Book XXI. 393—XXII. 5 ff. The slaying of the suitors.

Berlin 2588 = Reinach, i. 217. The scenes from the =Oresteia= cover roughly the same ground as the great trilogy of Aeschylos, together with the _Iphigeneia in Tauris_ and the _Andromache_ of Euripides. We have first the murder of Agamemnon by Klytaemnestra with her axe.[1423] Next, Elektra making her offerings at the tomb of Agamemnon, sometimes accompanied by her sister Chrysothemis.[1424] It must be borne in mind that the “type” of this scene does not differ in any respect from ordinary scenes of “offering at a _stele_,” and therefore, where the names are not given or are obviously modern additions, this interpretation is at best a doubtful one. The same applies to the next series of vases, on which Orestes meets Elektra at the tomb[1425]; but there seems to be one undoubted instance of Orestes and Pylades with the urn containing the supposed ashes of the former (cf. Soph. _Electra_, 1098 ff.).[1426] The next group to be dealt with shows us Orestes slaying Aegisthos,[1427] while Klytaemnestra is held back by Talthybios[1428]; and, finally, the death of Klytaemnestra herself.[1429] Orestes is then pursued by the Furies,[1430] and seeks refuge at Delphi, where he is purified by Apollo at the Omphalos[1431]; and he is also seen at Athens, where he afterwards sought the protection of Athena.[1432] Other vases, nearly all of late date, and therefore under the influence of the Euripidean tragedy, represent Orestes accompanied by Pylades, arrived at the temple of the Tauric Artemis, where Iphigeneia presents Pylades with the letter.[1433] Lastly, we have the death of Neoptolemos at the hand of Orestes at Delphi.[1434] ATTIC LEGENDS It will now be necessary to deal with sundry isolated subjects, which do not admit of being grouped together round the name of any one great hero or any particular legend. There are, however, a certain number which may perhaps be regarded as having a special connection with Athens, and with these we will begin.[1435] Some of the specially Athenian myths have already been discussed in other connections, notably the story of Theseus (p. 108), the dispute of Athena and Poseidon (p. 24), the sending of Triptolemos (p. 27), and the rape of Kephalos by Eos[1436] and of Oreithyia by Boreas (p. 80). There remain then the following: (1) The birth of Erichthonios, who is represented as received by Athena from Gaia emerging out of the earth, in the presence of Kekrops and his daughters. It only occurs on the later R.F. vases; the type closely resembles that of the birth of Dionysos (p. 19). B.M. E 372; Berlin 2537 = Reinach, i. 208 = _Wiener Vorl._ B. 12; Munich 345 = Reinach, i. 66; and Reinach, i. 113 = _Wiener Vorl._ iii. 2. Also a scene from the childhood of Erichthonios: B.M. E 788. (2) The reception of Dionysos in Attica (by Ikarios or Amphiktion). B 149, B 153, and E 166 in the British Museum appear to refer to this, but not certainly. See above, p. 56. (3) The story of Tereus and his daughters, Prokne and Philomela.[1437] (_a_) Tereus meeting Apate (Deceit); Prokne and Philomela in chariots. Naples 3233 = Reinach, i. 240. (_b_) Prokne and the dumb Philomela: Reinach, i. 308 (in Louvre). (_c_) Aedonaia slaying Itys. _J.H.S._ viii. p. 440 (= Munich 799_a_). (4) The three sons of Pandion, Lykos, Nisos, and Pallas,[1438] with Orneus the son of Erechtheus. Reinach, i. 510 = Roscher, ii. 2187. (5) The death of Prokris by the agency of Kephalos. B.M. E 477 (with Siren as soul of Prokris or death-deity). (6) Kreousa defended by Apollo from the attack of Ion. Reinach, i. 375: cf. Eur. _Ion._ 1250 ff. (7) Danaos taking refuge in Attica (?). Reinach, i. 244 = _Wiener Vorl._ iii. 4, 2 (in Louvre). (8) Echelos carrying off Basile.[1439] _Arch. Anzeiger_, 1895, p. 39: see p. 27. (9) The story of Diomos, the eponymous deme-hero (?). B.M. B 178 = _J.H.S._ xiii. p. 116. (10) Kodros, the last king of Athens. Bologna 273 = Baumeister, iii. p. 1998, fig. 2148 = _Jahrbuch_, 1898, pl. 4. The Kodros cup (completely published in _Wiener Vorl._ i. 4) is decorated with groups of figures intended to illustrate the legendary history of the great Attic families, in accordance with the genealogising tendencies of the period (about 450 B.C.). The outer scenes represent Theseus taking leave of Aigeus, and Ajax taking leave of Lykos; and Aigeus and Ajax (Aias) are eponymous heroes of two Attic tribes. On the Meidias vase in the British Museum[1440] we see a group of Athenian tribal heroes, such as Akamas, Antiochos, Demophon, and Hippothon, together with Medeia, who is also connected with Athens in the Theseus scene of the Kodros cup. * * * * * Other isolated myths which occasionally appear on vases, but defy more exact classification, may be briefly recorded here: (1) Admetos and Alkestis. Bibl. Nat. 918 = Reinach, i. 395 = Dennis, _Etruria_^2, ii. frontispiece. See also p. 69. (2) Agamedes and Trophonios as prisoners fed by Augias. Louvre E 632 = Reinach, i. 349 (see Paus. ix. 37, 5; _Ann. dell’ Inst._ 1885, p. 130). (3) Agrios seized by Oineus and bound on the altar. B.M. F 155: see Anton. Liber. 37 and Vogel, _Scenen Eur. Trag._ p. 125. (4) Atalante offering a cup to her antagonist Hippomenes. R.F. kotyle in B.M. (5) Atreus and Thyestes (the latter as suppliant in the former’s palace?). Millingen-Reinach, 23 = _Wiener Vorl._ B. 4, 1. (6) Daidalos and Ikaros, flight of. Naples 1767 = _Gaz. Arch._ 1884, pls. 1–2. (7) Glaukos in the tomb brought to life by the seer Polyeidos. B.M. D 5 = Plate XL.: see Apollod. iii. 3, 1. (8) Kanake’s suicide. Reinach, i. 448. (9) Laios, Keleos, Kerberos, and Aigolios stung by bees when stealing the honey on which the infant Zeus was fed. B.M. B 177: cf. Anton. Liber. 19 and Roscher, i. p. 154. (10) Lykourgos destroying his children in a frenzy. B.M. F 271; Naples 3219 = Reinach, i. 125, and 3237 = Baumeister, ii. pp. 834–35. See also Reinach, i. 333: Lykourgos slaying Thoas; and p. 56. (11) Melampus healing the daughters of Proitos from their madness at the altar of Artemis Lusia, in the presence of Dionysos. Naples 1760 = Millingen-Reinach, 52 = _Wiener Vorl._ B. 4, 3. (12) Merope (a scene from the tragedy of that name). Munich 810 = Reinach, i. 363: see Vogel, _Scenen Eur. Trag._ p. 118. (13) Pandareos with the golden dog of Zeus, which he stole. Louvre A 478 = _Hermes_ 1898, p. 638; _Bull. de Corr. Hell._ 1898, p. 586. (14) Peleus wrestling with Atalante. Munich 125 (= Reinach, ii. 120 = Furtwaengler and Reichhold, pl. 31), and 584 = Reinach, ii. 88; Bibl. Nat. 818 = _Gaz. Arch._ 1880, pl. 14; Micali, _Mon. Ined._ pl. 41. (15) Peleus hunting a stag. Berlin 2538 = Reinach, ii. 162: cf. Apollod. iii. 13, 3. [Illustration: FIG. 131. PENTHEUS SLAIN BY MAENADS (BRITISH MUSEUM).] (16) Pentheus torn to pieces by his mother Agave and the frenzied Maenads. B.M. E 775 = Fig. 131; Munich 807 = Baumeister, ii. p. 1204, fig. 1396; Jatta 1617 = Müller-Wieseler, _Denkmaeler_, ii. 37, 436; _Jahrbuch_, 1892, pl. 5 (and see p. 154); _Gaz. Arch._ 1879, pls. 4–5 (?). (17) Phaon with Chryse and Philomele. Furtwaengler and Reichhold, pl. 59 (vase in Palermo, formerly interpreted as Dionysos and Ariadne: see text, p. 296, for the correct interpretation). (18) Phineus invoking the gods. B.M. E 291 = _Wiener Vorl._ C. 8, 1. For other Phineus scenes, see pp. 81, 115. (19) The madness of Salmoneus. _Amer. Journ. of Arch._ 1899, pl. 4 (interpreted as Athamas): cf. _Class. Review_, 1903, p. 276 and Harrison, _Prolegomena to Gk. Religion_, p. 61. (20) Thoas placed in the chest by Hypsipyle. Berlin 2300 = Reinach, i. 273: see Ap. Rhod. i. 622, and Hartwig, _Meistersch._ p. 374. (21) Aktor and Astyoche (uncertain reference). _Jahrbuch_, 1902, pl. 2 (in Boston): see _ibid._ p. 68, _Il._ ii. 513 and 658; _Schol. in_ Pind. _Ol._ vii. 42. (22) The foundation of Boiae in Laconia by the appearance of a hare. Reinach, ii. 333 = Inghirami, _Vasi Fitt._ 120 (this is exceedingly doubtful). (23) Two boys delivered to a Nymph (unknown myth). _Wiener Vorl._ E. 12, 3. The story of =Orpheus= often finds a place on vases of the R.F. period,[1441] but is chiefly confined to two episodes, his playing the lyre among a group of Thracians[1442] (the men recognisable by their costume, see p. 179), and his pursuit by the Thracian women[1443] and subsequent death at their hands.[1444] In one scene his head after his death is made use of as an oracle.[1445] He is often present in under-world scenes (see p. 68), but not always in connection with the fetching back of Eurydike.[1446] _Thamyris_, a quasi-legendary figure, appears contending with the Muses for pre-eminence with the lyre[1447]; on one fine R.F. vase he is accompanied by Sappho,[1448] who, though strictly an historical personage, appears among the Muses in quasi-mythical guise; he also plays the lyre among Amazons.[1449] Other semi-historical persons enveloped in a cloud of fable are: _Taras_, the founder of Tarentum[1450]; _Midas_, who is generally represented with asses’ ears, and is depicted judging the Seilenos who was caught in his rose-garden and is led before him with hands tied[1451]; and _Minos_, who appears at the slaying of the Minotaur by Theseus,[1452] and in the under-world as one of the judges of souls.[1453] * * * * * Nor must we omit to mention the =Amazons=, who play such a large part on Greek vases; besides their connection with various legendary events, they are often employed purely as decorative figures. Mention has already been made of their combats with Herakles and Theseus, and of the part played by their queen Penthesileia in the Trojan War[1454]; and we also find them in such scenes as the Judgment of Paris[1455] and Herakles’ fight with Kyknos.[1456] They also contend with Gryphons[1457]; and many battle scenes in which they are opposed to Greek warriors may also be here alluded to as not admitting of more definite identification.[1458] They are further represented arming and preparing for the fray,[1459] or setting out on horseback,[1460] or defending a besieged city[1461]; and as decorative figures we see them charging,[1462] stringing bows[1463] and discharging arrows,[1464] blowing a trumpet,[1465] running by the side of a horse or checking a restive animal,[1466] or fastening a shoe[1467]; or in peaceful converse with a Greek warrior,[1468] or else without any distinguishing action.[1469] Nearly all these subjects belong to the R.F. and later periods. * * * * * We may conclude this section with an account of the monstrous semi-human, semi-bestial creatures, which play a large part in the decoration of Greek vases, and appear in connection with many legends. Such are the Centaurs, half man, half horse; the Gorgons, winged women with snaky locks; the Harpies, also found on early vases in the form of winged women; and mythical creatures like Pegasos, the Chimaera, or the Minotaur. =The Centaurs=, who probably symbolise mountain torrents or other forces of nature, appear (mostly on early vases) in combat with Herakles, either in troops or in single combat, as in the stories of Nessos, Dexamenos, and Eurytion[1470]; or, again, in the scenes so often celebrated in the sculptured friezes and metopes of Greek temples, where they contend with Theseus and Peirithoös,[1471] or with the Thessalian Lapiths.[1472] Among the latter a common episode is the death of Kaineus, whom the Centaurs buried in the earth, showering rocks upon him.[1473] In a more peaceful aspect appear the aged Centaurs, Pholos and Cheiron, especially in the stories of Herakles and Achilles,[1474] both of whom are brought to the latter for their youthful education.[1475] As the friend of Peleus Cheiron often assists at his capture of Thetis.[1476] Centaurs, especially Pholos, are sometimes represented returning from the chase,[1477] or as single decorative figures[1478]; in one case they fight with cocks.[1479] Nike in one or two instances is drawn in her chariot by male or female Centaurs[1480]; and, finally, representations of youthful Centaurs are found, though usually they are middle-aged.[1481] =The Gorgons= appear almost exclusively in connection with the Perseus legend,[1482] but are besides frequently found as decorative figures, especially on B.F. vases,[1483] in the running attitude characteristic of archaic art, in one case between two Sphinxes.[1484] Besides these, the head or mask of the Gorgon Medusa, familiar at all periods as a decorative motive of Greek art—first with an ugly and grotesque face, afterwards refined and beautiful—is often found by itself on Greek vases, especially as an interior central ornament of B.F. kylikes.[1485] =Harpies=, conventionally associated through the medium of the Roman poets[1486] with the human-headed bird-form which really denotes the Siren, are found invariably on vases in the form of winged women.[1487] They are, as has been elsewhere noted (p. 81), associated with the Boreades[1488] as symbolical of evil and good influences of winds, and probably should be regarded as personifications of the _southern_ breezes (the malevolent influence of which is seen in the sirocco). Traditionally they were supposed to guard the Garden of the Hesperides in Africa, whence the hot baleful winds come. The story of Phineus is probably to be explained on these lines.[1489] A Harpy appears at the recovery of Zeus’ golden dog from Pandareos.[1490] That the human-headed bird represents a =Siren= in Greek art is amply attested by the representations of Odysseus’ adventure with the vocal enchantresses.[1491] Their appearance on the so-called Harpy monument of Xanthos, however, shows them in another aspect, that of death-deities[1492]—not necessarily of a violent and rapacious character, as on a vase in Berlin,[1493] but gentle and kindly. So, again, a Siren is represented in connection with a tomb[1494]; and in a scene representing a banquet in Elysium they are depicted crowning the dead.[1495] On some vases we find a Siren playing a flute or a lyre (probably merely fanciful subjects)[1496]; or, again, two Sirens kissing each other.[1497] As mere decorative motives their appearances are countless, and many early vases are modelled in the form of Sirens[1498]; sometimes they have human arms[1499]; in one case a bird’s wings and a fish-tail[1500]; or, again, more anomalously, bearded masculine heads.[1501] More rarely they are seen flying.[1502] =The Sphinx= is familiar in the first place as the monster, half woman, half dog, which vexed the city of Thebes till slain by Oedipus; this story is often alluded to on vases,[1503] but many groups of a man and a Sphinx have probably no special meaning.[1504] The Sphinx has sometimes a sepulchral reference,[1505] and is grouped with other figures, such as Atlas[1506] or a Seilenos[1507] (the latter probably a scene from a Satyric drama). Like the Siren, she is exceedingly common as a decorative figure,[1508] especially in the friezes of animals and monsters so dear to the early vase-painters. Her invariable form is that of a winged lion or dog with a woman’s bust. =The Gryphon=, a kind of dragon composed of an eagle’s head and lion’s body and legs (occasionally a bird’s), is almost exclusively decorative[1509]; but on the later vases we find the fabulous combat of the Oriental Arimaspi with the Gryphons who guarded the mountain of gold in the Far East (cf. Plate XLII.)[1510]; or, again, they contend with the Amazons,[1511] with Scythians,[1512] or with ordinary Greek warriors.[1513] In one instance an Arimasp woman is seen shooting at a Gryphon of curious type.[1514] Further, they draw the chariots of deities, such as Persephone,[1515] and Dionysos[1516]; and we have already seen Apollo coming on a Gryphon from the Hyperborean regions.[1517] _Pegasos_, the winged steed of Bellerophon, and the monster _Chimaera_ which he slew, also appear as decorative figures[1518]; and the former draws the chariots of Apollo and of a woman,[1519] and also appears as a constellation with the moon and stars.[1520] A human-headed monster attacked by a hero seems to have been suggested by the Chimaera on a companion vase.[1521] The _Minotaur_ is generally seen in connection with Theseus, but also appears as a single or decorative figure,[1522] and one vase appears to represent the youthful monster in his mother’s lap.[1523] Other monsters found occasionally on vases are _Skylla_, who appears, not in connection with the story of Odysseus, but with those of Perseus and Andromeda,[1524] and Phrixos and Helle,[1525] or as a single figure[1526]; and _Lamia_, a vampire or ogress in the form of a hideous old woman, who is seen undergoing torture from Satyrs,[1527] and in another unexplained scene.[1528] Another type of monster, the serpent-footed giant _Typhon_, has already been mentioned.[1529] Yet another and a unique type is that of the Nymphs with serpent bodies which protect vines from the attacks of goats.[1530] Lastly, another creation of fancy, though not strictly mythological, is the ἰππαλεκτρύων or “cock-horse,” a bird with horse’s head, which appears on some B.F. vases ridden by a youth.[1531] This may also be a convenient place for mentioning the common decorative subject of Pygmies fighting with cranes.[1532] HISTORICAL SUBJECTS The number of vases on which undoubted historical subjects have been discovered is very limited, though the old systems of interpretation exerted much ingenuity in eliciting an historical meaning from many scenes of daily life, with or without names inscribed over the figures. In the instances given below, the names are given in most cases, obviating all doubts. It is worth noting that the subjects chosen are not as a rule those that would most obviously suggest themselves. They fall into two classes, one relating to historical events and persons, the other to literary celebrities: I. (1) The weighing of silphium by Arkesilas, one of the descendants of Battos, who ruled at Kyrene—probably the second of the name (B.C. 580–550). This scene occurs on a Cyrenaic cup in the Bibliothèque at Paris (_Cat._ 189: see Vol. I., p. 342, Fig. 92), which is probably a contemporary production. (2) Kroisos, the king of Lydia, on the funeral pyre (B.C. 545). See above, p. 6. Fig. 132 = Reinach, i. 85 = Baumeister, ii. p. 796, fig. 860 (in Louvre). [Illustration: From _Baumeister_. FIG. 132. KROISOS ON THE FUNERAL PYRE (VASE IN LOUVRE). ] (3) Harmodios and Aristogeiton slaying the tyrant Hipparchos (B.C. 510). B.F.: _Arch.-epigr. Mitth. aus Oesterr._ iii. (1879), pl. 6. R.F.; Reinach, i. 449; and see a late Panath. amph. in B.M. (B 605). (4) Diitrephes shot to death with arrows, B.C. 479 (?). See Paus. i. 23, 3, and Frazer’s note. Bibl. Nat. 299 = _Jahrbuch_, 1892, p. 185 (but see Reinach, ii. p. 255, and p. 15 under Gigantomachia). (5) The Persian king and queen. Helbig, p. 281 = Reinach, i. 275 (see Hartwig, _Meistersch._ p. 525). (6) The Persian king hunting. Petersburg, 1790 = Reinach, i. 23 (Xenophantos): cf. Naples 2992. (7) Dareios in council, with various deities and personifications as spectators. Naples 3253 = Reinach, i. 194 = Baumeister, i. pl. 6, fig. 449. (8) Battle of Greeks and Persians (with spectator-deities, etc.). Naples 3256 = Reinach, i. 98: see also p. 179; Reinach, ii. 84; Hartwig, _Meistersch._ pls. 55–56 and p. 518. (9) Battle of Greeks and Messapians. Berlin 3264 = Reinach, i. 270. II. (1) Sappho. (_a_) As single figure. De Witte, _Coll. à l’Hôtel Lambert_, pl. 3. (_b_) With Alkaios. Fig. 133 = Munich 753 = Baumeister, iii. p. 1543, fig. 1607. (_c_) Reading her poems. Athens 1241 = Dumont-Pottier, pl. 6 = Reinach, i. 526. (_d_) In rivalry with Muses. Jatta 1538 = Reinach, i. 526. (_e_) With Eros (named Talas). _Abhandl. d. k. sächs. Gesellsch._ viii. (1861), pl. 1, fig. 1: see p. 49. (2) Aesop. Helbig, 154 = Jahn, _Arch. Beitr._ pl. 12, fig. 2. (3) Anakreon. B.M. E 18: cf. E 266–67, 314–15; and see generally Jahn, _Gr. Dichter auf Vasenb._ in _Abhandl. d. k. sächs. Gesellsch._ viii. (1861), p. 699 ff. [Illustration: From _Baumeister_. FIG. 133. ALKAIOS AND SAPPHO (VASE IN MUNICH). ] (4) Kydias of Hermione (a lyric poet: cf. Schol. _in_ Ar. _Nub._ 967) and Nikarchos (a contemporary flute-player) are to be seen, according to Jahn (_op. cit._ p. 740) on a psykter in the British Museum (E 767), on which these names are inscribed over two revellers; but the identification is exceedingly doubtful. See also Munich 1096 = Jahn, _op. cit._ pl. 4, fig. 1. III. Mention should also here be made of the names of historical renown which often appear on R.F. vases with the word καλός (see Vol. I. p. 403, and below, p. 267), such as Alkibiades, Glaukon, Hipparchos, Kleinias, Leagros, Megakles, and Miltiades. The question is dealt with elsewhere, and it has been shown that only in one or two cases—_e.g._ Leagros, Glaukon, and Kleinias (the father of Alkibiades)—can an identification with the historical personages be certainly maintained; it is, however, of sufficient interest for reference in this chapter, because the inscribed names may in some cases possibly refer to the figures depicted on the vases.[1533]