episode most frequent is that of the =return of Hephaistos= in a

drunken condition to Olympos, conducted by Dionysos and a crowd of Satyrs; of this there are fine examples on vases of all periods.[55] On earlier vases Hephaistos rides a mule; on the later he generally stumbles along, leaning on Dionysos or a Satyr for support. On the François vase we see Zeus and Hera, with an attendant train of deities, Nymphs, and Muses, going in a chariot to the nuptials of Peleus and Thetis; on many vases we have the reception of the deified Herakles among the gods of Olympos[56]; and on others groups of deities banqueting or without particular signification.[57] But on the late Apulian vases it is a frequent occurrence to find an upper row of deities as spectators of some event taking place just below: thus they watch battles of Greeks and Persians,[58] or such scenes as the contract between Pelops and Oinomaos,[59] the madness of Lykourgos,[60] the death of Hippolytos,[61] and others from heroic legend, which it is unnecessary to specify here; only a few typical ones can be mentioned.[62] They also appear as spectators of scenes in or relating to the nether-world.[63] * * * * * =Zeus= appears less frequently than some deities, and seldom alone; but still there are many myths connected with him, besides those already discussed. As a single figure he appears enthroned and attended by his eagle on a Cyrenaic cup in the Louvre[64]; or again in his chariot, hurling a thunderbolt[65]; in company with his brother-gods of the ocean and under-world, Poseidon and Hades, he is seen on a kylix by Xenokles.[66] He is also found with Athena,[67] with Hera, Apollo, Artemis, Aphrodite, and Hermes[68]; and frequently with Herakles at the latter’s reception into heaven.[69] In one instance he settles a dispute between Aphrodite and Persephone.[70] He receives libations from Nike,[71] or performs the ceremony himself, attended by Hera, Iris, and Nike,[72] and is also attended by Hebe and Ganymede as cupbearers.[73] His statue, especially that of Ζεὺς Ἑρκεῖος at Troy, sometimes gives local colour to a scene.[74] Most of the scenes in which he appears relate to his various love adventures, among which the legends of Europa, Io, and Semele are the most conspicuous; but first of his numerous _amours_ should perhaps be mentioned his wooing of his consort Hera. He carries her off while asleep from her nurse in Euboea,[75] and also appears to her in the form of a cuckoo.[76] The rape of Ganymede by his eagle appears once or twice on vases,[77] but more generally Zeus himself seizes the youth while he is engaged in bowling a hoop or otherwise at play.[78] On a fine late vase with Latin inscriptions Ganymede appears in Olympos,[79] and he is also depicted as a shepherd.[80] Semele Zeus pursues and slays with the thunderbolt[81]; the birth of her son Dionysos from his thigh is represented but rarely on vases, and is liable to confusion with other subjects. This story falls into three episodes: (1) the reception of the infant by Hermes from Dirke, in order to be sewn into Zeus’ thigh[82]; (2) the actual birth scene[83]; (3) the handing over of the child to the Nymphs.[84] Of his visit to Alkmena there are no certain representations, but two comic scenes on South Italian vases[85] may possibly refer to it, and one of them at least seems to be influenced by the burlesque by Rhinton, from which Plautus borrowed the idea of his _Amphitruo_. The apotheosis of Alkmena, when her husband places her on a funeral pyre after discovering her misdeed, is represented on two fine South Italian vases in the British Museum; in one case Zeus looks on.[86] His appearing to Leda in the form of a swan only seems to find one illustration on a vase, but in one case he is present at the scene of Leda with the egg.[87] He is also depicted descending in a shower of gold on Danaë[88]; or as carrying off the Nymphs Aegina and Thaleia[89]; or, again, with an unknown Nymph, perhaps Taygeta.[90] In the form of a bull, on which Europa rides, he provides a very favourite subject, of which some fine specimens exist.[91] One variation of the type is found on an Apulian vase, where Europa advances to caress the bull sent by Zeus to fetch her.[92] The story of Io[93] resolves itself into several scenes, all of which find illustration on the vases: (1) the meeting of Io and Zeus when she rests at the shrine of Artemis after her wanderings[94]; (2) Io in the form of a cow, guarded by Argos[95]; (3) the appearance of her deliverer Hermes[96]; (4) Hermes attacks and slays Argos (Fig. 114).[97] [Illustration: From _Wiener Vorlegeblätter_. FIG. 114. HERMES SLAYING ARGOS IN PRESENCE OF ZEUS (VASE AT VIENNA).] ] In addition, the presence of Zeus may be noted in various scenes from heroic or other legends, which are more appropriately discussed under other headings[98], such as the freeing of Prometheus[99], the combat of Herakles and Kyknos[100], or the weighing of the souls of Achilles and Hector[101]; at the sending of Triptolemos, the flaying of Marsyas, the death of Aktaeon, and that of Archemoros[102]; at the creation of Pandora and the Judgment of Paris[103]; the rape of the Delphic tripod and that of the Leukippidae, at Peleus’ seizing of Thetis,[104] and with Idas and Marpessa.[105] The story of the golden dog of Zeus, which was stolen by Pandareos, is referred to under a later heading.[106] * * * * * =Hera= apart from Zeus appears but seldom, but there are a few scenes in which she is found alone; of those in which she is an actor or spectator some have been already described, the most important being the story of Hephaistos’ return to heaven.[107] As her figure is not always strongly characterised by means of attributes, it is not always to be identified with certainty. As a single figure she forms the interior decoration of one fine R.F. kylix,[108] and her ξόανον, or primitive cult-idol, is sometimes found as an indication of the scene of an action.[109] On one vase she is represented at her toilet.[110] There is a vase-painting which represents Hera on her throne offering a libation to Prometheus, an aged figure who stands before her.[111] She is also present at the liberation of Prometheus[112]; in a scene probably intended for the punishment of Ixion[113]; at the creation of Pandora[114]; and in scenes from the story of Io.[115] She suckles the child Herakles in one instance,[116] and in another appears with him in the garden of the Hesperides[117]; she is also present at his reconciliation with Apollo at Delphi,[118] and at his apotheosis,[119] receiving him and Iolaos.[120] On an early Ionic vase she appears contending with him in the presence of Athena and Poseidon, and wears a goat-skin head-dress, as in the Roman type of Juno Sospita or Lanuvina.[121] The scene in which she appears most frequently is the Judgment of Paris (see below, p. 122); she is also present at the birth of Dionysos[122]; at the stealing of Zeus’ golden dog by Pandareos[123]; at the contest between Apollo and Marsyas[124]; at the slaughter of the Niobids[125]; and with Perseus and Athena.[126] She appears sometimes with Hebe, Iris, and Nike, from whom she receives libations[127]; and in one scene, apparently from a Satyric drama, she and Iris are attacked by a band of Seileni and rescued by Herakles.[128] * * * * * [Illustration: From _Ant. Denkm._ FIG. 115. POSEIDON AND AMPHITRITE ON A CORINTHIAN PINAX. ] =Poseidon= is a figure somewhat rare in archaic art as a whole, especially in statuary, but is more frequently seen on vases, mostly in groups of deities, or as a spectator of events taking place in or under the sea, his domain. Among subjects already discussed, he is present at the birth of Athena,[129] at the nuptials of Zeus and Hera,[130] and in assemblies of the Olympian gods, generally with his consort Amphitrite[131]; he also takes part in the Gigantomachia and the reception of Herakles into Olympos.[132] He is represented in a group with his brother deities of the higher and nether world, Zeus and Hades[133]; with Apollo, Athena, Ares, and Hermes[134]; among the Eleusinian deities at the sending forth of Triptolemos[135]; and occasionally in Dionysiac scenes as a companion of the wine-god.[136] As a single figure he is frequently found on the series of archaic tablets or _pinakes_ found near Corinth, and also in company with Amphitrite (Fig. 115)[137]; on later vases not so frequently.[138] In one instance he rides on a bull,[139] in others on a horse, sometimes winged[140]; elsewhere he drives in a chariot with Amphitrite and other deities[141]; he watches the Sun-god in his car rising out of the waves[142]; and one vase has the curious subject of Poseidon, Herakles, and Hermes engaged in fishing.[143] ------------------------------------------------------ PLATE L [Illustration: From _Baumeister_. ATHENA AND POSEIDON CONTENDING FOR ATTICA; VASE FROM KERTCH (AT PETERSBURG). ] ------------------------------------------------------ Among scenes in which he plays an active part the most interesting is the dispute with Athena for the ownership of Attica, also represented on the west pediment of the Parthenon[144]; his love adventures, especially his pursuit of Amymone[145] and Aithra,[146] are common subjects, but in many cases the object of his pursuit cannot be identified.[147] He receives Theseus under the ocean,[148] and possibly in one case Glaukos, on his acceptance as a sea-god[149]; he is also present at the former’s recognition by Aigeus.[150] He is seen at the death of Talos,[151] and with Europa crossing the sea.[152] In conjunction with other deities, chiefly on late Italian vases, he is present as a spectator of various episodes, such as the adventures of Bellerophon, Kadmos, or Pelops, the rape of Persephone, the creation of Pandora, the death of Hippolytos, and in one historical scene, a battle of Greeks and Persians.[153] He superintends several of the adventures of Herakles, notably those in which he is specially interested, as the contests with Antaios and Triton[154]; and he supports Hera in her combat with that hero.[155] He is also seen with Perseus on his way to slay Medusa,[156] and among the Gorgons after that event.[157] * * * * * In connection with Poseidon it may be convenient to mention here other divinities and beings with marine associations—such as Okeanos, Nereus, and Triton, and the Nereids or sea-nymphs, daughters of Nereus, with the more rarely occurring Naiads. Of these the name of Okeanos occurs but once, on the François vase. The figure itself has disappeared, but the marine monster on which he rides to the wedding of Peleus and Thetis, and the inscription, remain. =Nereus= appears as a single figure, with fish-tail and trident,[158] but is most frequently met with in connection with the capture of his daughter Thetis by Peleus, either as a spectator or receiving the news from a Nereid.[159] He also watches the contest of Herakles with Triton,[160] himself encountering the hero in some cases.[161] On one vase Herakles has seized his trident and threatens him by making havoc of his belongings.[162] He appears at Herakles’ combat with Kyknos,[163] and at his apotheosis,[164] and also offers a crown to Achilles.[165] In one case he is found in Dionysos’ company.[166] With his daughter Doris he watches the pursuit of another Nereid by Poseidon.[167] =Triton= is found as a single figure,[168] and (chiefly on B.F. vases) engaged in a struggle with Herakles.[169] He also carries Theseus through the sea to Poseidon,[170] and watches the flight of Phrixos and Helle over the sea.[171] The group of deities represented by Ino and Leukothea, Palaimon, Melikertes, and Glaukos appear in isolated instances,[172] as do Proteus[173] and Skylla[174]—the latter as single figures, without reference to their connection with the _Odyssey_. A monstrous unidentified figure, with wings and a serpentine fish-tail, which may be a sea-deity (in one case feminine), is found on some early Corinthian vases[175]; possibly Palaimon is intended. =The Nereids=, who are often distinctively named, are sometimes found in groups,[176] especially watching the seizure of Thetis or bearing the news to Nereus[177]; or, again, carrying the armour of Achilles over the sea and presenting it to him.[178] On one vase they mourn over the dead Achilles.[179] They are also present at the reception of Theseus,[180] the contest of Herakles and Triton,[181] and with Europa on the bull.[182] Kymothea offers a parting cup to Achilles[183]; the Naiads, who are similar beings, present to Perseus the cap, sword, shoes, and wallet.[184] They are also found grouped with various deities,[185] and even one in the under-world.[186] Thetis appears once as a single figure, accompanied by dolphins[187]; for her capture by Peleus and relations with Achilles, see p. 120 ff. * * * * * =The Eleusinian deities= Demeter and Persephone (or Kore) are usually found together, not only in scenes which have a special reference to their cult, but in general assemblies of the gods. They once appear in the Gigantomachia.[188] Scenes which refer to the Eleusinian cycle are found exclusively on later examples,[189] and as a rule merely represent the two chief deities grouped with others, such as Dionysos and Hekate, and with their attendants, Iacchos, Eumolpos, and Eubouleus.[190] One vase represents the initiation of Herakles, Kastor, and Polydeukes in the Lesser Mysteries of Agra[191]; another, the birth of Ploutos, who is handed to Demeter in a cornucopia by Gaia, rising from the earth, in the presence of Persephone, Triptolemos, and Iacchos[192]; and others, the birth of Dionysos or Iacchos—a very similar composition.[193] Demeter and Persephone are represented driving in their chariot, with attendant deities and other figures,[194] or standing alone, carrying sceptre and torches respectively,[195] or pouring libations at a tomb (on a sepulchral vase).[196] They are present at the carrying off of Basile by Echelos (a rare Attic legend),[197] and Demeter alone is seen, once at the birth of Athena,[198] once at the slaughter of the dragon by Kadmos,[199] once enthroned,[200] and once with Dionysos as Thesmophoros, holding an open roll with the laws (θεσμοί) of her cult.[201] ------------------------------------------------------ PLATE LI [Illustration: KOTYLE BY HIERON: TRIPTOLEMOS AT ELEUSIS (BRITISH MUSEUM).] ------------------------------------------------------ Closely connected with Eleusis is the subject of the sending forth of _Triptolemos_ as a teacher of agriculture in his winged car. This is found on vases of all periods,[202] but is best exemplified on the beautiful kotyle of Hieron in the British Museum (Plate LI.), where, besides Olympian and Chthonian deities, the personification of Eleusis is present. Besides the other Eleusinian personages, Keleos and Hippothoon are also seen.[203] Triptolemos is generally seated in his car, but in one or two cases he stands beside it[204]; in another he is just mounting it.[205] On the latter vase Persephone holds his plough. On a vase in Berlin Triptolemos appears without his car, holding a ploughshare; Demeter presents him with ears of corn, and Persephone holds torches.[206] =Persephone= is also seen with Iacchos,[207] who, according to various accounts, was her son or brother. She appears with Aphrodite and Adonis,[208] and one vase is supposed to represent the dispute between her and Aphrodite over the latter, which was appeased by Zeus.[209] The story of the rape of Persephone by Hades, her sojourn in the under-world, and her return to earth is also chiefly confined to the later vases, especially the incident of the rape.[210] In the elaborate representations of the under-world on late Apulian vases she generally stands or sits with Hades in a building in the centre.[211] She is often depicted in scenes representing the carrying off of Kerberos by Herakles,[212] or banqueting with Hades.[213] On both early and late vases Hermes, in his character of Psychopompos, is seen preparing to conduct her back from the nether world (see Plate XLV.),[214] or actually on his way.[215] In another semi-mystical version of the return of Persephone, signifying the return of spring and vegetation, her head or part of her body emerges from the earth,[216] in one case accompanied by the head of Dionysos, whereat Satyrs and Maenads flee affrighted.[217] The interpretation of some of these scenes, however, has been much questioned.[218] * * * * * The number of vases with subjects representing the three Delphic deities—=Apollo=, =Artemis=, and =Leto=—is considerable. The appearances of Apollo, at any rate, are probably only exceeded in number by those of Athena, Dionysos, and Herakles. It is, in fact, impossible to make a complete enumeration of the groups in which Apollo occurs, and a general outline alone can be given.[219] Apollo as a single figure is often found both on B.F. and R.F. vases, usually as Kitharoidos, playing his lyre; sometimes also he is distinguished by his bow.[220] As Kitharoidos he is usually represented standing,[221] but in some cases is seated.[222] He is sometimes accompanied by a hind[223] or a bull (Apollo Nomios?).[224] He is represented at Delphi seated on the Pythoness’ tripod,[225] or is seated at an altar,[226] or pours a libation.[227] He rides on a swan[228] or on a Gryphon,[229] and also crosses the sea on a tripod.[230] In some scenes he is characterised as Daphnephoros,[231] holding a branch of laurel, or is represented in the attitude associated with Apollo Lykeios, resting with one hand above his head.[232] In one scene the type of Apollo Kitharoidos closely resembles that associated with the sculptor Skopas.[233] [Illustration: From _Mon. dell’ Inst._ ix. FIG. 116. APOLLO, ARTEMIS, AND LETO. ] When he is grouped with Artemis, the latter deity usually carries a bow and quiver,[234] or they pour libations to one another;[235] but more commonly they stand together, without engaging in any action. They are also depicted in a chariot.[236] More numerous are the scenes in which Leto is also included (as Fig. 116), though she is not always to be identified with certainty.[237] In this connection may be noted certain scenes relating to Apollo’s childhood: his birth is once represented,[238] and on certain B.F. vases a woman is seen nursing two children (one painted black, the other white), which may denote Leto with her infants, though it is more probably a symbolic representation of Earth the Nursing-mother (Gaia Kourotrophos; see p. 73).[239] Tischbein published a vase of doubtful authenticity, which represents Leto with the twins fleeing from the serpent Python at Delos[240]; but in two instances Apollo certainly appears in Leto’s arms, in one case shooting the Python with his bow.[241] With these three is sometimes joined Hermes—in one instance at Delphi, as indicated by the presence of the _omphalos_[242]; or, again, Hermes appears with Apollo alone, or with Apollo and Artemis.[243] Poseidon is seen with Apollo, generally accompanied by Artemis and Hermes, also by Leto and other indeterminate female figures.[244] In conjunction with Athena, Apollo is found grouped with Hermes, Dionysos, Nike, and other female figures; also with Herakles.[245] With Aphrodite he is seen in toilet scenes, sometimes anointed by Eros.[246] In one case they are accompanied by Artemis and Hermes,[247] and on one vase Apollo is grouped with Zeus and with Aphrodite on her swan.[248] He accompanies the chariots of various deities, such as Poseidon, Demeter, and Athena,[249] especially when the latter conducts Herakles to heaven.[250] Apollo, in one case, is associated with the local Nymph Kyrene on a fragment of a vase probably made in that colony.[251] He frequently receives libations from Nike,[252] and in one case is crowned by her.[253] With Nymphs and female figures of indeterminate character he occurs on many (chiefly B.F.) vases, sometimes as receiving a libation.[254] On several red-figured vases he is accompanied by some or all of the nine Muses, one representing their contest with Thamyris and Sappho.[255] He and Artemis are specially associated with marriage processions, whether of Zeus and Hera or of ordinary bridal couples.[256] Apollo also appears in a chariot drawn by a boar and a lion at the marriage of Kadmos and Harmonia.[257] In Dionysiac scenes he is a frequent spectator[258]; he greets Dionysos among his thiasos,[259] joins him in a banquet,[260] or accompanies Ariadne’s chariot[261] or the returning Hephaistos[262]; listens to the Satyr Molkos playing the flutes,[263] or is grouped with Satyrs and Maenads at Nysa.[264] More important and of greater interest are the scenes which depict the legend of Marsyas, and they may fitly find a place here. The story is told in eight different episodes on the vases, which may be thus systematised: