Chapter XI

., in which it has been shown how the tragedies of Euripides and the farces of Rhinthon influenced the artists of Southern Italy. It may, however, be worth while to recapitulate here the actual representations of actors or of scenes taking place on a stage, together with some account of the numerous burlesques of mythical subjects.

On one curious B.F. vase (probably late and imitative) we see a rude representation of a tragic and a comic chorus,[1603] and occasionally on vases of this period we find figures of actors dressed up as birds, or otherwise in comic fashion.[1604] More important in this connection are the fifth-century vases found on the site of the Cabeiric temple at Thebes, several of which have parodies of well-known subjects, such as Odysseus and Kirke, or Peleus bringing the young Achilles to Cheiron.[1605] It seems probable that these scenes are actual reproductions of burlesque performances connected with the worship of the Kabeiri.

We look in vain for representations of scenes from Aristophanes and the Old Comedy, though there are one or two vases which recall (if nothing more) episodes in the _Acharnians_[1606] and _Frogs_.[1607] But for the rest, these comic scenes are almost confined to the vases of Southern Italy, especially those made at Paestum, with their presentations of the φλύακες or fourth-century farces. A fairly exhaustive list of these was made some years ago by Heydemann,[1608] and probably requires little emendation as yet; we repeat below a number of the more interesting subjects, and others may be collected from the foregoing pages in which myths are burlesqued (the Judgment of Paris, the apotheosis of Herakles, Oedipus and the Sphinx, etc.).[1609]

(1) Zeus visiting Alkmena: Schreiber-Anderson, 5, 8 = Heydemann, _loc. cit._ p. 276: cf. B.M. F 150.

(2) Apollo healing the Centaur Cheiron: B.M. F 151.

(3) Herakles at Delphi; Apollo takes refuge on the roof of the temple: Reinach, i. 153, 2 = Rayet and Collignon, p. 318.

(4) Combat of Hephaistos (Daidalos) and Ares (Enyalios): B.M. F 269.

(5) Herakles with the Kerkopes: Schreiber-Anderson, 5, 2 = Heydemann p. 281.

(6) Herakles seizing Auge: Fig. 105, Vol. I. p. 474 = Reinach, i. 123 = Heydemann, p. 279.

(7) Burlesque of the story of Antigone: Reinach, i. 273.

(8) Rape of the Palladion: B.M. F 366.

(9) Death of Priam: Berlin 3045 = Reinach, i. 370, 8.

(10) Odysseus and Kirke: Jatta 901 = Heydemann, p. 271.

(11) Odysseus in Phaeacia: Reinach, i. 153, 1.

[Illustration: FIG. 134. SCENE FROM A FARCE (BRITISH MUSEUM, F 189).]

Other scenes represent single figures, such as Herakles,[1610] or Taras on the dolphin[1611]; or subjects from farces of daily life, such as an actor with a table of cakes[1612] or the drunken return from a revel.[1613] Many scenes, again, have some reference to the Satyric drama, as on the fine vase in Naples, where Dionysos and other figures attend the preparations for a performance of that kind[1614]; or such scenes as that of Hera and Iris attacked by Seileni,[1615] or those relating to adventures of Herakles and Perseus with Satyrs.[1616] Other subjects have no particular significance, such as an actor attired as a Seilenos playing on the flute, or dancing, or with a Sphinx,[1617] groups of actors[1618] (in one case dressing[1619]), a comic actor among Satyrs and Maenads,[1620] and single figures.[1621] Some, which are apparently mythological, defy explanation.[1622]

The influence of Tragedy on vase-paintings is an indirect one, and entirely confined to the vases of Southern Italy on the one hand, and to the plays of Euripides on the other. The subject has been discussed at length elsewhere in this work,[1623] and it is unnecessary here to give a list of the subjects on South Italian vases which can be traced to the influence of Euripides. It has also been pointed out that this influence made itself felt, not only in the actual choice of subjects, but generally in their treatment and arrangement, in the quasi-architectural setting of many scenes, and in the elaborate costumes of the figures.

[Illustration: FIG. 135. ATHLETES ENGAGED IN THE PENTATHLON (BRITISH MUSEUM, B 134).]

4. ATHLETICS AND SPORT

From the theatre we naturally turn to the palaestra and gymnasium, which played so important a part in the public and private life of the Greeks, and, like the former, may be said to be vested with a religious significance, as exemplified in the Olympic and other great games. Hardly any class of subject is found so frequently and consistently on the vases. The series of Panathenaic amphorae alone supply instances of every form of athletic exercise in which the Greeks indulged.[1624] Many vases, especially the R.F. kylikes, represent groups of athletes in the palaestra engaged in various exercises, such as boxing, wrestling, running, and leaping[1625]; in other cases we have single groups of boxers[1626] or wrestlers,[1627] or of the παγκράτιον, a somewhat brutal combination of the two.[1628] A boxer is sometimes seen putting on his caestus.[1629] The πένταθλον, which played so important a part in the national games, is not infrequently found, though often only three or four out of the five contests appear.[1630] Here, again, we also find single figures of diskos-throwers[1631] or javelin-throwers,[1632] representations of the long-jump,[1633] and men marking the ground with a pick-axe or poles.[1634] An athlete is seen binding round his javelin the cord or ἀγκύλη by which it was thrown,[1635] and the pick-axe afore-mentioned also appears in such a way as to indicate its general use by athletes—viz. for digging up the ground over which jumps were made, by way of exercising the limbs.[1636] A variation of the javelin contest was one in which the competitors were mounted, and aimed at a shield set up as a target as they rode past.[1637] Other important contests are the foot-race[1638]; the horse-race, generally taken part in by boys (κέλητες)[1639]; the chariot-race[1640]; the torch-race (λαμπαδηδρομία)[1641]; and the race of armed warriors (ὁπλιτοδρομία).[1642] In the latter contest various types may be distinguished: the arming for the race[1643]; the start[1644]; the race itself, with runners turning at the end of the stadion[1645]; the finish[1646]; and a variation in which the runner carried his armour.[1647] On the earlier vases this race is run in full armour; on the later, only with helmets and shields. Frequently the victorious athlete, horseman, or hoplite is seen proclaimed as winner,[1648] and receiving his prize[1649]; also receiving a crown from Nike.[1650]

Among more miscellaneous scenes may be mentioned athletes anointing themselves[1651] and using the strigil[1652]; the κωρυκομαχία or quintain[1653]; an athlete expiring[1654]; a girl-runner wounded in the foot[1655]; men rolling discs[1656]; acrobats[1657] and female tumblers performing contortions over swords, or lifting objects with their feet.[1658] To the list of palaestra scenes may be added those where Nike or another deity appears as patron of the palaestra watching the athletes,[1659] and scenes of ephebi washing or bathing in preparation for or after their contests.[1660] The athletes are often accompanied by trainers, who use a forked stick to direct their movements.[1661] On the later R.F. and the Italian vases it is a regular thing to find on the reverse a roughly painted group of two or three athletes or ephebi, usually wrapped in himatia and conversing together[1662]; in such cases the palaestra is indicated by a pair of jumping-weights or a ball suspended.

Subjects coming under the heading of what we call =Sport= are not so common, and are practically limited to hunting scenes. They include hare-hunts,[1663] stag-hunts,[1664] wolf-hunts and fox-hunts,[1665] lion-hunts,[1666] and boar-hunts[1667]; in the latter on early B.F. vases the figures often have fancy names, with a reference in some cases to the hunt of the Calydonian boar, which created the type. Some, especially B.F. vases, depict the departure of a hunter for the chase,[1668] or his return loaded with game[1669]; or we see a party of hunters resting (all with fancy names).[1670] A group of youths capturing and taming a bull may also be mentioned here,[1671] and horse-taming is similarly depicted.[1672] We see horses being unharnessed, groomed, and watered,[1673] or exercised,[1674] and a man with a backing horse[1675]; and we may also perhaps include among these subjects scenes representing riding-lessons, a school for ephebi,[1676] or a boy learning to mount a horse.[1677] A favourite subject for the interiors of R.F. cups is that of a young Athenian on horseback,[1678] often in Oriental or Thracian costume (see p. 179).[1679] On the B.F. vases a horseman or a chariot is sometimes depicted in front view, a notable exception to the preference of the time,[1680] and sometimes a three-horse chariot takes the place of the quadriga.[1681] Among miscellaneous chariot-scenes may be mentioned a goddess (?) and a hero mounting chariots,[1682] a girl in a chariot drawn by hinds[1683]; and people travelling in a country cart.[1684]

Among the various =Games= popular with Greek youths the favourite is, perhaps, that of ball, which was often played by men mounted on each other’s shoulders in two parties, this being known as ἐφεδρισμός[1685]; a rougher variant, in which the ball was omitted and victory was probably gained by overthrowing the opponent pair, was known as ἐγκοτύλη.[1686] Women and children also play at ball, as does Eros.[1687] Equally popular was cock-fighting[1688]; and we also see a group of boys shooting with bow and arrows at a popinjay or figure of a bird.[1689] Of indoor amusements the favourite is the κότταβος, a popular relaxation after a banquet, often seen on kylikes and other R.F. vases.[1690] Other games, more suitable to younger boys, are top-spinning[1691] and bowling a hoop[1692]; others, again, in which boys and girls join, or even occasionally Eros and Satyrs, are the games of _morra_ (_micare digitis_, or “How many fingers do I hold up?”),[1693] and its variant, the ὤμιλλα, played with knucklebones[1694]; swinging[1695] and see-sawing[1696]; and flying a kite.[1697] A game of similar character to the _morra_ is played by a winged girl, who places her hands over the eyes of a boy in a chair.[1698] The so-called magic wheel, which was twirled on a string, is almost exclusively used by Eros on the vases of Southern Italy.[1699] Children with their toys, such as go-carts, vases of various shapes, etc., are often depicted on the smaller R.F. vases of the fine style, some of which were perhaps actually made for playthings[1700]; and we often see them accompanied by pet dogs, tortoises, and other animals.[1701] Similarly there are representations of birds and beasts kept in cages,[1702] and of grown-up people playing with pets: a youth and girl with a mouse or jerboa,[1703] or a man with a Maltese dog.[1704]

Equal in importance in the eyes of the Greeks was the other great division of their education, μουσική; the wider sense in which they used the word, the culture of the mind as opposed to that of the body (γυμναστικη), admits of including under this heading school scenes as well as musical performances. Among the former is the well-known kylix of Duris in Berlin (Plate XXXIX.),[1705] where a teacher is seen unrolling a manuscript on which appears an epic hexameter (see