituts in ,athen4 ,baumeister1 ,denkmler ,baumeister's ,denkmler des ,klassischen ,altertums4 ,b4 ,c4 ,h4 ,bulletin de ,correspondence ,hellnique 7,athens74 ,compte ,rendu ,compte ,rendu de la ,commission impriale archologique 7,st4 ,petersburg74 ,c4 ,i4 ,a4 ,corpus ,inscriptionum ,atticarum4 lite ,cram4 lite des monuments cramographiques1 ,lenormant et ,de ,witte4 ,f4-,w4 ,friederichs-,wolters1 ,die ,gipsabgsse antiker ,bildwerke4 ,furtwngler1 ,masterpieces ,furtwngler1 ,masterpieces of ,greek ,sculpture4 ,gerhard1 ,auserl4 ,vasen4 ,gerhard1 ,auserlesen griechische ,vasenbilder4 ,helbig1 ,wandgemlde ,helbig1 ,wandgemlde der vom ,vesuv verschtteten ,stdte ,campaniens4 ,inghirami1 ,vasi fitt4 ,inghirami1 ,pitture di vasi fittili4 ,jahrbuch ,jahrbuch des ,k4 deutschen ,archologischen ,instituts 7,berlin74 ,j4 ,h4 ,s4 ,journal of ,hellenic ,studies 7,london74 ,mon4 d4 ,inst4 ,monumenti inediti pubblicati dall' ,instituto di ,corrispondenza archeologica 7,rome74 ,nauck1 ,fragmenta ,nauck1 ,fragmenta tragicorum graecorum4 #b ed4 ,overbeck1 ,bildwerke ,overbeck1 ,die ,bildwerke zum thebischen und troischen ,heldenkreis4 ,overbeck1 ,schriftquellen ,overbeck1 ,die antiken ,schriftquellen zur ,geschichte der bildenden ,knste bei den ,griechen4 ,reinach-,millin1 ,peintures ,reinach1 ,peintures de ,vases ,reinach-,millingen1 ,peintures antiques recueillies par ,millin 7#ahjh7 et ,millingen 7#ahac74 ,vogel1 ,scen4 eur4 ,trag4 ,vogel1 ,scenen euripideischer ,tragdien in griechischen ,vasengemlden4 ,,greek ,,tragedy ,,in ,,the ,,light ,,of ,,vase ,,paintings ,,chapter ,i ,,the ,,influence ,,of ,,greek ,,tragedy ,,upon ,,ancient ,,art ,,outside ,,of ,,the ,,vases #a4 ,,introductory4 ,painting as a fine art has never been developed to any great degree of perfection independent of literature4 ,the two are1 in a sense1 handmaids1 each inspiring the other and assisting it to solve new problems4 ,a great literature is1 furthermore1 a necessary precursor of great achievements in art1 since the latter is the more dependent of the two1 and seeks its inspiration from the poet4 ,this may not be clear to one who looks about at painting in this age of eclecticism1 and endeavours to satisfy himself that literature and art are thus related1 and that the former is required to give the initial impetus to the latter4 ,the principle can1 however1 be made plain by going back nearer the fountain spring of modern literary and artistic development4 ,one should turn to the ,italian ,renaissance of the fourteenth and fifteenth centuries--to the period when ,dante became the teacher and guide of artistic notions--in order to observe the full meaning and force of the supremacy of literature4 ,there1 where for the first time in the modern world a great genius fashioned the thought of more than a century1 one can study easily the power of the poet over the artist4 ,the influence of ,dante upon artistic notions from ,giotto down to the present has1 indeed1 been incalculably great4 ,no painter of the quattrocento1 at least1 worked in any other than the ,dantesque spirit2 whether consciously or unconsciously1 he was under the spell of the father of ,italian letters4 ,dante's ,hell and ,paradise became the ,hell and ,paradise of ,signorelli and ,michel ,angelo4 ,botticelli1 ,flaxman1 ,dor1 and many others left their canvasses and frescoes to interpret the hidden secrets of the ,divina ,commedia4 ,the great ,christian ,epic which ,cornelius developed through many years of study and contemplation of ,dante1 and which he considered the crowning work of his life1 is told in the altar fresco of the ,ludwig's ,church in ,munich4 ,yet this is but one of the many monumental works of this century which owes its existence to this poet4 ,delacroix's #8,barque of ,dante1' exhibited in the ,paris ,salon of #ahbb1 has been called the first real painting of the century4 ,when one turns to ,england there is ,rossetti1 with #8,beatrice and ,dante1' #8,dante's ,dream1' and several other famous paintings that witness again to the influence of the ,italian poet4 ,but one may remark that ,dante's position in the history of human progress is unique4 ,this is true4 ,the world has not known another whose authority was so absolute or whose philosophy appeared so final4 ,the influence of poets of less power has been correspondingly smaller4 ,the principle1 however1 remains true4 ,the poet ventures where the boldest artist has not gone and prepares1 as it were1 the way for him4 ,the closest parallel to ,dante's influence upon the trend of artistic notions must be looked for in ancient ,greece2 ,homer must be named with ,dante4 ,the ,homeric poetry has exercised a power which the ,divina ,commedia has scarcely surpassed2 the thousand and more streams of influence which rose in the ,greek epic literature went out in every direction to water the fields of art and letters in ,greece and ,rome1 and flowed on again after ,petrarch's time1 and are to-day mighty forces4 ,events and incidents of the ,iliad and ,odyssey have taken so permanent a place in modern art that one hardly stops to think that this or that is from ,homer4 ,but this company of persons which the world calls ,homer was not the only vital force that shaped men's thoughts and furnished the artist with fresh inspiration4 ,the tragic poets are to be named with ,homer4 ,had ,aischylean1 ,sophoklean1 and ,euripidean elements not entered into ancient and modern works of art the world would never have known some of its most beautiful monuments4 ,this is not1 however1 the place to linger over the influence of the ,greek epic and tragic literature in modern times1 interesting though this would be4 ,it is in ancient times1 when there was still among the people a peculiar interest in the mythic legends1 that the contact of poet and artist is most apparent2 it is with the three ,greek tragedians that we have to do at present1 and some traces of their work may be pointed out in the various classes of monuments before the vase paintings are examined4 #b4 ,,tragic ,,influences ,,in ,,sculpture4 #a4 ,greek ,sculpture4 ,one does not expect the sculptor's notions to be largely shaped by a definite situation in literature1 as he has little to do with illustration2 his art is too severe and confined to reproduce the dramatic and pathetic with great success4 ,there is accordingly little direct influence of the ,greek tragic literature over ancient sculpture except on the sarcophagi4 ,of the monuments belonging to the fifth century ,b4,c41 which owe their existence indirectly to the drama1 three reliefs occupy the foremost place4 ,these are the well-known ,orpheus#a1 ,peliades#b1 and ,peirithos#c reliefs1 all of which belong close to the time of the ,parthenon frieze4 ,reisch has made it clear that these works were conceived and carried out in the spirit of the tragic drama#d4 ,they are claimed1 indeed1 as dedicatory offerings in memory of particular tragic exhibitions1 but no attempt is made to name any poet or tragedy with which they were connected4 ,whether one is correct in holding these reliefs as 1 certain it is that in every particular they breathe forth the spirit of tragedy4 ,the triple group in each has been pointed out as corresponding to the three actors4 ,this1 however1 is an outer sign that might serve to indicate their origin4 ,the relation of the figures to each other--the conflict of soul which one may observe--the pathos that pervades the groups--these are so unlike anything that occurs on the earlier monuments that a person involuntarily asks himself whence the artists received their motives4 ,tragedy provides the answer4 ,the parting scene between ,alkestis and ,admetos which ,euripides describes so beautifully belongs to the same decade as does the ,orpheus relief4 ,this touching episode may well have been the incentive to some such work as the parting between ,orpheus and ,eurydike4 ,in all three instances the sculptor was at any rate occupied with the problems which concerned the tragic poet1 and he reproduced true echoes of dramatic situations4 ,related to these reliefs is another class of monuments which grew out of the tragic performances4 ,from the middle of the fifth century ,b4,c4#e till at least the close of the third century ,b4,c4#f it was customary for the successful choregos to dedicate the tripod that the state had given him as a prize4 ,the magnificence and elaborateness accompanying this ceremony can be learned from the still extant ,lysikrates monument upon which the tripod once stood and on the intercolumniations of which tripods in relief are represented4 ,a street in ,athens was given over to the exposition of these prizes4 ,pausanias states that they were of bronze and stood on temples#g4 ,more important still for us in this connexion is the fact that together with the tripod1 probably under the kettle1 it was the custom to set up a figure of a satyr or ,dionysos or ,nike#h4 ,this practice does not appear to have been older than the time of ,praxiteles4 ,so it is that one learns of his famous satyr which ,pausanias mentions in connexion with one of the tripods#i4 ,the ,greek of this passage does not admit of a satisfactory interpretation1 and it is not possible therefore to determine what the attitude of the figure was4 ,it is probable that the statue which was thus intimately associated with the ,dionysiac performances was the satyr of ,praxiteles1 existing in so many copies and known throughout ,english literature as the #8,marble ,faun4' ,one can easily understand that this class of choregic monuments was alone of great importance1 and that through this channel the tragic performances worked a wide influence over sculpture4 ,there was a vast number of statues in bronze and marble that thus arose from the exigencies of the theatre4 ,along with these works may be classed the numerous pieces of sculpture that were put up as decorations for the theatre4 ,such were the mentioned by ,pausanias as being in the ,dionysiac theatre at ,athens4 ,the periegete names the statues of ,aischylos1 ,sophokles1 ,euripides1 and ,menander#aj4 ,a large number of reliefs that represent ,dionysos receiving the worship of mortals1 or advancing in a train of satyrs before a man lying on a couch1 makes up another class of sculpture1 which probably owed its origin to the drama4 ,on the ,peiraieus#aa relief three persons carrying tragic masks advance before the god who reclines upon a kline4 ,the work may possibly be dated as early as the close of the fifth century ,b4,c4#ab ,it is at any rate an early example of the influence of the tragic muse upon sculpture4 ,the so-called ,ikarios reliefs illustrating ,dionysos' first appearance in ,attica1 and the consequent origin of tragedy1 may not refer to ,ikarios at all1 but are nevertheless to be linked to tragedy in some way1 as the masks clearly show#ac4 ,they may have been purely decorative work1 or were perhaps offerings of actors4 ,it remains to speak of a few monuments which seem to have been more directly under the influence of particular tragedies4 ,one hears1 for example1 that the sculptor ,seilanion made a #8,dying ,iokaste4'#ad ,this notion would appear to have been borrowed from some play4 ,one may think of the ,oedipus ,tyrannus of ,sophokles or the ,phoinissai of ,euripides4 ,of far greater importance is the relief on one of the columns from ,ephesos which is known to every one#ae4 ,the most satisfactory interpretation of this work so far offered explains the scene as ,alkestis being delivered from ,death4 ,the heroine1 rescued from ,thanatos by ,hermes1 is being conducted to the upper world again4 ,unfortunately there is no agreement among archaeologists on this explanation#af4 ,until a better one is brought forward1 however1 this important monument may be held as evidence for the influence exerted by ,euripides' handling of this popular myth4 ,the ,alkestis is known to have been exceptionally well received4 ,if tragic influences are only possibly at hand in the fragment from ,ephesos1 the excavations at ,pergamon have brought to light extensive remains of reliefs that were inspired by ,attic tragedy4 ,the ,telephos frieze1 now in ,berlin1 is directly associated with the drama4 ,the mythic founder of ,pergamon had a long and varied career1 which was told in dramatic form by both ,sophokles and ,euripides4 ,the suggestions for the reliefs in question came from the ,auge and ,telephos of the latter1 and the ,mysoi of the former#ag4 ,in these fragments one can see distinctly the high esteem in which the ,attic drama was held at the court of the ,attalidai4 ,i know of no ,greek sculpture which comes so near being an illustration of tragedy as does this frieze4 ,another work of monumental greatness belonging to about the same period and exhibiting unmistakable signs of tragic influence is the ,farnese ,bull in the ,national ,museum in ,naples#ah4 ,this colossal group1 which represents ,dirke being tied to a rampant bull by ,amphion and ,zethos1 the sons of ,antiope1 is characterized by a passion and violence that are late products in ,greek sculpture4 ,such motives made their appearance first in the fourth century ,b4,c4 ,niobe and her children are the earliest representation on a grand scale of these elements that are so akin to the drama4 ,such compositions were first possible with ,praxiteles and ,skopas who broke away from the traditions of the ,pheidian age4 ,the generation that saw a new type of ,dionysos and of ,aphrodite1 and could appreciate the frenzied maenad of ,skopas1 had been prepared for these new motives very largely through the theatre4 ,the drama had not a little to do with impressing the artist and his public with the importance of delineating the human feelings4 ,in the case of the ,niobe group one would not attempt to point out any special influence of the ,niobe of ,aischylos or ,sophokles1 and still there is little doubt in my own mind that the sculptor was more or less influenced by the tragic literature4 ,may not ,praxiteles or ,skopas1 each of whom shares the credit of the ,niobe group1 have been led to the pathetic look upon the mother's face by the lines of one of these lost plays8 ,this new tendency in sculpture reached its highest expression in the ,laokon and the ,farnese ,bull4 ,the latter can be traced to the influence of ,euripides' ,antiope1 which appears to have been the source of all ,dirke monuments in ancient art2 there is no dissenting voice as to ,euripides' right to occupy the honourable position thus assigned#ai him4 ,reference has already been made to the ,laokon#bj as representing the culmination of tragedy in marble4 ,the view held by ,lessing and many others that ,virgil was the sculptors' authority has been abandoned long since4 ,the ,pergamon altar frieze has enabled us to fix the date of the ,laokon with approximate correctness4 ,it is surely some centuries older than the ,aeneid and stands therefore in a possible relation to the ,laokon of ,sophokles4 ,yet here again opinions vary widely4 ,sophokles' play is lost1 and the few remaining fragments are not enough to enable one to make a satisfactory reconstruction4 ,the story came down from the epic literature1 and1 like so many incidents in the fall of ,troy1 needed no further popularization in order to appeal to the artist4 ,that ,sophokles' tragedy1 however1 was wholly without any influence on the ,rhodian sculptors who so tragically and realistically represented ,apollo's vengeance on his priest seems to me highly improbable4 ,such a conception as found expression in this masterpiece of sculpture may well have sprung from the masterpiece in poetry which was at hand in ,sophokles' ,laokon#ba4 #b4 ,the ,etruscan ,ash-urns4 ,the reliefs on the ,etruscan and ,roman sarcophagi carry us to ,italian soil and furnish us with a much larger field for pursuing our subject than could be found in ,greek sculpture4 ,of all the ,italian races with whom the ,greeks came into contact1 the ,etrurians were by far the most advanced in civilization2 and during the centuries of active commercial relations between the two peoples this nation1 whose origin is the puzzle of historians1 and whose language is the crux of philologists1 came more under the influence of ,greek literature and art than any of the ,latin races that remained unhellenized4 ,they have left abundant evidence of these hellenizing influences4 ,in various classes of monuments which may still be studied--urns1 mirrors1 cistae1 tomb-paintings1 and vases--one discovers ,greek mythology and poetry4 ,the national mythology of the ,etruscans is so much of an exception in their art1 and the ,greek is so universally adopted1 that one is at a loss to account for the strange fact4 ,on hundreds of ,etruscan monuments one sees the workings of ,greek poetry1 which found its way into ,etruria before ,livius ,andronicus produced the first tragedy in ,rome #bdj ,b4,c4 ,that the ,greek drama was introduced for the most part directly and not through the medium of the early ,latin tragedians1 is shown by the fact that the latter flourished in the second and first centuries ,b4,c41 while the urns exhibiting tragic subjects are1 for the most part1 from the third century ,b4,c4 ,some may1 indeed1 date from the fourth century4 ,roman tragedy can not be said to have really become at all a matter of general interest before ,ennius went to ,rome in #bjd ,b4,c4 ,he died #afi ,b4,c41 and one should not think that the influence of these ,latin adaptations and translations of ,greek plays took an immediate hold upon the neighbouring ,etruscans4 ,such elements percolate gradually into the various strata of national life1 to say nothing of the time required to reach a foreign people whose language and customs are so different4 ,but the summus epicus poeta#bb was not the most popular or most prolific pilferer of ,greek plays4 ,his tragedies numbered only about twenty4 ,in ,accio circaque eum ,romana tragoedia est#bc2 and the probable truth of this statement is well attested by the list of fifty plays that have come down to us under ,accius' name4 ,this poet1 however1 was born #agj ,b4,c4 and first exhibited tragedies in #adj ,b4,c4 ,it is therefore very doubtful whether one can rightly speak of the influence of ,latin tragedy upon the ,etruscan artists4 ,one dare not1 at any rate1 bring the ash-urns too far into the second century ,b4,c41 as ,brunn and those immediately under his teaching formerly did4 ,more recent investigations have proved the chronological impossibility of interpreting these reliefs with the help of ,ennius1 ,accius1 and ,pacuvius4 ,without taking time and space to review the arguments on which the interpretations of the reliefs are based it will be enough for my purpose to simply add a list of the scenes which one may reasonably refer to ,greek tragedy4 ,examining the first volume of ,brunn's ,i rilievi delle urne etrusche1 which is devoted to urns with scenes from the ,trojan ,cycle1 one learns that those presenting a version of the stories ascribable to the tragic poets exceed those that are based on the ,iliad1 ,odyssey1 and other epics4 ,the representation of ,paris' return to his ,trojan home is1 with one exception#bd1 the most frequent4 ,the thirty-four reliefs were referred1 even in the time of the former late dating1 to ,euripides' #be4 ,the fate of ,telephos was1 according to ,aristotle1 a common subject for a tragedy#bf4 ,we have already met the story on the ,pergamon frieze1 and it is very frequent on the ,etruscan urns4 ,telephos grasps the young ,orestes and threatens his life on the altar after the manner of the drama4 ,it may be the influence of ,aischylos or ,euripides1 but if one judges from the comparative popularity of these poets in this period he would be inclined to assign the first place to the latter#bg4 ,the offering of ,iphigeneia occurs on twenty-six urns1 nearly all of which were found in the vicinity of ,perugia#bh4 ,it was again unquestionably ,greek tragedy that was the incentive for these scenes4 ,aischylos1 ,sophokles1 and ,euripides may all share the credit of having furnished the literary source4 ,a smaller series of urns representing ,odysseus' adventure in taking ,philoktetes from ,lemnos is also to be placed under the influence of the fifth century tragedy#bi4 ,the is seen playing his part as cleverly as he does in the extant play of ,sophokles4 ,the attitude of ,philoktetes standing before ,neoptolemos1 having in two cases the arrow in his hand1 corresponds well to the character drawn by this poet4 ,the injured chieftain displays his courage and scoffs at the thought of being carried away by the detested ,odysseus4 ,the murder of ,aigisthos and ,klytaimestra represented on seventeen urns has been shown by ,schlie to be essentially ,euripidean#cj4 ,the arrival of ,orestes and ,pylades at the precinct of the ,tauric ,artemis is possibly the subject of three reliefs#ca4 ,this would also take one directly to ,euripides#cb4 ,the following are published in the second volume of the ,urne etrusche by ,krte4 ,medeia escapes on her dragon-chariot1 driving over the bodies of her children#cc--;an echo of the great tragedy that exercised so wide an influence in other fields of art#cd4 ,the punishment of ,dirke on four reliefs is based without question on the ,antiope of ,euripides#ce4 ,the blinding of ,oedipus at the hands of ,laios' sons seems to have been an invention of the same poet and is recognized in another relief#cf4 ,the ,theban fratricide and the assault on the city were both much-prized subjects#cg4 ,krte points out many features common to the numerous reliefs and the ,phoinissai of ,euripides#ch4 ,the death of ,alkmene is represented on five urns which one would associate with the ,alkmene of the same poet#ci4 ,euripides' is traceable on seven reliefs1 showing the legend of ,daidalos and ,pasipha#dj4 ,theseus' fight with the ,minotaur occurs four times and reminds us of ,euripides' ,theseus#da4 ,the death of ,hippolytos on eight reliefs does not present any essential variation from the extant ,greek tragedy#db4 ,perseus and ,andromeda are met with likewise and emphasize the wide popularity of ,euripides' play#dc4 ,the famous legend of ,oinomaos' death and ,pelops' triumph occurs on thirty-one urns#dd4 ,it can be shown that these were inspired by one or more of the lost tragedies that dealt with the subject#de4 ,the of ,euripides appears to have been the source of at least three of the many reliefs representing the ,kalydonian ,hunt#df4 ,to this long list of urns based on ,euripidean tragedies one must still add seven that were probably inspired by this poet's and three more that follow his #dg4 ,more than two-thirds of the more than four hundred ,etruscan urns examined are decorated with sculpture based on ,greek tragedy1 and in nearly all instances the drama was ,euripidean4 ,such are the instructive facts regarding this important class of monuments4 #c4 ,roman ,sarcophagi4 ,under the expression #8,roman sarcophagi' one understands those of the first and second centuries ,a4,d4 unless the expression is further qualified4 ,sarcophagi from the time of the ,republic are very rare and they are withal modest in their workmanship4 ,the florid decorations of the time of the ,empire1 and especially of the period just noted1 are often of secondary interest1 but the reliefs on the sarcophagi are for the most part of prime importance1 as furnishing reminiscences of lost tragedies and ancient paintings of great renown4 ,the majority are copies of very ordinary merit1 while now and then a sarcophagus relief is not unworthy a ,greek artist of the fourth century ,b4,c4 ,it is a commonly known fact that long before the ,laokon1 or the ,farnese ,bull1 or the ,apollo ,belvidere was unearthed in the sixteenth and fifteenth centuries--long before the classical antiquities of ,rome1 ,florence1 and ,naples had attracted students and lovers of art--the sculptures of these sarcophagi1 scattered about in cathedrals and palaces1 had begun to teach the ,italian artist what the human figure really is1 and what composition and decoration should be4 ,the ,renaissance artist first learned the charm and simplicity of the ancient costume from these marbles and perceived how vastly superior this was to the heavy1 conventional church-dress that concealed the outlines of the form and rendered grace and beauty impossible4 ,the study of the antique1 we have reason to believe1 was in the early ,renaissance largely a study of these ,roman sarcophagi4 ,there is no need of going into detail4 ,it will be enough to hint at the most important monuments of this class that stand under the influence of ,greek tragedy4 ,whether they are a direct product of the ,greek plays or are founded on the ,latin translations1 or whether they represent copies of ,greek paintings based on ,greek tragedy--this is for the present purpose all one and the same4 ,it is not necessary to determine whence the incentive came4 ,the important fact for one to grasp first is1 that a surprisingly large number of the reliefs owe their existence to the tragic drama1 and that these sculptures should be brought into one's study of the tragic poets#dh4 ,the series of reliefs illustrating ,euripides' ,alkestis is of prime importance for one who wishes to see in art a scene worthy of the poet#di4 ,the touching farewell of ,alkestis as she reclines upon her death-bed is in each instance the centre of the groups on the long side4 ,around her gathers the whole family4 ,the children draw up close to their mother's side4 ,her parents are also present1 and this lends more interest to the sight1 for they could scarcely be absent although the poet does not mention them in this connexion4 ,the last words of ,alkestis1 and ,admetos' reply1 form the real charm of the play4 ,all else falls far behind these speeches1 and following one of the gems in ,greek literature the artist could afford to assign his illustration the first place on the reliefs4 ,arranged on either side are the other incidents of the drama1 following the poet with considerable faithfulness4 ,in this connexion should be mentioned the relief in ,florence1 also based upon the same source#ej4 ,the ,hippolytos sarcophagi are1 so far as ,i know1 the most numerous of those that are dependent upon tragedy4 ,if we possess more than a score1 either entire or in fragments1 after the destructive elements have been at work on them since antiquity1 there is reason to believe that many times this number were once in existence4 ,copies were made in large numbers1 and many a ,roman was laid to rest behind the tragedy in marble which in the ,hippolytos of ,euripides has continued with some interruptions to move the sympathies of the civilized world for more than two thousand years4 ,the reliefs are in the main faithful illustrations of ,euripides4 ,one or two situations are foreign to him1 and these would suggest the influence of a ,roman poet4 ,it is unnecessary to do more here than to refer to the following chapter1 where the whole question finds a further discussion#ea4 #8,the ,orestes myth appears upon the sarcophagi exclusively in the form given to it by the ,attic drama4 ,the first part--the slaying of ,aigisthos and ,klytaimestra--follows the ,oresteia of ,aischylos4 ,the second part--the meeting of ,iphigeneia and ,orestes and the rape of the ,tauric idol--is based upon the ,iphigeneia in ,tauris of ,euripides4'#eb ,one exception only is noted and this appears to represent the influence of a later play which handled the subject of the ,oresteia#ec4 ,the scenes on the other sarcophagi are indeed illustrations of ,aischylos4 ,in each case the final moment of the ,choephoroi1 when the ,furies rush in upon the murderer1 guilty of a mother's blood1 is chosen for the middle group4 ,right and left from this the succeeding events are arranged4 ,the right end scene invariably represents ,orestes as he is about to escape from the sanctuary of ,apollo at ,delphi and go to ,athens4 ,he picks his way with circumspection over the sleeping ,furies1 and one is led up to the triumphal verdict of the ,eumenides#ed4 ,robert has shown very clearly the relation of these sculptures to ,aischylos' words1 and it is enough to refer to his discussion4 ,the ,iphigeneia-,orestes sarcophagi breathe from first to last the spirit of ,euripides4 ,a study of them is scarcely less instructive than a reading of the play4 ,step by step the story is unfolded4 ,orestes and ,pylades are taken captives and stand before the priestess1 whose dreadful office is made more horrible by the remains of human sacrifices that are fastened up around the sanctuary2 the recognition scene with the letter follows4 ,then ,iphigeneia appears with the idol in her arms1 and asks ,thoas' permission to go and purify it in the sea4 ,the two ,greeks stand bound1 ready to follow her1 and last of all comes the mle at the ship4 ,one after another of the barbarians is laid low by the strong arms of ,orestes and ,pylades4 ,iphigeneia is placed safely aboard with the image1 and one sees the beginning of the homeward journey that closed the history of the house of ,atreus#ee4 ,the ,euripidean ,medeia is discussed at length in another place1 and ,i have pointed out there the part that the sarcophagi occupy in art representations of the tragedy#ef4 ,the two extremes of touching tenderness and violent passion1 which no one ever combined more successfully in one character than did ,euripides in his ,medeia1 come prominently to the foreground in these reliefs4 ,i know of no monuments of ancient art that grasp the spirit of a ,greek tragedy more effectually than the ,medeia sarcophagi4 ,the strange and secret power of the sorceress hovers over and pervades the whole4 ,the dreadful vengeance exacted by the slighted queen is shown in the most graphic manner4 ,standing before the ,berlin replica1 which is the best preserved and most beautiful of all the sculptures1 one cannot but feel that he is face to face with a marvellous illustration of the great tragedy4 ,the marble all but breathes2 the dragons of ,medeia's chariot may be heard to hiss4 ,a small number of other monuments of this class belongs to the #8,seven against ,thebes1' and1 as in the case of the ,etruscan urns1 the ,phoinissai of ,euripides is the main source of the illustrations4 ,perhaps ,seneca's ,phoenissae also entered into the work4 ,robert conjectures that ,euripides' ,oedipus may have furnished suggestions for parts of the scenes#eg4 ,the ,philoktetes of ,sophokles is illustrated on one relief very much in the manner of the ,etruscan urns already referred to4 ,the wounded ,philoktetes stands at the mouth of the cave and speaks to ,neoptolemos on the right4 ,odysseus keeps safely out of sight on the left#eh4 ,the story of ,pasipha's unholy love is told on a fragment of a sarcophagus in the ,louvre#ei2 ,daidalos and his cunning work play the leading part4 ,the ultimate literary authority was ,euripides' 4 ,the latter may not have been used directly1 as the myth enjoyed after this play a continuous popularity4 ,the relief on one end represents a fruit offering1 and as this would agree with the vegetarian vow of the chorus1 ,robert prefers to recognize a direct connexion with ,euripides#fj4 ,mention may be made lastly of the ,meleager sarcophagi1 which1 like the ,etruscan urns1 have much in common with ,euripides' #fa4 #c4 ,,the ,,influence ,,of ,,tragedy ,,on ,,painting4 ,our knowledge of ,greek painting is entirely literary4 ,no vestige of this art has survived that one may study the real monuments4 ,the wall paintings of ,pompeii and ,herculaneum are1 however1 a sort of recompense for this loss1 and with these and the assistance of ,pliny and a few other writers one can get some notion of certain masterpieces of ancient painting4 ,but the records are at the most very scant1 and the student has1 after all1 to allow his imagination to fill in many gaps4 #a4 ,on ,greek ,painting4 ,the first probable point of contact between tragedy and painting is in the time of ,polygnotos4 ,the series of paintings mentioned by ,pausanias as being in the ,propylaia may be brought under the name of the great painter1 since it is expressly stated that two of the ten were from his hand#fb4 ,among the subjects were ,odysseus fetching ,philoktetes from ,lemnos2 ,orestes slaying ,aigisthos2 ,polyxena on the point of being sacrificed at ,achilles' tomb4 ,the question arises1 have these works any connexion with the drama8 ,if ,polygnotos was the author of all the paintings1 the period of his activity excludes both ,sophoklean and ,euripidean influence in the ,philoktetes scene4 ,the ,philoktetes of ,sophokles is known to have been produced in #dji ,b4,c41 and the same play by ,euripides appeared in the trilogy with the ,medeia in #dca ,b4,c4 ,this leaves ,aischylos' tragedy1 which could have served ,polygnotos' purpose4 ,orestes killing ,aigisthos seems also a possible product of the ,oresteia1 but ,pylades engaging the sons of ,nauplios who came to the usurper's assistance renders the ,aischylean source improbable4 ,polyxena's sacrifice is described by ,euripides in the ,hekabe#fc1 and was the subject of ,sophokles' ,polyxene#fd4 ,nothing1 however1 can be made out of the few fragments belonging to the latter4 ,the character of this picture1 in which excluded 1 led ,robert to assign it to the fourth century and base it upon ,euripides#fe4 ,all these subjects are from the ,trojan ,cycle1 and agree well with what is known of ,polygnotos' taste in selecting his legends4 ,one has but to recall the painting in the ,lesche of the ,knidians at ,delphi-- #ff--to learn that the drama was not essential to inspire ,polygnotos4 ,on the other hand1 a closer examination of the ,philoktetes-,orestes legend reveals the fact that the crafty ,ithacan's part in bringing ,philoktetes from ,lemnos was an invention of the ,attic drama#fg4 ,the tragedians placed ,odysseus in the room occupied by ,diomede in the ,trojan ,cycle4 ,it is absolutely necessary therefore to place this painting under the influence of tragedy1 whether it was by ,polygnotos and inspired by ,aischylos or by a later artist and inspired by one or more of the three tragedies4 ,if the ,polygnotos authorship be rejected 7and as it is based on pure conjecture there is nothing to forbid placing it aside71 one is at liberty to point out a relation between these works and later tragic literature1 as has already been done in the case of the ,polyxena scene4 ,in the latter half of the fifth century ,b4,c4 painting appears to have reflected pronounced tendencies of the drama4 ,the legends of the heroic time when tried in the crucible of the dramatic poet appealed more strongly to the imagination of the artist who had been accustomed to epic severeness and calmness4 ,the conventionality and regulation types gave way1 and the tragic drama remained thereafter the vital force in shaping the character of paintings occupied with heroic legends4 ,at this time we learn of a ,telephos by ,parrhasios1 which one naturally associates with ,euripides or ,aischylos#fh4 ,the ,iphigeneia of ,timanthes was a work that was scarcely possible but for the fresh interest awakened in the story by the three tragedians#fi4 ,it is highly probable again that ,euripides was the inspiration for the ,andromeda of ,nikias#gj and the ,medeia of ,timomachus#ga4 ,these were both works of great renown4 ,apollodoros' painting representing the ,herakleidai can with some certainty be referred to ,euripides' tragedy#gb4 ,theorus1 a ,samian1 painted ,orestes slaying ,aigisthos and ,klytaimestra1 and could hardly have worked independent of ,aischylos#gc4 ,the fate of ,pentheus and ,lykurgos was painted in the younger of the two temples in the ,dionysiac precinct south of the ,acropolis#gd4 ,the date of this temple has been fixed at approximately #djj ,b4,c4#ge ,the punishment of ,pentheus was particularly popular with the tragedians1 and the dependence of this painting on the play of ,aischylos or ,euripides is all but certain4 ,the former's ,lykurgeia was the source of the numerous vase paintings of ,lower ,italy representing the madness of the ,thracian king#gf1 and one may infer that this painting mentioned by ,pausanias was essentially the ,aischylean ,lykurgos4 ,in the same place were two other scenes from the career of ,dionysos4 ,ariadne was represented as being forsaken by ,theseus and rescued by the god1 and in another place ,dionysos was conducting ,hephaistos to ,olympos4 ,euripides' ,theseus handled the love episode in the first of the two latter1 and this play was probably not without its effect upon the popularity of the story which was of frequent occurrence1 particularly in ,pompeii#gg4 ,this poet's power in dealing with love exploits and depicting the sad case of unrequited love and the attending calamities1 was a new force in literature and a never-failing spring from which the painter could draw4 ,these compositions are one and all connected with ,dionysos1 while three of them are parallel with subjects handled in tragedy4 ,such scenes were possible only after the drama had popularized the subjects and prepared the way1 so to speak1 for the reception of the same in art4 ,even though one does not go so far as to contend that these paintings were an outgrowth of tragedy1 they must be accepted as signs of the increasing interest in ,dionysos and his worship--and this was primarily the ,greater ,dionysia1 where the first editions of ,greek tragedies were published4 ,this was the period of ,zeuxis and ,parrhasios--the time when ,euripidean was shaping artistic conceptions4 #b4 ,the ,wall ,paintings of ,pompeii and ,herculaneum4 ,the ,pompeian wall paintings1 representing scenes from tragedy1 are largely reminiscences of earlier paintings1 and many famous works that have already been referred to are doubtless preserved in more or less exact copies in these invaluable monuments4 ,besides the ,medeia and ,andromeda1 which have been noticed above1 there is a series of paintings based on the ,hippolytos-,phaidra casualty#gh1 and another representing the sacrifice of ,iphigeneia#gi4 ,the latter exhibit a marked similarity to the work of ,timanthes and the final scene in ,euripides' ,iphigeneia at ,aulis4 ,several important paintings represent the meeting of ,orestes and ,iphigeneia in the ,tauric sanctuary1 and there can be no question regarding the decided dramatic colouring here#hj4 ,two pictures are based on the ,telephos legend1 and remind one again of the ,pergamon frieze and the relation of this to ,euripides and ,sophokles#ha4 ,daidalos with his wooden cow before ,pasipha was another favourite ,euripidean story told at ,pompeii#hb4 ,the excavations in #ahie brought to light an unusual number of priceless treasures in the casa dei ,vettii4 ,among the paintings was one showing the death of ,pentheus#hc4 ,the maenads are hurling stones at him and thrusting him through with their thyrsoi2 the wildness of the locality and the tone of the whole work make it highly probable that ,euripides' ,bakchai was the artist's inspiration4 ,mention may be made lastly of the punishment of ,dirke1 told in several paintings#hd4 ,after what has been said touching the ,farnese ,bull1 it is not necessary to point out again the part played in the ,dirke monuments by ,euripides' ,antiope4 ,a glance at this brief sketch of ancient paintings on tragic subjects cannot but impress one with the permanent and far-reaching influence of the tragic poet over the painter4 ,the striking fact that stands out prominently before all others is the firm hold exercised by ,euripides4 ,note the following subjects--,andromeda1 ,dirke1 ,hippolytos1 ,iphigeneia at ,aulis1 ,medeia4 ,each of these characters has stamped upon it the form given by this poet4 ,others after him adapted and translated his work1 but the ultimate authority remains none the less the ,greek tragedian1 and neither the ancient nor the modern world accepts any other than the ,euripidean ,andromeda1 ,hippolytos1 or ,medeia#he4 #d4 ,,tragic ,,elements ,,on ,,the ,,etruscan ,,mirrors4 ,the engravers of the mirrors were less inventive than were the sculptors of the ash-urns1 and they moved in a much narrower sphere4 ,their work is for the most part that of the ordinary mechanic whose hand is none too sure4 ,the compositions taken from tragedy are common with those already met with on the ,etruscan sarcophagi4 ,there are ,orestes and ,pylades at the temple of the ,tauric ,artemis#hf2 the ,kalydonian ,hunt1 following the #hg2 ,daidalos constructing the wooden cow#hh2 ,polyxena taking her farewell of ,hekabe#hi2 three scenes from the ,telephos legend#ij2 the parting scene between ,alkestis and ,admetos#ia2 and ,prometheus chained to the ,caucasus#ib4 ,these instances at least may be adduced to emphasize the fact of the wide-spread familiarity of the ,etruscans with tragedy4 ,there is no doubt whatever that in these common everyday articles1 as well as on their sarcophagi1 the ,etruscans had illustrations of the tragic poetry that may have been brought to them by troops of #8,dionysiac artists'#ic4 #e4 ,,greek ,,tragedy ,,and ,,the #8,,megarian ,,bowls4' ,intermediate between sculpture and vase paintings appears a remarkably interesting class of vases1 or rather cups1 which are decorated with a band of relief4 ,certain of these are so intimately connected with the drama1 and with ,euripides in particular1 that at least a brief reference should be made to them here4 ,examples of this ware are to be seen in nearly every large museum1 and ,i have seen fit to include reproductions of three in the present work1 as well as a small fragment of a fourth#id4 ,the inscriptions and general style of the vases lead one to date them in the second or third century ,b4,c4 ,they are surely not later than this1 and not much earlier4 ,they owe their origin to a wide-spread interest in the older ,greek poets4 ,the majority of the reliefs represent scenes from the ,trojan and ,theban ,cycles1 and illustrate some poetical work4 ,we have to do at this time with those that are related to tragedy4 ,it is plain from a casual glance at the nature of the compositions taken from tragic literature that it was not the words of the poet that suggested the figures to the artist so much as the theatrical performances themselves4 ,the posings1 gestures1 groupings--in short1 the general attempt at effect1 take one past the written work to the ,hellenistic stage4 ,the motives are borrowed from ,euripides1 as played in the second- and third-century theatre4 ,the humble artist who conceived these designs had visited the exhibitions of the ,iphigeneia at ,aulis or of the ,phoinissai1 and received fresh ideas for his work4 ,it is necessary to emphasize the fact that these little monuments date from the time when the dominating force in art was the tragic drama4 ,the influence of the theatre was felt among all classes of people4 ,the guilds of ,dionysiac actors travelled around from one village to another1 and from one city to another1 producing their rpertoire from the three great tragedians1 and1 even when there was no permanent stage1 delivered from an improvised platform bad and indifferent versions of the well-known plays#ie4 ,the result was that tragedy was the one popular form of literature in the ,hellenistic period1 and this meant practically that the people were feasted on ,euripides4 ,the #8,megarian ,bowls' are priceless treasures from this period when the drama had permeated all classes of society4 ,the unpretentious reliefs are replete with the spirit that one may discover at the same time in ,italy1 ,asia ,minor1 ,athens1 and ,alexandria4 ,they are direct witnesses of the fact that ,euripides was the people's poet1 and re-enforce the impression gained from the study of all other classes of monuments4 ,for my own part ,i prefer to think of these cups as answering the place of text illustrations and corresponding to our illustrated editions of poetical works4 ,one cannot imagine the papyri texts of the ancient poets illumined with illustrations1 but these #8,megarian ,bowls' meet every requirement of this kind of art4 ,in order to keep the reader from going astray in the interpretation the scenes are often accompanied by inscriptions that render any misunderstanding impossible4 ,the several groups showing the successive stages of the play serve in fact every end that is demanded of illustrations4 ,whether the vases were used by schoolmasters in drilling their boys in classical poetry1 or whether they were ornaments for the home1 the poet was sure to appeal to his admirers in a new manner4 ,he could be easily remembered by this means if artificial aid was at all necessary4 ,they had1 moreover1 the great merit of being cheap2 any number of copies could be made from the mould1 and such cups are really in existence#if4 ,if three replicas of one and the same work have accidentally survived the centuries and can to-day be studied as text illustrations of ,euripides1 how extensive must have been the production and use of this sort of art in ancient times6#ig ,,chapter ,,ii ,,the ,,influence ,,of ,,greek ,,tragedy ,,on ,,vase ,,painting4 #a4 ,,theories ,,advanced ,,for ,,the ,,earliest ,,point ,,of ,,contact4 ,the question as to when the tragic drama first began to influence the vase painters has been in late years a much mooted one4 ,when our knowledge of vase chronology was far more fragmentary than it is now1 and the black figured fabric was dated as largely a fifth-century ,b4,c4 product1 the attempt was made to point out the dependence on the drama of certain paintings of this style#ih4 ,later1 when the improbability of this theory became more and more plain1 and an earlier date was fixed for the black figured vases1 other scholars endeavoured to show that the painters of ,euphronios' set--the masters of the severe red figured kylikes--stood under the influence of the three tragedians#ii4 ,no one would venture1 however1 to speak now of the influence of any of the dramatists upon the vase painters of this style that flourished at the end of the sixth and beginning of the fifth century4 ,more nearly correct was the principle laid down by ,robert1 in his famous book ,bild und ,lied1 that no vase painting of the fifth century ,b4,c4 shows the influence of heroic legends as recast by the tragedians and produced in the theatre4 ,before the year #djj ,b4,c4 one should not expect to find scenes upon the vases that are the direct outcome of the tragic drama4 ,this1 however1 is going too far to the other extreme4 ,there is a mean that may be struck1 and this is1 as will appear1 more in accord with the present knowledge of ,greek ceramics4 #b4 ,,earliest ,,evidence4 ,there is one point on which there seems to be little difference of opinion1 and that is1 that the lusty choruses of satyrs that abound on the early red figured vases were largely popularized through the ,dionysiac trains4 ,these groups of dancing1 springing satyrs along with ,dionysos are direct reflexions of the scenes that actually took place1 and as these celebrations were the simple beginnings of the tragic drama there is in this class of pictures a remote echo of the theatre4 ,yet one must not understand that the artists were conscious of following any particular performance#ajj4 ,these scenes border more on what we should imagine a satyric drama to have been4 ,it was a long way from this comical1 kick-about dance of the satyrs around ,dionysos and his altar to the time when the actual performance of the theatre1 such as is seen on the ,andromeda krater1 occurs on the vases4 ,still these were beginnings4 ,another exceedingly instructive bit of evidence for the development of tragic influences 7or rather it is better to speak still of ,dionysiac influences7 is found on a black figured vase in ,bologna#aja4 ,the painting represents the epiphany of the god who rides in a ship borne on wheels and drawn by two satyrs before whom march two others leading a steer4 ,the god who sits enthroned upon the ship is being entertained by flute music furnished by two satyrs riding with him4 ,such sights we have reason to believe were not uncommon in ,attica1 and it may have been in such a carrus navalis that ,thespis travelled the country and established the beginnings of the later drama4 ,these and the satyr-trains appear therefore to be a very significant inheritance which the earlier vase painters have left us for the disentangling of the all too bare literary records touching the origin of the tragic drama4 #c4 ,,fifth ,,century4 ,long before one can distinguish definite plays reflected in the vase paintings1 certain marks of interest in tragedy may be detected4 ,there are1 for example1 representations of the ceremony connected with the dedication of the tripod-prize4 ,the painters of cir4 #dfj ,b4,c4 have already taken up this part of the dramatic performances and have indicated thereby the growing interest in the theatrical exhibitions#ajb4 ,about the same time also the personification of tragedy and comedy makes its appearance on the vases#ajc4 ,these are not in themselves points of so great weight1 but they help to clear the way for understanding the tremendous influence which the drama had upon artists of the succeeding generations4 ,down to the middle of the fifth century the predominating force in the legendary scenes on the vases was ,homer and the other epic writers4 ,at this point the latter began to share their popularity with the tragedians1 and gradually but surely passed into the second place4 ,that ,robert's position is not a correct one seems to me highly probable1 and nevertheless one finds his words so often quoted that there is need of placing the evidence together and inquiring anew into the question4 ,for my own part ,i am unable to understand why the theatre did not exert an influence upon the smaller art of vase industry as well as it did upon the more important art of painting4 ,when one notes in the fifth century that great artists like ,timanthes and ,parrhasios were drawn under the spell of tragedy it is but natural to suppose that the same was true also in the case of the less famous vase painters4 ,why should the influence have been more pronounced in one instance than in the other8 ,if ,aischylos and ,euripides were popular enough to warrant the support of the illustrious artists1 one may correctly assume that the vase painter grasped this point likewise4 ,the latter was primarily concerned in producing something saleable1 and the pictures that were popular and saleable for the first class were no less so for the second class4 ,this so far has1 however1 no further weight than one's personal opinion4 ,let us turn to the monuments and see what there is to bear out this view4 ,the ,berlin ,andromeda krater may be referred to first#ajd4 ,this is one of the most brilliant examples ascribable to tragedy4 ,the profusely decorated costumes induce one to believe that the artist really reproduced the dress of the actors in ,euripides' play4 ,the theatrical air about the work is quite unmistakable1 and its ,attic origin leads one to connect it directly with the immense success won by the ,andromeda in #dab ,b4,c4 ,the ,kyklops vase1 published and discussed below1 also dates from the last quarter of the fifth century#aje4 ,a vase in ,naples representing ,diomedes' rape of the ,palladium has been referred to ,sophokles' 1 and its date is cir4 #dbj ,b4,c4#ajf ,the painting on the ,lower ,italy vase published below is also from about this same time and follows the ,eumenides#ajg4 ,i refer lastly to the celebrated satyr-play vase in ,naples as belonging to this period1 and furnishing at the same time the most palpable evidence of theatrical influence upon the artist#ajh4 ,the picture shows a recital of a satyr chorus in the presence of ,dionysos and ,ariadne1 and is1 as it were1 a snap-shot of this peculiar institution4 ,the painting has long been the keystone of the ancient testimony concerning the nature of the satyric drama4 ,the richness of the costume worn by ,dionysos and ,ariadne gives an invaluable illustration of the actors' dress4 ,in this regard the work is in direct accord with ,pollux's 444 1 #aji4 ,these are the most important examples that can be brought forward to show the influence of the drama on fifth-century vase painting1 and although not to be compared with the vast number of paintings of a later period that indicate the development of tragic tendencies1 they seem nevertheless to constitute a considerable array of evidence for the occurrence of definite tragic scenes borrowed from the drama4 ,the vase paintings therefore of the last quarter of this century do furnish undoubted traces of the forms of the myths seen in the theatre#aaj4 #d4 ,,the ,,fourth ,,century ,,and ,,the ,,conditions ,,in ,,lower ,,italy4 ,till the close of the fifth century1 or at least till the time of the ,peloponnesian ,war1 the export of vases from ,athens1 ,corinth1 and other centres in ,greece was a lively and paying industry4 ,this traffic had been carried on with all the ,mediterranean and ,black ,sea ports1 but especially with the cities of ,italy4 ,by far the largest number of sixth- and fifth-century ,attic vases now in the ,european museums and private collections have come from excavations in ,etruria4 ,this article of trade must have been highly prized by the ,etruscans1 and it is to their fondness for ,greek vases that we owe a very large part of our knowledge in this important field of classical archaeology4 ,with the founding of ,greek colonies in ,italy the ,greek industries were likewise established1 and it was but a question of time till ,thurii 7founded #dde ,b4,c471 ,tarentum1 ,herakleia1 and other cities supplied the western demand for vases1 and so destroyed the ,attic trade4 ,as a matter of fact1 few ,attic vases belonging to the fourth century have been discovered in ,lower ,italy1 and this means that from about #djj ,b4,c4 the demand had fallen off1 and the manufacture in ,athens had become gradually less and less important4 ,it was to favourable soil that this industry was transplanted4 ,the cities of ,magna ,graecia and ,sicily were as ,greek as were ,athens and ,corinth1 and they were1 besides1 far more prosperous4 ,the fourth century was one of great luxury in these western capitals and ,athenian art and letters found a hearty welcome here4 ,it is instructive to observe the clear traces of ,athenian art that are at hand on the coins of these regions4 ,the legends on the coins of ,thurii1 ,herakleia1 ,terina1 and ,syracuse1 dating from the latter half of the fifth century b4c41 are as distinctly ,pheidian in style as are those of the corresponding time at ,athens#aaa1 and this shows clearly the intimate intercourse that existed between the ,east and the ,west1 and how rapidly the colonists took up and appropriated the artistic notions of ,athens4 ,many other things point to the thoroughly ,greek landscape of ,southern ,italy4 ,greek names of cities abounded everywhere1 and the ancestral hero of most of the ,apulian towns was ,diomede--the ,aeneas of the ,south#aab4 ,each town had its own mint and struck its own coin with1 of course1 a ,greek legend and a ,greek inscription4 ,tarentum soon became the largest and most influential city of ,magna ,graecia4 ,the city founded by ,taras was destined to be the ,athens of the ,west for some time to come4 ,here was the centre from which ,attic influences penetrated inland4 ,the literature and art of ,hellas were received here and handed on to the neighbouring cities4 ,it is but natural that this flourishing capital should have become the seat of the vase industry for this part of ,italy4 ,the manufacture was not1 however1 confined to the limits of the city4 ,we know that other towns in ,apulia contributed to the vast number of vases that we know as #8,tarentine' fabric4 ,there is every reason to believe that this thoroughly ,greek industry continued without any interruption till the capture of ,tarentum1 #bgb ,b4,c42 but at this point the interest in vase manufacture no doubt began to abate somewhat4 ,when the commercial independence and rank of ,tarentum were gone the period of decline began1 and the vases that belong to the third century ,b4,c4 are neither numerous nor of great worth artistically4 ,the mysteries of ,lower ,italy vase chronology are1 however1 too great to be settled for some time to come1 and it is best not to be rash in assigning hard and fast dates to a class of monuments1 the investigation concerning which is quite in its infancy4 ,but what can be said about the drama at ,tarentum8 ,the remarks already made hardly render it necessary to emphasize the high esteem in which the ,attic tragedy was held4 ,that it was patronized extensively and that it was the literature of the time was true in any ,greek city of the fourth century1 and here where a new ,athens flourished it must have been doubly true4 ,it is interesting1 however1 to learn something definite in this regard concerning the ,tarentines4 ,we learn from ,plato that the people were inveterate theatre-goers1 and that they did not stop short of drunkenness at the ,dionysiac feast#aac4 ,in another place one is told that when the ,roman general ,valerius sailed into the harbour in #bhb ,b4,c4 the ,tarentines were celebrating the ,dionysia and paid no heed to the practical ,roman#aad4 ,worse than this1 ,pyrrhus found it necessary to order the theatres to be closed that he might succeed in getting the men out for military service#aae4 ,such was the favourable soil in which the ,attic drama took root in ,lower ,italy1 and in this centre the influence of tragedy on the vase decorators was perhaps more far-reaching than in any ancient city4 ,the extent of the influence may be seen by an examination of the paintings on the ,lower ,italy vases4 ,it has long since been noticed that many of the ,apulian1 ,campanian1 and ,lucanian vase paintings have a marked theatrical composition4 ,the costumes1 posings1 and gestures are often notoriously stage-like4 ,in many cases one can observe the reminiscence of the stage setting2 the scene often represents a temple or palace in or before which the action occurs#aaf1 and even where one is not able to determine upon the literary source of the picture the dramatic handling is plain1 and one is convinced that some tragedy furnished the suggestion for the work4 ,the paintings are not to be considered by any means reliable copies of any particular scene in a theatre4 ,they were abridged1 extended or modified at the notion of the artist4 ,when he took his ideas from the tragedian1 he might turn the characters round to please his own fancy1 putting in or omitting others4 ,he never illustrated4 ,the value of these paintings in helping one to reconstruct the lost plays is very considerable4 ,they are generally certain to provide more valuable information regarding the lost literature than the few fragments that may have come down to us#aag4 ,as the three tragedians of the fifth century ,b4,c4 were practically the only ones that were read and heard with pleasure in the fourth century1 their work is the source of nearly all of the paintings based on tragedy4 ,we may pass on therefore to our study of ,aischylos1 ,sophokles1 and ,euripides in their influence upon the vase painters4 ,,chapter ,,iii ,,aischylos ,,and ,,the ,,vase ,,paintings #a4 ,,introduction4 ,notwithstanding the fact that the oldest of the tragedians was the least read in the fourth century ,b4,c41 he easily rivals ,sophokles in his influence on art4 ,this was not due to his being more admired1 and can only be accounted for by the bold situations that he invented-situations new and striking4 ,there are certain of his plays that left a lasting impression on ,greek and ,roman art4 ,such are the ,choephoroi1 the ,eumenides1 and the ,lykurgeia4 ,further than these1 ,aischylean plays did not appeal to the artist to any great extent4 ,it is the peculiarly popular inventions distinguishable in these tragedies1 their uniqueness1 so to speak1 that set them apart by themselves1 a mark for the artist4 ,the character of the plays is easily denoted4 ,they ring with cries of murder and resound with the storming fury of avenging deities2 we are struck by the perils of the situations and remain all but breathless to learn the issue4 ,these features attracted the painter and sculptor1 and this is what meets one on all the monuments that may be called ,aischylean4 ,the deep religious vein that pulsates in every line of the mighty tragedian is reflected to some degree on the vases and the sarcophagi4 ,this force in art was rather epic2 it was1 in a way1 ,polygnotean1 and the ethical nature of it all but condemned it for the artists who sought the of ,euripides4 ,this very fact explains why ,aischylos and ,sophokles did not address themselves more to the succeeding generations of artists4 ,the ethical was more difficult to express than was the pathetic1 and it was not so attractive4 ,the spirit of the times1 moreover1 demanded the latter as it demanded ,euripides1 and consequently one should not expect to meet a large number of vase paintings that were made under the influence of either ,aischylos or ,sophokles4 ,those that can be associated with the extant tragedies of the former are given in the following pages4 ,it will be observed that certain scenes from ,aischylos were greatly in favour in ,lower ,italy4 ,all of the nine paintings published are from ,italian ware4 ,not one ,attic vase that shows an ,aischylean scene has1 so far as ,i know1 been discovered4 ,in the ,west1 however1 where he was quite as much at home as in his own ,athens and where he was destined to end his days1 the vase decorators were largely influenced by him4 #b4 ,,choephoroi4 ,there is no proof at hand that epic literature knew aught of ,elektra or the part which she played in avenging her father's murder4 ,the fragments from the lyric poet ,stesichoros furnish the oldest literary source for the ,oresteia which became later so popular under the hands of the fifth-century tragedians4 ,the trilogy of ,aischylos which has happily come down to us is1 therefore1 the oldest extant authority4 ,when one turns to works of art one discovers a series of vase paintings representing the death of ,aigisthos2 yet these are but a little older than ,aischylos' work#aah4 ,events concerned with ,orestes' return are even less common in early art4 ,the ,melan terra cotta plaque in the ,louvre1 which represents a scene somewhat similar to the opening of the ,choephoroi1 is the oldest of the ,oresteia monuments1 but still must be dated within the fifth century ,b4,c4#aai ,it may be considered as fairly well established that ,elektra and ,orestes first appeared in art but a few years before the production of ,aischylos' trilogy in #deh ,b4,c4 ,nor is it possible1 so far as ,i know1 to discover any influence of the ,agamemnon or ,choephoroi upon artistic productions in the last half of the century4 ,a small group of vase paintings from ,lower ,italy belonging to the fourth century ,b4,c4 do1 however1 present situations which one may well believe to have been suggested by the early part of the ,choephoroi4 ,illustration3 ,,fig4 #a4 ,the painting shown in fig4 #aabj represents a tomb1 the base of which is decorated with triglyphs4 ,surmounting this is a stele1 crowned with a ,corinthian helm1 and bearing the name 4 ,sitting with her back to the stele on the left is ,elektra1 1 wearing a chiton and mantle and clasping her left knee in a meditative mood2 beside her is another female figure similarly dressed and holding a toilet box in the left arm1 an unusually common article on the vases of ,lower ,italy4 ,perhaps the box is meant to recall the offerings which were brought in it to the grave4 ,this person is not necessarily ,chrysothemis1 although her dress would be more appropriate for ,elektra's sister than for her attendant4 ,it is1 however1 the work of the latter to carry such a box of offerings for ,elektra4 ,the figure may therefore be left unnamed4 ,her face is turned towards ,orestes1 1 who stands on the right and appears to be speaking to ,elektra1 who pays no attention to his words or his gesture4 ,he is in travelling costume1 chlamys1 petasos1 and carries a spear and sword1 but curiously enough wears no boots4 ,below him to the right in a similar attitude stands ,pylades4 ,he has simply a chlamys and a spear4 ,another youth sits above on a terrain4 ,he serves to round out the picture1 and indicates at the same time the attendants of ,orestes4 ,in the background are a sword and shield2 on the grave is an amphora1 as an offering1 exactly the shape of the vase on which the painting occurs4 ,there are numerous restorations in the work1 but the main part seems to be antique4 ,heydemann states that the inscription on the stele is genuine1 and also 4 ,doubt is expressed concerning 4 ,we have before us the grave of ,agamemnon1 at which the first #ehe verses of the ,choephoroi were played4 ,there is no trace of palace or royal building4 ,orestes1 accompanied by ,pylades1 enters the orchestra and lays his tribute upon his father's tomb1 ' ' 7v4 #d71 but suddenly withdraws to avoid the company of women which approaches with ceremonial step4 ,the chorus and ,elektra proceed to perform their services when the latter discovers the lock of hair1 7v4 #bjj71 and the footprints--two proofs that ,orestes must be near4 ,while she is still examining the tracks the latter comes up and proves beyond a doubt1 by pointing to the garment that ,elektra had once woven1 who he is 7vs4 #bab-bcb74 ,perhaps one may think of ,elektra as sitting upon the grave at some point between v4 #hd and v4 #bab1 but when she had discovered the traces of ,orestes' presence1 she must have been actively scanning the surroundings4 ,it pleased the artist1 however1 to represent her as ignoring the appeal of her brother1 or at least manifesting no signs of recognizing him4 ,but for the presence of the one would be inclined to see the influence of ,sophokles' ,elektra1 where ,orestes' words gain credence very slowly1 and where ,elektra hesitates long1 before believing his assertions that he is living and standing before her 7v4 #abai ff474 ,but the ,sophoklean tragedy is played before the palace4 ,the pedagogue and ,orestes leave the orchestra to pour their libations on the grave 7v4 #hb ff47 when ,elektra comes out of the house4 ,the fact that the recognition scene is represented as taking place at the grave gives us therefore ample reason for accepting our painting as under the influence of the ,choephoroi4 ,this painting is strikingly free in its conception2 no words of the poet can be cited as fitting the situation4 ,the suggestion1 the setting1 are ,aischylean2 all else is the artist's4 ,the work is far removed from the character of an illustration4 ,illustration3 ,fig4 #b 7vid4 p4 #dg ff474 ,the second painting is on a ,lucanian hydria#aba4 ,the central scene is again the of ,agamemnon1 built up with several steps and surmounted by a stele with ,ionic capital and bound by a fillet4 ,elektra sits upon the upper step in veil and chiton4 ,she holds the former with her right hand and looks away into space4 ,on other steps below her are a lekythos and other small vases1 also a pomegranate and a fillet4 ,the offerings are much more abundant here than in fig4 #a4 ,unnoticed by his sister1 ,orestes approaches the stele on the left1 dressed as in fig4 #a1 with the addition of boots4 ,he is about to pour a libation from a kylix in his left hand4 ,the male figure sitting next to him is doubtless ,pylades4 ,he turns his head towards the main scene4 ,the remaining figure here is but remotely associated with the action4 ,the persons on the right are more interesting4 ,the youth standing on the step of the grave about to lay a wreath upon the stele is denoted by his kerykeion as ,hermes4 ,he wears a travelling costume without the usual boots4 ,an elderly1 bearded1 male figure stands behind him4 ,he is not characterized except by a mantle and a long staff1 but has been interpreted as ,orestes' pedagogue4 ,the only objection to this is his dress#abb1 but this may be due to the carelessness of the artist4 ,behind him is another bearded male figure sitting upon a sort of bag1 or pack4 ,his short chiton1 shoes1 and staff all point him out as a traveller4 ,the peculiar1 close-fitting cap denotes him as a foreigner4 ,the female figure on the extreme right in ,doric peplos carries an aryballos in her left hand1 and gazes at the group before her4 ,perhaps she belongs to ,elektra4 ,the discussion of fig4 #a above applies equally well to ,orestes and ,elektra here4 ,we have practically a repetition of the group4 ,the former figure is1 however1 thought of at an earlier moment4 ,by removing ,elektra one may think of ,orestes at the opening of the play4 ,he holds the vase in his hand rather than the lock of hair4 ,the first words of the prologue are suggestive-- ' 1 ' 4 ,chthonian ,hermes1 who guards the ancestral rights1 has really manifested himself in the painting1 and has appeared as a particular ally4 ,the act of crowning the stele declares ,hermes' friendliness toward the family and his interest in ,agamemnon's shade4 ,elektra addresses him also and beseeches him to hear her supplications and pity her and her dear ,orestes 7v4 #abd ff474 ,we may note1 therefore1 a special fitness in the artist's expressing this double relation of ,hermes to the children4 ,invoked by both of them as a protecting god he introduces nothing that is not in harmony with the spirit of ,aischylos4 ,the addition of this figure is1 moreover1 a good instance of the liberty which the vase painters took with their authors1 and shows well the difference between illustration and independent work4 ,it cannot be denied that with the assistance of this monument one is led to see between the lines of the ,choephoroi4 ,the pedagogue who does not appear in ,aischylos is nevertheless a natural extension of the group4 ,it will be remembered that he speaks the prologue in the ,elektra of ,sophokles and occupies the place which ,pylades usually fills4 ,in ,euripides' ,elektra 7v4 #af71 ,autourgos says that ,orestes had been given into the charge of a 4 ,the person resting on the pack appears at first sight a gratuitous addition of the artist1 but on closer examination the suggestion for him is found in the poet4 ,when ,orestes explains to the chorus that he and ,pylades will attempt to gain an entrance to the palace1 he states that they will disguise themselves as foreigners by speaking the ,phokean dialect 7v4 #efc f474 ,to ,klytaimestra's interrogations 7v4 #ffh ff47 he replies-- ' 444 ,in other words1 he is a stranger from ,phokis who has to carry his own pack4 ,it is upon this that the figure is resting4 ,the artist has characterized him as a foreigner by the peculiar cap4 ,no ,greek ever wore such a head-dress4 ,the make-up hints at the appearance of ,orestes seeking admittance to the palace1 while1 of course1 the person is to be understood merely as one of the latter's servants4 ,whatever he may have said about carrying his own pack1 no artist would have thus represented him4 ,on the oldest of the ,orestes-,elektra monuments1 the ,melan relief#abc1 there is such a figure standing behind ,orestes with his luggage strapped to his shoulders4 ,it seems to me that the painter has navely caught up the spirit of the text and brought in a figure which goes far towards adding a charm and interest to the scene4 ,another ,lucanian hydria representing the same scene is published here for the first time1 in fig4 #cabd4 ,it will be more instructive to point out the few points in which the two paintings differ from each other than to describe this one entire4 ,the column in #c has a ,doric capital1 with maeander and checker-board ornament2 in #b the capital is ,ionic4 ,in #c ,hermes stands on the ground2 in #b he stands on the step to the grave4 ,elektra reaches out her left hand in #c as though to receive the libation2 in #b she is unmindful of ,orestes4 ,the latter holds a kylix in #b1 and in #c a pitcher4 ,his hat is a pilos in #c1 and he wears it2 in #b the petasos hangs on the back of his neck4 ,the ,phokean attendant sitting upon the luggage is in #c upon the left1 and in #b upon the right4 ,there is an extraordinary likeness between the two4 ,there is the same crooked nose1 short chiton1 and odd cap1 but the latter has no tassel in #c4 ,the servant wears1 besides1 a chlamys and rests his stick over his leg4 ,behind him is the nude youth1 as in #b1 upon the left1 holding an ointment vase in a sort of carrier4 ,the two male figures of #b adjoining the main scene are wanting in #c4 ,in their stead is a female figure sitting upon a stool and holding a large toilet box4 ,she is dressed in a ,doric peplos with an apoptygma4 ,she is evidently an attendant of ,elektra1 and reminds one strongly of the figure in fig4 #a4 ,behind her is the charming girl1 exactly as in #b1 except that she carries the aryballos in her right1 and in the left hand a small box4 ,illustration3 ,fig4 #c 7vid4 p4 #ea ff474 ,the painting is1 it would seem1 more beautiful than that of fig4 #b1 although the publication of the latter is an old one1 and may be more or less inaccurate4 ,i have not seen the vase myself4 ,the scene is abbreviated by one figure2 ,pylades would be expected4 ,still another painting is given in fig4 #dabe1 showing a further step of simplification4 ,only the middle group1 with the female attendant carrying the aryballos1 occurs4 ,hermes' position is the same as in fig4 #b1 but the artist has forgotten to draw the wreath in his right4 ,his chlamys1 too1 is buttoned properly instead of being wrapped around his arm4 ,the latter1 however1 has the same stumpy appearance seen in #b and #c4 ,as the scene is simpler1 so the offerings on the tomb are fewer4 ,orestes' libation is here in a kantharos4 ,the painting is a careless piece of work1 and cannot be ranked with the other two4 ,it is1 however1 very interesting as giving another link to the chain of evidence4 ,there can be little doubt that these vases all belong to the same artist or that they come from the same locality4 ,the marvellous agreement that runs through them is something quite extraordinary4 ,i know of no other similar cases in vase paintings of the red figured ware4 ,the popularity of this scene1 and therefore of ,aischylos' ,choephoroi1 is attested by such a series of paintings as one cannot find in the case of any other work in ,greek literature4 ,illustration3 ,fig4 #d4 ,since writing the above ,i have discovered in the ,louvre another ,lucanian vase that represents a further simplification of this scene#abf4 ,the painting is practically identical with the middle group in fig4 #c4 ,peculiar to the ,louvre painting are the tomb with five steps and the rather tall column1 ,doric order1 surmounted by a krater2 an aryballos and strigil1 in addition to the taenia1 are fastened to the column4 ,there is a further slight variation in ,elektra's position1 for on her right is a krater4 ,on her left is a lekythos2 below are the two pomegranates1 taenia1 and black lekythos1 just as in fig4 #c4 ,the only difference in the other persons is that ,orestes holds out a kylix and not a pitcher4 ,the painting is evidently a product of the same studio as are those in figs4 #b1 #c and #d4 ,it forms another member of this remarkable class of pictures that stands alone1 unique in ,greek ceramics1 and bears witness to the enormous popularity of this scene from ,aischylos4 ,in the face of this important chain of evidence one is safe1 it seems to me1 in claiming that ,aischylos was acted in the fourth century ,b4,c4 and that considerably4 ,what kept this scene before the public and induced the artist and his pupils to turn out so many copies of the same work8 ,to have been thus so saleable the picture must have been popular1 and this could have come about best through the acted drama4 ,these vases and those following1 based on the ,eumenides1 must impress the impartial student with the fact that ,euripides and ,sophokles did not by any means oust ,aischylos completely in ,lower ,italy4 #c4 ,,eumenides4 ,the various stories which may have been popularly told in regard to ,orestes' purification1 and his reconciliation with the ,furies1 prior to ,march #deh ,b4,c4 were swept for ever into oblivion by the last member of ,aischylos' trilogy4 ,the stamp of his genius has ever remained upon the myth1 and no one ever attempted to repeat his work#abg4 ,all the elements of the persecution were cast by him into their final mould4 ,the immense influence of this work is attested in no way more forcibly than by the monuments of art to which one can point4 ,there is a long line of vase paintings1 dating from the fifth century1 that bear witness to the wide popularity of the ,eumenides1 and that give the most direct and authoritative testimony of the influence of the play upon the masses of the people4 ,a sharp distinction must be made1 however1 between paintings that illustrate the general myth and those that exhibit unmistakable ,aischylean features4 ,orestes' pursuit and expiation were universally known1 and the tale was so popular that it often found its way into art where the artist had in mind no poetic version of the story4 ,so it is that there is a number of paintings representing ,orestes either pursued by the ,furies or already having reached the omphalos1 which do not represent any situation or combination of situations that can be traced to ,aischylos#abh4 ,of the number whose subject is ,orestes at ,delphi1 at least four1 it seems to me1 are to be explained as substantially under the influence of the ,eumenides and representing the first scene of the tragedy in more or less modified form4 ,i discuss first the scene on the ,st4 ,petersburg krater#abi1 fig4 #e4 ,the painting belongs to the latest period of ceramic art1 and is in nearly every detail a hasty and careless piece of work4 ,in an ,ionic temple on four columns1 all painted white1 ,orestes1 flesh dark red1 sits en face with his left arm around the omphalos which is covered with a white net4 ,he holds the sword in the right and the sheath in the left1 and wears boots and chlamys4 ,on the steps of the temple lie five sleeping ,furies4 ,they are painted1 flesh black1 only in rough outline4 ,their dress is a short chiton4 ,on the right1 hastening from the temple1 is the ,pythia in long chiton and veil4 ,she carries the big key--emblem of her office as #acj4 ,her flesh is white4 ,illustration3 ,fig4 #e4 ,the addition of the temple strikes one at once as being in harmony with the poet4 ,to be sure1 this need not mean a particularly close relation with the actual production of the play in a ,greek theatre4 ,our temple is merely one of the numerous buildings of this class found upon the vases of ,lower ,italy1 some of which were intended evidently as suggestions of the stage setting4 ,in the present instance the coincidence is a happy one4 ,the ,agamemnon and the ,choephoroi1 which had just been produced1 were both played before the palace at ,argos1 and this scenery was changed to represent the ,apollo temple at ,delphi for the third play4 ,there can be no question as to this for the ,oresteia1 at least1 even though one does not allow an extensive background for the earlier plays4 ,the painting is well adapted1 therefore1 for placing the opening scene vividly before us4 ,it brings one closer to the meaning of the text than is apparent at first sight4 ,in v4 #ajdh ff4 of the ,choephoroi ,orestes saw the ,furies4 ,they wore bright chitons1 and had snakes in their hair4 ,he calls them hounds from whose eyes oozed ugly drops of blood4 ,the chorus evidently did not see them1 for ,orestes cries1 #8,you do not behold them here1 but ,i do'4#aca ,at these words he is away to ,delphi to seek ,apollo's protection4 ,during the intermission which followed between the two plays the necessary alterations were made in the and the costumes were changed4 ,the chorus in particular1 which had represented ,argive maidens1 underwent considerable transformation in order to appear again as ,furies4 ,the ,eumenides is opened by the ,pythia1 who comes from the temple4 ,she recounts the nature of her duties1 and mentions various gods in her address until v4 #cj1 at which point she turns from the orchestra to re-enter the temple and attend to the delivery of responses4 ,in a moment she reappears in great fright1 and begins to relate the cause of her alarm4 ,the sight described is exactly that which the painter had in mind4 ,one is able1 however1 to get behind the scenes with the aid of the picture1 for the front of the temple is removed so that the interior is plainly in view4 ,to compare the words of ,aischylos and the painting more closely--the ,pythia says that a terrible sight drove her #acb4 ,the artist has expressed this with some action1 for she is actually represented as leaving #8the house of ,loxias4' ,she adds further-- ' ' 1 1 ' 444 ,the picture shows the man upon the omphalos1 and in his hand the drawn sword4 ,one may imagine that the suppliant's hands are stained with blood1 when but a short time before he had fled from the scene of the murder in ,argos4 ,even greater explicitness characterizes the next words of the priestess3-- 4 ,surely a #8marvellous troop of women' fits the group which we see before us4 ,in this particular the work is practically an illustration of the text4 ,the distinction is at once made that the figures are not women nor ,gorgons nor ,harpies#acc4 ,they are and 1 and snore with unapproachable blasts4 ,it should be noted that the figures in the painting are also black1 as though in direct agreement with ,aischylos#acd4 ,they are further wingless1 while the unpleasant details added are conceivable from the appearance of the ugly creatures4 ,the number five is of course a mere accident4 ,they lie here in an unconscious stupour till the ghost of ,klytaimestra arouses them again4 ,the ,eumenides is1 as is well known1 the only extant ,greek tragedy in which the chorus is not visible from the beginning of their part4 ,in the ,persai and ,supplices of ,aischylos and the ,bakchai and ,supplices of ,euripides the chorus is1 however1 in the orchestra when the play opens4 ,there are still two other vase paintings to be considered in this connexion4 ,they present minor variations from the one just discussed1 but on the whole the three betray a common source4 ,in fig4 #face one sees also the interior of the temple represented by three ,ionic columns4 ,various dedicatory articles hang from the wall and ceiling4 ,further indications of the sanctuary are the two tripods1 the laurel tree1 and the omphalos4 ,orestes1 characterized as usual by the drawn sword and flying chlamys1 has fled to the latter and embraces it4 ,his erect hair shows his fright4 ,apollo with bow and arrows hastens behind him and gestures with his right hand to drive back a ,fury who is swooping down upon ,orestes4 ,she is but half in sight1 and wears a short ,doric peplos1 and her flesh is black4 ,the ,pythia1 with dishevelled gray hair and frightened mien1 quits the sanctuary on the left4 ,her key1 indistinctly drawn in ,jahn's publication1 owing probably to the copyist's ignorance of what the article really was1 has just fallen from her hands4 ,artemis in her huntress-costume1 carrying two spears1 stands on tiptoe on the right of the omphalos and shades her eyes with her right hand as she peers at the disturbance4 ,two dogs are with her4 ,illustration3 ,fig4 #f ,the time of the ,pythia's exit from the temple1 as in fig4 #e1 and the later moment when ,apollo orders the ,erinyes from the sanctuary1 are well combined in this painting3-- 1 1 '1 1 1 1 ' ' ' 4 vs4 #agi ff4 ,apollo's authoritative bearing and absolute power in his own precinct are very well brought out by the artist4 ,one can all but hear the 1 of ,aischylos1 and the arrows that the god holds in his left hand seem to show that ,apollo is quite ready to carry out his threat4 ,the whole is1 moreover1 dramatically told1 and in this respect the stage influence is easily traceable in the painting4 ,that the ,fury is black accords again with the poet's 7v4 #eb74 ,the presence of ,artemis lends a certain charm that one can attribute to the artist's desire to appear original#acf4 ,the following work falls still further away from the scenery of the play4 ,fig4 #g shows a painting on the neck of a large ,apulian amphora in ,berlin#acg4 ,the limited space1 and the secondary position likewise1 have perhaps curtailed the scope of the work4 ,no architectural details are given4 ,the sanctuary is denoted by the omphalos and the tripod4 ,orestes has sought protection at the former1 as in the preceding scenes1 and looks back at a ,fury1 with short dress and huge wings1 who runs toward him with a dagger in her right and a burning torch in the left hand4 ,apollo1 who sits upon the tripod1 a laurel bough in his hand and wreath in his hair1 extends his right hand to repel the ,fury as in fig4 #f4 ,on the right the ,pythia1 dressed as in fig4 #e1 leaves the shrine in fright1 gesturing at the unexpected visitors4 ,the painter has forgotten to give her the key4 ,beside her is an attendant carrying a sort of kylix in the left hand and looking back at the sanctuary4 ,illustration3 ,fig4 #g4 ,it does not appear necessary to take up the details here after the examination which has been given to the preceding paintings4 ,the artist's debt to ,aischylos was quite as direct as in the case of the two other works4 ,the greatest modification occurs in the figure of the ,fury1 which is a being far removed from the ,aischylean type4 ,a painting on a bell-shaped krater in the ,louvre is less hampered by the scene given in ,aischylos1 and is accordingly more artistic#ach4 ,the inventiveness and individuality of the artist come prominently to view1 and the result is an intensely interesting composition4 ,the combination of events and the manner in which all is told bring one a great deal nearer to the deeper meaning of ,eumenides than any other monument with which ,i am acquainted4 ,illustration3 ,fig4 #h4 ,the shrine of ,apollo1 the of vs4 #ci and #agj1 is denoted by a platform on two steps1 above which are the laurel tree and the omphalos4 ,the god stands to the left in large1 embroidered chiton or chlamys1 grasping the tree with his left hand and extending his right1 in which is a young pig1 over the head of ,orestes1 who sits with his back to the omphalos4 ,the latter holds his sword in his right hand1 which is raised meditatively to his chin4 ,artemis stands behind the platform on the right1 characterized by her costume and the spears4 ,in the left-hand upper corner the shade of ,klytaimestra1 veiled1 is engaged in arousing two ,furies who sit fast asleep4 ,she points toward ,apollo with her right hand4 ,below is the half-figure of another ,fury apparently rising out of the ground wide-awake4 ,the ,erinyes are all dressed like ,artemis1 in short costume and high boots4 ,the artist has combined with the first scene a moment earlier than the action of the play4 ,orestes' expiation preceded the prologue of the ,pythia4 ,the purificatory rite had been performed immediately on his arrival at ,delphi1 for1 when he first appears in the ,eumenides1 he is undefiled4 ,this is plainly declared to ,athena in vs4 #bcg ff41 and to the ,chorus and ,athena in vs4 #bhj ff4 ,while the purification is represented in various ways upon the other vase paintings#aci1 this ceremony is the only one that reminds us of ,aischylos4 ,the latter hints at the manner of the rite1 and this passage has unquestionably suggested the group which we have before us3-- 4 vs4 #bhb f4 #8,while the blood was fresh it was cleansed at the shrine of the god ,phoibos by purification with the blood of pigs4' ,the ceremony is referred to again in 4 v4 #dej4 ,there is1 therefore1 in the painting a representation of this service with pig's blood4 ,the freshness and beauty of the scene are peculiar to works of art in the ,pheidian age1 and the painting must be considered as a valuable witness of ,aischylos' influence4 ,the fact that the work is ,apulian and not ,attic supplies an interesting bit of evidence for the extension of ,athenian literature in ,lower ,italy during the fifth century ,b4,c4 ,tarentum1 which was scarcely less ,athenian than ,athens1 received an edition of the plays brought out at the ,greater ,dionysia soon after their appearance in ,athens4 ,it is further to be remembered that ,aischylos' long connexion with ,syracuse had probably made him more widely known in the ,west than was either ,sophokles or ,euripides during the fifth century4 ,our vase belongs to the last decades of the century1 perhaps as early as #dbj ,b4,c41 and in this period ,euripides had scarcely gained a large following in ,magna ,graecia4 ,apollo's speech follows directly upon that of the ,pythia's4 ,how the god appeared in the orchestra is a question on which scholars are not agreed4 ,the most widely accepted view is that the ekkyklema was brought into use1 and that on it the whole company was in some manner rolled or pushed out from the temple to the orchestra4 ,this means that the chorus of twelve or fifteen1 together with ,orestes1 ,apollo1 and ,hermes1 was moved bodily forward from the 1 far enough at least to give the audience a glimpse of what had been the interior of the temple with all its surroundings4 ,apollo seems to speak of the ,furies and ,orestes as though he himself saw them and as though the audience could see them#adj4 ,they are in fact in plain view if one insists upon the literal meaning of his words4 ,it is argued on the other hand that such a ponderous weight could not have been moved by any machinery at ,aischylos' command4 ,in other words1 the ekkyklema1 in the interpretation usually given the term1 is not to be counted apart of the ,aischylean scenic apparatus#ada4 ,if ,apollo stood in the doorway of the temple where he could look in upon the ,furies and ,orestes1 and at the same time be seen by the audience1 one has really no need of any machinery4 ,the shade of ,klytaimestra must also be thought of as appearing in the same place4 ,she glances in upon the ,furies who continue to give forth their grunts till v4 #adj1 when they for the first time appear in the orchestra4 ,there is much in favour of this explanation of the arrangements for the scene4 ,fortunately for our purpose it makes little difference which of the two opinions one follows4 ,conclusive evidence is hardly to be reached either one way or the other1 yet the notion that ,aischylos did not employ such extensive machinery as the ekkyklema must have been certainly does not harmonize either with the extant plays or with the tradition in regard to ,aischylos' inventions4 ,my conviction is that from v4 #fd the interior of the temple was in some way visible1 and that the whole audience could see ,orestes at the omphalos1 surrounded by the slumbering ,furies4 ,the god reassures the suppliant of his support1 and bids him leave for ,athens and embrace the sacred image of ,athena4 ,he turns to ,hermes1 who is at hand for the occasion1 and bids him accompany ,orestes4 ,at this point1 v4 #ic1 the two quit the orchestra1 ,orestes passing over the bodies of the ,furies#adb4 ,our painting follows the development in vs4 #id-adj1 where the shade of ,klytaimestra appears and chides the ,erinyes for neglecting their duty and forgetting her and her rights4 ,the artist has grasped the spirit of the poet1 and has given a graphic account of the scene such as one is not likely to forget4 ,the dread figure of the veiled ghost1 who glances searchingly at the sleeping instruments of her vengeance and endeavours to rouse them into consciousness1 is a creation but little inferior to that in ,aischylos#adc4 ,her position on the extreme limits of the sanctuary serves to express the uncleanliness of the spirit and the incongruity of its appearing within the sacred ground4 ,the gesture towards the main group connects the two scenes and lends a unity to the whole4 ,this is real art and no illustration4 ,one must remember that ,orestes is at this time on his way to ,athens1 and that the shade did not appear in his presence4 ,the very fact that the painter chose to unite the two moments adds greatly to the general effect4 ,the tragedy is played in part before us4 ,the number of ,furies representing the chorus is the same that one meets first in ,euripides#add1 and that is particularly emphasized also by ,aischylos in '1 '1 4 v4 #adj4 ,their dress is that of the later type of ,erinyes--the huntress-costume of ,artemis4 ,this facilitated their motion4 ,perhaps the half-figure of the awakened ,fury may be rising from the earth to continue the pursuit1 but it seems to me more probable that the half-figure is such from choice4 ,after the appearance of the ,erinyes in the ,choephoroi they are certainly above ground till conducted to their new home under the ,areopagos4 ,while the story of ,agamemnon's murder and the succeeding terrible revenge wrought by ,orestes1 as well as the latter's atonement at ,delphi1 were all a part of the legendary inheritance from a very early period and had played for some centuries1 at least1 before ,aischylos an important rle in the epic#ade and lyric#adf literature1 it remained for the great tragedian to break new ground for the last chapter of the ,oresteia4 ,orestes' acquittal and deliverance were1 prior to ,aischylos1 distinctly ,delphic in setting2 in his hands all became decidedly ,athenian4 ,apollo had once been the sole divinity to absolve the murderer2 ,athena became the new arbiter and director of the case4 ,the temple at ,delphi gave way to the #8,old ,temple' of ,athena upon the ,acropolis4 ,keeping these facts in mind1 one has to look about for vase paintings which show traces of this ,attic turn4 ,so far1 only the early scene at ,delphi has claimed our attention1 and here it has been possible to point out several compositions that demand the ,eumenides to the exclusion of popular tradition4 ,from v4 #bce the scene is transferred from ,delphi to ,athens1 and remains throughout the rest of the play the #8,old ,temple' on the ,acropolis#adg4 ,athena becomes the centre4 ,everything moves about her4 ,the one impressive figure in this part of the tragedy is the goddess4 ,orestes is simply a poor helpless mortal--the apparent subject of the action4 ,he and the ,erinyes sink into insignificance when compared with the majestic figure of ,athena4 ,substantial traces of the influence of ,aischylos' invention have reached us on the vases4 ,a small number of paintings claim the right to be considered under this head4 ,the composition of all 7,i know three such7 is so similar that it seemed necessary to reproduce only one4 ,illustration3 ,fig4 #i 7vid4 p4 #gj ff47 ,the painting shown in fig4 #iadh represents the sanctuary at ,delphi with the tripod and the omphalos2 kneeling upon the latter is ,orestes1 in the same costume as that noticed in the preceding monuments1 holding two spears in addition to the 4 ,he glances up to the right1 where ,athena looks down upon him4 ,her right foot rests on a sort of plinth2 she carries a double-pointed spear in her left hand and wears a ,corinthian helm with peculiar crest#adi4 ,her dress is an embroidered ,ionic chiton and large aigis4 ,the latter is not uncommon on the fourth-century vases1 and is characteristic of the exaggeration of types in this period4 ,apollo stands on the left of the omphalos1 with a laurel branch on which are hung fillets and #aej4 ,he looks to the left at a winged ,fury with a very elaborate costume1 a huge serpent about her body and one in her hair2 above the tripod is the bust of another ,fury on whom are four snakes4 ,in the left-hand upper corner a bust of a youth with chlamys1 pilos1 and a spear is most likely meant for ,pylades4 ,corresponding to this on the other side are the head and shoulders of a woman1 interpreted as ,klytaimestra4 ,the two other vase paintings are1 in the main1 close counterparts of this and need not be described here4 ,the ,vatican amphora#aea is particularly interesting as representing ,athena with aigis extended over ,orestes to protect him from the ,furies4 ,the ,capua hydria in ,berlin#aeb takes precedence over the other two in age1 and furnishes us with the nearest approach to ,aischylos' time4 ,it falls within the fifth century1 while the others are to be placed in the last half of the fourth century4 ,the introduction of ,athena is the unmistakable sign4 ,she intervenes at ,delphi simply because ,aischylos introduced her in ,athens4 ,the artist transferred her to ,delphi and combined the two scenes of the tragedy4 ,if one considers only ,orestes and ,athena in fig4 #i1 and reads the interview between them in the ,eumenides1 he will appreciate at once how well the painter has managed his task4 ,the whole make-up of the figures is that of stage characters4 ,this is especially noticeable in the dresses of the ,fury and ,athena4 ,this elegance and finery on vases of the fourth century were widely regulated by dramatic performances4 ,the set of paintings which thus associates ,athena with ,orestes' delivery may be counted as the direct product of the ,eumenides1 and therefore important witnesses for the influence of ,aischylos upon the succeeding century of ,greek art4 #d4 ,,the ,,lost ,,plays4 ,one might carry on a long and fruitless discussion concerning certain of the lost plays1 and paintings that present subjects common to them4 ,it must be all but #8fruitless1' since we know next to nothing about the character of some of these tragedies1 as1 for example1 the ,pentheus4 ,but this whole question lies outside the province of the present work1 and ,i shall not go further than to append a list of the vase paintings that do in all probability owe much to ,aischylos4 ,,lykurgeia4 #a4 ,apulian amphora1 ,munich1 no4 #hec4 ,pub4 ,millin1 ,tombeaux de ,canose1 pl4 #ac4 #b4 ,apulian krater1 ,naples1 no4 #bhgd4 ,pub4 ,mller-,wieseler1 ,denkmler der ,alten ,kunst1 ii4 pl4 #cg1 #ddj4 ,cf4 ,welcker's ,aeschyleische ,trilogie1 p4 #cbg4 #c4 ,amphora from ,ruvo1 ,naples1 no4 #cbai 7p4 #ejj of ,heydemann74 ,pub4 ,mon4 d4 ,inst4 iv4 #af1 ,b4 #d4 ,krater from ,anzi in the ,basilicata1 no4 #cbcg in ,naples4 ,pub4 ,reinach-,millingen1 ,peintures1 pl4 #a ,mller-,wieseler1 op4 cit4 ii4 pl4 #ch1 #ddb ,baumeister1 ,denkmler1 ii4 p4 #hcd4 #e4 ,krater in ,ruvo-,jatta coll4 ,pub4 ,catalogo ,jatta1 pl4 #b4 #e ,annali d4 ,inst4 #ahgd1 pl4 ,r42 cf4 ibid4 p4 #aid ff4 #f4 ,krater1 also from ,ruvo1 in ,brit4 ,mus42 cat4 iv4 ,f #bga4 ,pub4 ,mon4 d4 ,inst4 v4 pl4 #bc4 ,cf4 ,brunn in ,annali d4 ,inst4 #ahej1 p4 #ccf ff4 #g4 ,fragment of an ,apulian amphora in ,dresden museum4 ,pub4 ,arch4 ,anz4 #ahia1 p4 #bd2 cf4 p4 #bc f4 #h4 ,marble relief-vases4 ,pub4 ,welcker1 ,alte ,denkmler1 ii4 pl4 #c4 #h2 cf4 ibid41 p4 #id ff42 ,mon4 d4 ,inst4 ix4 #de4 ,cf4 further for a discussion of most of these monuments1 ,michaelis1 ,annali d4 ,inst4 #ahgb1 p4 #bdh ff4 ,,phrygians4 #a4 ,tarentine amphora4 ,pub4 ,mon4 d4 ,inst4 v4 pl4 #aa2 cf4 ,annali d4 ,inst4 #ahff1 p4 #bdi ff41 and ,arch4 ,ztg4 #ahgi1 p4 #af1 and ,g4 ,haupt4 ,commentationes archaeologicae in ,aeschylum1 ,dissertationes ,hallenses1 xiii4 #ahie1 p4 #ac ff4 ,vid4 also this work for the whole subject of ,aischylos and the monuments4 ,,chapter ,,iv ,,sophokles ,,and ,,his ,,relation ,,to ,,vase ,,painting ,sophokles appears to have enjoyed together with ,euripides a large share of popularity in the fourth and third centuries1 and it is well known that with the ,roman tragedians he was a very important factor4 ,it must be held as passing strange that we can point to but few monuments inspired by him4 ,one feels that there is abundant material in the ,antigone1 for example1 to have aroused both painters and sculptors1 and yet there is1 so far as ,i know1 no trace in ,greek art of any ,antigone scene that owes its existence to ,sophokles4 ,it is1 however1 true that tragedies which were known in ancient times as among the most celebrated1 and which are to-day counted the masterpieces of ,greek tragedy1 were often particularly neglected by the artists4 ,how meagre is the record of monuments based on the ,prometheus1 the ,ion1 or the ,oedipus ,rex6 ,the reputation of a play cannot be taken as any guaranty1 therefore1 that the artist found in it the required motives4 ,the gentle and calm ,sophokles1 who #8made men as they ought to be and not as they are1' wrote in a grand and dignified manner that charmed the people of his own time and won the praise and admiration of all posterity4 ,how then is one to account for the small part that he played in ancient art8 ,it seems to me that it rests on the fact that ,sophokles was not a creative power4 ,say what we may of the elegance and grace of his style and the perfection of his diction1 a glance at his extant work convinces us that he seldom allowed his imagination to carry him beyond the bounds of the accepted form of a myth4 ,he preserved the mythological fabric with religious fervour and altered little4 ,he was neither an iconoclast nor an innovator4 ,the gods and heroes in their old-time relations to each other and to humanity served him fully1 and he showed an unwillingness either to shatter the popular faith or to disturb it with new doctrines4 ,so long1 therefore1 as nothing new mythologically was introduced1 the value of the ,sophoklean plays1 from an artist's point of view1 was far below the fresh and dashing manner of ,euripides1 who left the old and beaten paths and added new chapters to the lives of the heroes and the exploits of the gods4 ,it has already been observed that where ,aischylos broke new ground he was followed by the painter and sculptor4 ,the novelty of the ,eumenides appealed to the artist even more strongly than to the public2 here was something absolutely new1 unheard of before4 ,so it was with the ,choephoroi1 and we have already seen that of the extant plays these two are the only ones that influenced vase painting4 ,had ,sophokles grafted new branches on the old trees of myths he would likewise have had a far larger following among ancient artists4 ,as it is1 it does not seem possible to point to a single vase painting that is indisputably a ,sophoklean product1 and one must be perplexed by the strange problem4 ,to be sure conjectures have not been wanting1 and here and there a painting has been named in connexion with ,sophokles4 ,but this is by no means a frequent occurrence1 and there has never been any consensus of opinion among archaeologists that this or that picture must be the outgrowth of one of his extant tragedies4 ,i have accordingly not published any painting under this head4 ,it seemed best merely to point out the few instances where ,sophoklean influences have been seen by some1 and leave the student free to determine each case for himself#aec4 ,antigone4 ,a ,lucanian amphora in the ,brit4 ,mus41 cat4 iv4 ,f #age4 ,a4 #b4 ,pub4 ,reinach-,millingen1 ,peintures1 pl4 #ed2 cf4 ,hirzel in ,arch4 ,ztg4 #ahfc1 p4 #gj1 who bases the scene on vs4 #cgf ff4 ,it may be remarked that the oriental cap of the king does not at all fit the position of the ,theban ,kreon4 ,oed4 ,rex4 ,painting pub4 ,inghirami1 ,vasi fitt4 iii4 pl4 #bdh ,overbeck1 ,bildwerke1 pl4 #b4 #aa2 cf4 ibid4 p4 #fb ff41 where vs4 #caf ff4 are thought of4 ,a much more satisfactory interpretation is that kindly sent me by ,professor ,carl ,robert4 ,the scene represents ,chryses before ,agamemnon and is based on ,il4 #a4 ,trachiniai4 ,herakles wrestles with the river god ,achelos in the presence of ,deianeira4 ,reinach-,millingen1 op4 cit4 pl4 #aj4 ,b4 #aa4 ,robert in ,arch4 ,ztg4 #ahhc1 p4 #bfb1 refers the painting to vs4 #i-bd of the prologue1 and calls my attention in a letter to another similar painting1 unpublished1 in the ,jatta-,ruvo coll4 no4 #ajib4 ,two of the lost plays that have been held by some to be represented on vase paintings have already been referred to above#aed4 ,,chapter ,v ,,euripides ,,and ,,vase ,,painting #a4 ,,introduction4 ,it has already been made clear that ,euripides enjoyed an enormous popularity among ,greek and ,italian artists1 and that he was the chief inspiration for works of art based on tragedy4 ,this latter feature assumes a new interest when studied with the ,greek vases4 ,the great majority of these paintings1 as has been pointed out1 is to be placed within the fourth cent4 ,b4,c41 and through them one approaches very near to the poet's own time4 ,they are to be valued1 therefore1 as most direct and reliable testimony concerning ,greek tragedy and the place it occupied in the life of ,lower ,italy4 ,not a few of the paintings published in the following pages may have been seen by people who had known the ,athenian society in which ,euripides himself had moved4 ,this proximity of the vases to the poet's own day is an important point1 and should be thoroughly comprehended in order to bring the true value of the paintings before one4 ,the text of a classical ,greek author1 exposed to the emendatory zeal of the ancient grammarians and the ignorance and carelessness of scribes1 had a precarious sort of existence before it was microscopically dissected and violently revised by modern philologists4 ,our oldest manuscript hardly goes back more than one-third of the way to the original4 ,between #ajjj ,a4,d4 and #cdj ,b4,c41 when the archetype of the three tragedians was ordered by ,lykurgos1 how long was the line of copies6 ,it is vastly different with the edition of the ,medeia1 for example1 on the amphora1 p4 #ade4 ,the vase relates the tragedy at first hand1 and furnishes the student with an exhibition of the play that is more than twenty-two hundred years old4 ,the original work and no copy carries one into the century succeeding the first production of the play4 ,such facts impress one with the importance of this class of monuments4 ,before taking up the discussion of the vase paintings that are under the influence of ,euripides1 it may be well to examine for a moment the ancient testimony touching the poet4 ,it is well known that he did not follow the orthodox form of tragic composition established by ,aischylos and adhered to by ,sophokles4 ,he was less religious than either of the other two and1 in the same degree1 more a man of the world4 ,he was interested in politics1 rhetoric1 and philosophy1 and these elements accordingly found room in his plays4 ,for introducing the common1 ordinary affairs of daily life he was stoutly condemned by ,aristophanes4 ,his policy continued the same in spite of the virulent attacks of his enemies1 and the individual appealed to him more strongly than the body politic2 where the former poets had preached and directed their messages to the world ' 1 ,euripides disclosed for the first time the power of 1 and that of itself was specific and applied to the community ' 4 ,herein lay ,aristotle's unfavourable criticism4 ,the philosopher admired ,homer1 ,aischylos1 and ,sophokles more than ,euripides simply because he considered to be a more potent factor than 1 and so he complains that none of the younger poets have the former#aee4 ,by he evidently meant post-,euripidean writers1 and yet there is no trace of the ,aristotelian conception of in ,euripides4 ,we may imagine that the great thinker looked for something more stable than 4 ,but this was all cold1 calculating criticism1 and ,aristotle appears1 for the most part1 alone in placing ,euripides below ,aischylos and ,sophokles4 ,the ,alexandrian grammarians were his chief followers4 ,plato found in ,euripides an authority of great pre-eminence#aef4 ,the immediate success that he enjoyed in his own time is well illustrated by the anecdote related in ,plutarch's ,life of ,nikias#aeg4 ,the fugitives from the ,athenian army in the ,sicilian expedition are said to have maintained themselves by reciting from ,euripides' works1 and captives were able to gain their freedom by teaching their masters new selections from the ,euripidean plays4 ,the element of truth in this remarkable story enables one to understand something of the place held by this poet in the ,west4 ,it is related of ,alexander that he was particularly fond of ,euripides1 and that he performed the feat of reciting a whole scene from the ,andromeda at his fatal banquet#aeh4 ,a certain ,axionikos wrote a comedy called the #8,lover of ,euripides1' in which he represented the people as suffering from the ,euripides-fad to such an extent that they counted all other poetry worthless#aei4 ,a fitting finale to all this is reached in the story told in the vita of ,euripides to the effect that ,philemon would have been willing to hang himself if thereby he might have seen ,euripides4 ,that he was always in men's mouths is attested by the large number of fragments from the lost plays4 ,it is instructive to see that he was quoted in the ,hellenistic period to the exclusion of ,aischylos and ,sophokles4 ,wisdom and state-craft were found in ,homer1 ,hesiod1 ,pindar1 and ,euripides#afj4 ,one is not surprised1 therefore1 to learn that his tragedies were the only ones produced at certain ,dionysia#afa4 ,this was the period in which most of the vase paintings in the following pages belong1 and it is only these numerous traditions of the unparalleled popularity of this poet1 east and west1 north and south1 that makes it possible to appreciate his wide-spread influence over art4 ,the vases have to be studied in this light1 and only then does their importance as a ,euripidean commentary become sufficiently clear4 ,a glance at the conditions in ,magna ,graecia is necessary before leaving this topic4 ,the theatre-going propensities of the ,tarentines has been mentioned above1 and one has now to ask himself who their favourite poet was4 ,there can be but one answer4 ,here1 as in ,africa1 ,asia ,minor1 and ,sicily1 the public was sure to find the greatest satisfaction in a ,euripidean rpertoire4 ,the travelling troops of actors performed in all the towns of ,apulia1 ,campania1 and ,lucania1 and the tragic forms of the myths were widely published4 ,euripides was1 in short1 more than ever the people's poet1 and he became later1 with the rise of ,latin tragedy1 the poet of the ,republic4 ,roman tragedy was ,greek in everything but the language4 ,the #aff years between the death of ,euripides and the production of ,livius ,andronicus' first play in ,rome were a seed-time for the works of the ,greek poet4 ,the titles of ,livius' ten tragedies include two from ,euripides--the ,andromeda and the ,dana--and the father of ,latin poetry was a native of ,tarentum4 ,ennius1 born in ,rudiae1 which ,strabo calls a #afb1 was educated at ,tarentum1 and became the first national poet of the ,romans4 ,among his twenty-two plays the following are either translations of ,euripides or adaptations from him3 ,alexandrus1 ,andromacha1 ,andromeda1 ,erechtheus1 ,medea1 ,medea exul1 ,melanippa1 ,phoenix1 ,telephus1 and perhaps ,alcumena4 ,pacuvius1 a nephew of ,ennius1 and the third one of the ,latin tragedians1 also followed ,euripides more than ,aischylos or ,sophokles4 ,he was born in ,brundusium #bfh ,b4,c4 and died in ,tarentum #adj ,b4,c4 ,these three poets who come first in the history of ,latin literature are peculiarly indebted to ,euripides and likewise have a special relation to ,magna ,graecia and ,tarentum4 ,more than half of the whole number of works produced by them would appear to have been ,euripidean4 ,whether it was the rhetorical or pathetic element that appealed to the ,romans more strongly1 the fact that ,euripides was the primary force in ,latin tragedy is very important4 ,in this attempt to indicate the wider influence of the ,attic drama upon the ,latins ,i have been carried beyond the time of the vase industry1 but the ,latin literature of the third and second century ,b4,c4 was the legitimate product of the conditions that had prevailed in the preceding period4 ,the ,greek literary and artistic genius blossomed into an ,italian flower and flourished in the soil that had been fertilized by centuries of ,hellenic influences4 ,it is to a small section of this wonderful life in ,magna ,graecia that the present work is devoted4 ,the vase paintings that follow can best tell their own story of the wide-spread ,hellenization of ,lower ,italy in the fourth century and of the place held by ,euripides in the onward march of ,hellenism4 #b4 ,,andromache4 ,it does not appear that in the pre-,euripidean literature ,orestes played any part in the death of ,neoptolemos4 ,pindar at least did not know anything of the ,menelaos-,orestes conspiracy against the son of ,achilles#afc but ,menelaos' relation to ,sparta afforded a rare opportunity for a political polemic4 ,the latter could be painted as a much more despicable character1 as could also the ,lakedaimonians in general1 provided ,orestes were involved in the unholy murder4 ,the anti-,spartan feeling in ,athens was sufficient to guarantee a hearty reception to any drama depicting the crookedness and treachery of the ,spartan character4 ,such a play was certain to meet the demands of a campaign document4 ,the ,andromache has1 however1 little of the merit which one can usually discover in ,euripides2 it was classed even by the ancients among his second-rate works#afd4 ,there is but one effective situation in the whole tragedy1 and that is the speech of the messenger1 vs4 #ajhe-aafe1 which gives the account of ,neoptolemos' murder at ,delphi4 ,the beginning is remarkably simple and unaffected1 but when once the poet gets under way the action increases rapidly in violence1 becoming at every step more and more intense until at last the whole temple of ,apollo resounds with the roar of the unholy tumult4 ,orestes' party is1 of course1 victorious over the single-handed descendant of ,peleus4 ,this manuvring inside the temple is unique1 and intensely dramatic and picturesque4 ,the pictorial importance of the scene is attested by a painting on a large amphora found in ,ruvo#afe4 ,illustration3 ,fig4 #aj4 ,in the centre is the sanctuary of ,apollo denoted by two tripods1 the laurel tree1 the omphalos covered with a netting1 and the altar4 ,to the latter1 already dashed with blood1 ,neoptolemos1 1 has fled4 ,he holds a drawn sword in his right hand and whirls his chlamys about his left4 ,he wears a petasos and has a sword-cut in his left side from which blood is oozing4 ,his face is turned towards the omphalos behind which ,orestes1 1 appears to be dodging4 ,he has a chlamys and a pilos2 in his left hand the sheath of a sword1 the latter being in his right4 ,on the left1 behind the altar1 is another youth1 nude except the chlamys on the left arm4 ,he holds a spear in the right hand as though about to cast it at ,neoptolemos4 ,the centre of the upper section is filled out with an ,ionic temple1 the doors of which are open4 ,on the left1 the half-figure of a woman1 recognizable by the key as the temple priestess 77#aff1 appears in great alarm4 ,apollo1 1 with his bow1 occupies a seat on the right of the temple#afg4 ,in order to understand the painting it is necessary to bear in mind what preceded the speech of the messenger4 ,andromache1 the wife of ,hektor1 had fallen to the lot of ,neoptolemos on the division of the ,trojan spoils and had been taken by him to ,phthia4 ,as his captive she had raised him a son1 ,molossos1 while his lawful wife ,hermione1 daughter of ,menelaos and cousin of ,orestes1 continued barren4 ,hermione1 being suspicious that it was through some drugs of ,andromache that she had been rendered thus unhappy1 determined upon the latter's death1 and while ,neoptolemos was absent at ,delphi to atone for certain family wrongs the desperate ,hermione proceeded to carry out her resolve to destroy both the mother and the young ,molossos4 ,this spiteful work of the injured wife occupies the first part of the tragedy4 ,the two are finally saved by the intervention of the aged ,peleus1 and ,hermione thereupon resolves to kill herself4 ,at this point1 ,orestes1 who is on his way to consult the oracle at ,dodona1 enters4 ,on learning of the insults and injuries that had been heaped upon ,hermione1 once promised him for a bride1 he at once undertakes to relieve her of any reason for dreading the return of ,neoptolemos and the attendant disclosure of her wicked plans4 ,he leaves accordingly for ,delphi4 ,the messenger comes in after a song by the chorus and relates what has taken place4 ,orestes had gone round putting the ,delphians on their guard against this ,neoptolemos whose plan was to sack the temple4 ,credence was at once given to the fabrication1 and the inhabitants determined upon a bold step4 ,when ,neoptolemos was at the altar addressing the god1 the band of armed ,delphians who were lying in wait for him behind the sacred laurel tree sprang out and fell upon him4 ,this furnishes the setting for our painting1 and we may turn for a little to a closer examination of the account given by the poet4 ,it will be noticed that the artist1 while in some respects keeping close to the latter1 has in the main done his work rather independently4 ,common to both are the 7v4 #aaae7 and the 7vs4 #aabc and #aach74 ,the attacking party in the painting includes ,orestes1 thus emphasizing the point which ,euripides really had in mind4 ,in this particular the artist has gone ahead of the poet4 ,it appears1 indeed1 as though ,orestes had just made the slash in ,neoptolemos' side4 ,the moment represented is1 therefore1 that when the fight was on4 ,the ,delphians appear to have but one representative1 who is certainly creating far less annoyance for ,neoptolemos than does the company in ,euripides1 where they hurl rocks and fill the air with dust and din4 ,the setting of the scene in the painting is magnificent4 ,everything points to the great shrine2 both the exterior and interior of the temple are visible4 ,as for the ,ionic order it should be remembered that this has nought to do with the historic facts in the case4 ,an examination of the buildings on the vases of ,lower ,italy reveals a decided preference on the part of the artists for this order of architecture#afh4 ,the painting is an excellent example of the influence of the poet over the artist4 ,this is1 however1 no mere illustration1 a fact to be remembered in dealing with all the paintings of this class2 the spirit and not the letter is what one can trace most readily in works of art based upon the tragedians4 ,the agreement between the literary source and the picture is more apparent here than in most instances1 and this is largely due to the fact that the ,andromache is particularly ,euripidean4 ,this turn does not occur in any other author4 ,a parallel case will be observed in the chapter dealing with ,iphigeneia among the ,taurians4 ,it is this alteration and extension of old myths which characterizes ,euripides' work4 ,these new features were popular and attracted the public1 and here one gets the key to the unparalleled influence which this poet exercised upon artists4 #c4 ,,bakchai4 ,euripides' ,bakchai is our chief authority concerning the fate of ,pentheus#afi1 yet this writer did not by any means establish the details of the story4 ,this was done long before ,thespis may have assayed to dramatize the tragic episode#agj and before ,aischylos wrote his ,pentheus#aga4 ,it is not probable that ,euripides materially altered the accepted form of the myth1 and there may be in his play a mixture of the traditional and ,aischylean versions4 ,pentheus' death1 like the madness of the ,thracian king ,lykurgos1 was inseparably connected with the advent of the ,dionysiac worship4 ,the series of victories won by the orgiastic god from the wild ,north was not bloodless2 his coming was attended with opposition4 ,in the end1 however1 his foes were annihilated or ruined1 and the new joy brought in by the foreign god captivated a nation and made it his devout worshipper4 ,euripides could say little or nothing new touching the triumph of ,dionysos over the king of ,thebes1 yet this tragedy1 one of the most brilliant pieces of ,greek literature1 paints in glorious colours the history of the victory4 ,the events1 as told by ,euripides1 are briefly as follows4 ,dionysos has arrived in ,thebes from ,lydia and the ,east1 where he had already established his choirs of ,bacchanals4 ,thebes was the first city to which he came1 and here1 where he least expected opposition1 scepticism met him4 ,the sisters of his mother ,semele circulated the report that he was no god but an impostor4 ,he forthwith drove the ,kadmeian women maddened from their homes to wander in the mountains attired in the ,dionysiac dress2 the ,bacchic craze spread further1 and seized even the seer ,teiresias and ,kadmos1 who with thyrsoi and fawn-skins joined the orgies4 ,pentheus1 on hearing of these strange doings1 appears and chides them both1 and threatens to hunt the women from the mountains and punish the stranger who has made his family drunk with frenzy4 ,at v4 #dcd ,dionysos1 bewitchingly beautiful1 is led a prisoner before ,pentheus1 who orders him to be bound and cast into the royal stable4 ,soon afterward the walls are heard to crash in and flames burst forth in every direction 7v4 #eic ff474 ,the god1 to be sure1 is safe1 and ,pentheus is mocked and wild with anger1 while the former bids him be quiet and subdue his anger4 ,at this point a messenger arrives to recount the strange sights that had met his eyes on the mountains4 ,three bands of women1 led by ,autono1 ,agave1 and ,ino1 had rushed upon his herd of cattle and torn them limb from limb1 and afterward they washed the blood from their hands in a fountain made to flow by the god4 ,in the face of these wonders he urges ,pentheus to honour the latter1 but the king will not brook this ,bacchic insolence and threatens to sacrifice a hekatomb of women on ,kithairon rather than propitiate the unwelcome visitor4 ,dionysos advises him not to kick against the pricks 7v4 #gie72 in a moment ,pentheus' attitude is seen to change2 the secret power of the god is working on him2 he will see the strange actions himself1 and would rather forfeit a thousand-weight in gold than forgo the opportunity 7v4 #hab74 ,the linen chiton is at once provided1 and ,dionysos1 who is to lead the way1 directs the arrangement of the dress so that ,pentheus shall not be mistaken for a man4 ,after some scruples as to the figure he may make before his citizens he is anxious to be off4 ,once in the mountains giddiness comes upon him4 ,he sees two suns1 and a double ,thebes1 and twice seven gates2 he declares that the god himself has taken on a bull's form with horns 7v4 #iah ff474 ,immediately thereafter he obtains the first glimpse of the women4 ,there are ,ino and his mother ,agave4 ,then he worries lest he may not hold his thyrsos correctly4 ,this shows his sad predicament too plainly4 ,dionysos has done his work2 his vengeance on the recalcitrant ,pentheus is at hand4 ,at first the latter feels himself able to overturn the whole mountain and asks the advice of the god as to the best means of annihilating the troop4 ,when violence is not recommended he suggests that he had best hide in a pine-tree to view the sight 7v4 #ied74 ,nothing further is ever heard from the king's own lips except in his death-cry reported by the messenger who had accompanied him4 ,when they had reached the band in the glen1 shadowed by pines 71 v4 #ajeb71 the thicket was so dense that ,pentheus requested that he might be allowed to ascend the bank or climb a tree 7v4 #ajfa7 in order to command the field4 ,dionysos bent a tree to the ground1 placed the king upon the boughs and allowed it to rise again1 and1 turning to his devotees1 pointed to their prey4 ,stones and darts are directed at ,pentheus1 and finally the tree is pulled up by main force and he falls an easy victim to the maddened women4 ,agave1 heeding none of his cries1 tears out a shoulder2 ,ino1 ,autono1 and the rest help in dismembering the king4 ,his mother fixed his head upon a thyrsos and led the troop on a wild dance over ,kithairon1 finally coming to the palace4 ,gradually freed from the insanity1 she realized the enormity of her crime4 ,dionysos' godhead was1 however1 established1 and the house of ,kadmos remained a terrible witness of his power4 ,these are the harrowing details of the murder1 and one cannot wonder that there are numerous vase paintings based on the tragedy4 ,there is a long list of vases that can for the most part be passed over with a mere reference4 ,they are all1 with perhaps one exception1 later than #ejj ,b4,c4 ,this means that the impetus for the tragedy in art was given largely by the tragic drama4 ,the oldest painting is older than the ,pentheus of ,aischylos and cannot1 therefore1 be connected with his play4 ,there may have been an earlier dramatization1 such as that recorded of ,thespis1 which figured in this monument#agb4 ,all the remaining paintings belong to the latter part of the fifth century ,b4,c4 and the fourth century ,b4,c41 and are1 with one exception1 of too general a character to be used as evidence for one of the tragedies#agc4 ,on the ,munich hydria it seems to me there are clear traces of the ,bakchai1 and this widely-known work is given here in fig4 #aaagd4 ,illustration3 ,fig4 #aa4 ,pentheus1 wearing chlamys1 pilos1 and boots1 crouches1 with a drawn sword in his right hand1 in a thicket denoted by two trees4 ,a maenad who appears to have just discovered him rushes into the hiding-place with a torch in her right hand#age2 she is dressed in a plain1 ,doric peplos4 ,another maenad1 similarly dressed but having a fawn-skin over the left hand and a sword in the right1 does not seem to have sighted ,pentheus4 ,a third1 dressed like the first one1 holding a tympanon in the left hand and a thyrsos in the right1 approaches wholly unconcerned with the discovery of her companions4 ,on the right is another group of three maenads all dressed alike and all in rapid motion4 ,the first holds in either hand the quarters of a kid or roe4 ,the second shoulders the thyrsos with her left hand and makes an ecstatic gesture with her right4 ,the third one1 in even more violent motion1 swings her veil about her and rushes on towards the left4 ,it should be noted1 to begin with1 that the vase is a ,lower ,italy fabric of the fourth century ,b4,c41 and that there is therefore no chronological difficulty in placing it under the influence of the ,bakchai4 ,the troop of maenads is arranged symmetrically1 an equal number being on each side of the central scene1 and this suggests the chorus in the play4 ,the striking feature is the introduction of the landscape2 there is no doubt as to where the catastrophe occurs4 ,the artist did not allow himself the licence of placing ,pentheus in the tree1 for this had been too grotesque a sight for the fourth-century painter4 ,the frequent references to the thicket#agf and the protection it was or the inconvenience it caused1 is happily brought out in the picture1 but the poet has not been followed in details4 ,pentheus does not appear with the thyrsos1 talaric chiton1 and dishevelled hair1 for the simple reason that he would have been indistinguishable from the maenads4 ,as he appears in the painting the contrast is striking and the eye at once grasps the situation4 ,the torch held by the foremost maenad lights the way to the retreat of ,pentheus1 suggesting the words-- 4 v4 #ajhb f4 ,that one is armed with a sword while the others have no weapon finds also a parallel in ,euripides1 who says one time that they used nought but their hands-- 4 v4 #gcf4 and again that the sword shall do its work-- 4 vs4 #iib1 #ajab4 ,the wild revelry of the whole is instructive when studied with the poet4 ,the ,bacchanal who flaunts the quarters of her victim reminds one at once of the words-- 1 4 v4 #ach f4 ,in conclusion1 reference should be made again to the newly discovered wall painting in ,pompeii4 ,it is so remarkably preserved and so thoroughly in the spirit of ,euripides that there can be little doubt as to the influence of the ,bakchai#agg4 ,the only ,pentheus painting recorded in classical literature was that in the ,dionysos temple in ,athens1 which may also have been inspired by ,euripides#agh4 ,is the ,pompeian painting an echo of the celebrated one in ,athens8 #d4 ,,hekabe4 ,the ,hekabe is one of those plays which1 like the ,andromache1 embraces a series of events loosely associated4 ,there are in fact two distinct parts to this tragedy1 having no other connexion than one would observe between two separate works where the same heroine appeared4 ,two heavy blows which the ,fates dealt ,hekabe after the fall of ,troy constitute the subject of the action4 ,the first of these new calamities was the death of ,polyxena4 ,the ,greeks are encamped on the ,chersonesos side of the ,hellespont4 ,among the captives are the former queen of ,troy and her daughter4 ,achilles1 who is among the shades1 demands of the ,greeks that ,polyxena be sacrificed to him4 ,the request cannot be ignored1 and ,odysseus and others are commissioned to secure her from her mother4 ,the parting scene between ,hekabe and the daughter is heartrending1 but the courage and self-control exhibited by the latter are remarkable4 ,talthybios1 the faithful herald of ,agamemnon1 afterwards reports to ,hekabe the details of the sacrifice1 and this description of the fair and innocent ,polyxena is one of the gems of ,greek literature4 ,the lines in particular which describe her actions immediately before the fatal moment are famous for their beauty4 ,although the offering of ,polyxena was known in ,greek art and letters before ,euripides' time#agi1 the subject must have been far more popular after the production of this tragedy4 ,it appears to me a mere accident that no vase painting representing the scene has so far come to light4 ,there is1 however1 on a so-called #8,megarian ,bowl' a relief decoration1 probably dating from the third century ,b4,c41 which doubtless owes its existence to ,euripides#ahj4 ,it has seemed to me desirable to include this here1 even though it carries us beyond the limits prescribed to the present work4 ,the cup1 found in ,thebes1 is in the ,berlin ,antiquarium#aha4 ,the middle of the composition represents the tumulus of ,achilles1 above which is raised a stele with akroteria and a fillet4 ,on the left1 ,polyxena1 with exposed bosom and flowing hair1 kneels with extended arms4 ,approaching her is ,neoptolemos wearing a chlamys and holding his sword ready for the fatal stroke2 behind the latter is a figure in a short undergarment1 mantle and pilos4 ,the cap distinguishes the person as ,odysseus4 ,agamemnon sits with back to the beholder upon the extreme left1 and lifts his left hand 7not his right hand as ,robert says71 evidently astonished at the remarkable composure of the victim4 ,on the right of the tomb are three warriors1 who are more or less closely connected with the others4 ,the first one appears to raise his hand in wonder at the fortitude of ,polyxena2 the second1 who does not seem to be armed1 has the appearance of one weeping2 the third is apparently little interested in the tragedy4 ,it is not necessary to name these three persons1 evidently representatives of the ,achaeans4 ,the first one may perhaps be ,talthybios1 since he says he was present 7v4 #ebd74 ,the dolphins upon the vase are meant no doubt to characterize the sea-shore where the sacrifice took place4 ,illustration3 ,fig4 #ab4 ,the essential part of the composition is1 however1 the tumulus and the figures on the left4 ,everything here illustrates ,euripides4 ,one reads in v4 #bba of 444 ' 4 ,the attitude of ,polyxena is based upon the beautiful verses in the messenger's speech3-- ' 1 ' ' 1 #8 '1 1 1 1 1 ' ' 1 4' ' 1 1 4 vs4 #eeh-efg4 ,even the hesitation of ,neoptolemos1 expressed in the last two verses1 finds its place in the relief4 ,odysseus1 who was intimately identified with the proceedings from first to last 7vs4 #bah-dcg71 could not be wanting in an illustration of the final scene4 ,agamemnon too is fittingly present1 for1 according to ,euripides1 he had given the order to carry out the sacrifice1 ' 4 vs4 #eec f4 and had dismissed ,talthybios to ,hekabe 7v4 #ejd74 ,the second part of the play begins with v4 #feh1 where the servant of ,hekabe enters with the body of the latter's young son ,polydoros4 ,priam had intrusted the boy to ,polymestor1 king of ,thrace1 when the ,greeks attacked ,ilion4 ,a considerable sum of gold accompanied the child to ensure his maintenance if the city should be captured4 ,as long as the ,trojans held out1 ,polymestor was true to his charge1 but no sooner had the news of the downfall of ,priam's house reached the ears of the good ,thracian than he put the child to death for the money and cast his body out unburied4 ,this is related in the prologue by the ghost of ,polydoros1 who also prophesies the death of ,polyxena on that day4 ,his body was accordingly discovered by the attendant1 who happened upon it by mere chance1 and immediately after receiving the terrible message from ,talthybios1 ,hekabe was made to bow beneath another sorrow4 ,she at once summons her courage and determines to have revenge upon the unrighteous ,polymestor4 ,she first relates to ,agamemnon the story of the boy's death1 and the king1 deeply incensed at the of the ,thracian1 agrees to her plan for avenging herself on the latter4 ,she sends for ,polymestor under the pretence of disclosing to him some weighty matter4 ,he comes1 and at her request dismisses his bodyguard1 not mistrusting in the least that his crime had been discovered4 ,to questions as to the welfare of ,polydoros and the safety of the gold he replies that all is well and that the child would gladly have come to visit his mother4 ,hekabe then proceeds to tell him of some treasures which she wishes to commit to his keeping4 ,these are in the tent1 and he shall go inside and examine them for himself4 #8,no ,achaean is within2 we are quite alone1' she says1 and with this assurance ,polymestor leaves the light of day for ever4 ,once inside1 his cries of agony soon announce that ,hekabe has done her work with swift and certain hand4 ,the scene representing the reappearance of the blinded ,polymestor has been recognized on a ,lucanian vase#ahb4 ,in the middle stands the helpless king1 his arms extended in a distressed manner4 ,he is dressed in a short1 embroidered chiton and a mantle1 and wears a tall head-gear that indicates his barbarian nationality4 ,agamemnon is on the left1 with sceptre and himation2 he appears to be addressing the former4 ,following is a doryphoros4 ,on the right are ,hekabe and an attendant1 both dressed in chiton and mantle4 ,the latter places her arm over ,hekabe's shoulder and seems to be comforting her1 as she shrinks away from the figure in the centre4 ,the cane is suggestive of the queen's age and of the wandering life upon which she is entering4 ,a sword rests upon the ground1 pointing probably to the weapon which was used to blind ,polymestor4 ,it is not necessary to cite any particular verses from ,euripides which the artist may have had in mind4 ,he simply told the story as it recurred to him4 ,especially suggestive of the king's staggering step are the verses beginning 1 1 1 2 vs4 #ajef ff41 spoken when ,polymestor first appeared before the tent of ,hekabe after the latter had put out his eyes4 ,the chorus1 ,agamemnon1 and ,hekabe are then present1 and with alternating parts fill out the rest of the play 7vs4 #aaji ff474 ,illustration3 ,fig4 #ac4 #e4 ,,hippolytos4 ,in the ,phaidra of ,sophokles and the first ,hippolytos of ,euripides it was ,phaidra herself who acknowledged to ,hippolytos her love for him4 ,the votary of ,artemis1 at once enraged at this effrontery1 cast her aside4 ,she then defamed the youth to ,theseus1 who1 believing her statement1 prayed to ,poseidon to destroy his son4 ,the god accordingly sent a sea-monster to frighten the horses of ,hippolytos1 and the latter was soon dragged to his death4 ,on receiving the news of this1 ,phaidra hung herself#ahc4 ,sophokles' play does not appear to have ever made any impression upon the world and must have been soon forgotten1 and ,euripides' tragedy met with great disapproval4 ,such a ,phaidra was more than the ,greeks would tolerate4 ,the poet grasped the situation and wrote another ,hippolytos1 which set him right with his public4 ,it was no longer ,phaidra in and of herself who became the instrument of the youth's death2 ,aphrodite1 angered at ,hippolytos' serving ,artemis instead of herself1 starts the gentle flame within ,phaidra's bosom and visits her with a love-sickness that drives the unfortunate woman into a confession of her illness to her attendant4 ,on the latter's placing the matter before ,hippolytos1 all to no avail1 ,phaidra takes her own life1 not forgetting1 however1 to leave behind a letter containing delicate charges against her step-son4 ,theseus returns1 finds his wife a corpse1 and reads the letter4 ,the curse and death of his son follow1 as in the earlier ,hippolytos4 ,this ruin was brought on him not so much by ,phaidra as by ,aphrodite4 ,the tragedy was counted among the best of ,euripides'1 and has always retained its popularity4 ,the subject was dramatized again in ,greek#ahd1 and there is extant the ,latin version of ,seneca#ahe4 ,the theme was one which was sure to appeal to modern authors1 and among the ,french alone one hears of no less than seven tragedies on the love of ,phaidra1 written between the years #aegc and #aghf4 ,four of these1 the most famous of which is ,racine's ,phdre1 belong to the seventeenth century4 ,they are1 however1 more directly indebted to ,seneca and ,ovid#ahf than to ,euripides4 ,mention should be made also of the two operas by ,pellegrin1 #agcc1 and ,lemoine1 #aghf4 ,but after all has been said on versions of the story either in classical or modern times1 one turns to the masterpiece of ,euripides as the great work4 ,according to the author of the ,hypothesis1 the play is among the best of this poet and was given the first prize4 ,in reflecting that ,hippolytos has stood forth since ,march1 #dbh ,b4,c41 as the beau idal of innocent1 unsullied1 young manhood1 one is inclined to credit the judges with possessing good sense4 ,there was hardly a more attractive legend than this which the artists might have been tempted to make their own1 yet one discovers a surprising dearth of ,greek monuments that can be referred to the myth4 ,from these ,i select two vase paintings that appear to be based upon ,euripides4 ,illustration3 ,fig4 #ad 7vid4 p4 #ajb ff474 ,fig4 #ad represents a painting on a krater in the ,british ,museum#ahg4 ,the upper section alone concerns us here1 and this shows the interior of a gynaikonitis with kline4 ,on the left is a group of two females4 ,one sits on a stool to the right1 wears chiton and veil1 diadem1 bracelets1 and necklace1 and leans forward1 with head dropped to one side1 clasping her right knee thrown over the other4 ,her left foot rests on a foot-stool4 ,behind her a white-haired servant in the usual costume holds her right hand to her chin1 and with troubled air gestures with the left hand as she speaks to her mistress4 ,a large ,eros with immense wings flies down towards the latter with a taenia in his hands4 ,there are1 further1 two other groups of two each4 ,the one before the kline is two females again4 ,an attendant1 distinguished by her hood1 who holds a fan in her right hand1 talks and gestures earnestly before the other1 who wears the simple ,doric peplos1 ungirdled1 and stands with her back to the kline in a disturbed and troubled sort of mood4 ,the remaining group of two1 a pedagogue in the customary dress and a female figure similar to the one on the extreme left1 is also concerned over some important matter which the pedagogue is telling4 ,certain articles hang on the wall4 ,the picture has been interpreted as representing ,phaidra in the presence of the chorus1 and depending upon ,hippolytos vs4 #bfg ff4 ,the right-hand group would then be very loosely connected with the rest4 ,in so far as the love-sickness of ,phaidra is concerned this appears to me a correct interpretation1 but that the chorus is in any way represented by the other figures is entirely out of the question4 ,the whole affair is supposed to be in ,phaidra's apartments1 to which at no time the ,troizenian women had access4 ,what would they be doing by the kline#ahh8 ,the pedagogue is added on one side1 as though to indicate how the news is spreading among the domestics#ahi4 ,but let me turn for a moment to another class of monuments that help to a better understanding of the scene4 ,there are no less than seventeen reliefs on the long side of ,roman sarcophagi which are practically intact and furnish from two to three scenes of the tragedy4 ,less frequently the ends contain one or two other groups supplementing the front side#aij4 ,there are four moments that are distinctly traceable4 7#a7 ,the love-sick ,phaidra sits on a chair in her apartments surrounded by the old nurse and other servants1 who attempt to comfort her4 ,she wears a veil as on the vase painting1 and on two reliefs one of the attendants is removing this#aia4 ,the diadem is also distinguishable4 7#b7 ,the nurse makes her declaration to ,hippolytos1 who turns away from her4 7#c7 ,hippolytos with his followers is about to start upon1 or is already engaged in1 the hunt4 7#d7 ,the horses run away and bring him to his death4 ,all four scenes occur on the famous sarcophagus in ,girgenti#aib1 and on another in ,st4 ,petersburg#aic4 ,it will be observed that in three of the four groups ,hippolytos himself is present1 and one naturally looks for him in scenes taken from the tragedy where he is the main figure4 ,the earliest scene in ,euripides which develops the hopeless state of affairs with ,phaidra is1 however1 of prime importance next to the death of ,hippolytos4 ,but a brief comparison of the left-hand group of our painting and the ,phaidra scene on these reliefs is necessary1 in order to reveal a striking resemblance in the compositions4 ,the one difference rests in the size of the groups2 the painter has confined himself to fewer figures4 ,this fact1 however1 is of little importance4 ,a closer examination of the two discloses much that points to a common source4 ,on nearly all the reliefs ,phaidra's chair has1 as in the painting1 no back or arms2 ,eros1 who flies towards ,phaidra in fig4 #ad1 invariably stands beside her on the sarcophagi1 looking up into her sad face1 or1 what is still worse1 aims an arrow at her#aid4 ,the queen wears in all cases the veil1 and often on the reliefs the diadem likewise#aie4 ,the nurse never fails in her ministry4 ,it is time now to look more closely at the tragedy4 ,after the prologue by ,aphrodite1 ,hippolytos and his followers enter and pay their homage to ,artemis4 ,the hero lays a wreath upon her statue1 which adorned one side of the entrance to ,pittheus' palace4 ,the attendants are ordered inside and he then withdraws4 ,his servant remains long enough to address a prayer to ,aphrodite's image on the other side of the stage4 ,following is the parodos in which the chorus relates what had been learned concerning the illness of ,phaidra4 ,among other things they hear that she sits 444 4 v4 #acc f4 ,this1 it will be observed1 corresponds to her position in the painting and in the reliefs4 ,it is just this time of abstinence and mourning1 spent in the palace surrounded by the faithful old nurse and other servants1 which suggested the scene on the reliefs and on the vase4 ,the visitations of ,eros serve well to bring into objectivity the real cause of ,phaidra's illness1 and to render the poet more plain4 ,to be sure this all took place in her apartments1 7v4 #acb71 and could therefore be worked out according to the artist's fancy4 ,a long and animated scene ensues1 in which ,phaidra utters strange expressions that betray the sadness of her condition4 ,the trophos finally coaxes the secret from her1 and the chorus dips in from time to time as a sort of second to the nurse4 ,the interview which the latter has with ,hippolytos1 vs4 #fja-ffh1 is overheard by ,phaidra4 ,her unrequited love bears her down and she leaves the stage determined to die 7v4 #gca71 and in a few moments is announced as dead#aif4 ,the scenes on the sarcophagi representing ,hippolytos' hunt1 the counterpart of ,phaidra's illness1 and the trophos' proposal#aig to the hero do not appear on vases4 ,hippolytos' ride to death1 the terrible finale of the tragedy1 appears on an ,apulian krater also in the ,british ,museum#aih4 ,the painting falls into an upper and lower section4 ,in the latter1 ,hippolytos dashes along in his chariot2 the four horses are not in any apparent disorder although the next moment must be fatal1 for just before them the sea-monster rises into view1 and a ,fury with a flaming torch and serpents wound about her arms runs into their course4 ,a pedagogue hurries along from the rear1 extending his left hand1 warning ,hippolytos of his danger4 ,the scene is viewed by five divinities4 ,their positions are the stereotyped ones of the ,apulian vases1 and their connexion with the tragedy before them need not be intimate#aii4 ,athena in the middle1 a great favourite in these groups1 leans on her shield and carries a lance and in her right hand the helmet4 ,apollo1 distinguished by bow1 laurel bough1 and wreath in the hair1 sits on her right1 facing ,pan who stands half reversed to the beholder with the syrinx in the right hand1 and resting his left elbow on a rock4 ,on ,athena's left sits ,aphrodite1 attended by a large ,eros1 who extends a kylix to ,poseidon sitting on the right1 holding the trident4 ,there is certainly ample reason for the presence of the last two gods at the death of ,hippolytos2 they are1 in fact1 very instrumental in bringing about the catastrophe4 ,i am not able to assign any satisfactory reason for the appearance of ,athena1 ,apollo1 and ,pan4 ,mere speculation concerning the choice of these deities cannot be of much value4 ,artemis is surely indispensable in a group of gods concerned with ,hippolytos' death4 ,any one who knows these groups on the vases of ,lower ,italy is aware that ,athena is a great favourite and often appears1 as here1 merely because she was so admired4 ,perhaps ,apollo is intended to represent ,artemis1 but it is not likely that the artist thought so far#bjj4 ,illustration3 ,fig4 #ae 7vid4 p4 #ajh ff474 ,in regard to the lower section it may be observed first that the district is not denoted in any way as being the sea-shore where ,euripides sends the youth for a drive#bja4 ,there is no water indicated1 out of which the #bjb is issuing4 ,the mounted companions of ,hippolytos are represented only by the pedagogue4 ,the time is that just preceding the breaking away of the horses described by the messenger1 vs4 #abah ff4 ,the ,fury1 a gratuitous addition of the artist1 serves to intensify the violence of the death awaiting ,hippolytos4 ,the deplorable end of the hero has never failed to awaken one's sympathy4 ,the innocent youth dragged to his death through the workings of a hasty and unjust curse presents one of the most pathetic pictures in ,greek literature4 ,it is well depicted by ,philostratos in the ,imagines#bjc4 #8,you see1' he says1 #8how the horses no longer obey the reins but rush madly along the plain1 covered with foam4 ,this one makes for the wild beast1 the second rebounds1 another rushes for the sea1 and the fourth glances fearfully at the ground4' ,the breaking and crashing of the chariot are pointed out4 ,then the companions gallop up and try to manage the horses4 ,the hills near by1 sentinels of the disaster1 in the form of women1 tear their cheeks for grief2 the meadows1 in the form of boys1 allow their flowers to wilt and the nymphs from the springs rend their hair1 while water spouts from their breasts4 ,hippolytos' limbs are torn and shattered1 and his eyes are gouged from their sockets4 ,pliny tells of a painting by ,antiphilus of ,alexandria which represented ,hippolytus tauro emisso expavescens#bjd1 but nothing further is known of ,antiphilus or when he lived4 ,the sarcophagi reliefs representing the catastrophe are numerous1 compared with those showing any other moment#bje4 ,not less interesting is the list of ,etruscan urns decorated with reliefs showing the bull1 the runaway horses1 and the expavescens youth#bjf4 ,in all of these a female figure1 doubtless a ,fury1 is frightening the horses#bjg4 ,in two cases she is winged1 and every one carries a torch likewise1 as on the vase painting4 #f4 ,,iphigeneia ,,at ,,aulis4 ,the story of ,iphigeneia's sacrifice appears to have been told first in the ,kypria1 and yet only occasional references are made to it by writers before the fifth century4 ,it was the drama that infused new life into the myth and launched it as one of the most popular ones in the ,trojan ,cycle4 ,each of the three great tragedians tried his hand at the catastrophe in ,aulis4 ,euripides' work1 the only one surviving1 is at least two generations younger than the play of ,aischylos1 so that the wide popularity of the tragedy in this period is well attested4 ,among the ,roman poets we know that ,ennius1 at least1 wrote a version of the tragedy4 ,although it is known that this poet had a special predilection for ,euripides1 and for the most part translated or adapted the latter's plays1 attempts have been made to show that in his ,iphigenia ,ennius was largely indebted to ,sophokles#bjh4 ,the few fragments remaining from these three ,iphigeneias are1 however1 inconsiderable1 and a clear notion of their relation to each other cannot be reached4 ,the extant work of ,euripides is accordingly of great value to us4 ,in art1 likewise1 this subject was rarely treated4 ,i know of no ,iphigeneia monument earlier than the fifth century4 ,there is a reference in the ,agamemnon to the sacrifice as though ,aischylos may have seen the scene represented in a painting#bji1 and granted that the poet really had such a work in mind this becomes the earliest date for ,iphigeneia in art4 ,the earliest monument of which we possess any authentic record is the famous painting of ,timanthes1 who was a contemporary of ,zeuxis and ,parrhasios#baj4 ,this date1 however1 does not carry one beyond the last years of the fifth century ,b4,c4--an altogether late date for an art representation of a myth1 which1 from ,aischylos' time at least1 was widely known4 ,we have reason to believe that ,timanthes' work was suggested by ,euripides' tragedy4 ,the latter was first produced in ,athens after the poet's death1 not earlier than #dje ,b4,c41 and this requires that the painting be placed near the end of the century1 which many are unwilling to admit2 it is1 however1 more a matter of opinion than proof4 ,traces of this celebrated picture are very probably at hand in the well-known ,pompeian wall painting#baa1 and the ,uffizi altar#bab4 ,the composition of the latter has much in common with such fifth-century products as the ,orpheus and ,peliades reliefs#bac4 ,the ,etruscan urns on the other hand furnish a wealth of reliefs representing the sacrifice1 rarely surpassed in this class of monuments4 ,numbers have come to light in the neighbourhood of ,perugia especially#bad4 ,two groups are easily distinguishable1 7#a7 ,iphigeneia1 as a little girl1 is held over the altar by ,odysseus1 while ,agamemnon goes through the 4 7#b7 ,the first group is extended by 7a7 ,klytaimestra on the side of ,agamemnon1 and 7b7 ,achilles on the side of ,odysseus1 each begging for mercy and the life of ,iphigeneia4 ,this is all non-,euripidean1 and ,schlie has attempted to point out that the reliefs owe their origin to ,ennius' play which combined ,sophoklean and ,euripidean elements#bae4 ,there is no vase painting which can be claimed for this scene in its ,euripidean character1 but the whole play is the basis of a relief on a #8,megarian' cup1 and the illustration is so valuable for the proper appreciation of the tragedy that ,i do not hesitate to include this little monument4 ,the cup furnishes inscriptional evidence not only for the dramatis personae but for the literary source as well1 and is1 therefore1 a unicum among the monuments that are based upon ,euripides4 ,the cut given in fig4 #af is of the vase in ,berlin#baf4 ,it should be observed1 however1 that there are two other copies of this same work1 and that they tell exactly the same story from the ,iphigeneia#bag4 ,a word is necessary in order to prepare us for the first scene given4 ,agamemnon had sent a message to ,argos summoning ,iphigeneia1 and1 in spite of his attempt to countermand this by a secret letter to ,klytaimestra1 he was forced to face the results of his earlier resolve4 ,his daughter came1 and accompanying her were her mother and her young brother ,orestes4 ,the nuptials were to be celebrated with the son of ,peleus1 and the ,argive party in gayest1 happiest mood halted before the tent of ,agamemnon4 ,the ,chalkian women1 who through curiosity had crossed the ,euripos to see the gathered hosts of the ,greeks1 are ready at hand to assist ,iphigeneia in alighting from the chariot4 ,the lad ,orestes1 who appears to have gone to sleep during the journey1 is awakened and lifted down by one of the kindly strangers4 ,with her mother's permission1 ,iphigeneia hastens inside to meet her father#bah--she1 innocently happy over the arrival of her wedding day--he1 overcome with grief at her impending death1 and smitten with remorse at the enormity of his crime4 ,illustration3 ,fig4 #af4 ,this much renders plain the group on the right4 ,agamemnon1 1 sits upon his with one foot on a foot-rest2 his right hand is placed to his temple as though to shut out the gaze of ,iphigeneia1 1 who approaches him in a beseeching manner with extended arms4 ,the group is based upon vs4 #fdd ff4-- ,iph4 1 ' 4 ,aga4 ' 4 ,iph4 ' 4 ' ' 2 ,such is the situation described by the poet1 and surely the artist has succeeded to a considerable degree in grasping the meaning of the scene4 ,klytaimestra1 #bai1 appears on the left with ,orestes1 1 and would seem to have had the boy in charge after he was helped from the chariot 7vs4 #fba f474 ,following is the inscription1 4 ,the genitive case in the last word may depend upon some such word as 4 ,to avoid a possible misunderstanding of the scenes1 even with the characters named each time1 the artist considered it advisable to add the literary source4 ,this is the ,iphigeneia of ,euripides and not of any other poet4 ,after ,iphigeneia leaves her father he endeavours to persuade ,klytaimestra to return to ,argos and leave the final arrangements for the nuptials in his charge4 ,naturally enough she refuses1 and retires to appear at v4 #hai1 where she meets ,achilles and enthusiastically brings up the subject of the marriage4 ,achilles1 amazed at the disclosure1 assures the queen that he has neither wooed ,iphigeneia nor heard aught from the ,atreidai concerning any such an alliance4 ,this scene is represented in the next group4 ,achilles1 1 bends toward ,klytaimestra and gestures emphatically4 ,the latter holds her hand to her chin and is evidently dumbfounded by the declarations4 ,the last words exchanged before the two separate are suggestive-- ,ach4 1 ' 4 ,kly4 ' ' ' 1 ' 4 ,ach4 ' 4 vs4 #hdi-hed4 ,immediately after these words the faithful old servant of ,agamemnon comes out and relates to ,klytaimestra that ,iphigeneia is to be slain by her father2 he goes further and tells the cause of it all1 and how he had failed to get away to ,argos with the letter4 ,this meeting of the servant1 1 and the queen1 is dramatically told in the third group4 ,the former wears the costume of a pedagogue1 with peculiar-looking boots4 ,the latter has laid aside the veil which she wears in all the other scenes4 ,the following groups on the relief reverse the order of the text1 so it is best to consider first that on the extreme left4 ,agamemnon1 ,klytaimestra1 and ,iphigeneia are all named4 ,the young ,orestes pulls at his father's chiton2 the latter has a mantle over his head1 and shields his face with his left hand4 ,the mother has turned aside and is consumed with her deep sorrow4 ,she had won the sympathy of ,achilles after the talk with the old servant1 vs4 #hif-ajce1 and following the choral song appears again to seek ,agamemnon whom neither she nor ,iphigeneia had seen since the terrible truth of the marriage was disclosed4 ,she calls her daughter from the house1 v4 #aaag1 and bids her ' 1 4 ,all of these figures occur on the cup1 so that in a certain sense the whole scene from v4 #aabb to v4 #abge is illustrated4 ,the position of ,klytaimestra and ,iphigeneia would1 however1 lead one to think that the latter's long appeal was particularly in the mind of the artist4 ,she recounts in words1 as eloquent as they are pathetic1 the promises her father had once made to her as a child1 and goes over all the ambitions that had filled her girlish heart in the happy ,argive home4 1 1 ' ' 1 4 1 ' 1 1 4 ' '1 4 ' 4 1 ' 1 ' 4 vs4 #abch-abdh4 ,there is certainly inspiration enough in these verses for a more pretentious group than the simple terra cotta cup presents1 but lacking all other ,greek monuments bearing upon this scene one may prize this witness as a valuable inheritance from the ,hellenistic period4 ,agamemnon speaks2 he loves his child and realizes full well the meaning of the sacrifice1 but he must obey the clamourings of the ,greeks4 ,iphigeneia and her mother remain alone with the chorus and bewail the bitterness of their sorrow1 vs4 #abgf-acde1 when a company of men is observed approaching4 ,among them is ,achilles4 ,his attempt to intercede in behalf of the doomed ,iphigeneia had been of no avail4 ,the ,achaeans were inexorable2 her blood must be spilt4 ,nevertheless he promises them his assistance1 and encourages ,klytaimestra to resist ,odysseus and the others who come to drag her daughter away to the altar1 vs4 #acch-adcc4 ,the early part of this scene is recognizable in the remaining group4 ,iph4 1 1 4 ,kly4 1 2 ,iph4 ' 4 ,kly4 2 ,iph4 4 ,kly4 4 ' 1 4 ,ach4 1 4 vs4 #acdj-acde4 ,achilles stands with staff in hand1 either about to address the mother or perhaps having uttered the last verse above4 ,iphigeneia turns with bowed head to avoid his presence2 her mother evidently tries to detain her4 ,inscriptions again indicate who the persons are4 ,we have then precisely the situation in the lines quoted4 ,the sacrifice which followed1 was attended by the marvellous wonder1 and it was to be expected that if any one incident of the tragedy was told in art it would be the scene at the altar4 ,our little monument curiously enough stops where all the others begin4 ,we are taken step by step up to the final act and there we are left4 ,the works enumerated above#bbj are1 without exception1 confined to the moment of the sacrifice4 ,the famous wall painting and the ,florence altar have much in common with the renowned painting of ,timanthes1 and all three are conceived in the spirit of ,euripides as far as the actions of ,agamemnon are concerned4 444 ' 1 1 1 4 vs4 #aedg ff4 ,and so he stands completely wrapped in his mantle1 exposing no part of his face4 ,in this invention lay the unsurpassed success which ,timanthes enjoyed with his painting4 ,the dates for this artist allow us to place the work subsequent to the production of the ,iphigeneia in #dje ,b4,c41 and credit ,euripides with influencing ,timanthes4 ,this is at least possible1 but does not admit of proof4 ,it appears to me very likely that all three of these works are more or less closely connected with each other and with ,euripides4 ,the ,etruscan ash-urns on the other hand1 as well as the vase painting in the ,british ,museum#bba1 follow a totally different version of the story4 ,in these cases ,agamemnon himself takes the part of the priest in the ceremony1 and performs the 4 ,so far from being the tender-hearted father who cannot even stand and watch the offering1 he draws the fatal knife or pours the sacrificial liquid upon the victim's head4 ,traces of this turn are found early in tragedy#bbb1 but this is an ,agamemnon with a far different heart from the one we follow in the ,iphigeneia of ,euripides4 ,even though the part from v4 #aecb till the close of the play be thrown out as an interpolation1 the character of ,agamemnon in the first #aejj verses could not have changed so suddenly at the end that he would have taken the place of ,kalchas at the altar4 ,this set of monuments does not1 therefore1 give us the ,euripidean spirit4 #g4 ,,iphigeneia ,,among ,,the ,,taurians4 ,euripides in all probability created in the life of ,iphigeneia the chapter concerning her return to ,greece with ,orestes4 ,there is at any rate no trace of this turn in preceding authors4 ,homer does not appear to have known any such a daughter of ,agamemnon1 unless one is to seek to identify ,iphigeneia with ,iphianassa4 ,the #8king of men' speaks of 4 ,il4 #i4 #ade4 as his three daughters4 ,we know1 however1 from ,sophokles#bbc that ,iphianassa was distinguished from ,iphigeneia4 ,since ,homer has not even her name there is no allusion to the catastrophe at ,aulis4 ,it is first in the ,kypria#bbd1 a work usually accredited to ,stasinos in the early part of the eighth century ,b4,c41 that reference is made to the gathered hosts at ,aulis1 the calm1 the sacrifice4 ,it was not ,iphigeneia1 however1 who was the victim1 for ,artemis had suddenly intervened and1 having taken her away to the ,black ,sea country1 had blessed her with immortality4 ,from this date then the myth may have been widely spread among the ,greeks4 ,hesiod related in his that ,iphigeneia had received the gift of immortality from ,artemis1 thus following closely the author of the ,kypria#bbe4 ,herodotos also repeats the same story#bbf4 ,one looks in vain for any trace of her delivery from this wild people1 until the latter part of ,euripides' life4 ,then it is that new light breaks in upon the old orthodox form of the myth3 the mortal side of ,iphigeneia is made to assume a new interest for the world1 and she1 who had been long lost amidst a wild1 barbarous people1 is suddenly restored to her only hope1 ,orestes4 ,this is the work of #8,euripides1 the human1 with his droppings of warm tears4' ,with this tragedy the poet created at once a definite chapter in dramatic literature and furnished another impetus for ancient art4 ,there are traces of two other ,greek tragedies dealing with this same subject2 yet the play of ,timestheos is a mere name#bbg1 while that of ,polyeidos is but little more4 ,aristotle1 however1 has given a certain prominence to the latter work by making two references to it in his ,poetics#bbh4 ,this differed from the play of ,euripides particularly in the recognition scene4 ,the was brought about by ,orestes using the words #8and shall ,i too be sacrificed8' ,who but ,orestes was likely to know aught of the attempt once made to sacrifice her at ,aulis8 ,it is worthy of note that the libretto of ,glck's opera also follows this manner of the dnouement4 ,among the ,latin dramatists we hear that ,naevius wrote a play called ,iphigenia4 ,one verse only is preserved#bbi4 ,it goes without saying that the tragedy was taken from the ,greek1 but from what author it is worthless to conjecture4 ,the ,dolorestes of ,pacuvius was long thought to deal with the same subject1 but this has been shown to be of an entirely different character4 ,it is altogether improbable that these ,latin versions worked any radical change in the ,euripidean form of the myth4 ,it is true that the story was remodelled in some particulars2 ,hyginus1 e4g4 in fabula #bfa1 relates that the bones of ,orestes had been brought from ,aricia to ,rome and had been interred before the temple of ,saturn6 ,such a violent contortion of the myth may be laid to the credit of a poet#bcj1 but ,i would prefer to recognize in the words of ,hyginus the influence of the mythological handbooks which were written up in a manner well calculated to pamper the national pride of the ,romans4 ,in no work written subsequent to ,euripides is it possible to detect the sources for the representations of the myth in art2 in all cases the poet of the fifth century ,b4,c4 can be shown to have wielded his absolute power4 ,we shall see in the discussion of the vase paintings based upon the play that this class of monuments is not the only one in which the new ,iphigeneia found her place4 ,the ,etruscan urns and mirrors1 the wall paintings of ,pompeii and of ,herculaneum1 the ,roman sarcophagi1 as well as pastes and gems1 all furnish an extensive field in which parallel scenes may be traced4 ,this introduces the consideration of the vases and their relation to the tragedy4 ,they fall readily into three classes corresponding to three well-defined stages in the play3 #a4 ,orestes and ,pylades alone upon the ,taurian coast are surprised1 and led by the shepherds to the king and ,iphigeneia 7vs4 #fg-dff74 #b4 ,the scene following1 in which it is determined that not both shall be killed1 but that one1 and he ,pylades1 shall be allowed to return to ,mykenai1 bearing a message from ,iphigeneia 7vs4 #dfg-gbd74 #c4 ,the handing over of the letter and the accompanying explanation1 whereby ,orestes and his sister recognize each other 7vs4 #gbe-ajhh74 ,there follow two other well-defined scenes which are not traceable on vases#bca4 #d4 ,the escape with the ,artemis idol 7vs4 #aaeb-abcc71 and #e4 the messenger's speech which relates the manner of the escape4 ,there is but one vase painting that can be assigned to the first step in the play4 ,the painting is a thoroughly ugly and1 from an artistic standpoint1 worthless specimen that represents the very decadence of ceramic art#bcb4 ,the vase is a slender amphora with three zones of pictures2 ours is the middle one4 ,on the left a woman in chiton and mantle sits with head turned to the right1 her left hand resting on a sceptre or staff and her right on her knee4 ,she wears a necklace and on one arm a bracelet4 ,standing before her with outstretched right hand is a bearded male figure in short chiton and mantle1 and a spear in his left2 he has just arrived1 as one may conclude from the position of his feet4 ,immediately following are two youths entirely naked1 hands pinioned behind their backs4 ,the ends of the ropes seem to be held by the group of three youths following1 who are dressed as the first male figure except that two of them wear boots4 ,their attention1 like that of all1 is directed towards the female figure4 ,illustration3 ,fig4 #ag4 ,the arrest of ,orestes and ,pylades is given here1 and more definitely their appearance before ,iphigeneia4 ,to be sure the manner is entirely different from that on other monuments4 ,one expects ,iphigeneia to be in or near the temple of ,artemis and to be represented in a more concerned and active attitude2 and furthermore1 one looks for the altar 7v4 #gb71 and some indication of the fate which awaits the captives4 ,all these features are wanting4 ,that the artist endeavoured to represent the meeting of the priestess and the two ,greeks can1 however1 admit of no doubt2 that the necessary setting of the scene was omitted need be no more a matter of surprise to one than the helpless workmanship of the whole4 ,the monument is valuable as being the only vase painting showing the first scene1 which is never wanting on the sarcophagi#bcc4 ,this moment occurs likewise on certain other monuments#bcd4 ,the shepherd relates 7vs4 #bfj-cci7 how the discovery and capture were made2 how they learned that one of the two was named ,pylades2 and further that the prisoners had been conducted first to the king1 who after glancing at them 77 sent them to ,artemis and her priestess4 ,iphigeneia says to the boukolos in v4 #cdb1 1 and in v4 #dfg1 after her soliloquy and the song of the chorus1 she appears again on the stage where she meets the captives4 ,this is the moment1 very largely modified1 which the painting represents4 ,iphigeneia's first words are-- 1 ' 4 ,at this the guards are commanded to enter the temple and make ready for the offering4 ,our picture follows in one respect the traditional manner of representing the scene4 ,orestes and ,pylades are invariably nude1 or so lightly clad with the chlamys that they are practically naked4 ,there is the closest analogy between them as they appear here and as they occur on the sarcophagi4 ,illustration3 ,fig4 #ah4 ,the second moment1 as ,i have marked it out above1 is also represented on one vase only#bce4 ,in the centre ,orestes1 1 sits to the right upon a large altar1 chlamys about his hips1 sword on his left side1 hands supported upon his stick towards which his head is sunk4 ,the whole attitude betokens sorrow4 ,on the right is ,iphigeneia wearing long1 sleeved chiton1 and mantle1 necklace1 and bracelets4 ,in her left hand close by her side 7incorrectly published as a knife7 is the temple key which is emblematic of her office as #bcf4 ,her right is extended towards ,orestes1 with whom she is speaking4 ,she is accompanied by a temple servant who1 entirely wrapped in chiton and mantle1 carries in her right an oinocho and upon her head a dish in which are articles for the sacrifice1 including the branches for sprinkling4 ,behind ,orestes is a laurel tree and on his right ,pylades1 1 standing with one foot thrown over the other1 his right hand placed sorrowfully to his head4 ,the left rests upon his staff4 ,on his left side is a sword4 ,he is deeply concerned in the conversation4 ,above on the right behind a terrain is the temple of ,artemis1 ,ionic order1 and akroteria4 ,beside it on the left1 ,artemis1 distinguished by her huntress-mantle1 two spears1 and hair-dress1 sits with face to the left towards ,apollo who is the remaining figure on the vase4 ,he wears a garment around his waist1 and rests his right upon a cane and turns his face towards ,artemis4 ,the vase is especially interesting as being the only one on which any of the characters is accompanied by an inscription1 and secondly1 because ,orestes sits here upon the altar4 ,he cannot be thought of as a victim1 and ,i do not believe he has fled to the altar for refuge1 as has been suggested4 ,that would comport but poorly with the spirit which he exhibits throughout the interview4 ,where does ,orestes sit passively upon an altar at the attack of the ,furies8 ,he invariably has his sword drawn in a very emphatic manner1 and while he crouches upon or clings to the altar he never gives any appearance of being an easy victim to his pursuers#bcg4 ,just this point it is necessary to emphasize1 for had the artist felt that the meaning of ,orestes' position indicated his pursuit either by seen or unseen ,furies1 he never would have committed the egregious error of placing him in a calm attitude quite unconscious that he has a sword ready at his side4 ,furthermore there is no trace in ,euripides or the painting to allow us to assume that ,orestes is again pursued at this point4 ,he is not1 therefore1 in any sense a suppliant4 ,the vase painter has simply allowed himself a great liberty in seating his figure where we should least expect to find him4 ,an altar is not by any means a usual seat1 and much less for the victim#bch4 ,this same freedom in disposing of details led the decorator still further from the established usage1 for neither of the captives should be allowed their swords4 ,they are already 7v4 #dfi7 and should be represented accordingly4 ,in these particulars we must acknowledge that the painter idealized the scene 7vs4 #dgb ff474 ,if it were necessary to determine upon any one moment which the artist had in mind1 one would discover a close parallel between vs4 #fbe ff4 and the present scene4 ,it has been agreed that ,pylades shall be the messenger2 ,orestes is to die in his stead4 ,the latter proceeds to ask who shall perform the sacrificial act1 and whether a tomb shall receive him when all is over4 ,to this ,iphigeneia replies-- ' 4 and ,orestes-- ' 2 to which ,iphigeneia remarks1 1 1 ' 1 4 ,i can conceive of no more pitiable and hopeless condition than that of the unfortunate ,orestes which the poet depicts4 ,at this point his course seemed all in vain2 ,apollo's promise appeared to be a farce1 and ,heaven and ,earth seemed wrought into one violent confusion 7cf4 vs4 #egb f4 and #gaa74 ,perhaps it was at this juncture that he most impressed the painter1 and we may see the wretched ,orestes prostrate upon the altar in this moment of extreme despair4 ,artemis and ,apollo take no part in the action1 but there is a greater fitness in their position as spectators than is often the case with the gods on the vases of ,lower ,italy4 ,the former is a natural figure in her own precinct1 by her own temple1 while ,apollo1 as her brother1 properly balances the scene4 ,the latter1 moreover1 stands in so close a relation to ,orestes' trial and delivery that he is a most appropriate beholder of the progress of this his own enterprise 7cf4 v4 #igg74 ,mention should be made here of the sarcophagi1 on which essentially the same scene is found4 ,the agreement with our vase is striking#bci4 ,orestes sits with his head wrapped in his mantle and drooping on his lap1 while ,pylades stands before him1 always in the same attitude1 one leg thrown over the other1 one hand clutching his hair and the other resting on his stick4 ,this is a striking coincidence1 indeed1 in these two classes of monuments1 separated by at least four hundred years4 ,in the third step of the tragedy we are more fortunate and possess among vase paintings at least three that represent the transmission of the letter to ,pylades1 and the accompanying recognition between ,orestes and his sister4 ,it is not surprising that the supreme moment in the action should have attracted the artists1 and that on the sarcophagi#bdj also this unique point in ,greek tragedy should have been represented#bda4 ,illustration3 ,fig4 #ai4 #a4 ,the best known of the vases is an amphora formerly in the possession of the ,duke of ,buckingham#bdb4 ,in front of the temple of ,artemis1 ,doric order1 stands ,iphigeneia1 en face1 in richly embroidered chiton1 and high head-dress from which falls a sort of veil reaching to the knees4 ,she wears necklace1 bracelets1 earrings1 and sandals2 her costume bespeaks in every respect that of the theatre4 ,she carries again the token of her office in the left1 and hands the letter to ,pylades with the right1 who stands ready for the journey1 wearing chlamys1 pilos1 boots1 and carrying two spears4 ,further1 on the left1 leaning against the is ,orestes1 en face1 but with laurel-wreathed head turned towards ,pylades2 his right leg is thrown over the left4 ,he wears a chlamys1 and carries two spears and a sword4 ,beside ,iphigeneia is her servant1 as in fig4 #ah1 but with a simple girdled chiton1 and in her right the dish with articles for the altar which is represented in poor perspective behind ,iphigeneia4 ,above1 on the right1 before the temple doors1 is ,artemis in short1 huntress-costume and high ,thracian boots2 two spears in her left1 and a burning torch in her right4 ,she wears the ,thracian cap4 ,on the left of the temple behind a terrain is a young satyr1 no doubt thrown in to fill up the space4 #b4 ,the largest painting representing this scene is that on an amphora in ,st4 ,petersburg#bdc4 ,the centre of the picture is taken up by the temple1 four ,ionic columns4 ,inside on the right is the ,artemis statue1 costumed like ,artemis in fig4 #ai2 a burning torch in the right1 around which is bound a sort of decoration4 ,it is on a large pedestal1 and has in the left a spear4 ,on the left1 about to leave the temple1 is ,iphigeneia with an elegant chiton1 mantle1 a diadem in hair1 and the peculiar key in her left2 beside her1 and leaning against the wall1 is a kylix with long handle4 ,she makes a gesture towards ,pylades with her right in which there is no letter4 ,he stands on the left by the temple1 leaning against his knotty stick2 has petasos on the back of the neck1 and wears high boots and an escaping chlamys4 ,on the left1 lower down1 ,orestes leans on the 1 as in fig4 #ai1 but he is evidently more dejected here4 ,the rest of the painting1 which consists of five groups of two figures each1 has so little to do with the central scene that we may omit any description of it4 ,in the upper zone on the right are ,hermes and ,artemis1 on the left ,athena and ,nike4 ,athena will observe the final part of the affair in which she was so deeply interested in ,athens4 ,the two groups1 a female and an armed ,thracian1 represent the common #8love-scenes' on this class of vases4 ,for the third group on the right1 the artist preferred to draw a young deer instead of the female figure4 ,stephani#bdd is correct in calling these #8love-scenes1' and so separating them permanently from any part in the action4 ,countless such groups are thrown upon vases of this style as meaningless1 decorative figures4 ,the parasol1 wreaths1 and vessels serve to enrich the setting and add charm to the coquetry4 ,illustration3 ,fig4 #bj 7vid4 p4 #acc ff474 ,illustration3 ,fig4 #ba4 #c4 ,a vase1 formerly in the possession of the art dealer ,barone in ,naples1 shows an abridgement of the scene#bde4 ,in an ,ionic temple1 four columns1 and akroteria1 ,iphigeneia1 en face1 long chiton1 mantle1 hair done in a knot behind1 leans with her left elbow upon the 4 ,in her left is the temple attribute1 and in the right the letter which she extends to ,pylades1 in chlamys and petasos4 ,he leans against his stick1 and has a sword in the left1 while he points with the right towards the letter4 ,on the right are ,apollo and ,artemis4 ,the former1 nude except for a mantle and high boots1 grasps the laurel tree with his left1 and rests his right upon ,artemis' shoulder1 who sits to the left upon the altar and looks up to ,apollo4 ,she is dressed as usual with short chiton and high boots4 ,she has two spears in the left4 ,in setting these three paintings over against each other and comparing the elements in them1 the uniformity is very striking4 ,perhaps the details may be clearer if placed in a sort of scheme4 a4 ,elements common to all three vases4 #a4 ,temple of ,artemis4 #b4 ,iphigeneia in elaborate dress1 indicated as the 4 #c4 ,a youth in travelling costume1 with whom she is talking4 #d4 ,artemis on the right of the temple4 b4 ,elements common to two of the three vases4 #a4 ,in figs4 #ai and #bj a youth leans against the 1 resting on one leg over which the other is thrown4 #b4 ,in figs4 #ai and #ba ,iphigeneia hands the letter to the youth4 #c4 ,the ,artemis is in the temple in figs4 #bj and #ba2 so also is ,iphigeneia4 ,we thus observe that the remarkable agreement1 even in the details1 shows that they must all be copies more or less exact of one and the same original4 ,that ,iphigeneia in fig4 #bj does not hold the letter in her hand may be accredited to the carelessness of the artist who merely forgot to paint it4 ,the same may be said with regard to the abridged form of the scene in fig4 #ba1 where ,orestes has been left out4 ,the two central figures appeared to the artist to be the important part of the original1 and accordingly he omitted all else4 ,immediately following the scene represented in fig4 #ah1 ,iphigeneia entered the temple to get the letter-- ' 1 ' 4 v4 #fcf f4 and ordered the guards to watch the two without binding them4 ,thereafter ensues the touching scene between ,orestes and ,pylades 7vs4 #feg-gbd74 ,the priestess then reappears1 and commanding the attendants to go inside1 continues-- 1 1 ' 1 '4 ,orestes speaks first after these lines and asks her what she wishes4 ,it shall be an oath for the safe delivery of the letter4 ,at this he demands a counter-oath from her for the safe withdrawal of ,pylades from the country4 ,we may imagine that during the delivery of these verses1 which were probably spoken while ,iphigeneia was still in the temple doorway1 ,pylades had approached her to receive the letter1 while ,orestes stepped to one side as he appears in figs4 #ai and #bj4 ,in vs4 #gfi-ghg the contents of the letter are related to ensure safe transfer of the message1 even though the written words be lost in a shipwreck4 ,this is the time represented on our vases4 ,the hopelessness of ,orestes requires1 moreover1 the earlier part of the scene1 since from v4 #ggb he begins to be aroused and to prove his brotherhood to ,iphigeneia4 ,the is complete at the close of v4 #hbf1 and there follow the fourth and fifth stages which were noticed above#bdf4 ,neither of these movements is1 so far as ,i am aware1 shown on any vase painting1 although they are an important part of the reliefs on the ,roman sarcophagi#bdg4 ,in conclusion1 mention should be made of the wall paintings which represent the departure of the three with the statue to purify it in the sea4 ,the first and most important of these is the fine casa del citarista painting#bdh4 ,robert first correctly recognized the right meaning of this beautiful monument and based it upon the poet#bdi1 thereby bringing it into harmony with the sarcophagi4 ,that he was happily correct in reading the time in the painting after the recognition1 contrary to ,helbig's interpretation#bej1 is nicely borne out by the painting recently discovered in the casa dei ,vettii#bea1 which is another copy of the same original#beb4 ,the variations are1 however1 enough to render any misunderstanding of it impossible4 ,here there is no temple1 and ,iphigeneia occupies the centre between ,orestes and ,pylades on the left1 and ,thoas on the right4 ,she carries plainly the temple on the left shoulder4 ,furthermore1 the unconcerned attitude of the two prisoners in their tte--tte points clearly to the proper significance of the scene4 ,curiously enough ,orestes appears to sit on the altar here as on the vase painting1 fig4 #ah4 #h4 ,,kyklops4 ,the satyr dance1 the earliest form of the ,greek drama and the simple beginning from which the immense superstructure of tragedy took its start1 continued1 in the satyr composition which followed the regular trilogy1 to remind the public of the original plan and tendency of the performances in honour of ,dionysos#bec4 ,till late in the fourth century ,b4,c41 at least1 this echo of the original ,dionysiac festival remained in vogue4 ,the ,kyklops of ,euripides is the only example of this sort of composition which has reached us1 and although the present work is concerned with tragedy and vase paintings ,i cannot refrain from including here a painting that is under the influence of this unique relic of ,greek literature4 ,the connexion between the satyr-play and tragedy is certainly intimate enough to warrant the introduction of the present chapter4 ,every one is acquainted with the story of ,odysseus' adventure with the ,kyklops ,polyphemos4 ,since the author of the ,odyssey threw a charm around the story1 this event in the wanderings of the hero has remained one of the most popular4 ,in early ,greek art there are numerous monuments based upon the myth4 ,the black figured vases represent two critical moments4 #a4 ,the blinding of ,polyphemos4 #b4 ,the escape of ,odysseus and his companion from the cave4 ,a long list of paintings tells this story over and over again1 with little variation#bed4 ,the artists evidently became tired of the monotony of the subject1 for it is practically dead at the beginning of the fifth century4 ,there was nothing new in the tale2 it was distinctly epic1 and for this very reason had its day and gave way to new motives in the dramatic literature4 ,at the end of the century there was a revival of the myth4 ,it gained a new lease of life through the ,kyklops of ,euripides1 and once again all eyes were turned towards the old ,homeric fiction4 ,when the poet introduces ,seilenos and his company of satyrs as slaves to ,polyphemos1 and turns the fortunes of ,odysseus1 on his arrival at the cave1 by the intervention of this new element1 the artist had certainly a new incentive4 ,the rollicking1 lusty antics of the tribe of satyrs had ever been the red figured vase painter's delight1 and when ,euripides connected them with the adventures of ,odysseus and the ,kyklops the old story was ingrafted with a vigorous shoot#bee4 ,timanthes1 whom we have already met#bef1 very likely owed it to ,euripides that he associated ,polyphemos with satyrs#beg4 ,an interesting vase painting1 which may be dated cir4 #daj ,b4,c41 bears strong testimony to the influence of the ,kyklops in ,lower ,italy#beh4 ,illustration3 ,fig4 #bb4 ,the picture appears in fig4 #bb4 ,in the foreground ,polyphemos lies stretched out in his drunken stupour#bei2 beside him is a stump on which hangs an empty wineskin1 and on the ground a bowl4 ,in the centre three youths1 the middle one wearing a pilos1 are busy tugging at a log4 ,two others on the left bring fire-wood to kindle the large stick#bfj2 another youth1 probably ,odysseus1 in pilos and chlamys1 directs the work from the opposite side4 ,two bearded satyrs1 with the usual horse-tails1 caper around on the right#bfa4 ,the whole painting breathes with the spirit running through the ,kyklops4 ,the impression gained by reading the play is remarkably well supported by a study of the former4 ,there is no detailed agreement between the two which strikes one1 for the situations in ,euripides are not closely followed4 ,there is1 however1 the same stamp of originality and newness characterizing both4 ,the painting is a revelation to one who has seen only the earlier ,homeric monuments4 ,it may first be noticed that ,polyphemos is represented outside of his cave1 and that the attack upon his big eye is about to take place4 ,this is quite opposed to ,homer and ,euripides1 yet more than half the charm of the scene lies in the navet with which the artist disposes of the giant4 ,a glance at the words of the poet will make this clearer4 ,odysseus and his chorus of satyrs have fixed upon the means for overcoming the ,kyklops4 ,they beg ,odysseus for permission to take a hand in preparing the fatal pole2 1 4 v4 #dgb4 says the son of ,laertes1 but when he came to the point where he really needed their help they made every manner of excuse2 some were suddenly seized with lameness2 others had dust in their eyes4 ,but he knew that it would turn out so1 and he relies on his own companions1 444 ' ' 4 vs4 #fej f4 ,this is well brought out1 whether intentionally or not ,i do not say1 for it is ,greeks who are lifting the 1 and as for its size every one will agree that it is 4 ,the two satyrs1 representing the chorus1 dance around lustily the while1 having smelt the contents of the wineskin 7v4 #aec f474 ,as soon as the plan has been decided upon1 ,polyphemos appears again1 having already sated his appetite on two of the ,greeks1 and having had at least a taste of the wine4 ,what could prepare one better for the appreciation of the figure on the vase than his own words8 1 1 4 ' 1 4 1 1 ' 4 vs4 #ejc ff4 ,his proposal to go and share his good fortune with the brother ,kyklopes does not meet the approval of ,odysseus1 who bids him keep his good things to himself and enjoy them4 ,seilenos goes even further and says-- 4 v4 #edc4 and ,polyphemos takes up the suggestion at once1 for we hear him ask ' 2 v4 #ede4 ,there can be little doubt that these verses particularly interested the artist4 ,well satisfied with the newly discovered drink1 the ,kyklops has dropped down upon his side as ,seilenos recommended4 ,the 1 which he ordered extra1 hangs beside him and upon the ground is a bowl#bfb4 ,both of these have evidently been drained4 ,the inhuman monster sleeps on1 quite in the manner of ,euripides1 in the presence of the active preparations for his own ruin4 #i4 ,,medeia4 ,the heroine of this tragedy of ,euripides is one of the most imposing and terrible figures that has come down to us from ancient ,greek literature4 ,it is not1 however1 the magician of strange power1 who assisted ,jason in winning the ,golden ,fleece and in performing his other ,kolchian adventures1 that overawes one2 neither is it the sorceress who worked her wonders on ,pelias1 but rather the ,medeia who avenged her slighted honour through the destruction of ,jason's newly won bride and his two sons2 it is the ,medeia at ,corinth that we know best1 the ,medeia of ,euripides4 ,this chapter in the barbarian's career assumed under his hand a prominence which far exceeded anything that had gone before4 ,euripides' ,medeia has remained ever since the ,medeia of art and letters4 ,in early ,greek art ,medeia is not a common figure1 and when she does occur it is invariably as the sorceress#bfc4 ,in this rle one meets her on both black and red figured vases#bfd1 and on the famous relief in the ,lateran#bfe4 ,after the beginning of the fourth century ,b4,c4 the ,corinthian ,medeia predominates4 ,as such one finds her on vases from ,lower ,italy1 ,apulia and ,campania especially1 on ,pompeian wall paintings#bff1 on terra cottas#bfg1 gems#bfh1 and the ,roman sarcophagi#bfi4 ,illustration3 ,fig4 #bc 7vid4 p4 #ade ff47 ,the most famous vase upon which we find ,medeia is the great amphora in ,munich#bgj1 found in ,canosa1 the ancient ,canusium1 in ,apulia1 ,oct4 #af1 #ahac4 ,the painting consists of three sections of figures parallel with the perimeter of the vase4 ,the two upper ones are divided in the middle by a building with six ,ionic columns4 ,on the inside hang two round shields--a common decoration in this sort of picture4 ,on the right1 inside of the house1 is a chair or 1 over the arm-rest of which a richly dressed female figure has fallen2 above on the frieze the inscription 7sc4 7 shows the person to be ,kreusa1 or ,glauke#bga1 the daughter of ,kreon4 ,rushing rapidly towards her from the right is a youth in petasos and chlamys4 ,he has already reached the upper step of the palace and is attempting to remove ,kreusa's head-dress4 ,incised in the vase is the name #bgb4 ,on the left an elderly male figure1 bearded1 wearing long1 richly embroidered chiton1 hurries to ,kreusa4 ,one hand is placed behind her as though to support the body2 the other1 from which the sceptre has just fallen1 clutches his hair4 ,he gazes to one side in a dazed sort of manner4 ,on the frieze above is 1 evidently the last letters of #bgc4 ,to the left outside of the palace1 and somewhat lower1 an elderly woman in long chiton and mantle runs toward the scene of the tragedy1 extending her left hand and holding her right to her head in the usual attitude of fright4 ,she is designated by the inscription1 incised1 as #bgd--most likely the wife of ,kreon4 ,further on the left is a group of two1 a pedagogue in the usual costume1 and a female attendant4 ,the former is hurrying towards the palace1 while the latter attempts to divert him from his onward rush4 ,to the right from ,hippotes is another female figure1 en face1 who appears to be leaving the palace4 ,her dress1 especially the veil1 and her bearing point her out as a nurse or servant of ,kreusa4 ,just in front of the latter upon the ground is the open box in which the baneful presents were brought4 ,the lower section is divided into two parts by ,medeia's dragon-chariot1 held in readiness by the charioteer with a burning torch in either hand4 ,the upper part of the latter's body is nude4 ,there can be little doubt that the figure is female4 ,the inscription shows it to be 1 the personification of ,medeia's rage4 ,on the left1 ,medeia1 #bge1 with richly decorated oriental costume and ,phrygian cap1 advances to the right with drawn sword to kill one son whom she grasps by the hair with the left hand4 ,it is not easy to say whether the boy has taken refuge on the altar1 or whether his mother has lifted him upon it4 ,more probably the latter is true4 ,the lad is nude1 with the exception of a garment over his left shoulder4 ,he wears bracelets and on the left leg an anklet4 ,immediately behind ,medeia a doryphoros1 dressed as ,hippotes1 but with two spears instead of a sword1 hurries to the left with the second boy1 dressed as is the other4 ,on the right of the chariot and hastening impetuously to rescue his son is ,jason1 4 ,he is bearded and has a sword and long spear4 ,his chlamys is thrown over his left arm4 ,beside him1 but moving at slackened speed1 another doryphoros extends the right hand towards the chariot as though to warn ,jason of the futility of his intervention4 ,above this group on the right is a bearded male figure1 pointing towards the events transpiring below4 ,he wears a long royal dress and ,phrygian cap1 and carries a sceptre in his left4 1 incised1 indicates him as the ghost of ,aetes1 ,medeia's father4 ,the upper section is bounded on either side by a ,corinthian column surmounted by a tripod4 ,herakles1 with club1 bow and quiver1 and lion's skin1 stands on the left facing ,athene1 who sits upon a terrain4 ,she has her helmet in her right hand and leans against her shield4 ,the spear is not wanting4 ,on the right are two male figures1 one sitting1 the other standing4 ,the oil-cruses and strigils1 as well as the two stars and the pilos1 near the one who sits1 designate them as the ,dioskouroi4 ,we turn now to a closer consideration of our vase to see if it is under the influence of ,euripides4 ,starting with the scene which the vase painter has given us in ,kreon's palace1 one cannot but be struck with the agreement between the picture and the scene described by the poet through the mouth of the messenger in the celebrated speech1 vs4 #aacf-abcj4 ,this wonderful passage is the triumph of ,euripidean rhetoric in the ,medeia4 ,the two boys1 together with their father1 had entered ,kreusa's apartment conveying the box with the rich vestment and golden crown1 and she1 who had refused to listen to words and be softened1 was1 woman-like1 melted by these unexpected gifts4 ,she accepts them1 and father and sons retire4 ,she then arrays herself before the mirror1 admires her beauty1 retreats across the room with proud1 exulting step1 all too captivated by her gracious figure1 when the terrible moment comes-- 4 vs4 #aafh-aagj4 ,there is a remarkable harmony between these words and the picture upon the vase1 where ,kreusa lies a helpless mass across the arms of the 4 ,her attitude suggests to one's mind exactly the idea in 4 ,rarely has a vase painter come nearer to illustration than here4 ,it had1 indeed1 been far easier to paint ,kreusa in her fallen position upon the floor1 ' 7v4 #aaie71 where the chair and the form of the body would have presented no such difficulties in drawing as they do in the present position#bgf4 ,why was this not done8 ,simply1 as ,i am convinced1 because the painter chose to present the most tragic moments1 and shape them into the greatest possible dramatic effect4 ,he seized the crisis in ,kreusa's dread struggle1 when1 doomed by the poison and flames1 she dropped across the chair4 ,here1 as in the scene below1 the vase painter has given evidence of dramatic power of a high degree1 and ,i venture to think that had he not been an artist he would have been a tragedian4 ,kreon1 who1 of course1 could not be represented as falling upon the body of ,kreusa as he entered the room1 7v4 #abje71 while she was still resting on the chair#bgg1 is painted in the first moment of reaching the unfortunate one4 ,he places his left hand under her body1 and1 overcome by the horror of the sight1 lets fall his sceptre from his right hand as he gazes for a moment in transfixed agony from his daughter's situation4 ,the position of the arms is exactly that of the same figure on the sarcophagi reliefs#bgh1 and no doubt would be traceable through the five intervening centuries if the monuments were at hand4 ,our vase would appear to represent here a tradition that was always closely followed in representing ,kreon in an upright position4 ,merope1 the mother1 who is mentioned in ,corinthian legends only as the wife of ,sisyphos#bgi and of ,polybos#bhj1 does not appear at all in ,euripides4 ,the painter's principle was to name all the chief figures on the vase1 and it is not necessary to point out here another source than the ,medeia of ,euripides4 ,a name thus known as belonging to ,corinthian royal families would be a natural invention for the wife of ,kreon if there was no legend to provide further information about her4 ,i hold this painting1 however1 as adequate evidence that there was a third ,merope known in ,corinth#bha4 ,that the mother as well as the father should be represented here is further witness of the spirit which the poet breathed into his work4 ,medeia's fixed determination to ruin all her enemies at one blow and to root out the whole royal house in a day 7vs4 #cgc f47 is expressed in the extended scene here given1 in a manner well calculated to inspire the beholder with much that lies between the lines in ,euripides4 ,there is absolutely no reason for claiming this scene as an extension of that given in the poet1 and therefore based upon a post-,euripidean tragedy4 ,one who denies the vase painter the right to introduce figures foreign to the poet fails utterly in comprehending the spirit of the fourth and third century vase painting4 ,the artists followed the number of characters in the poetical version no more slavishly than they did the disposition and movement of the same4 ,starting with what the poet gave them and holding this in mind as a guide and inspiration in certain details1 the painters proceeded to create1 as independent artists1 a similar scene1 transfused1 however1 with their own alterations4 ,it is to be expected that in the over-filled vase paintings of ,apulia and ,campania one will find figures that show a wide liberty on the part of the painters1 and that illustrate well how much the severe methods of the ,athenian vase painters had been altered in ,magna ,graecia4 ,another instance of this same independence of the painter is seen in the introduction of ,hippotes1 to whom there is not the slightest reference in ,euripides4 ,in vs4 #aafh-abjc1 where ,kreusa's fate is described1 no one is referred to as present except the female attendants1 who were possessed with terror and lent no aid to their mistress4 ,kreon unexpectedly entered1 1 and soon succumbed1 a victim together with his daughter4 ,why does ,hippotes appear on the vase as the one who is trying to liberate ,kreusa8 ,with ,vogel#bhb again the answer liegt auf der ,hand3 weil ,euripides nicht die ,quelle der ,darstellung ist4 ,because the painter enlarged the scene of the poet1 and was more tragic and more dramatic than ,euripides1 a later or at least another version of the myth is claimed as his authority4 ,this appears to me altogether improbable and unnecessary4 ,it is improbable because1 as we have abundant reason to believe1 ,euripides' version of the myth was1 both in ,greek and ,roman times1 the most popular#bhc4 ,other ,medeias are mere names4 ,furthermore our vase cannot be dated later than the second half of the fourth century ,b4,c41 i4 e4 not much more than a century after the first appearance of the ,medeia in #dca ,b4,c4 ,this is an important fact which seems to have been mostly overlooked4 ,euripides1 it must be remembered1 ruled the fourth century ,b4,c4 as the prophet of the time1 and was hailed by the ,greeks of the colonies and the motherland with universal admiration4 ,it is safe to say that no ,greek poet was more upon the lips of the people or more in their hearts4 ,tardy as was the recognition of his genius during his lifetime1 the extent of his posthumous fame was unparalleled and his name rang through ,alexandrian and ,hellenistic times as that of one of the immortals4 ,are we to suppose then that a vase painter of ,magna ,graecia1 who might have lived with those who had seen ,euripides1 was1 in dealing with the ,medeia myth1 under the influence of some poet of a day8 ,was an artist who lived in this proximity to ,euripides' own time likely to follow the guidance of any other than the great master who created the ,medeia character and started her down the centuries in that unexampled rage and fury8 ,we dare1 moreover1 go further and claim with ,robert that die ,vasen stehen der ,auffhrungszeit der ,medeia so nahe1 dass sie den ,werth directer ,zeugnisse beanspruchen drfen#bhd4 ,this explanation is unnecessary1 for1 as we have already pointed out1 the vase painters gave less heed to the subject-matter and the details of the traditional types than to the general effect and dramatic arrangement4 ,it was possible to double the dramatic effect here through the introduction of the bride's brother1 and the painter did not hesitate to place him on the vase1 although the poet did not refer to him4 ,the onward rush of this finely drawn figure1 with his chlamys fluttering in the wind1 has altogether a dramatic air and brings one to feel that the theatrical element1 so much in the background in the fifth century ,b4,c41 had taken possession of the fourth century work#bhe4 ,it is surprising to find with what persistency certain scholars refuse such additions as incompatible with the dependence of the work on a given literary source4 ,if the artist has done more than illustrate1 all relationship between him and the poet is denied4 ,but let us turn to a famous work where illustration pure and simple is meant1 and we shall discover that if one follows even there this mode of criticism1 the poet and the drawing which is meant to illustrate him will have to be divorced4 ,i refer to ,botticelli's drawings for ,dante's ,divina ,commedia#bhf4 ,each drawing is intended to bring out the events of the canto to which it is devoted1 and so one expects only the incidents of one canto to appear in one drawing4 ,the illustration for the ,inferno1 canto ii1 represents ,beatrice swinging upward in the air1 to whom ,virgil is pointing and calling ,dante's attention4 ,this is all a pure invention of the artist as ,beatrice is simply mentioned in the text1 and not at all thought of as present or appearing to the two pilgrims4 ,had ,botticelli then some other story in mind1 and was there another version of ,dante than that which we have8 ,certainly not4 ,the artist1 although in this place engaged as a mere illustrator1 read his own notions into ,dante and put them into his drawing4 ,again1 even on the same plate1 the entrance to the ,inferno is shown with the words per me over the door4 ,this scene belongs to canto iii1 where in fact ,botticelli again introduces it4 ,if1 therefore1 the third canto and the drawing that belongs to it had never reached us but we did possess canto ii and its illustration1 how would the critics who read the ,greek vases as we have indicated1 dispose of ,botticelli and his faithfulness to ,dante8 ,they would all declare that the famous painter must have had another text which he followed4 ,and so one may go on multiplying instances in this one work to show that an artist1 even when he set out to follow the poet1 was not able to do so#bhg4 ,there are also among the ,pompeian wall paintings#bhh some that are mere illustrations and are in the spirit of this sort of work1 and yet they show various peculiar changes and additions contrary to the epigrams on which they are based4 ,one is to remember therefore that in the vase paintings1 where a more independent form of art is found than in illustrations1 a liberty in adding or omitting figures1 that may often disturb the form of the myth1 is to be allowed4 ,to select one example from many3 ,euphronios#bhi on the ,eurystheus kylix represents ,sthenelos and his wife as present when ,herakles brings the boar and is about to drop it into the cistern where ,eurystheus has taken refuge4 ,that the latter was king and had imposed the labours on ,herakles1 was proof enough that ,sthenelos was already dead4 ,how then did ,euphronios dare to place him on the vase8 ,evidently because he took little heed of the exactitude for which modern scholars would call him and others of his trade to account4 ,the old nurse who observed the first signs of her mistress' precarious condition-- 444 7vs4 #aaga-gc7--or one of the numerous attendants present 7v4 #aagf7 may be recognized in the figure to the right from ,hippotes4 ,perhaps this is more correctly the one who broke away to convey the sad news to ,jason-- 1 7vs4 #aagh f474 ,this person with the matronly air always occurs on the sarcophagi1 but in the scene where the two boys are handing over the gifts to ,kreusa#bij4 ,the position of the pedagogue on the opposite side is not so incongruous as many have thought4 ,there is really no reason for considering him a sort of connecting link between the middle and lower sections1 as ,robert has done#bia4 ,let us follow the pedagogue and the boys through the play4 ,at vs4 #df f4 of the prologue the nurse reports the latter as returning from their sport-- --and in vs4 #hi ff4 she orders them inside the palace1 '1 1 1 1 and commands the pedagogue to keep them at a safe distance from their mother1 ' ' 1 4 ,at v4 #aje the three disappear and nothing more is heard of them till ,medeia1 who is addressing ,jason and the chorus1 cries out in v4 #hid-- 1 1 1 1 '4 ,hereupon the boys appear in the orchestra1 unaccompanied by their pedagogue1 and remain with ,medeia and ,jason till vs4 #ifi ff41 where their mother hands them the gifts and bids them go1 7v4 #igd71 to ,kreusa and place the same in her hands4 ,they then depart with their father and deliver the presents in the manner afterwards described by the messenger 7vs4 #aacf-aaee71 and in company with ,jason leave ,kreusa's apartments4 ,just outside somewhere the pedagogue joins them and appears with the children in the orchestra to inform ,medeia that her sons have been pardoned 7vs4 #ajjb ff474 ,immediately thereafter she orders the pedagogue to go inside1 444 ' ' 4 vs4 #ajai f4 ,as he re-enters the palace the terrible news reaches him1 through1 one of the female attendants1 that ,kreusa is possessed with some strange malady4 ,it is at this juncture1 dramatic in the extreme1 that1 as it seems to me1 the vase painter thought of the pedagogue4 ,the latter has forgotten ,medeia's command to arrange the boys' program for the day and is determined to go to the apartments whence comes the great alarm4 ,the attendant1 however1 endeavours to dissuade him1 and the artist has even represented her in the attempt to deter the sturdy old pedagogue from carrying out his resolution4 ,while all this is happening within the palace1 ,medeia gives expression to the great battle that is going on in her bosom4 ,the speech is one of the finest in ,euripides4 ,shall she now go ahead and kill her children1 or is the courage lacking8 ,she finally bids them enter the house 1 1 7vs4 #ajec and #ajgf71 and soon follows them4 ,the death-cries of vs4 #abga ff4 are heard not long afterwards4 ,we have therefore no reason to infer from anything in ,euripides that the pedagogue ever met the boys again4 ,the fact that he is so often represented in the death-scene#bib is simply due to the fancy of the artists4 ,it is natural to think of him in company with the boys4 ,the vase painter has in the present instance shown us the whereabouts of the pedagogue when the poet had passed him by4 ,the lower section1 which represents the events directly succeeding those in the one just considered1 completes the dread vengeance work of ,medeia4 ,the artist had an opportunity here to follow largely his own notions in disposing of the details1 for in the last moments when horror followed close upon horror1 and the royal house of ,corinth was shaking to its foundations1 ,euripides hurries us on with great rapidity and omits many of the particulars4 ,medeia moves with resistless fury through the last part of the bloody drama1 till she at last disappears upon her chariot4 ,what was the vase painter to do with all this8 ,it is plain that he felt himself compelled to combine1 for greater effect1 different moments4 ,medeia enters the palace after the triumphant address in vs4 #abcf-abej1 and a moment later the cries of the boys are heard within4 ,jason1 aroused by the ruin wrought upon ,kreusa1 suddenly appears and asks where ,medeia is1 and remarks that he must save his sons from the fury of the populace 7vs4 #abic-acje74 ,he at once learns the whole truth1 and orders that the palace doors be thrown open that he may behold the scene of murder4 ,medeia appears then on her chariot1 rolled out upon the ekkyklema4 ,she stands thus during the final dialogue with ,jason 7vs4 #acag-adjd7 till she disappears by the aid of the ,flugmaschine#bic4 ,from these elements the vase painter selected the murder scene1 which1 not being described by ,euripides1 could be represented in any manner that struck his fancy4 ,he made this the centre about which all else was grouped2 all eyes are turned upon ,medeia and the altar4 ,in this disposition of the matter other details had to be sacrificed4 ,the chariot1 which could not be wanting1 had to have a charioteer1 and as ,medeia was not ready to mount it herself1 the personification of the ,medeia-spirit is the natural figure that the artist would select4 ,jason1 again1 to omit whom would have been unpardonable1 had to be painted in the act of rescuing or attempting the rescue of his sons4 ,so we see that the three moments discernible in the poet1 7a7 the murder1 7b7 ,jason's appearance to save the boys1 7c7 the chariot and the escape of ,medeia1 are all worked together by the artist into a strong complex4 ,one feels no incongruity in the picture1 and is forced to agree to a large amount of success that the artist has enjoyed here4 ,since the pedagogue appears in the scene above1 the artist uses one of the ever convenient doryphoroi as a companion to the boys or rather as rescuer of one of them#bid4 ,it is immaterial whether the painter intended to represent the one boy as actually out of danger or not4 ,a great many useless words have been spent in trying to show that the vase painter has here followed a tradition referred to by ,diodorus ,siculus#bie1 who relates that one child escaped-- 4 ,this is not only highly improbable#bif1 but1 more than that1 speaks for a superficial reading of ,diodorus on the part of those who use this quotation4 ,it appears that nothing more of the chapter had been read than it was necessary to quote4 ,in the first place1 what can above refer to if not to more than one1 and therefore to at least two8 ,but where upon our vase or upon any other monument does ,medeia appear with three children#big8 ,it would seem1 therefore1 that1 because the vase painter drew the scene as he did1 this very inapt quotation is brought out to bolster up an unnecessary theory4 ,is it necessary to conclude with numerous scholars that ,oistros upon the chariot represents one of ,pollux's 7iv4 #ada78 ,does our painting necessarily go back to some tragedy in which the personification1 ,oistros1 appears before the audience as ,medeia's charioteer8 ,it has already been pointed out that the moment which the vase painter chose to represent never was visible in the theatre of ,euripides4 ,what happened before the palace doors were unbarred1 in v4 #acad1 could be painted in a hundred different ways1 and still be inspired by the poet from v4 #abga to v4 #acaf4 ,it is true that ,euripides does not mention 1 much less as ,medeia's charioteer4 ,what need had he to introduce any personification of her rage and fury to guide the chariot1 when1 at the first glimpse of it in v4 #acag1 ,medeia manages it herself8 ,any one who thoroughly works himself into the situation that the painter has shown upon the vase cannot help seeing that ,medeia's double1 her burning and infuriated barbarian wildness1 the spirit shown in vs4 #abcf-abej1 was a natural and easy subject for embodiment under the name 4 ,this personification is not met with in ,euripides1 and has naturally caused much stumbling4 ,it should1 however1 be compared with 1 with which it has much in common4 ,orestes says to ,pylades1 7i4 e4 the ,furies7 ' '#bih1 and two verses further on1 4 ,thus the use of the caused 4 ,the step to the personification of a figure ,oistros would easily follow from some such development as this1 and ,i hold both words to cover the cause and effect in the case mentioned4 ,as ,lyssa was a favourite figure with ,euripides1 we may examine still another place where the rle that she plays is much the same as that which ,oistros takes in the painting4 ,in ,her4 ,fur4 vs4 #hhj ff41 the chorus describes ,lyssa as travelling upon a chariot#bii4 1 ' 1#cjj #cja 4 ,here at least one has adequate evidence that the vase painter did not paint an unknown scene1 even though he did prefer to call his figure #cjb4 ,the shade of ,aetes#cjc1 a pure invention of the artist1 has been held to refer to a post-,euripidean tragedy4 ,one finds such pedantic ingenuity used in explaining this figure that the would-be-learnedness borders upon the ridiculous4 ,it is affirmed1 for example1 that somewhere it must have been stated for the vase painter that ,aetes had died since ,medeia left him#cjd4 ,how far1 pray1 did vase painters concern themselves about such points of chronology or sequence of events8 ,we have already pointed out in regard to these artists that they introduced and omitted characters just as they chose2 and especially is this true in regard to such side-figures as ,aetes is here4 ,then again1 why is any literary source necessary to prove the old man's death8 ,it was but the natural course of events that the painter followed when he concluded that ,aetes was among the shades4 ,it is absurd to require some proof that the unlucky king had1 within the long period of ,medeia's absence1 passed into the world of spirits4 ,it seems to me that there are two views that can adequately explain this addition to the picture1 and with either one in mind the vase painter would have needed no post-,euripidean work or painting but simply the ,medeia tragedy to inspire him4 ,robert#cje pointed to vs4 #ca ff4 of the prologue as furnishing perhaps the suggestion for this figure1 but that is but a small part of the whole suggestion1 and it is well to follow this note which recurs in many places1 and is1 to my mind1 a very important part of the ,euripidean conception of ,medeia4 ,i give herewith the various places where this element may be discovered4 ' '1 ' 4 vs4 #ca f4 1 1 4 vs4 #aff f4 ' 4 v4 #dhc4 1 2 vs4 #ejb f4 ' ' 4 vs4 #hjj f4 ,these repeated allusions to her father and her former home seem to me to express in a strong manner what the painter chose to develop into the ghost-figure4 ,aetes appears here to behold the retribution that is overtaking ,jason2 and his participation in the fearful tragedy emphasizes the secret power in ,medeia1 her sorcery1 and her chariot4 ,the artist read between the lines and discovered the spirit of the poet1 and this he has successfully reproduced4 ,a similar instance was noted in the liberty assumed by ,botticelli in including ,beatrice in the second plate to the ,inferno#cjf4 ,in the second place the emphasizes the barbaric element in the ,medeia-,jason history1 and impresses the beholder with the workings of barbarism versus ,hellenism4 ,this chord is1 moreover1 continuously struck by ,euripides#cjg4 ,the poet endeavours from first to last to keep up the keenest distinction between ,greece and ,kolchis1 between ,jason's family and that of ,aetes4 ,there was1 moreover1 an opportunity1 in introducing this oriental king1 to add features strikingly characteristic of the ,apulian vase paintings#cjh4 ,the elegance and display of costume peculiar to the ,persian and ,asia ,minor kings were attractive for an artist1 and the introduction of ,aetes' shade was a happy invention that went far towards making the deeper meaning of the poet plain4 ,the deities1 who1 as spectators1 are an important part of the paintings on so many ,lower ,italy vases1 are arranged in the upper section4 ,they need not have any particular connexion with the incidents before them4 ,the ,olympian sympathy with earthly affairs was a favourite theme with the artists of the time1 and a satisfactory number of participating divinities is usually added where important events occur4 ,herakles and ,athena seem to be but indifferently interested in what is happening below them1 although the former was intimately associated with the ,argonautic expedition#cji1 and the latter was the promoter of the enterprise#caj4 ,the ,dioskouroi1 who likewise took a large part in the adventures of the voyage1 are fitly represented here#caa4 ,they are1 however1 giving no heed to the tragedy4 ,it is enough if the painter has recalled for us the famous voyage and shown us the prelude1 as it were1 to the drama played in the two lower sections4 ,the panorama of ,jason and ,medeia's life together passes before us in distinct scenes4 ,by painting the participants in the expedition and also the shade of ,aetes the artist has heightened the effect of the double tragedy which the poet made famous4 ,such is the painting on this celebrated amphora1 which ,i do not hesitate to call ,euripidean4 ,another monument which also shows ,kreusa's death is a vase from ,pomarico1 now in ,naples#cab4 ,illustration3 ,fig4 #bd4 ,kreusa has fallen from the that occupies the middle of the scene1 and in a half-sitting posture upon the floor endeavours to remove the head-dress4 ,before her is the open box in which the presents were brought4 ,a mirror hangs on the wall4 ,she is dressed in the ,ionic chiton with mantle2 has earrings and one bracelet4 ,she stares at ,kreon1 who hurries toward her with outstretched right hand4 ,he has the sceptre in the left hand1 is bearded1 bald1 and wears a chiton which has slipped down to his waist4 ,to the left a female figure rushes away en face1 and1 watching ,kreusa1 makes the gestures of one terror-stricken4 ,she is dressed like the latter except the earrings and necklace4 ,jahn called her a companion of ,kreusa1 considering that if she were ,merope of the ,munich vase she would be approaching her daughter and not leaving her4 ,i prefer to see in this figure one of the attendants who in vs4 #aagg ff4 spread the news4 ,it is true that the appearance of the figure is that of a more important personage than a servant4 ,the latter are not usually represented wearing jewellery and fine costumes1 and yet the attendant on the ,munich vase1 who is endeavouring to divert the pedagogue1 is quite as richly dressed4 ,in the present instance1 however1 the drawing is very careless and the workmanship is of an inferior sort4 ,i believe1 therefore1 that the artist either did not know the fitness of things1 or else took no pains to indicate that this figure was a servant or attendant4 ,when he had once drawn such a miserable king as ,kreon is1 hobbling along in a ridiculous manner1 he might well have slipped into the other extreme of painting a nurse in a lady's garb4 ,the scene is based upon the messenger's speech1 vs4 #aagf ff4 ,the pedagogue on the right1 who is hurrying away the two boys wrapped in cloaks1 is a reminiscence of vs4 #aaeg ff4 where the father1 ,jason1 goes away with them4 4 ,the winged ,fury sitting in the upper right-hand corner observing the scene might well be expected as a spectator4 ,the suggestion for her may be found in ' ' ' 4 vs4 #abei f4 ,the murder of the boys inside of the palace is painted on a ,nolan amphora in the ,cabinet des ,mdailles in ,paris#cac4 ,medeia in ,greek dress and ,phrygian cap has slain one boy1 who lies over the altar1 either extremity touching the floor4 ,she stands1 en face1 with the other child grasped fast by the hair4 ,this hand also holds the sword4 ,in her left1 stretched out behind the altar1 is the sheath4 ,the artist doubtless had in mind the words which the chorus heard in vs4 #abga ff4-- 1 2 2 '1 ' 4 ,in the upper right-hand corner the pedagogue appears1 carrying an oil-cruse in his left hand4 ,his right is raised to his head4 ,a wreath and two fillets point to the sanctuary4 ,illustration3 ,fig4 #be4 ,another ,canosa vase in ,naples#cad1 although furnishing a free handling of ,medeia's escape1 is still an important witness for the chariot and its actual appearance in the production of the tragedy4 ,in this particular the painting is ,euripidean4 ,medeia in rapid flight upon her dragon-chariot holds the reins in her left hand and the corner of her mantle in the right4 ,her dress is the customary one for charioteers4 ,on the ground by the wheels one boy lies dead2 the other is said to be visible on the original1 inside of the chariot as on the sarcophagi4 ,the sword is also on the ground4 ,she is pursued by three youths1 one on horseback1 ,jason 7871 and two on foot4 ,they all carry spears1 and each has a chlamys4 ,the middle one also wears a pilos and has a shield4 ,in front of the chariot is ,lyssa 787 with a sword in the right hand1 and staff or 787 in the left4 ,she has an ,artemis costume with a mantle4 ,galloping ahead to lead the way is ,selene1 seated as usual on her horse4 ,the painting is poorly preserved1 but the main part is sufficiently plain4 ,the artist followed the traditional manner of ,medeia's flight4 #aj4 ,,phoinissai4 ,the ,phoinissai in common with the ,septem of ,aischylos deals with the well-known story of the attack of ,polyneikes and his supporters on ,thebes4 ,the events connected with this war can be traced all through ,greek and ,roman literature and art#cae4 ,we have here to do with a relief cup1 which illustrates ,euripides' version of the combat4 ,it possesses1 like the other #8,megarian ,bowls' discussed in the present work1 a value so unique for the study of our poet that it may stand beside any vase painting in assisting us in the study of the drama's influence upon art4 ,illustration3 ,fig4 #bf 7vid4 p4 #agj f474 ,the cup shown in fig4 #bg is of red1 unglazed ware1 and is said to have been found in ,thebes#caf4 ,the following figures may be discerned4 ,on the left ,teiresias1 1 carrying a bough and led by his daughter ,manto1 1 approaches ,kreon1 1 who kneels before the aged seer4 ,they are both bearded1 and the latter wears a long chiton4 ,next follows ,polyneikes1 1 and ,eteokles1 1 in full armour1 engaged in their fatal fight4 ,thebe1 1 holding in her hand a sceptre1 sits upon a rock watching the sight4 ,the messenger1 1 wearing a short chiton and chlamys1 stands by ,iokaste1 444 1 before the palace from which ,antigone1 1 has come4 ,the latter raises her hand in astonishment4 ,the women both wear long chitons4 ,lastly1 on the right1 ,antigone appears before ,kreon1 inscriptions in each case1 in a supplicating attitude4 ,that ,kreon might know definitely how matters were to terminate1 he had sent for ,teiresias4 ,the latter makes his appearance in v4 #hcd-- 1 1 1 ,illustration3 ,fig4 #bg 7vid4 p4 #agc ff474 and so one sees him here before ,kreon4 ,his daughter has brought him as he wished1 and now stands behind him1 while the seer discloses the terrible misfortune which must visit ,kreon before success can crown the ,theban arms4 ,the son ,menoikeus1 who is present in ,euripides1 has been left out of the group4 ,the messenger soon appears and calls for ,iokaste4 '1 1 4 v4 #ajgj4 ,she does hear1 and comes from the palace and learns everything about the attack thus far1 and how the different heroes on each side were armed4 ,to her special inquiry regarding her two sons the messenger replies in detail 7vs4 #abag ff474 ' 4 vs4 #abdb f4 1 ' 1 ' ' 4 vs4 #abdf f4 ,but this is before the battle4 ,they were waiting for the word from the priests who examined the entrails of the victims4 ,the second messenger brings the account of the engagement proper1 and this is what the artist seized upon#cag4 ' 1 ' 1 4 vs4 #acgi ff4 ,this is the moment which the relief represents4 ,their spears have clashed1 and each is still safe behind the good circumference of his shield4 ,iokaste1 much disturbed at the critical situation described by the messenger1 determines to call ,antigone and rush to the battle-field to reconcile the brothers1-- 1 '1 1 4 v4 #abfd4 she cries1 and ,antigone at once appears and asks-- '1 1 2 vs4 #abgj f4 ,the situation is dramatically told on the vase4 ,the palace doors are still open1 and ,antigone stands astonished before her mother4 ,no sooner has ,kreon learned the result of the battle than he passes an edict banishing the blind ,oedipus from the land4 ,the faithful daughter comes to intercede for her father and the scene is described in vs4 #aeci-afhb4 ,the artist has seized upon this situation1 but has omitted ,oedipus4 ,antigone bows before the new king1 who stands with his arms folded listening placidly to the supplications4 ' 2 vs4 #afdd f4 ,this is the moment which the last group represents4 ,the personification of ,thebes occupying the central field and presiding1 as it were1 over the destinies of the capital1 extends the setting of the poet and adds not a little to the interest of the picture4 ,illustration3 ,fig4 #bh ,there exists1 remarkable enough1 a small fragment of another cup1 which must have been much like the one just discussed4 ,it is shown in fig4 #bh1 and joins on well to the last scene in fig4 #bg1 filling out the gap made by the omission of ,oedipus#cah4 ,we see the stooping and aged figure of the former king1 in long chiton1 feeling his way along or being led by some one4 ,the inscription renders everything plain4 4 ,the unfortunate ,oedipus' doom is sealed1 and he enters with ,antigone upon his permanent banishment1 but he will be led to ,iokaste that he may embrace her once more1 even though she is now a corpse2 1 4 v4 #afic4 ,at this moment the artist conceived his figure1 and that one might not mistake its meaning he wrote above it who the person was and what the scene meant4 ,here1 then1 in this bit of potsherd1 one can see and study the workings of that awful curse which blasted the house of ,labdakos and sent the miserable ,oedipus to wander #8blind amidst the blaze of noon4' #aa4 ,,supplementary4 ,there remains still a number of vase paintings that have been referred to certain of ,euripides' extant plays4 ,it will be seen that ,i have not been able to convince myself of their ,euripidean character1 and have therefore not included them in the number of published paintings4 ,the following list gives the most important vases of this class4 ,no discussion accompanies them1 as they seem to me to present difficulties that preclude their relation to extant tragedies4 ,alkestis4 #a4 ,etruscan amphora1 no4 #gbh in the ,cabinet des ,mdailles1 ,paris4 ,pub4 as frontispiece to ,dennis' ,cities and ,cemeteries of ,etruria1 vol4 ii4 ,arch4 ,ztg4 #ahfc1 pl4 #ahj4 #c4 ,andromache4 #a4 ,amphora1 ,brit4 ,mus41 cat4 iii4 ,e #aee4 ,pub4 ,raoul-,rochette1 ,mon4 ind4 pl4 #dj4 #b2 cf4 ,vogel1 ,scen4 eur4 ,trag4 p4 #ada f41 and ,arch4 ,ztg4 #ahhj1 p4 #ahi4 ,elektra4 #a4 ,slender ,campanian amphora1 ,berlin4 ,pub4 ,arch4 ,anz4 #ahij1 p4 #ij1 no4 #g2 cf4 loc4 cit4 ,the interpretation given explains the scene as representing ,orestes slaying ,aigisthos4 ,this was done1 however1 not at a sanctuary or in the open1 as here1 but in the palace where ,aigisthos1 ,orestes1 and ,pylades were engaged in the slaughtering of oxen4 ,at v4 #gij they had entered the palace4 ,herakles ,furens4 #a4 ,the ,assteas vase in ,madrid4 ,pub4 ,wiener ,vorlegebltter1 ser4 ,b1 pl4 #a ,mon4 d4 ,inst4 viii4 #aj2 cf4 ,hirzel1 ,annali d4 ,inst4 #ahfd1 p4 #cbc ff43 ,krte1 ,ueber ,personificationen psychologischer ,affekte1 p4 #ah f41 and ,vogel1 op4 cit4 p4 #adc4 ,hippolytos4 #a4 ,amphora4 ,attic fabric1 cir4 #dbj ,b4,c4 ,berlin1 vid4 ,arch4 ,anz4 #ahij1 p4 #hi4 #b4 ,lekythos from ,paestum1 now in ,naples1 no4 #bijj4 ,pub4 ,reinach-,millingen1 ,peintures1 #da lite ,cram4 iv4 #hg4 ,ion4 #a4 ,nolan vase in ,cassel4 ,pub4 ,arch4 ,ztg4 #aheb1 pl4 #cg2 cf4 ,furtwngler1 ,sammlung ,sabouroff1 ,vasen1 ,einleitung1 p4 #ad1 note #ab2 ,vogel1 op4 cit4 p4 #ade4 #b4 ,painting on a fourth cent4 krater4 ,pub4 lite ,cram4 ii4 #gf a2 cf4 ,furtwngler1 op4 cit4 p4 #ad4 #c4 ,an ,oxybaphon in the ,louvre4 ,pub4 lite ,cram4 ii4 #hh a ,reinach-,millin4 op4 cit4 i4 #df ,mller-,wieseler1 ,denkmler d4 a4 ,kunst4 ii4 #adb2 cf4 ,furtwngler1 loc4 cit4 ,iphigeneia at ,aulis4 #a4 ,lucanian krater1 ,brit4 ,mus41 cat4 iv4 ,f #aei4 ,pub4 ,overbeck1 ,bildwerke1 pl4 #ad4 #i ,wiener ,vorlegebltter1 ser4 #e1 pl4 #i4 #c ,inghirami1 ,vasi fitt4 iii4 pl4 #bea2 cf4 ,vogel1 op4 cit4 p4 #aaf4 ,euripides' ,lost ,plays4 ,the following list includes most of the paintings referred to the lost tragedies4 ,where it has seemed to me doubtful about the ,euripidean character of the scenes ,i have preferred to omit mention of them altogether4 ,aiolos4 #a4 ,canosa hydria in ,bari4 ,the shoulder decoration only is pub4 ,arch4 ,ztg4 #ahhc1 pl4 #g4 #a2 cf4 p4 #ea ff4 and ,furtwngler1 ,masterpieces1 p4 #aji4 ,the latter thinks the painting is from the fifth cent4 ,b4,c4 ,vid4 also ,vogel1 op4 cit4 p4 #bh ff4 ,alkmene4 #a4 ,bell-shaped krater1 signed by ,python now in the ,brit4 ,mus41 cat4 iv4 ,f #adi4 ,pub4 ,j4 ,h4 ,s4 #ahij1 pl4 #f2 cf4 ibid4 p4 #bbe ff4 #b4 ,amphora from ,capua4 ,brit4 ,mus41 cat4 iv4 ,f #aic4 ,pub4 ,annali d4 ,inst4 #ahgb1 pl4 ,a4 ,cf4 ibid4 p4 #a ff4 ,on both paintings ,alkmene sitting on an altar appeals to ,zeus against ,amphitryon4 ,cf4 ,vogel1 op4 cit4 p4 #cd4 ,andromeda4 #a4 ,krater from ,capua4 ,berlin1 no4 #cbcg4 ,cf4 ,arch4 ,anz4 #ahic1 p4 #ia1 f4 no4 #ej4 ,pub4 and discussed by ,bethe1 ,jahrbuch1 #ahif1 p4 #bib ff4 and pl4 #b2 cf4 ,bethe's ,prolegomena zur ,geschichte des ,theaters im ,altertum1 p4 #cbj1 #ccj1 and p4 #ce above4 #b4 ,amphora from ,canosa4 ,naples1 no4 #cbbe4 ,pub4 ,minervini1 ,memorie accademiche1 pl4 #a-c2 cf4 ,vogel1 p4 #ci4 #c4 ,amphora in ,naples1 no4 #gjh1 ,museo ,s4 ,angelo4 ,pub4 ,mon4 d4 ,inst4 ix4 #ch2 cf4 ,annali d4 ,inst4 #ahgb1 p4 #ajh f41 and ,vogel1 op4 cit4 p4 #da4 #d4 ,hydria from ,anzi in the ,basilicata4 ,brit4 ,mus41 cat4 iv4 ,f #ahe2 cf4 ,vogel1 p4 #db4 ,c4 ,antigone4 #a4 ,ruvo amphora4 ,jatta coll4 no4 #dbc4 ,pub4 ,arch4 ,ztg4 #ahga1 pl4 #dj4 #b1 and by ,heydemann1 ,ueber eine nacheuripideische ,tragdie1 #ahfh1 pl4 #a1 and ,mon4 d4 ,inst4 x4 #bf1 #bg4 ,polychrome view of whole vase on pl4 #bf ,rayet et ,collignon1 ,histoire de la ,cramique grecque1 pl4 #ab1 p4 #cjj4 #b4 ,apulian amphora4 ,berlin1 no4 #cbdj4 ,pub4 ,gerhard1 ,apulische ,vasenbilder1 xi ,arch4 ,ztg4 #ahga1 pl4 #dj4 #a4 ,cf4 ,heydemann1 op4 cit4 and ,klgmann1 ,annali d4 ,inst4 #ahgf1 p4 #agc ff41 and ,vogel1 op4 cit4 p4 #ej ff4 #c4 ,fragment of ,apulian amphora in ,carlsruhe2 ,winnefeld's ,beschreibung der ,vasensammlung1 p4 #fb f4 ,pub4 ,arch4 ,ztg4 #ahhd1 pl4 #ai4 b ,wiener ,vorlegebltter1 ser4 ,e4 #f4 #c4 ,cf4 ,winckler in ,aus der ,onomia1 p4 #adi ff4 ,antiope4 #a4 ,apulian krater found near ,syracuse4 ,berlin1 no4 #cbif4 ,pub4 ,arch4 ,ztg4 #ahgh1 pl4 #g and #h2 cf4 ibid4 p4 #db ff1 and ,robert1 ,bild und ,lied1 p4 #cf2 ,vogel1 p4 #fj f4 ,bellerophon4 #a4 ,ruvo amphora4 ,pub4 ,mon4 d4 ,inst4 iv4 #ba ,wiener ,vorlegebltter1 ser4 viii1 pl4 #h4 #a4 ,cf4 ,annali d4 ,inst4 #ahde1 p4 #bbg4 ,chrysippos4 #a4 ,ruvo amphora4 ,naples1 no4 #agfi4 ,pub4 ,overbeck1 ,bildwerke1 #a4 #b4 #b4 ,apulian amphora4 ,berlin1 no4 #cbci4 ,pub4 ,overbeck1 op4 cit4 #a4 #a4 #c4 ,an abridgement of the foregoing4 ,pub4 ,wiener ,vorlegebltter1 ser4 #f1 ,,ii4 #b ,roscher's ,lexikon1 i4 p4 #ijc2 cf4 ,vogel1 op4 cit4 p4 #acg f4 ,hypsipyle4 #a4 ,lasimos amphora in the ,louvre4 ,pub4 ,reinach-,millin1 ,peintures1 ii4 #cg ,overbeck1 op4 cit4 pl4 #bh4 #a4 ,cf4 ,vogel1 p4 #ih f4 #b4 ,ruvo amphora4 ,naples1 no4 #cbee4 ,pub4 ,overbeck1 ,bildwerke1 pl4 #d4 #c ,baumeister1 ,denkmler1 i4 p4 #aad2 cf4 ,vogel1 p4 #ii f4 #c4 ,ruvo amphora4 ,st4 ,petersburg1 no4 #ebc4 ,pub4 ,overbeck1 op4 cit4 pl4 #d4 #b2 cf4 ,vogel1 loc4 cit4 ,meleagros4 #a4 ,apulian amphora4 ,naples1 ,mus4 ,s4 ,angelo1 no4 #aa1 ,a4 ,pub4 ,arch4 ,ztg4 #ahfg1 pl4 #bbj4 ,stheneboia4 #a4 ,krater in ,naples1 ,no4 #ahia4 ,pub4 ,annali d4 ,inst4 #ahgd1 pl4 ,a4 #b4 ,krater in ,st4 ,petersburg1 no4 #dbg4 ,pub4 ,inghirami1 ,vasi fitt4 i4 pl4 #a-c2 cf4 ,engelmann in ,annali1 #ahgd1 p4 #ce f41 and ,vogel1 op4 cit4 p4 #he f4 ,telephos4 #a4 ,hydria in ,naples4 ,heydemann1 ,raccolta ,cumana1 no4 #ada4 ,pub4 ,arch4 ,ztg4 #aheg1 pl4 #ajf4 #b4 ,tischbein1 ,vases d',hamilton1 ii4 #f2 cf4 ,jahn1 ,telephos und ,troilos1 p4 #dd1 and ,vogel1 op4 cit4 p4 #hi ff4 ,,index ,n4,b4--,all references are to pages4 ,accius1 #aa4 ,aischylos1 authority of1 in ,magna ,graecia1 #ee1 #ff1 #ha f4 of1 #hj4 statue of1 #f4 ,agam41 #eh1 #aab4 ,choe41 #ag1 #ba1 #dc ff41 #eh4 ,eumen41 #ce1 #ee ff41 scenes of1 #fi f4 ,iph41 #ab1 #bc4 ,lykurgeia1 #bc1 #gd4 ,niobe1 #h4 1 #ca1 note #b4 ,pentheus1 #hh1 #ia4 ,phrygians1 #gd4 ,prom41 #bg4 ,telephos1 #bc4 ,andronicus 7,livius71 #aa1 #hb4 ,antiope1 myth of1 #i4 ,assteas1 #gj1 note #a1 #agi4 ,choregos1 prize of1 #e f4 ,comedy1 on vases1 #dj1 note #b4 ,dante1 influence of on art1 #a ff4 ,botticelli's drawings for1 #aee4 ,dirke1 monuments of1 #i4 ,divinities1 on vases1 #aaj4 ,ekkyklema1 #ff f41 #afj4 ,ennius1 #aa1 #bf1 #hb1 #aab4 ,etruscans1 art of1 #aj ff41 #bg1 note #f4 ,euphronios1 #ca f41 #aeg4 ,euripides1 ,aristotle's criticism of1 #gi f4 influence of1 #bf1 #bh f4 of1 #gi f4 ,aiolos1 #agi4 ,alexandros1 #ab4 ,alkestis1 #g1 #af1 #bg1 #agh4 ,alkmene1 #ad1 #agi4 ,andromache1 #hc1 #agh4 ,andromeda1 #bc1 #ce1 #ahj4 ,antigone1 #ahj4 ,antiope1 #i1 #ac1 #bf1 #ahj4 ,auge1 #h4 ,bakchai1 #be1 #hh ff4 ,bellerophon1 #ahj4 ,chrysippos1 #ahj f4 ,elektra1 #ej1 #agh4 ,hekabe1 #ba1 #id ff4 ,herakleidai1 #bc4 ,herakles ,fur41 #afc f41 #agi4 ,hippolytos1 #ag1 #be1 #aja ff41 #agi4 ,hypsipyle1 #aha4 ,ion1 #agi4 ,iph4 ,a41 #bc1 #be1 #aab ff41 #agi4 ,iph4 ,t41 #ac1 #ag f41 #be f41 #aba ff4 ,kretes1 #ad1 #bj1 #bg4 ,kyklops1 #ce1 #aci ff4 ,medeia1 #ac1 #ai1 #bc1 #add ff4 ,melanippe1 #ad4 ,meleagros1 #ad1 #bj1 #bf1 #aha4 ,oedipus1 #ac1 #ai4 ,oinomaos1 #ad4 ,philoktetes1 #ba4 ,phoin41 #ad1 #ai1 #aga ff4 ,rhesos1 #cb4 ,stheneboia1 #aha4 ,telephos1 #h1 #ab1 #bc1 #ca1 #aha4 ,theseus1 #ad1 #bd4 ,flugmaschine1 #afj4 ,homer1 #c1 #cd4 ,laokon1 #i f4 ,lyssa1 #afc1 #aga4 ,niobe1 group1 #h f4 ,oedipus1 banishment of1 #agg4 ,oistros1 #afb ff4 ,orpheus1 relief of1 #d f4 ,paeuvius1 #ab1 #hb4 ,parrhasios1 #bc f41 #cd4 ,peirithos1 relief1 #d4 ,peliades1 relief1 #d4 ,pergamon1 frieze1 #g4 ,polygnotos1 #ba f41 #ie1 #aaj4 ,polyxena1 #ba1 #ie4 ,praxiteles1 #f1 #i4 ,python1 #gj1 note #a4 ,seilanion1 #8,iokaste' of1 #g4 ,skopas1 #i4 ,sophokles1 influence of1 on art1 #ge ff4 statue of1 #f4 ,antigone1 #ge1 #gg4 ,elektra1 #ej4 ,iphigeneia1 #ab1 #bc4 ,lakainai1 #ce4 ,laokon1 #aj4 ,mysoi1 #h4 ,niobe1 #h4 ,niptra1 #cf1 note #c4 ,oed4 ,rex1 #gg4 ,oinomaos1 #ad4 ,phaidra1 #aja4 ,philoktetes1 #ac1 #ai1 #ba4 ,polyxene1 #ba4 ,trachiniai1 #gg4 ,troilos1 #cb4 ,tarentum1 #cg ff41 #ff1 #hb4 ,timanthes1 #bc1 #be1 #cd1 #aac1 #adj4 ,timomachus1 #bc1 #ach4 ,tragedy1 ,roman and ,greek1 #aa1 #hb4 ,zeuxis1 #bd4 ----- ,footnote #a3 ,f4-,w4 no4 #aaih2 pub4 in ,brunn's ,vorlegebltter1 no4 #ah1 and ,baumeister1 ,denkmler1 ii4 p4 #aaba4 ,footnote #b3 ,benndorf und ,schne1 ,die ,bildwerke des ,lateranensischen ,museums4 no4 #ib ,f4-,w4 no4 #abjj2 pub4 in ,brunn's ,vorlegebltter1 no4 #ag4 ,footnote #c3 ,f4-,w4 no4 #abja2 pub4 in ,museo ,torlonia1 pl4 #ic1 no4 #cgg4 ,this is the youngest of the three1 but the original still belongs to the period just after the completion of the ,parthenon4 ,footnote #d3 ,cf4 ,griechische ,weihgeschenke1 p4 #acj ff4 ,footnote #e3 ,cf4 ,isaeus v4 #da1 and ,xen4 ,hieron1 ix4 #d4 ,footnote #f3 ,athen4 ,mitth4 #ahgh1 p4 #bcc2 ,b4 vii4 p4 #ic4 ,footnote #g3 #a4 #bj4 #a4 ,footnote #h3 ,cf4 ,c4 ,i4 ,a4 ii4 #c1 #abih1 and ,anth4 ,pal4 vi4 #bci4 ,footnote #i3 ,loc4 cit4 ,footnote #aj3 #a4 #ba4 #a and #b4 ,footnote #aa3 ,pub4 ,athen4 ,mitth4 #ahhb1 pl4 #ad2 cf4 ,f4-,w4 no4 #aace4 ,footnote #ab3 ,furtwngler1 ,sammlung ,sabouroff1 p4 #ca4 ,footnote #ac3 ,cf4 ,f4-,w4 no4 #ahdc1 #ahdd1 and ,jahn's ,archologische ,beitrge1 p4 #aih ff4 ,footnote #ad3 ,cf4 ,overbeck's ,schriftquellen1 no4 #aabh4 ,footnote #ae3 ,f4-,w4 no4 #abdb4 ,footnote #af3 ,i follow ,robert4 ,cf4 ,thanatos1 p4 #cg ff4 ,footnote #ag3 ,cf4 ,robert in ,jahrbuch1 #ahhg1 p4 #bdd ff4 ,footnote #ah3 ,f4-,w4 #adjb4 ,cf4 ,pliny1 ,nat4 ,hist4 #cf1 #cd4 ,footnote #ai3 ,one may distinguish two distinct moments in works of art based upon the ,antiope myth4 7#a7 ,the two sons of ,antiope have the unfortunate ,dirke all but fastened to the bull1 which is being held only with the utmost exertion4 7#b7 ,the catastrophe ensues4 ,the wild animal is dragging his victim over the ground4 ,it need not be said that the most celebrated representation of 7#a7 is the toro farnese4 ,for 7#b71 cf4 a wall painting1 pub4 ,arch4 ,ztg4 #ahgh1 pl4 #i1 a and b4 ,the myth was wonderfully popular and appears on coins1 gems1 reliefs1 c41 all of which belong to the period when tragic influence predominated in art4 ,cf4 ,dilthey1 ,arch4 ,ztg4 #ahgh1 p4 #dc ff4 and ,jahn1 ibid41 #ahec1 p4 #fe-aje4 ,footnote #bj3 ,f4-,w4 no4 #adbb4 ,cf4 ,pliny1 ,nat4 ,hist4 #cf1 #cg4 ,footnote #ba3 ,robert1 ,bild und ,lied1 p4 #aib ff41 contends against the influence of ,sophokles4 ,footnote #bb3 ,cic4 de opt4 gen4 orat4 #a4 #a4 ,footnote #bc3 ,velleius1 #a4 #ag4 #a4 ,footnote #bd3 ,the favourite subject was the murder of ,trolos4 ,footnote #be3 ,brunn1 op4 cit4 pl4 #a-af2 cf4 ,schlie1 ,die ,darstellungen des troischen ,sagenkreises auf etruskischen ,aschenkisten1 p4 #ac ff4 ,footnote #bf3 ,poet4 #adec;a4 #ba4 ,footnote #bg3 ,op4 cit4 pl4 #bf-cd1 gives eighteen reliefs4 ,footnote #bh3 ,cf4 p4 #aac f4 ,footnote #bi3 ,brunn1 op4 cit4 pl4 #fi-gb2 cf4 especially nos4 #a1 #b and #c4 ,the remaining four are not ,sophoklean and betray an admixture of different elements4 ,odysseus bathes the afflicted foot of ,philoktetes on nos4 #f and #g4 ,footnote #cj3 ,op4 cit4 p4 #aee2 cf4 pl4 #gd-hc4 ,footnote #ca3 ,op4 cit4 pl4 #hd-he4 ,the attitude of #8,iphigeneia' causes some difficulty in this interpretation4 ,cf4 her part on the other monuments4 ,footnote #cb3 ,cf4 p4 #abd ff4 below4 ,footnote #cc3 ,krte1 op4 cit4 vol4 ii4 pl4 #a4 #b4 ,footnote #cd3 ,cf4 p4 #add ff4 ,footnote #ce3 ,op4 cit4 vol4 ii4 pl4 #d4 #a1 #b and #c4 and pl4 #e4 #d4 ,footnote #cf3 ,cf4 schol4 ,eur4 ,phoin4 v4 #fa1 and ,nauck's ,fragmenta1 ,eur4 no4 #eda1 and op4 cit4 ii4 pl4 #g4 #a4 ,footnote #cg3 ,there are twenty-eight in all representing the fratricide1 and nine showing the attack2 ,krte1 ,i rilievi d4 urne etrusche1 ii4 pl4 #h #bd4 ,footnote #ch3 ,op4 cit4 ii4 p4 #cb ff4 ,footnote #ci3 ,pl4 #bf-bg4 ,footnote #dj3 ,pl4 #bh-cj4 ,footnote #da3 ,pl4 #ca-cb4 ,footnote #db3 ,cf4 p4 #aje f4 below4 ,footnote #dc3 ,pl4 #ci-dj4 ,three in all4 ,footnote #dd3 ,pl4 #da-ef4 ,footnote #de3 ,one may think of ,soph4 ,oinom41 called also ,hippodameia1 and of ,eur4 ,oinom4 ,the latter seems to have been followed by ,accius4 ,footnote #df3 ,pl4 #fb2 cf4 also op4 cit4 ii4 p4 #aej ff4 ,footnote #dg3 ,pl4 #ajj-ajd4 ,footnote #dh3 ,the monumental publication1 which is now appearing under the direction of the ,german ,imperial ,archaeological ,institute1 will1 when completed1 place within one's reach all this immense material4 ,the projected plan embraces six volumes of which the second has so far appeared3 ,die ,antiken ,sarkophag-,reliefs1 ii4 #ahij1 edited by ,carl ,robert4 ,the third part is to embrace three vols41 so that we have in the ,antiken ,sarkophag-,reliefs1 iii4 #ahig1 ,carl ,robert1 only the first vol4 ,footnote #di3 ,robert1 op4 cit4 iii4 part i1 pl4 #f-g4 ,nos4 #bb1 #bc1 #bd1 #bf are all practically intact and agree closely with each other4 ,nos4 #bg-cj are larger or smaller fragments4 ,footnote #ej3 ,pub4 ,arch4 ,ztg4 #ahge1 pl4 #i ,robert1 op4 cit4 iii4 part i1 pl4 #g4 #cb ,baumeister1 ,denkmler1 i4 p4 #df4 ,footnote #ea3 ,p4 #aja ff4 ,footnote #eb3 ,robert1 op4 cit4 ii4 p4 #afe4 ,footnote #ec3 ,robert1 ,die antiken ,sark4-,reliefs1 ii4 pl4 #ed1 no4 #aed4 ,footnote #ed3 ,cf4 op4 cit4 ii4 pl4 #ed-ef1 nos #aee-aff2 vid4 also p4 #fg below4 ,footnote #ee3 ,robert1 op4 cit4 ii4 pl4 #eg-ei1 nos4 #afg-ahj1 and p4 #abd ff4 below4 ,footnote #ef3 ,p4 #ade ff4 ,footnote #eg3 ,robert1 op4 cit4 ii4 pl4 #fj1 nos4 #ahc1 #ahd1 and p4 #aia ff4 ,footnote #eh3 ,robert1 op4 cit4 ii4 pl4 #ea1 no4 #aci4 ,footnote #ei3 ,pub4 by ,robert1 ,die ,pasipha-,sarkophag1 #ahij1 pl4 i42 also op4 cit4 iii4 part i1 pi4 #aj4 #ce1 #ce;a1 #ce;b4 ,footnote #fj3 ,cf4 ,nauck's ,fragmenta1 no4 #dgb4 ,footnote #fa3 ,cf4 ,baumeister1 ,denkmler1 ii4 p4 #iag1 where the ,louvre fragment is published ,clarac1 ,muse de ,sculpture1 pl4 #bja1 no4 #bjh4 ,a similar scene is shown in no4 #bef4 ,footnote #fb3 ,paus4 #a4 #bb4 #f4 ,footnote #fc3 ,cf4 p4 #id ff4 ,footnote #fd3 ,cf4 schol4 ,eur4 ,hek4 v4 #c1 and ,nauck's ,fragmenta1 p4 #bde ff4 ,footnote #fe3 ,homerische ,becher1 p4 #ge2 but on p4 #be f4 of the ,iliupersis des ,polygnot in der ,poikile1 ,robert refers the picture to ,polykleitos on the strength of the epigram 7,anth4 ,plan4 #c4 #cj7 by ,pollianos4 ,the question turns on the reading 1 which has generally been held to be a corruption of 4 ,but this does not convince me that ,polygnotos might not have painted the work in the ,propylaia4 ,it is by no means necessary to consider the two paintings identical even if must remain4 ,footnote #ff3 ,paus4 #aj4 #be4 #b4 ,footnote #fg3 ,this was shown by ,schneidewin in ,philologus1 #ahdi1 p4 #fde ff4 ,footnote #fh3 ,pliny1 ,nat4 ,hist4 #ce4 #ga4 ,footnote #fi3 ,cf4 ,overbeck1 ,schriftquellen1 #agce-agci1 and p4 #aab f4 below4 ,footnote #gj3 ,pliny1 ,nat4 ,hist4 #ce1 #acb1 and ,helbig1 ,wandgemlde1 #aahc-abjc4 ,footnote #ga3 ,pliny1 op4 cit4 #ce1 #acf1 and ,helbig1 op4 cit4 nos4 #aahi1 #abfb-abfd4 ,the latter is from ,herculaneum4 ,cf4 ,overbeck1 ,schriftquellen1 #babf-bace1 for various epigrams touching this painting of ,timomachus4 ,footnote #gb3 ,overbeck1 op4 cit4 #afdb4 ,cf4 ,reisch1 ,griechische ,weihgeschenke1 p4 #abg4 ,footnote #gc3 ,pliny1 op4 cit4 #ce1 #add2 cf4 a ,pompeian wall painting1 pub4 ,arch4 ,ztg4 #ahhc1 pl4 #i4 #a4 ,footnote #gd3 ,paus4 #a4 #bj4 #c4 ,footnote #ge3 ,vid4 ,drpfeld and ,reisch1 ,das griechische ,theater1 p4 #ba4 ,footnote #gf3 ,cf4 p4 #gd below4 ,footnote #gg3 ,cf4 ,helbig1 op4 cit4 ,three groups are distinguishable4 7#a7 ,nos4 #abaf-abdj1 ,ariadne forsaken by ,theseus4 7#b7 #abbb-abcb1 she mourns in her solitude4 7#c7 #abcc-abdj1 ,dionysos comes to her rescue4 ,footnote #gh3 ,helbig1 op4 cit4 nos4 #abdb-abdg2 cf4 p4 #ajh1 note #a4 ,footnote #gi3 ,cf4 ,helbig1 op4 cit4 nos4 #acjd1 #acje4 ,footnote #hj3 ,cf4 p4 #ach below4 ,footnote #ha3 ,helbig1 op4 cit4 nos4 #aadb1 #aadc4 ,footnote #hb3 ,especially fine is the painting discovered in the casa dei ,vettii1 photo4 ,alinari1 no4 #abacc2 cf4 ,rm4 ,mitth4 #ahif1 p4 #ej f4 ,footnote #hc3 ,cf4 ,rm4 ,mitth4 #ahif1 p4 #de f41 and ,arch4 ,anz4 #ahie1 p4 #aba1 photo4 ,alinari1 no4 #abacd4 ,pub4 ,j4 ,h4 ,s4 #ahif1 p4 #aea4 ,footnote #hd3 ,helbig1 op4 cit4 nos4 #aaea-aaec4 ,the excavations in #ahie added still another to those already known4 ,vid4 ,rm4 ,mitth4 #ahif1 p4 #df1 photo4 ,alinari1 no4 #abace4 ,cf4 also ,arch4 ,ztg4 #ahgh1 pl4 #i4 a and b for two others4 ,footnote #he3 ,livius ,andronicus1 ,ennius1 and ,accius1 each wrote an ,andromeda4 ,ennius translated the ,medeia1 and chose over half his pieces from ,euripides4 ,footnote #hf3 ,gerhard's ,etruskische ,spiegel1 ii4 pl4 #bci1 and v4 pl4 #aag4 ,footnote #hg3 ,op4 cit4 iv4 pl4 #ced4 #b4 ,footnote #hh3 ,gerhard1 op4 cit4 iv4 #cfg4 #b4 ,cf4 ,euripides' 4 ,footnote #hi3 ,op4 cit4 iv4 pl4 #dja4 ,footnote #ij3 ,op4 cit4 ii4 pl4 #bbi ,overbeck1 ,bildwerke1 pl4 #ad4 #a2 iv4 pl4 #cij4 #b2 v4 pl4 #ajh4 ,footnote #ia3 ,op4 cit4 v4 p4 #bag4 ,footnote #ib3 ,wiener ,vorlegebltter1 ser4 ,d4 pl4 #aj4 #d and #e op4 cit4 ii4 pl4 #ach4 #aci4 ,aischylos was the first to chain ,prometheus1 and all the monuments representing the giant thus fastened on the cliff are dependent on the ,prometheus4 ,cf4 ,milchhoefer1 in ,berliner ,winckelmannsprogramm for #ahhb4 ,footnote #ic3 ,the question as to where and how the ,etruscans came to have so wide a knowledge of ,greek poetry will long remain a perplexing one4 ,one thing seems clear1 viz41 that the ,romans did not serve as any connecting link between ,greece and ,etruria4 ,greek art as well as ,greek letters reached this people direct4 ,it hardly seems probable that translations of the ,greek poets were so extensively made by this practical people1 that the artists could in this manner have had access to so much that is ,euripidean4 ,there is1 moreover1 a great deal in some of the reliefs that bespeaks a familiarity with the scenes as actually given in the theatre4 ,this leads me to think that the wandering troops of actors had penetrated ,etruria also1 and introduced the plays of which the ,etruscans made so much in their art4 ,footnote #id3 ,figs4 #ab1 #af1 #bg1 #bh2 cf4 also note #b1 p4 #ie f4 ,footnote #ie3 ,vid4 ,lders1 ,die dionysischen ,knstler1 ,berlin1 #ahgc4 ,footnote #if3 ,cf4 p4 #aad ff4 ,footnote #ig3 ,the #8,megarian ,bowls' have much in common with such later monuments as the tabula iliaca4 ,cf4 ,jahn's ,bilderchroniken1 and ,baumeister1 ,denkmler1 i4 no4 #gge4 ,footnote #ih3 ,jahn1 ,telephos und ,troilos1 #ahda1 p4 #df ff41 believed that ,exekias was indebted to ,euripides' ,telephos for the idea of his dice-players2 cf4 ,overbeck1 ,bildwerke1 pl4 #ad4 #d1 and ,wiener ,vorlegebltter1 #ahhh1 pl4 #f4 #a;a4 ,we know now that ,exekias must have lived nearly #ajj years before the date of the ,telephos4 ,footnote #ii3 ,klein in his ,euphronios1 #ahhf1 p4 #bcf ff41 saw in the ,iliupersis kylix1 pub4 ,baumeister1 ,denkmler1 i4 no4 #gie1 the workings of ,aischylos' 2 in the ,euphronios kylix1 ,wiener ,vorlegebltter1 ser4 v4 pl4 #f1 representing the death of ,trolos1 a connexion was pointed out with ,sophokles' ,troilos2 and the ,dolon kylix1 also by ,euphronios1 cf4 op4 cit4 p4 #acf f41 might be brought under the ,rhesos of ,euripides4 ,footnote #ajj3 ,note especially the ,brygos kylix1 ,brit4 ,mus41 cat4 iii4 ,e #fe2 pub4 ,mon4 d4 ,inst4 ix4 #df1 and ,wiener ,vorlegebltter1 ser4 viii4 #f4 ,dionysos stands by his altar over which a satyr springs to grasp ,iris4 ,others of the tribe make merry4 ,cf4 also ,brit4 ,mus41 cat4 iii4 ,e #gfh2 pub4 ,wiener ,vorlegebl4 ser4 vii4 #d1 in the style of ,euthymides4 ,seilenos in herald's dress is in the midst of a long train of satyrs4 ,footnote #aja3 ,the main scene is published and discussed by ,dmmler in ,rheinisches ,museum1 #ahhh1 p4 #cee ff4 ,footnote #ajb3 ,cf4 the ,peiraieus frag4 pub4 ,arch4 ,ztg4 #ahhj1 pl4 #af4 ,other examples of later styles are included by ,reisch1 ,griech4 ,weihgeschenke1 p4 #fh ff4 ,vid4 further the list in ,arch4 ,ztg4 #ahhj1 p4 #ahb f4 ,footnote #ajc3 ,gerhard1 ,auser4 ,vasen1 pl4 #ef1 and ,reinach-,millin1 ,peintures1 i4 #i4 ,footnote #ajd3 ,berlin1 inv4 no4 #cbcg4 ,pub4 and discussed by ,bethe1 ,jahrbuch1 #ahif1 p4 #bib ff4 and pl4 #b2 cf4 ,furtwngler1 ,arch4 ,anz4 #ahic1 p4 #ia f4 ,footnote #aje3 ,p4 #ada ff4 ,footnote #ajf3 ,no4 #cbce1 ,a4 ,pub4 ,mon4 d4 ,inst4 ii4 pl4 #cf2 ,overbeck1 ,bildwerke1 pl4 #bd4 #ai2 cf4 ,furtwngler1 ,masterpieces1 p4 #aeb f4 ,footnote #ajg3 ,fig4 #h1 and p4 #fc f4 ,footnote #ajh3 ,heydemann's cat4 no4 #cbdj4 ,pub4 ,mller-,wieseler1 ,theater-gebude1 pl4 #f4 #b2 ,baumeister1 ,denkmler1 i4 fig4 #dbb4 ,footnote #aji3 iv4 #aae-aag4 ,cf4 also ,bethe1 ,prolegomena zur ,geschichte des ,theaters im ,altertum1 p4 #db4 ,footnote #aaj3 ,the ,penelope vase1 pub4 ,mon4 d4 ,inst4 ix4 pl4 #db ,baumeister's ,denkmler1 iii4 no4 #bccb1 has lately been explained by ,robert as being based on ,soph4 4 ,cf4 ,die ,marathonschlacht in der ,poikile1 p4 #gh ff4 ,if ,i could accept this view my position would be very materially strengthened4 ,the must be set cir4 #dbh ,b4,c41 and this means that the painting is later than this date4 ,much as ,i should like to bring this important monument into connexion with the drama1 ,i cannot think of a later date for the vase than #ddj ,b4,c41 which to be sure renders its relation to ,sophokles impossible4 ,if1 however1 ,professor ,robert be correct1 it shows that there is at least one vase painting of the fifth century that represents a form of a myth which belonged to the theatre1 and this was not granted in ,bild und ,lied4 ,footnote #aaa3 ,cf4 ,gardner's ,types of ,greek ,coins1 pl4 v4 nos4 #ag-bj1 and ,furtwngler's ,masterpieces1 p4 #aje ff41 with the very instructive collection of ,italian and ,sicilian coins which shows the ,attic influence in this period4 ,footnote #aab3 ,cf4 ,mommsen1 ,unteritalische ,dialekte1 p4 #hi ff4 ,footnote #aac3 ,de leg4 #a4 #fcg;c4 ,footnote #aad3 ,dio ,cassius1 #ci4 #c4 #f4 ,footnote #aae3 ,zonaris1 viii4 #b4 #cgj1 4 ,footnote #aaf3 ,cf4 figs4 #e1 #f1 #ah1 #ai1 #bj1 #ba1 #bc4 ,footnote #aag3 ,the large class of ,lower ,italy vases that illustrate scenes from comedy are priceless treasures4 ,they are based on the #8farce-plays1' --the invention of ,rhinthon 7vid4 ,rhinthonis ,fragmenta1 ,halle1 dissertation by ,e4 ,vlker1 #ahhg72 cf4 especially ,heydemann1 ,jahrbuch1 #ahhf1 p4 #bfj ff41 where all the examples then known are discussed4 ,bethe1 ,prolegomena zur ,geschichte des ,theaters im ,altertum1 p4 #bgh-bib1 handles particularly the interesting question of the stage represented in the scenes4 ,mention should be made also of ,krte's excellent article in the ,jahrbuch for #ahic1 p4 #fa-ic1 on ,archaeologische ,studien zur alten ,komdie4 ,footnote #aah3 ,robert's conclusion in regard to the literary source of all the monuments 7,bild und ,lied1 p4 #adi ff47 is that they go back to the ,oresteia of ,stesichoros4 ,this view has been generally accepted by archaeologists1 and met with no opposition till ,wilamowitz showed reason for believing in the existence of a ,delphic epic dealing with this subject4 ,the whole question needs another careful investigation4 ,footnote #aai3 ,pub4 ,mon4 d4 ,inst4 vi4 pl4 #eg4 #a ,roscher's ,lexikon1 i4 p4 #abch4 ,cf4 ,robert1 op4 cit4 p4 #afg ff4 ,footnote #abj3 ,naples1 no4 #agee1 pub4 ,baumeister1 ,denkmler1 iii4 #aici ,reinach-,millingen1 ,peintures1 pl4 #ad4 ,footnote #aba3 ,fig4 #b4 ,pub4 ,raoul-,rochette1 ,monuments indits1 pl4 #cd4 ,cf4 ibid4 p4 #aei ff42 ,overbeck1 ,bildwerke1 pl4 #bh4 #e2 cf4 text ibid41 p4 #fhh ff42 ,inghirami1 ,vasi fitt4 ii4 pl4 #aea4 ,footnote #abb3 ,cf4 figs4 #ad1 #ae1 #bc1 #bd for the regulation dress of the pedagogue4 ,footnote #abc3 ,cf4 note #b1 p4 #dd4 ,footnote #abd3 ,munich coll4 ,jahn's cat4 no4 #had4 ,the figure of ,elektra alone together with the view of the tomb is published by ,inghirami1 ,vasi fitt4 ii4 pl4 #aed4 ,footnote #abe3 ,pub4 ,inghirami1 op4 cit4 ii4 pl4 #aec4 ,footnote #abf3 ,an amphora1 no4 #edd4 ,the painting has not been published so far as ,i know1 but the similarity it bears to figs4 #c and #d appeared to me to render a publication of it here unnecessary4 ,footnote #abg3 ,cf4 ' of the ,hypothesis4 ,footnote #abh3 ,cf4 ,overbeck1 ,bildwerke1 pl4 #bi1 and ,raoul-,rochette1 ,mon4 ind4 pl4 #ce-ch4 ,footnote #abi3 ,cat4 no4 #cdi2 pub4 ,compte ,rendu1 #ahfd1 pl4 #f4 #e2 cf4 ,stephani1 ibid4 p4 #beb ff4 ,footnote #acj3 ,cf4 a similar figure with the key in figs4 #f1 #ah1 #bj4 ,in the latter cases ,iphigeneia is the priestess4 ,footnote #aca3 v4 #ajfa4 ,footnote #acb3 v4 #ce4 ,footnote #acc3 ,vid my ,attitude of the ,greek ,tragedians toward ,art1 p4 #ab ff41 for a discussion of this passage4 ,footnote #acd3 ,so ,eur4 ,orest4 v4 #cba2 ,elekt4 v4 #acde4 ,footnote #ace3 ,naples1 no4 #cbdi1 photo1 ,alinari1 #aabif1 from which fig4 #f is taken4 ,the painting was published by ,jahn1 ,vasenbilder1 #ahci1 pl4 #a4 #a1 from a drawing4 ,jahn himself had not seen the vase4 ,the drawing does the fine picture so little justice that ,i could not think of reproducing it4 ,the work on the vase is wonderfully clear and strong4 ,every figure is in itself a beautiful work of art4 ,the picture presents an unusual variety of situations that are artistically of great interest4 ,footnote #acf3 ,cf4 also fig4 #h4 ,footnote #acg3 ,no4 #cbef4 ,pub4 ,overbeck1 ,bildwerke1 pl4 #bi4 #d2 general view of the whole vase1 ,gerhard's ,apulische ,vasen4 pl4 ,a4 #f4 ,another painting1 a late work and wretchedly done1 somewhat similar1 is published in ,arch4 ,ztg4 #ahgg1 pl4 #d4 #aa4 ,footnote #ach3 ,fig4 #h4 ,pub4 ,overbeck1 ,bildwerke1 pl4 #bi4 #g2 ,mon4 d4 ,inst4 iv4 pl4 #dh2 ,arch4 ,ztg4 #ahfj1 pl4 #ach4 #b2 ,baumeister's ,denkmler1 ii4 p4 #aaag2 ,rayet et ,collignon1 ,histoire de la cramique grecque1 p4 #big4 ,footnote #aci3 ,vid4 ,overbeck1 ,bildwerke1 pl4 #bi4 #aa1 and #ab4 ,footnote #adj3 ,cf4 vs4 #fg1 #hd1 #ia4 ,footnote #ada3 ,this view is maintained by ,drpfeld and ,reisch1 ,das griechische ,theater1 p4 #bdc ff4 ,in reply to this vid4 ,robert in ,hermes1 vol4 #cb1 p4 #dci ff4 ,vid4 also ,bethe1 ,prolegomena zur ,geschichte des ,theaters im ,altertum1 pp4 #aab-aaf1 where this point in the production of the ,eumenides is ably discussed4 ,footnote #adb3 ,cf4 this scene on the ,sarcophagi reliefs4 ,robert1 ,die antiken ,sarkophag-,reliefs1 ii4 pl4 #ed-ef1 nos4 #aee-afa1 the right end scene2 also no4 #aega1 p4 #agc4 ,footnote #adc3 ,cf4 the ghosts of ,aigisthos and ,klytaimestra on the end reliefs of the ,sarcophagus1 no4 #aee1 op4 cit4 ,footnote #add3 ,orest4 #djh1 #afej2 ,tro4 #deg2 cf4 also the relief found near ,argos1 pub4 ,athen4 ,mitth4 #ahgi1 pl4 #i ,roscher's ,lexikon1 i4 p4 #accj4 ,footnote #ade3 ,wilamowitz1 ,aischylos ,orestie1 ,zweites ,stck1 #ahif1 p4 #bdf ff41 has shown the plausibility of believing in such an epic4 ,the author was a ,delphian4 ,footnote #adf3 ,a few fragments remain from the ,oresteia of ,stesichoros4 ,cf4 ,bergk-,schaefer1 ,poetae lyrici graeci1 iii4 p4 #bai ff4 ,footnote #adg3 ,opinions vary on this point4 ,three different views are held4 7#a7 ,the temple of ,athena remains the scene throughout the rest of the play2 the ,areiopagos 7v4 #fhe7 becomes then merely a part of the stage decorations given by the periaktoi4 7#b7 ,between v4 #bce and v4 #fhe the scene was changed from the ,acropolis to the ,areiopagos4 7#c7 ,there is no scene from v4 #bce other than the ,areiopagos4 ,the latter seems to me absolutely untenable4 ,repeated allusion is made to the temple and to ,orestes clinging to the old image in the 7v4 #bdb ff474 ,regarding the first and second1 it makes little difference whether the scene was in fact shifted or whether it was represented on the wings4 ,the practical working was the same in either case4 ,footnote #adh3 ,the present whereabouts of the vase is not known4 ,pub4 ,baumeister1 ,denkmler1 ii4 p4 #aaah2 ,overbeck1 ,bildwerke1 pl4 #bi4 #i2 ,reinach-,millingen1 ,peintures1 ii4 #fh2 also as frontispiece to the #dth ed4 of ,paley's ,aeschylus4 ,he disposes of it in a line or two1 and1 with the usual accuracy which characterizes philologists when dealing with matters of archaeology1 says the vase is #8probably nearly contemporaneous' with the ,eumenides 7p4 #ehd74 ,the composition is remarkably like the ,assteas painting1 ,wiener ,vorlegebltter1 ser4 i4 pl4 #g4 ,the figures of ,apollo and ,kadmos1 as well as the two ,athenas1 have much in common4 ,there is the same roundness and plumpness in the figures4 ,furthermore1 ,assteas was partial to bust figures and never lost an opportunity to introduce them4 ,the border on the veil of the female bust of our vase is ,campanian1 as are also certain other details4 ,all this brings me to the opinion that ,assteas1 who was very likely from ,paestum and may have been in touch with ,campanian styles as well1 was the painter of our vase4 ,it is at least from the school of ,assteas4 ,a painting by ,python 7,j4 ,h4 ,s4 #ahij1 pl4 #f71 one of the set of ,assteas1 exhibits the same treatment of hair and decoration that is found on the painting1 fig4 #i4 ,footnote #adi3 ,these feathers1 for that is what these projections are1 can be counted on dozens of helms belonging to this period4 ,athena and warriors wear them alike4 ,their occurrence before the latter part of the fourth century ,b4,c4 is unknown to me4 ,footnote #aej3 ,cf4 ,aisch4 ,supp4 v4 #dfc4 ,footnote #aea3 ,pub4 ,arch4 ,ztg4 #ahfj1 pl4 #acg4 #d ,overbeck1 ,bildwerke1 pl4 #bi4 #h4 ,footnote #aeb3 ,vid4 ,arch4 ,anz4 #ahij1 p4 #ij4 ,footnote #aec3 ,it is worth noting that1 when viewed both from the artistic in his plays and the art that was an outgrowth of his plays1 ,sophokles occupies the same position as regards ,aischylos and ,euripides4 ,cf4 my ,attitude of the ,greek ,tragedians toward ,art1 p4 #cb ff4 ,footnote #aed3 ,p4 #ce1 note #c1 and p4 #cf1 note #c4 ,footnote #aee3 ,poet4 #adej;a4 #be4 ,footnote #aef3 ,rep4 #h4 #efh;a4 ,footnote #aeg3 ,c4 #bi4 ,footnote #aeh3 ,athen4 p4 #ecg2 cf4 ,plut4 ,alex4 c4 #aj and #ec4 ,footnote #aei3 ,athen4 p4 #age4 ,footnote #afj3 ,this fact comes out particularly in ,polybios2 cf4 ,susemihl1 ,geschichte der griech4 ,litteratur in der ,alexanderzeit1 ii4 p4 #aai4 ,footnote #afa3 ,c4 ,i4 ,a4 ii4 #igc is the authority for this occurrence in the years #cda-ci ,b4,c4 ,footnote #afb3 #f4 #c4 #e4 ,footnote #afc3 ,cf4 ,nem4 #g4 v4 #di ff4 ,footnote #afd3 ,vid4 ,hypothesis3 4 ,footnote #afe3 ,fig4 #aj2 no4 #bci in the ,jatta catalogue4 ,pub4 ,annali d4 ,inst4 #ahfh1 pl4 ,e ,engelmann's ,atlas zum ,homer1 ii4 ,odyssee1 pl4 #d4 #ah2 cf4 ,vogel1 op4 cit4 p4 #cf ff4 ,footnote #aff3 ,cf4 similar figures in figs4 #f1 #ah1 #bj4 ,footnote #afg3 ,the composition is strikingly like that in fig4 #ah4 ,the two temples are exact counterparts of each other4 ,the altars likewise and the ,apollo figures have much in common4 ,most important of all is the fact that in both pictures the chief persons are denoted by inscriptions4 ,it should be observed further that both vases are of the same style1 amphoras with volute handles1 and both were found in ,ruvo4 ,these facts lead me to believe that one and the same artist may have been the painter of both works4 ,footnote #afh3 ,cf4 figs4 #f1 #g1 #ah1 #bj1 #ba1 #bc4 ,footnote #afi3 ,the #bfth idyll of ,theokritos should also be counted with the ,bakchai4 ,footnote #agj3 ,suidas s4 v4 ,thespis4 ,footnote #aga3 ,but one verse remains1 ,nauck's ,fragmenta1 no4 #ahc4 ,footnote #agb3 ,a psykter in the ,bourguignon coll41 ,naples2 pub4 ,jahrbuch1 #ahib1 pl4 #e4 ,the vase belongs to the ,epiktetos set1 and may be dated cir4 #ejj ,b4,c4 ,footnote #agc3 ,the following1 given by ,hartwig1 ,jahrbuch1 #ahib1 p4 #aed ff41 may be mentioned as supplementing the list in ,jahn's well-known essay1 ,pentheus und die ,mainaden1 ,kiel1 #ahda4 7#a7 ,attic pyxis1 ,louvre2 pub4 ,jahrbuch1 #ahib1 p4 #aef2 date #dbj-djj ,b4,c4 7#b7 ,kylix in ,museo di ,papa ,giulio1 ,rome1 described by ,hartwig1 op4 cit4 p4 #afc1 who thinks it may have well been influenced by ,euripides1 but he sets the date of the ,bakchai at #daj ,b4,c46 ,i have not seen the vase nor any publication of it1 but should infer from ,hartwig's description that it is older than the tragedy4 ,footnote #agd3 ,lucanian fabric1 no4 #hjg in ,jahn's cat41 pub4 ,jahn's ,pentheus und die ,mainaden1 pl4 ii4 a2 ,reinach-,millingen1 ,peintures1 pl4 #e ,baumeister1 ,denkmler1 ii4 no4 #acif4 ,footnote #age3 ,the original shows no trace of the fire that is so prominent in the publications4 ,there can1 however1 be no doubt that a burning torch was meant1 if not so painted originally4 ,footnote #agf3 vs4 #ied ff41 #ajeb1 #ajfa ff4 ,footnote #agg3 ,p4 #be above4 ,it should be noted that this is the first example of a ,pentheus scene discovered in ,pompeii or ,herculaneum4 ,footnote #agh3 ,p4 #bc above4 ,footnote #agi3 ,the episode seems to have been first told in the of ,arktinos4 ,polyxena being led by ,neoptolemos to the tomb of ,achilles appears on an ,attic bl4 fig4 vase of cir4 #eej ,b4,c41 vid4 ,berlin cat4 #aijb2 pub4 ,overbeck1 ,bildwerke1 pl4 #bg4 #ag4 ,two gems of the severe style in the ,berlin ,antiquarium 7nos4 #dhi1 #dij71 pub4 ,overbeck1 op4 cit4 pl4 #bg4 #ac and #ad1 also represent the sacrifice4 ,the painting in the ,pinakotheke of the ,propylaia may have been by ,polygnotos 7cf4 p4 #ba above71 and if it was1 ,euripides no doubt had often seen it4 ,this showed her about to be sacrificed2 ,paus4 #a4 #bb4 #f4 ,footnote #ahj3 #8,megarian ,bowls' is a name applied to a class of small cups decorated with a band of relief4 ,the ware is red or black1 and appears both in glazed and unglazed form4 ,the largest number of the vases has been found in ,megara1 hence the name #8,megarian4' ,as many have been discovered also in ,boeotia and other places1 the present terminology is somewhat misleading4 ,examples of this ware are to be found in every large museum in ,europe4 ,the ,british ,museum possesses no less than nine such cups1 and fragments from fourteen others 7vid4 cat4 iv4 pp4 #bea-bef74 ,the reliefs illustrate mostly scenes from the ,theban and ,trojan ,cycles4 ,whether the terra cotta presented a cheap way of reproducing silver and gold cups1 which were highly prized1 and served therefore the place of our casts1 or whether the bowls were made from special moulds and are to be considered independent works of art1 is quite uncertain4 ,the fact that there are in existence three copies of the same work1 each agreeing in every detail with the others1 would seem to point to the former supposition4 ,robert1 who has handled this set of monuments most thoroughly1 distinguishes two classes3 7#a7 the whole vase is cast from one mould2 7#b7 the reliefs having been made separately are stamped on the ready bowl4 ,vid4 especially ,robert's ,homerische ,becher for the whole question2 cf4 also p4 #bg ff4 above4 ,footnote #aha3 ,fig4 #ab1 pub4 by ,robert1 op4 cit4 p4 #gc ff4 ,footnote #ahb3 ,fig4 #ac3 pub4 ,mon4 d4 ,inst4 ii4 pl4 #ab2 ,welcker1 ,alte ,denkmler1 iii4 pl4 #bc4 #b2 ,overbeck1 ,bildwerke1 pl4 #bh4 #b4 ,footnote #ahc3 ,the first play belonged to the trilogy containing the ,aigeus and ,theseus1 which made up a set of purely ,attic interest4 ,it is well known that ,euripides deepened and widened the belief in the ,athenian heroic period4 ,footnote #ahd3 ,suidas names an ,hippolytos of ,lykophron--a poet of ,alexandria4 ,footnote #ahe3 ,the ,phaedra seems to have followed the first ,hippolytos of ,euripides4 ,footnote #ahf3 ,cf4 ,met4 #ae1 vs4 #dig ff41 and ,heroid4 #d4 ,footnote #ahg3 ,cat4 iv4 ,f #bgb1 pub4 by ,braun1 ,mon4 ed ,annali1 #ahed1 pl4 #af2 ,engelmann's ,atlas zum ,homer1 ii1 ,odyssee1 pl4 #ae4 #ic4 ,first correctly interpreted by ,heydemann1 ,arch4 ,ztg4 #ahga1 p4 #aeh ff42 cf4 also ,vogel1 op4 cit4 p4 #ff f41 and ,kalkmann1 ,arch4 ,ztg4 #ahhc1 p4 #fb ff4 ,the vase is ,apulian ware4 ,the lower zone represents the violence of the ,centaurs at the marriage of ,peirithos' daughter1 ,laodameia4 ,theseus and the father are seen rushing to the help of the bride4 ,footnote #ahh3 ,the fact that no succession of events1 where one person appears more than once1 can be found in ,hellenic art1 forbids us interpreting this group as again ,phaidra and an attendant4 ,i cannot1 however1 rid myself of the feeling that the figure leaning on the kline is not a servant1 but is more in rank with ,phaidra4 ,her rle is more than that of the other attendants4 ,this is shown by her attitude and dress4 ,her appearance is exactly that required for ,phaidra after she had ordered her attendants to lift her up1 remove her veil1 and allow her hair to drop over her shoulders 7vs4 #aih-bjb74 ,footnote #ahi3 ,cf4 the part of the pedagogue on the ,medeia vase1 fig4 #bc1 p4 #adf4 ,footnote #aij3 ,there are1 besides1 fragments of several other reliefs4 ,for the literature vid4 ,kalkmann1 ,arch4 ,ztg4 #ahhc1 p4 #fe ff41 and ,jahn1 ,arch4 ,beitrge1 p4 #cjj ff4 ,footnote #aia3 ,cf4 vs4 #bja ff4 ,footnote #aib3 ,pub4 ,arch4 ,ztg4 #ahdg1 pl4 #e and #f4 ,footnote #aic3 ,pub4 ,mon4 d4 ,inst4 vi4 pl4 #a1 #b1 #c4 ,footnote #aid3 ,so on the ,constantinople relief1 pub4 ,arch4 ,ztg4 #aheg1 pl4 #ajj ,brunn's ,vorlegebltter1 pl4 #i4 #c2 and on the ,girgenti sarcophagi2 cf4 note #a above4 ,footnote #aie3 ,clarac1 ,muse de ,sculpture1 pl4 #bac1 no4 #bbh1 and ,mon4 d4 ,inst4 viii4 pl4 #ch4 #a ,wiener ,vorlegebltter1 ser4 #e1 pl4 #ab1 and ,gerhard1 ,antike ,bildwerke1 pl4 #bf4 ,footnote #aif3 ,a number of vase paintings interpreted as ,phaidra are not included here since they all admit of a variety of interpretations4 ,vid4 p4 #agi below4 ,footnote #aig3 ,the remarkable feature in these reliefs that shows non-,euripidean influence is the letter which the old nurse hands to ,hippolytos4 ,this points to another handling of the myth1 where the former confined herself to a written statement rather than a word of mouth proposal4 ,strikingly in harmony with ,euripides1 however1 is the position of the trophos4 ,she grasps ,hippolytos' elbow-- 7v4 #fje74 ,cf4 also the ,pompeian wall painting1 ,mus4 ,borbonico1 #h1 pl4 #eb4 ,this and other wall paintings represent the scene between ,hippolytos and the nurse as taking place in the presence of ,phaidra1 who sits quite alone4 ,footnote #aih3 ,cf4 fig4 #ae4 ,cat4 vol4 iv4 ,f #bgi2 pub4 by ,kalkmann1 ,arch4 ,ztg4 #ahhc1 pl4 #f2 vid4 ibid4 p4 #dc ff4 ,footnote #aii3 ,cf4 a similar group in fig4 #bc4 ,footnote #bjj3 ,the same group of divinities1 with the exception of ,apollo1 occurs on the ,naples amphora1 no4 #cbef1 pub4 ,mon4 d4 ,inst4 ii4 #cj1 and ,robert1 ,die ,marathonschlacht1 p4 #cg2 ,robert calls attention to the fact that this is an essentially ,athenian assembly4 ,poseidon1 ,athena1 and ,pan were inseparably associated with the ,acropolis1 the latter1 of course1 after the battle of ,marathon4 ,the ,naples vase represents a battle between ,greeks and barbarians1 and according to ,robert's theory is dependent upon ,polygnotos' painting in the ,stoa ,poikile4 ,as participants and spectators the gods occur in the upper section4 ,athena1 indeed1 whirls into line on her chariot4 ,if this ingenious theory has hit the gist of the matter regarding the ,naples painting1 then we may also claim the group of gods on the ,hippolytos vase as peculiarly ,athenian4 ,and such would be very appropriate for a picture that represented an ,attic tragedy1 whose hero had a cult under the shadow of the ,acropolis4 ,footnote #bja3 vs4 #aaii ff4 ,footnote #bjb3 v4 #abad2 cf4 also ,ovid1 ,met4 #ae4 #eab1 where the bull is described as having his breast half out of the water4 ,footnote #bjc3 ,bk4 ii4 #d4 ,footnote #bjd3 ,nat4 ,hist4 #ce4 #aad4 ,footnote #bje3 ,cf4 ,mon4 d4 ,inst4 vi4 pl4 #b2 ,arch4 ,ztg4 #ahdg1 pl4 #f4 ,footnote #bjf3 ,krte1 ,i rilievi delle urne etrusche1 ii4 pl4 #cc-cf4 ,footnote #bjg3 ,the urn in the ,brit4 ,mus41 no4 #f1 pl4 #cf1 op4 cit41 has two such figures4 ,footnote #bjh3 ,so ,bergk and ,ribbeck4 ,footnote #bji3 v4 #bcd ff4 ,footnote #baj3 ,pliny1 #ce4 #gc1 says of the picture1 oratorum laudibus celebrata4 ,numerous mentions are in fact made of it by the orators4 ,cf4 especially ,cic4 ,orat4 #bb4 #gd4 ,vid4 further1 ,brunn's ,griech4 ,knstler1 ii4 p4 #hb ff4 ,footnote #baa3 ,discovered ,april #cj1 #ahbe1 in the house of the #8,tragic ,poet'2 pub4 ,baumeister1 ,denkmler1 i4 no4 #hjg photo1 ,alinari1 #abjbg4 ,vid4 ,helbig1 ,campanische ,wandgemlde1 no4 #acjd4 ,here1 however1 ,iphigeneia is being carried 7cf4 ,aisch4 ,agam4 loc4 cit471 while ,pliny speaks of her as stans in ,timanthes' painting4 ,footnote #bab3 ,pub4 ,baumeister1 op4 cit4 i4 #hjf2 vid4 ,f4-,w4 no4 #badc4 ,footnote #bac3 ,vid4 ,michaelis in ,rm4 ,mitth4 #ahic1 p4 #bja ff42 cf4 p4 #d above4 ,footnote #bad3 ,brunn1 ,i rilievi delle urne etrusche1 i4 pl4 #ce-dg4 ,there are altogether twenty-six reliefs1 of which twenty-one belong to ,perugia4 ,cf4 ,schlie1 ,die ,darstellungen des troischen ,sagenkreises auf etruskischen ,aschenkisten1 p4 #fj f4 ,footnote #bae3 ,op4 cit4 p4 #ha f41 but cf4 my remarks on p4 #aj ff4 ,footnote #baf3 ,pub4 by ,robert1 ,homerische ,becher1 p4 #ea4 ,footnote #bag3 ,a second in ,athens1 pub4 4 4 #ahhg1 pl4 #e2 a third1 on the authority of ,furtwngler 7vid4 ,robert1 loc4 cit471 in the ,branthegem coll4 in ,brussels4 ,footnote #bah3 ,so at least one thinks of the case4 ,agamemnon ought to have been inside at this moment1 shut off from the public gaze4 ,the ,greek drama1 however1 had to bring outside1 before the public as it were1 even those delicate scenes such as the present where the interior of ,agamemnon's tent should have been the scene4 ,footnote #bai3 ,the name occurs six times on the vase1 and is always without an ,n4 ,this is strong epigraphical evidence that our spelling ,klytaimnestra is incorrect4 ,footnote #bbj3 ,p4 #aac f4 ,footnote #bba3 ,vid4 p4 #agi4 ,footnote #bbb3 ,cf4 ,aisch4 ,agam4 v4 #bbd ff42 ,eur4 ,iph4 ,t4 v4 #h and #cfj2 ,iph4 ,a4 v4 #hgc1 #hge1 #ice1 #aagg1 are hardly to be taken in the literal sense4 ,footnote #bbc3 ,elekt4 v4 #aeg and schol4 ,footnote #bbd3 ,cf4 ,proklos in ,argum4 to ,kypria4 ,footnote #bbe3 ,frag4 #abc1 and ,paus4 #a4 #dc4 #a4 ,footnote #bbf3 ,bk4 iv1 ch4 #ajc1 and ,paus4 loc4 cit4 ,footnote #bbg3 ,vid4 ,suidas s4v4 ,footnote #bbh3 #adef;a4 #f2 #adec;b4 #aa4 ,footnote #bbi3 ,ribbeck1 ,die rmische ,tragdie1 p4 #ej4 ,footnote #bcj3 ,ribbeck thinks of ,naevius4 ,footnote #bca3 ,for these last two scenes as well as the others1 vid4 ,robert1 ,die antiken ,sarkophag-,reliefs1 vol4 ii4 pl4 #eg-ei1 and p4 #afe f4 and #agg ff4 ,footnote #bcb3 ,fig4 #ag1 from ,raoul-,rochette1 ,mon4 ind4 pl4 #da4 ,heydemann1 cat4 ,santangelo1 no4 #bd2 cf4 ,trendelenburg in ,annali d4 ,inst4 #ahgb1 p4 #aad4 ,footnote #bcc3 ,vid4 ,robert1 op4 cit4 nos4 #aeg;b1 #afh1 #aga4 ,footnote #bcd3 ,a wall painting from ,herculaneum1 pub4 ,pitture di ,ercolano1 i4 pl4 #ab2 ,overbeck's ,bildwerke1 pl4 #cj4 #i2 cf4 ,helbig1 ,campanische ,wandgemlde1 no4 #accd4 ,another painting from ,pompeii is published in ,arch4 ,ztg4 #ahge1 pl4 #ac2 for the same on pastes and gems cf4 ,overbeck1 op4 cit4 pl4 #cj1 and ,furtwngler's ,beschreibung der geschnittenen ,steine im ,antiquarium 7,berlin71 nos4 #gia ff4 ,footnote #bce3 ,fig4 #ah from a ,ruvo amphora in ,naples4 ,heydemann1 no4 #cbbc4 ,pub4 ,mon4 d4 ,inst4 ii4 pl4 #dc2 ,overbeck1 ,bildwerke1 pl4 #cj4 #d4 ,vid4 ,annali d4 ,inst4 vol4 ix4 p4 #aih ff42 ,arch4 ,ztg4 #ahge1 p4 #acg2 ,vogel1 ,scenen eur4 ,trag4 p4 #gj ff4 ,footnote #bcf3 ,cf4 v4 #adfc1 where the poet says ,iphigeneia is to be for the ,brauronian ,artemis4 ,in ,aisch4 ,supp41 also1 ,io is spoken of as at one time 4 ,cf4 v4 #bia4 ,footnote #bcg3 ,cf4 the monuments in ,overbeck's ,bildwerke1 pl4 #cj1 that represent this scene2 and the central group on the front side of the ,munich sarcophagus1 op4 cit4 no4 #afg4 ,footnote #bch3 ,artemis sits on an altar in fig4 #ba1 as do ,orestes and ,pylades on an ,etruscan mirror2 vid4 ,gerhard's ,etruskische ,spiegel1 ii4 #bci1 and v4 #aag4 ,neoptolemos jumps upon the in the ,andromache 7v4 #aabc7 to avoid his foes4 ,cf4 fig4 #aj1 p4 #hd4 ,footnote #bci3 ,cf4 ,robert1 op4 cit4 nos4 #agg and #agh1 the ,berlin and ,weimar ,sarcophagi1 and no4 #ahj1 a fragment in the court of the ,palazzo ,mattei4 ,robert properly refers to the next following moment when ,orestes and ,pylades are left alone with the chorus1 ,iphigeneia having gone inside to bring the letter4 ,in order to obtain just the sarcophagi scenes we have but to allow ,iphigeneia to withdraw after the close of her speech1 v4 #fdb4 ,footnote #bdj3 ,robert1 op4 cit4 pl4 #eg-ei1 and p4 #afe f4 and #agg ff42 ,arch4 ,ztg4 #ahge1 p4 #acd ff4 ,footnote #bda3 ,the two wall paintings published by ,overbeck1 ,bildwerke4 pl4 #cj1 nos4 #ca and #ad1 and interpreted as representing this same moment1 have since been explained by ,petersen1 ,arch4 ,ztg4 #ahfc1 p4 #aac ff41 as belonging to the ,alkestis4 ,while the former view has been generally given up1 the latter has not by any means been everywhere accepted4 ,it is1 at most1 probable4 ,footnote #bdb3 ,fig4 #ai1 pub4 ,arch4 ,ztg4 #ahdi1 pl4 #ab ,overbeck1 op4 cit4 pl4 #cj4 #g ,mon4 d4 ,inst4 iv4 pl4 #ea4 ,vid4 also under #8,iphigeneia' in ,baumeister1 and ,roscher4 ,cf4 ,vogel1 op4 cit4 p4 #gb ff41 and ,arch4 ,ztg4 #ahge p4 #acf4 ,footnote #bdc3 ,fig4 #bj1 no4 #dbj1 in the cat4 of the ,hermitage1 pub4 ,mon4 d4 ,inst4 vi4 pl4 #ff2 cf4 ,annali d4 ,inst4 #ahfb1 p4 #aaf ff41 and ,stephani in ,compte ,rendu1 #ahfc1 p4 #aei ff4 ,footnote #bdd3 ,compte ,rendu1 loc4 cit4 ,footnote #bde3 ,fig4 #ba2 pub4 in the ,bullettino archeologico ,napolitano1 #ahfb1 pl4 #g1 and in ,brunn's ,vorlegebltter1 pl4 #ac4 #a4 ,cf4 also ,vogel1 op4 cit4 p4 #gd ff4 ,footnote #bdf3 ,p4 #abd4 ,footnote #bdg3 ,cf41 however1 ,laborde's ,vases ,lamberg1 i4 p4 #ad1 also ,annali d4 ,inst4 #ahdh1 pl4 ,l1 and ,overbeck's ,bildwerke1 pl4 #cj4 #h1 for a vase which probably shows the escape with the idol4 ,it is not certain1 but this seems to be what is represented4 ,the work is very ordinary4 ,footnote #bdh3 ,helbig1 no4 #accc1 pub4 in ,mon4 d4 ,inst4 viii4 pl4 #bb2 photo1 ,alinari1 no4 #abjbi4 ,cf4 ,helbig1 ,untersuchungen ber die ,campanische ,wandmalerei1 p4 #adg ff4 ,footnote #bdi3 ,arch4 ,ztg4 #ahge1 p4 #add4 ,footnote #bej3 ,loc4 cit4 ,footnote #bea3 ,vid4 ,rm4 ,mitth4 #ahif1 p4 #fg4 ,footnote #beb3 ,we know of such an original1 the famous painting of ,timomachus4 ,pliny1 ,hist4 ,nat4 #ce4 #acf1 says1 ,timomachus ,byzantius ,caesaris dictatoris aetate ,aiacem et ,medeam pinxit 444 ,,timomachi ,,aeque ,,laudantur ,,orestes1 ,,iphigenia ,,in ,,tauris4 ,further than this we know nothing of the painter4 ,that he was immensely popular follows from ,pliny's statement 7loc4 cit47 that ,caesar paid #hj talents for this ,aiax4 ,in regard to the date of ,timomachus we possess ,pliny's authority for ,caesaris aetate4 ,robert defends this 7,arch4 ,mrchen1 p4 #acb71 while others seek to find an earlier date4 ,miss ,sellers in ,the ,elder ,pliny's ,chapters on the ,history of ,art1 ,jex-,blake and ,sellers1 p4 #afj f41 argues for the fourth century ,b4,c4 ,vid4 loc4 cit4 for the latest discussion of this painter's date1 as well as for references to the literature4 ,further reference may be made to ,helbig1 ,untersuchungen1 p4 #adg ff41 where especially the influence of ,timomachus on the wall paintings is dwelt upon4 ,footnote #bec3 ,cf4 ,arist4 ,poet4 #addi;a4 #ai and #bj4 ,footnote #bed3 ,miss ,harrison1 ,j4 ,h4 ,s4 #ahhc1 p4 #bdh ff41 has brought together and discussed thirteen vases connected with this myth1 of which the first twelve are bl4 fig4 ,footnote #bee3 v4 #ii1 ,odysseus says he thinks they have dropped down on a city of ,bromios1 so many are the satyrs whom he sees before the cave4 ,footnote #bef3 ,p4 #bc4 ,footnote #beg3 ,pliny #ce1 #gd4 ,a ,cyclops dormiens so large that a number of satyrs were engaged in measuring his thumb with a thyrsos4 ,i follow ,robert 7,bild und ,lied1 p4 #ce7 and ,winter 7,jahrbuch1 #ahia1 p4 #bgb7 in connecting this painting with ,euripides4 ,footnote #beh3 ,the painting is on a krater in the possession of ,sir ,francis ,cook1 ,richmond1 ,england2 pub4 by ,winter1 ,jahrbuch1 #ahia1 pl4 #f4 ,he thinks the work ,attic1 but ,furtwngler 7,masterpieces1 p4 #aji1 note #h7 is sure it is ,lower ,italy ware4 ,footnote #bei3 ,the three eyes are plainly visible4 ,one huge eye alone in the centre of the forehead belongs to later times4 ,footnote #bfj3 ,furtwngler1 loc4 cit41 remarks that the publication is not exactly correct1 as fire is plainly noticeable on the wood that the youths are contributing4 ,footnote #bfa3 ,polyphemos here is strikingly like the figure on an ,etruscan urn4 ,brunn1 ,i rilievi1 i4 pl4 #hgc4 ,the ,kyklops is in both cases stretched out upon his left side1 and is on the point of being attacked4 ,footnote #bfb3 ,the poet mentions the krater1 and in the next breath the skyphos1 neither of which is exactly found in the rough sketch in the painting4 ,besides these1 ,euripides names in this play the kylix1 amphora1 and pithos--a considerable vocabulary of ceramic terms4 ,footnote #bfc3 ,my remark applies only to the extant monuments1 for one finds that ,pausanias saw the marriage of ,jason and ,medeia represented on the ,kypselos ,chest 7#e4 #ah4 #c74 ,this is in keeping with the ,corinthian origin of the ,chest4 ,it is hardly to be expected that such domestic events in ,medeia's career would have found their place in any work of art that was not made in ,corinth1 or at least in a place essentially influenced by ,corinthian legend4 ,footnote #bfd3 ,vid4 ,arch4 ,ztg4 #ahfg1 p4 #eh4 ,footnote #bfe3 ,benndorf und ,schne1 ,die antiken ,bildwerke des ,lateranensischen ,museums1 p4 #fa ff42 ,f4-,w4 no4 #abjj4 ,the ,berlin copy of this relief1 long supposed to be of ,renaissance origin1 has lately been proved to be antique2 vid4 ,kekul von ,stradonitz in ,jahrbuch1 #ahig1 p4 #if ff4 ,footnote #bff3 ,cf4 ,baumeister's ,denkmler1 i4 p4 #adb2 ii4 p4 #hge2 iii4 p4 #aheb4 ,footnote #bfg3 ,kekul's ,die antiken ,terracotten1 ii4 p4 #ba4 ,footnote #bfh3 ,vid4 ,roscher's ,lexikon1 ii4 p4 #beac4 ,footnote #bfi3 ,robert in ,die antiken ,sarkophag-,reliefs1 ii4 p4 #bje-bag1 gives all the literature2 cf4 also pl4 #fb-fe4 ,vid4 ,arch4 ,ztg4 #ahff1 p4 #bcd ff42 ,annali d4 ,inst4 #ahfi1 p4 #e ff42 ,urlichs' ,wrzburger ,programm1 ein ,medea-,sarkophag1 #ahhh4 7,this fine sarcophagus is now in the ,berlin museum47 ,robert and ,urlichs have1 to my mind1 shown conclusively that these reliefs go back to ,euripides' ,medeia for their literary source4 ,notwithstanding that they all date from about the second century ,a4,d41 and could thus be based on various ,roman plays1 the arrangement of the events on the reliefs bears a remarkable similarity to the scenes in ,euripides4 ,the reliefs on the long sides are taken up with exactly the scenes of the ,greek poet4 ,those on the ends are but indifferently worked out1 and often do not represent any events in the ,medeia-,jason adventures4 ,footnote #bgj3 ,a half-tone reproduction of the vase is shown in the frontispiece4 ,the section with the painting is given separately in fig4 #bc4 ,it is no4 #haj in ,jahn's catalogue2 pub4 in ,millin's ,tombeaux de ,canose1 #ahaf1 pl4 #g2 ,arch4 ,ztg4 #ahdg1 pl4 #c2 ,wiener ,vorlegebltter1 ser4 i4 pl4 #ab2 ,baumeister's ,denkmler1 ii4 p4 #ijc2 ,roscher's ,lexikon1 ii4 p4 #beaj2 ,inghirami1 ,vasi fitt4 iv4 pl4 #chh2 ,engelmann1 ,bilderatlas zu ,ovid1 pl4 #ac1 #ha4 ,discussed by ,jahn1 ,arch4 ,ztg4 #ahdg1 p4 #cc ff42 ibid4 7by ,dilthey7 #ahge1 p4 #fh f42 ,robert1 ,bild und ,lied1 p4 #cg ff41 and ,hermes1 vol4 #cj1 p4 #efg note2 ,krte1 ,ueber ,personificationen psychologischer ,affecte1 p4 #ch ff42 ,vogel1 ,scenen eur4 ,trag4 p4 #adf ff42 ,seeliger in ,roscher's ,lexikon1 loc4 cit42 ,bethe1 ,prolegomena zur ,geschichte des ,theaters im ,altertum1 p4 #adh1 note #f4 ,footnote #bga3 ,the latter name is found in schol4 ,eur4 ,med4 v4 #ai1 and in ,hyginus4 fab4 #be4 ,footnote #bgb3 ,diod4 ,sic4 iv4 #ee4 #e1 calls ,kreusa's brother ,hippotes4 ,footnote #bgc3 ,the reading 444 in ,millin's publication1 followed also by ,conze in the ,vorlegebltter and by ,baumeister1 is incorrect as ,jahn 7vid4 cat4 no4 #haj1 note7 expressly stated1 and as is plainly proved by a glance at the original4 ,hence the useless conjectures that have been made to fill up the space between the first and last letters4 ,there is absolutely no trace of the 1 but there are faint remains of letters preceding 1 and the correct reading is without question1 4 ,footnote #bgd3 ,cf4 p4 #aeb1 and note #c4 ,footnote #bge3 ,this inscription1 which is very distinct1 does not appear in ,conze's publication4 ,all the inscriptions occurring on the palace are painted in white4 ,all others are incised4 ,footnote #bgf3 ,this moment is shown on another vase 7vid4 fig4 #bd71 and so1 too1 on the sarcophagi ,kreusa is always represented in the moment of falling or springing from the 4 ,footnote #bgg3 ,in spite of this1 ,vogel1 p4 #adi1 asks1 ,warum zeigt uns der ,vasenmaler den ,kreon nicht in dem ,augenblicke1 wo er seine ,tochter von den unheilvollen ,brautgeschenken der ,medeia befreien will1 sondern in dem1 wo er berwltigt von dem ,unglcke das ,scepter seinen ,hnden entfallen lsst und starr und seiner selbst nicht mehr mchtig seine ,blicke auf die herbeieilende ,merope lenkt8 i4 e4 why did the vase painter not paint another scene instead of the one he did8 ,footnote #bgh3 ,cf4 note #g1 p4 #ade4 ,on fragment no4 #aig1 ,robert1 op4 cit41 the arms of ,kreon are incorrectly restored1 and his hands are represented as clasped4 ,on all the reliefs ,kreon is turned towards ,kreusa and not away1 as on the vase4 ,i refuse1 however1 to believe with ,jahn and others that ,kreon is staring at ,merope4 ,he sees nothing and nobody4 ,footnote #bgi3 ,apollod4 ,i4 #i4 #c4 ,footnote #bhj3 ,soph4 ,oed4 ,rex1 v4 #gge1 the wife of 4 ,footnote #bha3 ,supposing the word to be a pure invention of the painter1 there are still in ,euripides suggestions of the name if one were seeking such for the figure4 ,in v4 #djd1 ,medeia declares she #8will not be a laughing-stock to the race of ,sisyphos and ,jason's new alliances'2 and in v4 #acha1 1 the former queens would be suggested with the name ,merope4 ,it is but natural that the vase painter took the name thus suggested by ,euripides4 ,footnote #bhb3 ,p4 #adi4 ,footnote #bhc3 ,suidas refers to a ,medeia by ,neophron4 ,ennius' ,medea was1 according to ,cicero1 ,de ,fin4 #a4 #b4 #d1 a literal translation from ,euripides4 ,the ,medea exul by the same poet has generally been held to be a version of ,euripides' ,aigeus4 ,footnote #bhd3 ,hermes1 vol4 #ca1 p4 #efg note4 ,footnote #bhe3 ,bild und ,lied1 p4 #db4 ,footnote #bhf3 ,zeichnungen von ,sandro ,botticelli zu ,dantes ,goettlicher ,komoedie nach den ,originalen im ,knig4 ,kupferstichkabinet zu ,berlin1 von ,dr4 ,f4 ,lippmann4 ,footnote #bhg3 ,in canto iii1 ,charon is an old man2 ,botticelli drew him as the devil4 ,in the second plate to this same canto the souls are swimming out to ,charon's boat1 a fact which ,dante does not mention4 ,the illustration to canto xx has only two persons identical with those of the poet1 and in ,purgatorio iii the souls on the shore and in the boat are additions of the artist4 ,footnote #bhh3 ,cf4 ,dilthey in ,annali d4 ,inst4 #ahgf1 p4 #bid1 and pl4 #ce in ,mon4 d4 ,inst4 x4 ,footnote #bhi3 ,vid4 ,klein's ,euphronios1 p4 #hi1 and ,wilamowitz-,moellendorff1 ,her4 ,fur4 vol4 ii1 ed4 #a1 p4 #bad4 ,footnote #bij3 ,cf4 fig4 #bd1 where the female figure on the left is none other than a nurse4 ,footnote #bia3 ,bild und ,lied1 p4 #ch4 ,footnote #bib3 ,cf4 figs4 #bd and #be and ,baumeister's ,denkmler1 i4 p4 #adb4 ,footnote #bic3 ,it will be observed that the writer does not share the view of ,bethe1 ,prolegomena zur ,geschichte des ,theaters im ,altertum1 p4 #adb ff41 that the ,flugmaschine was not in use in the ,greek theatre before #dbe ,b4,c4 ,robert1 ,hermes1 vol4 #ca1 p4 #ecj-egg1 has conclusively shown the incorrectness of ,bethe's arguments1 and not only proved the use of the ,flugmaschine for the ,medeia1 #dca ,b4,c41 but also for a much earlier date4 ,bethe's remark1 ,demnach ist fr die erste ,auffhrung der ,medea im ,jahre #dca ihr ,erscheinen in der ,hhe1 also auch die ,anwendung der ,flugmaschine1 nicht mglich 7p4 #adf71 is based upon a false conception of the resources at hand in that period of ,athenian architectural activity4 ,footnote #bid3 ,it has already been pointed out above1 p4 #aei1 that ,medeia entered the palace to slay the boys1 and that they might or might not have been alone4 ,at any rate it was not allowable to represent them in art without some older companion4 ,robert's remark1 ,bild und ,lied1 p4 #ci1 ,den ,kindern die bereits bei der ,mutter angelangt sind1 muss aber jetzt noch ein anderer ,begleiter zugestellt werden1 is inexplicable4 ,where had the children gone to reach their mother8 ,was it not just the reverse1 viz4 that the mother had gone to them8 ,footnote #bie3 iv4 #ed4 #g4 ,footnote #bif3 ,one must remember that ,diodorus gathered his excerpts together at least #cjj years after the date of our vase1 during all of which time the mythographers had been busy helping to straighten out the family affairs that the tragedians of the fifth century had treated imperfectly6 ,footnote #big3 ,as a matter of fact this reference1 although brought in under another than the first remark1 where three sons are named1 1 1 iv4 #ed4 #a1 seems to me to speak of a common origin1 and ,i hold both as coming from the same authority1 under whose influence our vase painter certainly never stood4 ,footnote #bih3 ,eur4 ,orest4 v4 #gia4 ,footnote #bii3 ,as in the ,medeia1 nothing is said to indicate how the chariot was drawn4 ,it is only from the monuments and later literary references 7vid4 ,argum4 to the ,medeia and schol4 on v4 #acbj7 that one learns of the dragons2 or is the utterance of ,jason1 vs4 #abig f41 ' '1 an intimation of the strange escape of the sorceress8 ,how was ,lyssa's chariot drawn8 ,why not also by dragons8 ,footnote #cjj3 ,cf4 fig4 #bf1 where the figure that stands beside the dragons has been identified as or 4 ,that the latter is the child of night harmonizes well with the night escape indicated by ,selene and the stars on this vase4 ,footnote #cja3 ,on a vase of ,assteas1 vid4 p4 #agi below1 which shows ,herakles in the act of murdering his sons1 the painter calls the personification of ,lyssa1 mania4 ,footnote #cjb3 ,mention should be made here of the ,parian inscription1 which gives us the curious information that there was a society of hetairai established under the patronage of the goddess 2 cf4 ,pernice1 ,athen4 ,mitth4 #ahic1 p4 #af4 #b1 and ,maass1 ibid4 p4 #be f4 ,there is1 of course1 a wide distinction between the personification and the cult use of 1 but it is worth while to point out that ,eur4 ,hipp4 vs4 #acjj ff41 gives the same notion that ,maass suggests and supports by a quotation from ,paullus ,silentiarius 7,anth4 ,plan4 v4 #bcd71 where occurs4 ,artemis1 speaking to ,theseus of ,hippolytos' death and its cause1 says1 ' ' 1 1 ' 1 1 where we may suppose ,euripides to have thought of ,phaidra as possessed with 1 which means 7v4 #acja71 i4e4 7v4 #acjd74 ,footnote #cjc3 ,cf4 ,aisch4 ,pers4 vs4 #fha-hdb1 where the of ,dareios is one of the dramatis personae4 ,also ,eur4 ,hek41 where the prologue is spoken by the of ,polydoros4 ,footnote #cjd3 ,dilthey1 ,arch4 #bai1 #ahge1 p4 #ga1 followed also by ,vogel1 ,scen4 eur4 ,trag4 p4 #aea4 ,how do these scholars account for the appearance of ,megara and her sons upon the #8under-world' vases where ,herakles is also represented in his last labour of capturing ,kerberos8 ,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-world4 ,footnote #cje3 ,bild und ,lied1 p4 #ci f4 ,footnote #cjf3 ,p4 #aef above4 ,footnote #cjg3 ,cp4 among other places in the ,medeia1 vs4 #acc1 #cbh1 #dje1 #dge ff41 #ecf ff41 #eej1 #accj4 ,footnote #cjh3 ,cf4 the ,dareios vase in ,naples1 also found in ,canosa2 pub4 ,baumeister's ,denkmler1 i4 no4 #ddi2 also the costume of the judges on the so-called #8under-world' vases1 pub4 ,wiener ,vorlegebltter1 ser4 ,e4 #a-c4 ,footnote #cji3 ,apoll4 ,rhod4 #a4 #abb and #cda ff42 ,hyg4 fab4 #ad2 ,diod4 ,sic4 iv4 #ec4 #d4 ,footnote #caj3 ,apoll4 ,rhod4 #a4 #ajh ff42 ,apollod4 #a4 #i4 #af2 ,hyg4 fab4 #ad4 ,footnote #caa3 ,apoll4 ,rhod4 #a4 #adf ff42 ,paus41 #a4 #ah4 #a1 relates that in the temple of the ,dioskouroi in ,athens1 known also as the ,anakeion1 ,mikon painted events from the ,argonautic expedition4 ,footnote #cab3 ,fig4 #bd4 ,heydemann1 cat4 ,mus4 ,santangelo1 no4 #ebf4 ,pub4 in ,raoul-,rochette's ,choiseaux de ,peintures1 p4 #bfc4 ,discussed by ,jahn1 ,arch4 ,ztg4 #ahfg1 p4 #ei1 and referred to by ,vogel1 ,scen4 eur4 ,trag4 p4 #aea4 ,footnote #cac3 ,fig4 #be2 pub4 ,raoul-,rochette1 ,choiseaux de ,peintures1 p4 #bgg4 ,described by ,jahn1 ,arch4 ,ztg4 #ahfg1 p4 #fj2 cf4 ,vogel1 op4 cit4 p4 #gi4 ,footnote #cad3 ,fig4 #bf4 ,heydemann1 no4 #cbba1 ,a4 ,cf4 ,arch4 ,ztg4 #ahfg1 p4 #fb and pl4 #bbd4 #a4 ,footnote #cae3 ,the ,theban ,cycle was handled in the and the 1 from which the tragedians probably drew their material4 ,for the subject in the fifth century ,b4,c4 vid4 ,benndorfs ,heroon von ,gjlbaschi1 p4 #ahg ff4 and pl4 #bd4 ,a#a-;,a#e4 ,kapaneus' catastrophe in attempting to storm the walls was often shown4 ,cf4 ,wiener ,vorlegebltter1 #ahhi1 pl4 #aa1 nos4 #ac1 #ad1 #af1 #ag4 ,the death of ,amphiaraos was another popular story4 ,cf4 ,wiener ,vorlegebltter1 #ahhi1 pl4 #aa4 #h4 #ae4 ,there are many interesting monuments which represent the conference of the chiefs before the assault4 ,cf4 especially the famous ,etruscan gem with inscriptions naming ,polyneikes1 ,amphiaraos1 ,adrastos1 ,tydeus1 and ,parthenopaios2 pub4 ,wiener ,vorlegebltter1 #ahhi1 pl4 #aa4 #e2 ,baumeister1 ,denkmler1 iii4 no4 #ahci1 no4 #cfi in ,bilderheft4 ,an ,etruscan mirror1 ,gerhard1 ,etruskische ,spiegel1 ii4 pl4 #agh1 gives ,adrastos1 ,amphiaraos1 and ,tydeus4 ,footnote #caf3 ,brit4 ,mus41 vase cat4 vol4 iv4 ,g #ajd4 ,pub4 ibid4 pl4 #af4 ,cf4 ,class4 ,review1 #ahid1 p4 #cbe4 ,footnote #cag3 ,the fratricide1 so common on the ,etruscan urns1 is rare on ,greek monuments4 7#a7 ,the group was on the ,kypselos ,chest 7,paus4 #e4 #ai1 #f74 7#b7 ,pythagoras worked the brothers in marble 7vid4 ,overbeck1 ,schriftquellen1 no4 #eja74 7#c7 ,one group on the ,heron from ,gjlbaschi1 cf4 ,benndorf1 op4 cit4 pl4 #bd4 ,a4 #c4 ,there are thirty urns representing the scene3 vid4 ,krte1 ,i rilievi delle urne etrusche1 ii4 pl4 #h-bj1 and #cf1 and supplement4 p4 #bfa ff4 ,cf4 further ,overbeck's ,bildwerke1 pl4 #e and #f4 ,an ,etruscan mirror1 which shows a composition remarkably like that in the inside of the ,penthesileia kylix 7,munich1 no4 #cgj1 pub4 ,overbeck1 ,bildwerke1 pl4 #ag4 #c71 and must be from a fifth century pattern1 is perhaps the oldest of the extant representations4 ,vid4 ,gerhard1 ,etruskische ,spiegel1 v4 pl4 #ie4 ,footnote #cah3 ,brit4 ,mus41 cat4 iv4 ,g #ajea2 pub4 ,wiener ,vorlegebltter1 #ahhi1 pl4 #i4 #ac2 ,robert1 ,homerische ,becher1 p4 #ei2 first correctly interpreted by ,murray1 ,class4 ,rev4 #ahhh1 p4 #cbh4 ,,oxford3 ,,horace ,,hart ,,printer ,,to ,,the ,,university ---------------------------------------- -------------------------------- ,,transcriber',s ,,notes #a4 ,p4 xx1 changed 8,scenen euripideisher ,tragdien in griechischen ,vasengemlden0 to 8,scenen euripideischer ,tragdien in griechischen ,vasengemlden04 #b4 ,p4 #abh1 changed 8,in her left close by her side0 to 8,in her left hand close by her side04 #c4 ,silently corrected typographical errors and variations in spelling4 #d4 ,archaic1 non-standard1 and uncertain spellings retained as printed4 #e4 ,footnotes were re-indexed using numbers and collected together at the end of the last chapter4 #f4 ,enclosed italics font in underscores4 #g4 ,superscripts are denoted by a caret before a single superscript character or a series of superscripted characters enclosed in curly braces1 e4g4 ,mr4 or ,mister4 #h4 ,subscripts are denoted by an underscore before a series of subscripted characters enclosed in curly braces1 e4g4 ,h#b,o4