Chapter XVII
.); a pupil is about to write on tablets; and others undergo instruction on the flute and lyre. Elsewhere we see a youth writing on a tablet,[1706] or on his way to school[1707]; a man reading from a roll[1708]; and a vivid representation of a schoolmaster giving a writing lesson.[1709]
Lessons in music,[1710] singing,[1711] and dancing[1712] are by no means infrequently represented, especially on R.F. vases; we have already seen the young Herakles and Iphikles receiving instruction of this kind,[1713] and on the vases both boys and girls take part in the lessons. Dancing scenes include dances of maidens (very common on early B.F. vases), or single figures of dancers[1714]; a girl dancing to the flute or with castanets,[1715] or a youth to the music of a girl[1716]; a woman dancing the Pyrrhic dance in the attire of a warrior,[1717] and a sacred Lydian dancer with her wicker head-dress.[1718] The grotesque dancers on some early B.F. vases appear to be performing the _kordax_.[1719]
Groups of musicians with no particular signification are often found, generally playing the lyre and flute,[1720] or single figures, such as a lyre-player in female costume,[1721] or in the distinctive ὀρθοστάδιον of the musician.[1722] Other scenes relate to agonistic and musical competitions, which often formed part of the great games; thus we have on some Panathenaic vases and elsewhere contests for victory with the lyre[1723] or flute.[1724] Sometimes the victorious musician appears receiving the prize[1725] or a crown from Nike[1726]; he usually stands on a _bema_ or raised platform. On one vase a poet recites an epic to the sound of the flute; the opening words appear proceeding from his mouth.[1727] On another a man is seen tuning his lyre.[1728] Singing was a common recreation of banqueters or revellers, especially as seen on R.F. vases.[1729]
[Illustration:
From _Baumeister_. FIG. 136. AGRICULTURAL SCENES (CUP BY NIKOSTHENES IN BERLIN). ]
5. TRADES AND OCCUPATIONS
The trades and occupations represented on vases are very varied, ranging from mining to shoemaking. The representations of miners in caves which appear on some of the early Corinthian _pinakes_[1730] most probably refer to the digging out of the clay for the potteries rather than to mining for metals. This seems the more probable when it is taken into consideration that potters’ workshops and furnaces are so frequently depicted in the same series.[1731] Besides these we find later instances of potters turning vases on the wheel,[1732] painting them, or finishing them off,[1733] as already described in a previous chapter: one vase represents the interior of a potter’s workshop with vases in various stages[1734]; another, a man painting the design with a sort of quill.[1735] Young men and girls are depicted negotiating the purchase of completed vases in the shop.[1736] Another of the Corinthian _pinakes_[1737] represents the exportation of vases in a ship. Metal-work is represented by a well-known R.F. kylix in Berlin,[1738] showing a bronze foundry, with statues in various stages of completion; there are also representations of a smithy,[1739] in some of which writers have seen an allusion to Hephaistos and the Kyklopes (see p. 37). A man is depicted finishing off a bronze helmet,[1740] or carrying a completed terminal figure[1741]; and of similar import is the subject of Athena modelling a horse.[1742]
Agriculture is represented by vases in Berlin and the Louvre with scenes of men ploughing with oxen (Fig. 136) or hoeing, sowers, and mules carrying sacks of grain[1743]; and certain vase-paintings have been interpreted as referring to the digging of a well.[1744] A man is seen cutting down a tree,[1745] and another birds’-nesting.[1746] Shepherds with flocks of sheep and goats are seen on two early Boeotian vases,[1747] and also fishermen,[1748] and men crushing grapes in a wine-press.[1749] The various stages of oil-making include the gathering of the olives from a tree,[1750] the pressing in an oil-press,[1751] and lastly the merchant measuring out and selling his oil.[1752] A butcher is represented cutting up meat,[1753] and also the preparing and cutting up of a tunny-fish,[1754] and the baking of bread[1755]; on a B.F. vase two men weigh goods in a balance[1756]; and the export of the silphium (?) on the Arkesilas vase may also be mentioned here.[1757] Lastly, we have a shoemaker in his shop,[1758] a carpenter working with an adze,[1759] and a boy going to market with two baskets carried on a pole.[1760]
6. DAILY LIFE OF WOMEN
Scenes from the daily life of women form our next heading, and we include therewith those relating to marriage or preparations for nuptials, which play so important a part in woman’s life. The “type” of a marriage procession on B.F. vases is, as we have seen (p. 16, and Vol. I. p. 378), liable to be confused with the subject of the marriage of Zeus and Hera; the bride and bridegroom appear in a four-horse chariot, accompanied by persons who, if not deities, at any rate bear similar attributes, such as the caduceus of Hermes or the torches of Artemis (as _pronuba_).[1761] In scenes of simpler character the wedding party walk in procession or drive in a cart.[1762] On later vases the bride is generally led by the hand by her husband, accompanied as before in appropriate fashion.[1763] We also find scenes representing the bridal pair on their marital couch (_lectus genialis_),[1764] and the return of the bride after the ceremonies.[1765] Other scenes may possibly represent a betrothal,[1766] a bridal toilet,[1767] or a nuptial sacrifice,[1768] and, finally, the arrival of the bridal pair at their house, with a servant preparing the marriage-bed.[1769]
More common, especially on R.F. vases of the fine style, are scenes taken from the life of the women’s apartments (γυναικωνῖτις),[1770] such as women at their toilet,[1771] spinning wool,[1772] or bleaching linen,[1773] or embroidering.[1774] Under the heading of toilet scenes are included single figures of women arranging their hair,[1775] painting their faces,[1776] fastening on their girdles[1777] or shoes,[1778] or putting clothes in a wardrobe.[1779] They also play with cats or dogs[1780] or pet birds,[1781] and there is a subject identified as a “consolation” scene.[1782] Again, we see women bathing both in private and public baths,[1783] or even swimming[1784]; but in some of these scenes the bath merely forms part of the toilet. Many of these toilet scenes may perhaps be idealised and regarded as groups of Aphrodite, the Graces, etc.[1785]
A favourite subject, but almost confined to the B.F. hydriae, is that of maidens with pitchers on their heads fetching water from a fountain, which is usually in the form of a building with columns and lion’s-head spouts of water; the maidens, five or six in number, carry the empty hydriae flat on their heads, the full ones upright.[1786] Women are sometimes seen in gardens or orchards, gathering fruit[1787] or (on late R.F. vases) frankincense.[1788] Other miscellaneous scenes which cannot be classified are: a woman in bed,[1789] woman with foot-pan,[1790] at a meal,[1791] reading from a scroll,[1792] burning incense,[1793] spinning a top,[1794] balancing a stick,[1795] riding in a mule-car[1796]; two or more women wrapped in one large cloak[1797]; and an accouchement scene.[1798] Those in which children appear include a nurse and child[1799]; a child learning to walk[1800]; a mother, and a child in a high chair[1801]; and a woman beating a child with a slipper[1802]; subjects of children playing with toys, etc., have already been discussed (p. 167). Finally, there are the scenes in which women appear as jugglers[1803] or performing dances in armour,[1804] of which mention has been made; these were probably amusements associated with banquets (see p. 182; also _ibid._ for banquets in which women, _i.e._ courtesans, take part).
A very common decoration of vases, especially the inferior ones of Apulia, is that of a woman’s head, either as the main subject or in some subsidiary part of the decoration; these, however, are so common that they hardly call for detailed description.[1805]
7. MILITARY AND NAVAL SUBJECTS
Subjects of a military character on vases are chiefly confined to three—the arming of warriors,[1806] their setting out in chariots, on horseback, or on foot,[1807] and combats of two or more figures.[1808] In all these cases we are confronted with the often-recurring difficulty as to when such subjects have a mythological significance. Especially on B.F. vases, familiar types—such as the departure of Hector or the combat of Achilles and Memnon, to be identified in other cases by inscriptions—occur again and again in the same form, only diversified by the varying number of bystanders, which is generally regulated by the space at the painter’s disposal. Even when names are added they are often of a fanciful kind; and thus, for instance, we find combats between Homeric heroes which have no counterpart in literary record.[1809]
In the scenes of warriors arming we may note certain motives as recurring with more or less frequency—such as that of a warrior putting on his greaves,[1810] helmet,[1811] or cuirass (Fig. 137),[1812] or lacing up his helmet.[1813] Kindred subjects are that of a warrior taking his shield out of his case,[1814] or an archer drawing an arrow from his quiver,[1815] testing an arrow,[1816] or stringing his bow.[1817] We may also note the rarer occurrence of such scenes as the harnessing of a chariot (Frontispiece)[1818] or the equipping of a war-horse.[1819] In the departure scenes the usual type on B.F. vases is that of a four-horse chariot to the right, which the warrior is mounting or has mounted; a woman sometimes give him drink, and an old man stands at the horses’ heads. This “type” is used for the departure of Amphiaraos (cf. Berlin 1655), Hector, or other heroes.[1820] It is sometimes varied by placing the quadriga to the front.[1821] Or, again, the warrior is seen on horseback, accompanied by his groom,[1822] or a company on foot set out in marching array.[1823] On later vases the more usual version is that of a warrior receiving a libation or “stirrup-cup” from a woman before his departure, but the same scenes might be interpreted as referring to his successful return.[1824] Unmistakable instances of the return are those scenes where he receives a crown,[1825] or is brought back as a corpse by his comrades.[1826] There are scenes representing warriors taking oaths or omens at a tomb, or omens by the inspection of the liver of a victim, all before departure for battle[1827]; and single figures are countless, especially inside R.F. kylikes.[1828]
[Illustration:
From _Hoppin_. FIG. 137. WARRIOR ARMING; SCYTHIAN ARCHERS (AMPHORA BY EUTHYMIDES IN MUNICH). ]
Among the various scenes incident to warfare may be mentioned an ambuscade,[1829] a wounded warrior dragged out of battle,[1830] a warrior protecting himself from darts,[1831] the capture of a prisoner,[1832] warriors carrying dead bodies,[1833] or human heads as trophies of victory.[1834] Besides single figures of warriors, heralds,[1835] trumpeters,[1836] slingers,[1837] and archers[1838] often appear; or representations of the armour of a warrior[1839]; or of the Δοκιμασία or parade of Athenian knights.[1840] Of a somewhat burlesque character is a scene depicting warriors riding on ostriches and dolphins.[1841]
* * * * *
Naval scenes are very rare, but we find occasional early representations of sea-fights,[1842] as on the Dipylon vases, the vessels on which appear to be biremes.[1843] On the B.F. and R.F. vases we find war-galleys[1844] or merchant-vessels,[1845] usually in places suitable for a row of ships—such as the outer edge of a kylix[1846] or the broad rim of a _deinos_ or large bowl.[1847] These are specially common on vases of “mixed” technique. The subject of “keel-hauling,” the punishment administered to refractory sailors, must also find a place here.[1848]
8. ORIENTALS AND BARBARIANS
Oriental figures which can neither be classified as mythological, historical, or _genre_ subjects sometimes appear on vases. We have already made mention of such quasi-mythological subjects as combats of Gryphons with Arimaspi or other figures in Oriental attire.[1849] Phrygian warriors, too, may be seen in some Trojan scenes—such as the sack of Troy or the flight of Aeneas[1850]—but their presence in scenes of departure or combat does not necessarily make the subject mythological.[1851] It is not always easy to identify the nationality of these barbarians, and the names usually given to them—Persian, Phrygian, or Scythian—must in many cases be regarded as somewhat conventional, except where details of costume are unmistakable.[1852]
Archers in Oriental costumes, wearing peaked caps with long lappets, and close-fitting costume of jerkin and trousers (ἀναξυρίδες), stippled over to indicate skin, are seen shooting arrows, on foot or on horseback,[1853] or accompanying the chariots of Greek warriors,[1854] or taking part in general combats[1855]; as also warriors blowing trumpets.[1856] Persian warriors in combat with Greeks appear on R.F. vases of the strong period,[1857] and may have some reference to the historical events of the time. It is even suggested that one is copied from the famous painting by Mikon of the battle of Marathon.[1858] One vase represents a sort of triumphal procession, perhaps of a Persian king, riding on a camel[1859]; and others depict Persians riding.[1860] Those of undoubted historical signification have already been mentioned.[1861] Scythians appear as mounted or unmounted archers,[1862] a Scythian horseman is attacked by a lion,[1863] a Scythian pursues two courtesans,[1864] and there is a curious scene depicting the revels of the Scythian Agathyrsi.[1865] Thracians, in the typical local costume of ζεῖρα (a thick cloak) and ἀλωπεκῆ (a fox-skin cap), appear by themselves or with Orpheus and Boreas[1866]; Thracian horsemen are represented setting out[1867]; and after the conquests of Miltiades the local costume appears to have become fashionable among the Athenian youth, as they are depicted wearing it on some contemporary vases.[1868] The Thracian custom of tattooing is suggested in some of the Orpheus scenes.[1869]
Figures of negroes are not very common on vases, though many of fifth-century date and later are modelled in the form of negroes’ heads; but there is a small class of B.F. alabastra on which they are represented in the traditional barbarian costume of trousers, etc., and are armed with the Oriental battle-axe.[1870] In one case a negro accompanies a camel.[1871] Ethiopians are seen conveying the body of Memnon or an ordinary warrior to his grave,[1872] and one vase represents an Ethiopian with a jug.[1873] A pair of Egyptian combatants can be identified on a fragmentary vase from Daphnae (Defenneh).[1874] Lastly, many of the vases of Southern Italy, especially those of Campania, represent combats or leave-takings of native Osco-Samnite warriors, in their typical costume of triangular cuirass, gaily plumed helmet, and scanty tunic.[1875]
[Illustration: FIG. 138. BANQUETERS PLAYING KOTTABOS (BRITISH MUSEUM, E 70).]
9. BANQUETS AND REVELS
A group of subjects which play an important part on vases of all periods, especially the height of the R.F. style, but which do not exactly fall under any of the headings so far enumerated, is that of scenes connected with banquets and revels, especially of Athenian ephebi. In the ordinary “type” of banquets at all periods (as in other branches of art) the participants recline on couches on their left elbows, the right arm being free to use, and that hand often holding a drinking-cup or other appropriate attribute.[1876] In this fashion the gods—such as Dionysos, Hermes, or Herakles after his apotheosis—indulge in the pleasures of the banquet and the wine-cup.[1877] There are scenes which represent the preparations for a banquet,[1878] or young men on their way thither[1879]; and in those depicting the feast itself a table is often placed before the couch, on which viands of various kinds are seen[1880]; or the krater (mixing-bowl) stands by, ready for the drinkers to replenish their cups.[1881] Vases are also filled by means of a funnel.[1882] The results of over-indulgence are sometimes realistically indicated on the R.F. cups.[1883] After the drinking-bouts come amusements of various kinds, notably the game of the kottabos.[1884] No instances of this occur before the middle of the R.F. period, and on the cups of that time it is usually only indicated by the manner in which the banqueters twirl their kylikes with a finger crooked in the handle,[1885] preparatory to throwing the remaining drops of liquid at the little figure on the top of the kottabos-stand, the hitting of which caused part of the apparatus to fall with a ringing noise.[1886] On the latest Athenian and many Apulian vases the stand is often represented as well,[1887] not only in position for the game, but borne along by revellers.[1888] It is also carried by Seileni, Maenads, or Eros, and used by Dionysos at his banquets.[1889]
Other amusements take the form of music and dancing. The banqueters themselves play the lyre or flute,[1890] or listen to male and female performers on those instruments,[1891] or a young girl dances for their amusement.[1892] The women jugglers, tumblers, and acrobatic sword-dancers who often appear on late vases[1893] no doubt often contributed to the entertainment of the “gilded youth” of their day. Sometimes a banqueter is represented reclining on his couch and singing, the words in one or two cases being inscribed as proceeding out of his mouth.[1894] Not only men but women are represented banqueting, as on the psykter by Euphronios at Petersburg, which has a group of courtesans.[1895] This character also appears on the R.F. vases at the men’s banquets.[1896]
The κῶμος or revel is equally popular with the banquet. It usually takes the form of a procession of young and elderly men in various unrestrained attitudes,[1897] dancing,[1898] singing,[1899] playing the lyre, flute, or other instruments,[1900] carrying drinking-cups and other vessels,[1901] or balancing them in sportive manner.[1902] Frequently these κῶμος scenes are of a Dionysiac character, the god himself, Seileni, Satyrs, and Maenads taking part,[1903] and sometimes human beings are mingled with them. On a vase of the series connected with the comic stage (Fig. 134, p. 161) a father is seen dragging a drunken youth home from a banquet; but these scenes of rioting are not always necessarily conceived as taking place before or after social festivities. On a red-figured cup at Petersburg the subject of the return from the feast of the Brauronian Dionysos is depicted in most realistic fashion, the revellers indulging in all sorts of buffoonery and fantastic actions, which suggest an Athenian counterpart of modern Bank Holiday amusements[1904]!
To turn to a subject of a quieter character, what may be termed “love scenes” are not uncommon on vases, especially of the later period. On the Apulian vases indeed such subjects are innumerable. The usual type, occasionally found on earlier vases,[1905] is that of a youth and a seated girl exchanging presents, such as mirrors, wreaths, baskets of fruit or jewel-boxes, Eros being frequently present.[1906] Scenes of this kind were originally interpreted somewhat fantastically, as having some reference to the Eleusinian or other mysteries,[1907] an idea which no one would now seriously hold. Similar scenes which have no
## particular import, such as groups of women, often with Eros, occur on
many R.F. vases of the later fine style, especially the pyxides and lekythi.[1908] They are all clearly fanciful, and belong to an age when tastes resembled those of the eighteenth century in their artificiality. There are also some instances, especially on the R.F. vases, where the sentiment is more definitely expressed, and couples are seen embracing or caressing one another in amorous fashion.[1909] It is not necessary to make more than passing allusion to the many vases on which this harmless sentiment is replaced by coarseness and open indecency of treatment, some of which, however, belong to the very finest stage of red-figure painting.
Finally, we may mention here a few subjects of a _genre_ character which seem to defy classification, and yet are sufficiently definite to require separate mention. Such are the scenes so common on the interiors of R.F. kylikes, which represent ephebi in all kinds of attitudes, or carrying all sorts of objects, the great aim of the artist being to find the most suitable design to fill in the circular space.[1910] Thus we have such subjects as a youth putting on a greave or sandals,[1911] carrying a wine-amphora[1912] or a lyre,[1913] playing with castanets,[1914] or pursuing a hare[1915]; reclining at a banquet[1916]; armed with a club or a large stone[1917]; a man leading a leopard,[1918] and a man who seems from his gestures to be treading unawares on a snake[1919]; and others of an athletic or military character, of which mention has already been made. There are also many subjects which appear to have a meaning, yet are not mythological, and cannot be satisfactorily explained; such instances it would, however, hardly be profitable to describe in detail.
10. ANIMALS
The last class of subjects with which this section has to deal is that of animals, as considered apart from human beings, or objects of what modern painters term “still life.” In the historical chapters of this work it has been shown what a large part the animal world played in the decoration of vases down to the sixth century B.C., and also which were the animals most frequently selected for the friezes and other decorations of early vases. Most noteworthy in this respect are the Mycenaean vases (Vol. I. p. 273), with their representations of cuttle-fish (Plate XV.), the nautilus or argonaut,[1920] and other marine subjects. But to these early vases in the present case no further allusion need be made; as _subjects_ they have not as a rule sufficient interest. On the Attic vases of the B.F. and R.F. periods animals rarely form a principal subject on vases, though they still sometimes appear in small friezes on the less important parts of the vase; it may, therefore, be of interest to note a few typical instances in which this feature retains its prominence. Sometimes we have subjects with action: as, for instance, one in which a panther tears a stag, and is attacked by an archer and an armed warrior[1921]; or a lion attacks a panther, a bull, or a deer.[1922] Again, the interior of a B.F. kylix is sometimes filled with an animal subject, such as a wounded stag,[1923] or a deer scratching itself or grazing,[1924] or other animals[1925]; and in a similar position on one R.F. kylix we have an ass with its pack.[1926] Other animal subjects worth mentioning are a sea-serpent,[1927] goats browsing on vines,[1928] a fox caught in a trap,[1929] cats and mice,[1930] the appearance of the swallow.[1931]
There is a class of ware made in Southern Italy which takes the form of flat plates or dishes, decorated with representations of fish and molluscs, such as the pike or mullet, the cuttle-fish and various shell-fish; these were clearly used for eating fish off, and they have in the centre a hollow to receive the sauce.[1932] Friezes of fish are not infrequently found on the vases of Apulia. Animals, especially birds, sometimes appear in friezes on the early Ionic vases, such as geese, quails, or guinea-fowl[1933]; cocks and hens confronted are more common, especially in the B.F. period,[1934] and one late Italian vase has an amusing group of a cock and goose greeting one another with the words, “Ah, the goose!” “Oh, the cock!”[1935]
Lastly, of subjects from still life, distinct from their appearance in figure subjects, we find the armour of a warrior,[1936] a washing-basin,[1937] a flute-case,[1938] a lyre,[1939] a table with bread upon it,[1940] and a collection of objects for the toilet.[1941]
-----
Footnote 1112:
Athens 1259 = Reinach, i. 506; _Mon. Grecs_, 1876, pls. 1–2.
Footnote 1113:
B. M. F 68.
Footnote 1114:
Reinach, ii. 186.
Footnote 1115:
Petersburg 2188 = Reinach, i. 8; Reinach, i. 279 (= Baumeister, i. p. 635, fig. 706) and 380. In _Ant. Denkm._ i. 59 (now at Boston) and in Berlin 2430 they do not appear in this connection.
Footnote 1116:
B.M. B 170; Helbig, 78 = Reinach, i. 96 = _Wiener Vorl._ 1888, pl. 6, 1 (Exekias).
Footnote 1117:
Millin-Reinach, ii. 44 (doubtful; perhaps Zethos and Amphion).
Footnote 1118:
Petersburg 1924 and 1929 = Reinach, i. 9.
Footnote 1119:
Reinach, i. 244.
Footnote 1120:
_Ibid._ i. 363.
Footnote 1121:
B.M. E 696.
Footnote 1122:
François vase; Reinach, i. 230, ii. 119.
Footnote 1123:
Reinach, i. 361 = Furtwaengler and Reichhold, pls. 38–39.
Footnote 1124:
Bibl. Nat. 442 = Reinach, ii. 79 = _Wiener Vorl._ 1889, 12, 5.
Footnote 1125:
Jatta 1095 = Reinach, i. 119 (Phineus scene); Reinach, i. 226 (in Louvre).
Footnote 1126:
Reinach, i. 231, 507 (= Athens 853), ii. 1: see generally Roscher’s _Lexikon_, _s.v._ Leukippiden.
Footnote 1127:
B.M. E 224 = Furtwaengler and Reichhold, pls. 8–9; probably influenced by the painting by Polygnotos of this subject (see Vol. I. p. 443).
Footnote 1128:
Reinach, i. 484: cf. Bibl. Nat. 388.
Footnote 1129:
B.M. B 633 = _Wiener Vorl._ iv. 9, 3.
Footnote 1130:
Inghirami, _Vasi Fitt._ ii. 187: cf. Reinach, i. 361 (rev. of vase).
Footnote 1131:
See p. 19.
Footnote 1132:
B.M. F 479; Reinach, i. 229; _Gaz. Arch._ 1875, pl. 14 (in Louvre).
Footnote 1133:
B.M. F 107.
Footnote 1134:
Munich 611 and 291 = Reinach, i. 419, ii. 47.
Footnote 1135:
Munich 371 = _Ber. d. sächs. Gesellsch._ 1853, pl. 10, 1, p. 145. He is represented as attacking Linos, who had found fault with his playing.
Footnote 1136:
Reinach, i. 326 (Iphikles here with Linos).
Footnote 1137:
See _B.M. Cat. of Vases_, ii. p. 13.
Footnote 1138:
Reinach, ii. 70.
Footnote 1139:
Furtwaengler, however, thinks the subject is Herakles sacrificing a bull (_Gr. Vasenmalerei_, p. 16: see below, p. 106).
Footnote 1140:
Cf. Paus. v. 19, 1: τρεῖς ἄνδρες ἀλλήλοις προσεχόμενοι.
Footnote 1141:
See p. 106.
Footnote 1142:
_Isthm._ iii. 90.
Footnote 1143:
B.F.: B.M. B 196, B 322; Munich 3 = Reinach, ii. 62; an early Athenian example in _J.H.S._ xxii. pl. 2. R.F.: Reinach, i. 242 = _Wiener Vorl._ v. 4 = Louvre G 103 (Euphronios); Athens 1166. See also Vienna 322 = Reinach, i. 339 and Munich 605 = _Ber. d. sächs. Gesellsch._ 1853, pl. 8, fig. 1.
Footnote 1144:
B.M. B 314; Berlin 2057; Louvre F 208 = Reinach, i. 452; Munich 1180 = Reinach, i. 255, 2, and Helbig, 228 = _Ber. d. sächs. Gesellsch._ 1853, pls. 5, fig. 2, and 8, fig. 2; Reinach, i. 255, 1 = Baumeister, i. p. 49, fig. 56; Reinach, i. 451. The only R.F. examples published are Munich 401 (= Furtwaengler and Reichhold, pl. 32) and 605 (= _Ber. d. sächs. Gesellsch._ 1853, pl. 7, fig. 1).
Footnote 1145:
See above, p. 72.
Footnote 1146:
Bibl. Nat. 322.
Footnote 1147:
Cambridge 43: cf. Pind. _Nem._ iv. 46.
Footnote 1148:
_J.H.S._ xiii. pp. 71–2.
Footnote 1149:
B.F.: B.M. B 197, B 364 (= _Wiener Vorl._ 1890–91, pl. 6, 1, Nikosthenes); Berlin 1732 = Reinach, ii. 66 = _Wiener Vorl._ 1889, 1, 2 (Kolchos). R.F.: B.M. E 73; Reinach, ii. 47, 68, 1 (?), and i. 223 = _Wiener Vorl._ D. pl. 5 (Pamphaios).
Footnote 1150:
Jatta 1088 = Reinach, i. 475 = _Wiener Vorl._ iii. 4: see _Röm. Mitth._ 1894, p. 285.
Footnote 1151:
_Arch. Anzeiger_, 1898, p. 51 (vase in Boston).
Footnote 1152:
B.F.: B.M. B 228, B 313; Berlin 1851–52. R.F.: Munich 251 = Reinach, i. 259.
Footnote 1153:
B.M. E 437 = Reinach, ii. 62 = _Wiener Vorl._ D. 6, 2.
Footnote 1154:
B.F.: B.M. B 223, B 311; Berlin 1906; Louvre F 38 = _Wiener Vorl._ 1889, pl. 5, fig. 3 (Timagoras); Reinach, i. 227. No good R.F. examples (see Reinach, i. 346).
Footnote 1155:
B.F.: B.M. B 225; Bibl. Nat. 255 = Reinach, ii. 61. R.F.: B.M. E 162; Athens 1202 = Benndorf, _Gr. u. Sic. Vasenb._ pl. 32, 4.
Footnote 1156:
Reinach, i. 339 (R.F.).
Footnote 1157:
B.M. B 226; Helbig, 27; Reinach, ii. 64 (one = Bologna 195). R.F.: Reinach, i. 221 and i. 41 (= Petersburg 1272, curious).
Footnote 1158:
B.F.: _Amer. Journ. of Arch._ 1900, pl. 6 (Proto-Corinthian); _J.H.S._ i. pl. 1; Berlin 336 (= Reinach, i. 448), 1670 (= _ibid._ ii. 64, 1), 1737. R.F.: Reinach, i. 221. Late: B.M. F 43; Millin-Reinach, i. 68.
Footnote 1159:
Petersburg 1787 = Reinach, i. 40.
Footnote 1160:
B.F.: B.M. B 30; Berlin 1702; Helbig, 5; Athens 657 = _Ant. Denkm._ i. 57; Louvre E 852 = Reinach, i. 156. R.F.: B.M. E 42, E 176; _Boston Mus. Report_ for 1900, p. 49, No. 17 (Aristophanes and Erginos).
Footnote 1161:
_Mon. Antichi_, ix. pl. 3 (in B.M.); Naples 3089 = _ibid._ p. 10 = Millingen-Reinach, 33.
Footnote 1162:
Berlin 1722; Reinach, i. 388.
Footnote 1163:
Louvre F 60.
Footnote 1164:
Oxford 249; Berlin 766–67; Munich 783; Reinach, ii. 59, 10. Late R.F.: Berlin 2359. Parody: Schreiber-Anderson, pl. 5, 2 = _Jahrbuch_, i. p. 280.
Footnote 1165:
Bibl. Nat. 393 = Reinach, i. 397.
Footnote 1166:
B.F.: Vienna 217 = Reinach, i. 169 (Caeretan hydria). R.F.: B.M. E 38; Athens 1175 = Dumont-Pottier, i. pl. 18; Berlin 2534. See Hartwig, _Meistersch._ p. 53, note 1.
Footnote 1167:
B.M. E 364; Reinach, i. 229, 338, 392.
Footnote 1168:
Berlin 4027 = Reinach, i. 338: cf. Aelian, _Var. Hist._ i. 24.
Footnote 1169:
Reinach, i. 384, and see i. 475 and ii. p. 423; Louvre E 633 (capture of heralds): see for the myth, Paus. ix. 17, 2, ix. 25, 4; Diod. Sic. iv. 10; Apollod. ii. 4, 11.
Footnote 1170:
Athens 970.
Footnote 1171:
Berlin 1927 (?); B.M. E 290.
Footnote 1172:
_Arch. Anzeiger_, 1895, p. 37 (R.F. in Berlin).
Footnote 1173:
Bibl. Nat. 174.
Footnote 1174:
_Boston Mus. Report_ for 1898, No. 33.
Footnote 1175:
B.F.: B.M. B 195, B 316; Bibl. Nat. 251 = Reinach, ii. 252. R.F.: B.M. E 255 (= Hoppin, _Euthymides_, pl. 5); E 318, E 458; Berlin 2159 = Wernicke-Graef, _Ant. Denkm._ pl. 27, fig. 3; Munich 401 = Furtwaengler and Reichhold, pl. 32 (Phintias); Reinach, i. 224. Late: Naples 1762 = Millingen-Reinach, 30.
Footnote 1176:
Stackelberg, pl. 15.
Footnote 1177:
Munich 1294 = Reinach, i. 403; _ibid._ ii. 4 = _Wiener Vorl._ ii. 8.
Footnote 1178:
B.M. B 57.
Footnote 1179:
Cambridge 100; and see _J.H.S._ xix. pl. 9.
Footnote 1180:
Helbig, 232 = Reinach, ii. 59; a B.F. example in _Röm. Mitth._ 1902, pl. 5.
Footnote 1181:
B.M. E 65 = Reinach, i. 193.
Footnote 1182:
B.M. F 494; Berlin 3291; heads of Herakles and Omphale, Bibl. Nat. 866.
Footnote 1183:
Louvre E 635 = Reinach, i. 151 = Rayet and Collignon, pl. 6; _Mon. Grecs_, 21–2 (1893–94), pl. 14 (in Louvre).
Footnote 1184:
B.M. B 165; Athens 477 = Reinach, i. 519 (Melian vase): see note 1186 below.
Footnote 1185:
_J.H.S._ xii. pl. 19; _Jahreshefte_, 1900, p. 64. The slaying of Iphitos is represented on a white-ground cup in the Louvre, _Monuments Piot_, ii. p. 53.
Footnote 1186:
Athens 477, according to Pottier in _Revue des Études Grecques_, 1895, p. 389.
Footnote 1187:
_Anzeiger_, 1891, p. 119 (in Berlin); a burlesque of the subject is given in Fig. 105, Vol. I. p. 474.
Footnote 1188:
Millin-Reinach, ii. 71.
Footnote 1189:
Reinach, ii. 75.
Footnote 1190:
Fig. 107, Vol. I. p. 480.
Footnote 1191:
Oxford 322; Reinach, ii. 62 = Roscher, iii. p. 762.
Footnote 1192:
Naples 3359 = Reinach, i. 400; and see note 1186.
Footnote 1193:
B.M. F 68.
Footnote 1194:
Hartwig, _Meistersch._ pl. 38, p. 422.
Footnote 1195:
Bibl. Nat. 822 = Millin-Reinach, ii. 10; _Ber. d. sächs. Gesellsch._ 1855, pls. 1–2. See above, p. 67.
Footnote 1196:
Reinach, i. 226.
Footnote 1197:
Berlin 2164: cf. Athens 1119 = _Ath. Mitth._ 1901, pp. 146, 149.
Footnote 1198:
B.M. B 473; Berlin 1856, 1919.
Footnote 1199:
Berlin 3256 (Argonautic?).
Footnote 1200:
B.M. E 494 (? see p. 106, note 1216); Reinach, ii. 180 = Millingen-Reinach, 51. On Chryse see _Class. Review_, 1888, p. 123; the same figure occurs on the B.M. vase E 224 in connection with the rape of the Leukippidae.
Footnote 1201:
B.M. E 505: cf. for statue B.M. F 233.
Footnote 1202:
Jatta 423 = Reinach, i. 205.
Footnote 1203:
Millin-Reinach, ii. 25.
Footnote 1204:
Reinach; i. 257; and cf. B.M. F 211, F 278 for H. at Olympia; also Stackelberg, pl. 42.
Footnote 1205:
B.M. B 198, B 498; Reinach, ii. 74–5; Louvre F 116–117 = Reinach, i. 297 (Nikosthenes); Helbig, 93 = _Mus. Greg._ ii. 54, 2.
Footnote 1206:
B.M. D 14; Munich 369 = Furtwaengler and Reichhold, pl. 24 (Duris); Benndorf, _Gr. u. Sic. Vasenb._ 42, 4; Reinach, ii. 298.
Footnote 1207:
B.M. B 301, B 497, E 66; Berlin 1961 = Reinach, ii. 43; Berlin 2534 (with Seilenos); Munich 388 = Furtwaengler and Reichhold, pl. 4 (B.F. and R.F. “bilingual”); Reinach. ii. 39; Millin-Reinach, i. 37; Athens 764 = Heydemann, _Gr. Vasenb._ pl. 3, 1.
Footnote 1208:
B.M. B 167.
Footnote 1209:
Benndorf, _Gr. u. Sic. Vasenb._ pl. 44 (in Petersburg).
Footnote 1210:
Reinach, ii. 318; Helbig, ii. p. 327 = Millingen-Reinach, 35; _Philologus_, 1868, pl. 2.
Footnote 1211:
B.M. B 229: cf. Berlin 4027 and B.M. E 814.
Footnote 1212:
_Él. Cér._ iii. 14.
Footnote 1213:
Berlin 2293, 3988; Petersburg 523 = Reinach, i. 467; _Él. Cér._ i. 1; _Mon. Grecs_, 1875, pl. 1.
Footnote 1214:
B.M. B 147; Reinach, ii. 21.
Footnote 1215:
B.M. B 228; Berlin 1857; Helbig, 25; Reinach, ii. 43: cf. Athens 791 = Heydemann, _Gr. Vasenb._ pl. 3, 2.
Footnote 1216:
See B.M. E 494; _J.H.S._ xviii. p. 275; Roscher, _Lexikon_, i. p. 2235; Bacchylides, _Od._ 16; also p. 96, note 1211.
Footnote 1217:
B.M. E 370.
Footnote 1218:
Munich 384 = Reinach, i. 130 = Baumeister, i. p. 307, fig. 322; Reinach, i. 481.
Footnote 1219:
B.F.: B.M. B 199–201, 211 (Pl. XXIX.), 230, 317–21; Reinach, ii. 72; Oxford 212 (no deities). R.F.: Helbig, 230 (A. about to mount chariot).
Footnote 1220:
Bibl. Nat. 253 = Reinach, i. 399 and 254.
Footnote 1221:
Berlin 1827 = Reinach, ii. 74; Reinach, ii. 161.
Footnote 1222:
With Athena: B.M. F 238; Millingen-Reinach, 36. With Nike: B.M. F 64, F 102; Reinach, i. 368, 481, and ii. 204; _Wiener Vorl._ E. pls. 7, 8, fig. 3 = _Mon. Grecs_, 1876, pl. 3 (in Louvre; parody; chariot drawn by Centaurs).
Footnote 1223:
B.F.: B.M. B 166, B 379, B 424; Berlin 1691, 1857; Reinach, i. 359, 1, ii. 76 (in Berlin). R.F.: B.M. E 262 = Reinach, ii. 75; Berlin 2278 = Reinach, i. 70 = _Ant. Denkm._ i. 9 (Sosias); Furtwaengler and Reichhold, pl. 20; Reinach, i. 222, 408 (Fig. 127). Late: Naples 2408 = Reinach, i. 323; Petersburg 1775 = Reinach, i. 302 (parody).
Footnote 1224:
B.F.: Louvre F 30 = _Rev. Arch._ xiii. (1889), pl. 4 (Amasis); F 116–117 = Reinach, i. 297 = _Wiener Vorl._ 1890–91, pl. 4, figs. 1–2 (Nikosthenes); Bibl. Nat. 254; Berlin 1961 = Reinach, ii. 43. R.F.: Berlin 2626; Reinach, ii. 76, 186.
Footnote 1225:
B.M. E 262; Bonn 720 = _Jahrbuch_, 1892, p. 69; Athens 1346 = Dumont-Pottier, i. pl. 15; B.M. F 178; Reinach, i. 251 (all R.F. or late).
Footnote 1226:
B.M. E 244; Berlin 3257; _Forman Sale Cat._ 364: see p. 77.
Footnote 1227:
Berlin 2538 = Reinach, ii. 162.
Footnote 1228:
B.M. E 264 = _Wiener Vorl._ 1890–91, 8, 1; a similar vase in _Röm. Mitth._ 1894, pl. 8, has been otherwise interpreted (see below, p. 110, note 1233).
Footnote 1229:
Petersburg 830 = Reinach, i. 150 = _Wiener Vorl._ A. 8 (Hieron).
Footnote 1230:
See on the subject generally _Museo Ital._ iii. p. 235.
Footnote 1231:
_Gaz. Arch._ 1884, pls. 44–6.
Footnote 1232:
_Wiener Vorl._ E. 12, 2.
Footnote 1233:
See _J.H.S._ xviii. pl. 14, and pp. 277–79 for three other instances; the last, however, is susceptible of other interpretations.
Footnote 1234:
Bologna 273 = Baumeister, iii. p. 1999, fig. 2149. The B.M. vase E 264 (see p. 108, note 1228) _may_ have the same meaning, in which case the woman holding the clue is a sort of “short-hand” allusion to the adventure awaiting him. See also Reinach, ii. 81 (Theseus receiving libation from Aithra).
Footnote 1235:
B.M. E 41 = Reinach, i. 532 (Chachrylion).
Footnote 1236:
Berlin 2179 = _Wiener Vorl._ iii. 6; Reinach, i. 222 = Plate XXXIX. (also interpreted as Peleus and Thetis, see p. 120); Harrison and Verrall, p. cxxxi (in Vienna): see also _Boston Mus. Report_ for 1900, p. 67, No. 25.
Footnote 1237:
Reinach, i. 91; ii. 264 (= Bibl. Nat. 421).
Footnote 1238:
Munich 7; B.M. E 41; Reinach, i. 87.
Footnote 1239:
B.M. E 157, 272, 450; Reinach, ii. 163 (now in B.M.; a complete and magnificent example); Millin-Reinach, i. 10; Naples 2421, 3253, and R.C. 239 = Reinach, ii. 278, i. 330, i. 482 (the first of these given by Furtwaengler and Reichhold, pls. 26–8).
Footnote 1240:
B.M. F 272; Munich 368 = Hartwig, _Meistersch._ pls. 59, 60, and 805 = Reinach, i. 391; Reinach, ii. 181–82; _Boston Mus. Report_ for 1900, p. 50, No. 17 (Erginos and Aristophanes); and see under Centaurs, p. 145.
Footnote 1241:
Munich 410 = Reinach, ii. 86 = Furtwaengler and Reichhold, pl. 33.
Footnote 1242:
Berlin 1731 = Roscher, iii. p. 1782, has been interpreted as the rape of Helene.
Footnote 1243:
See Furtwaengler, _op. cit._ p. 177; and cf. Bibl. Nat. 256 = Reinach, ii. 254. Berlin 3143 = Reinach, i. 373, may also represent a rape by Theseus.
Footnote 1244:
Jatta 1094 = Reinach, i. 356: see also Reinach, i. 108, 455, and above, p. 68.
Footnote 1245:
Munich 849 = Reinach, i. 258.
Footnote 1246:
_Ant. Denkm._ i. 59 (in Boston).
Footnote 1247:
See B.M. F 123 and F 272; also a vase in Berlin (_Arch. Anzeiger_, 1890, p. 89), where Eros shoots with his bow at Phaidra; Hippolytos is present. Cf. also Naples 2900 = Millingen-Reinach, 41.
Footnote 1248:
B.M. F 279.
Footnote 1249:
Petersburg 1357 = Reinach, i. 244, and 1723 = Baumeister, i. p. 406, fig. 448; Naples 3140 = _Mus. Borb._ ii. 30, 4; _Monuments Piot_, x. pl. 8 (in Boston); and cf. Berlin 2300 = Reinach, i. 273.
Footnote 1250:
B.M. B 155, F 490 (?).
Footnote 1251:
B.M. F 83.
Footnote 1252:
Athens 1956 = _Ath. Mitth._ xi. (1886), pl. 10.
Footnote 1253:
B.M. B 471 = Fig. 97, Vol. I. p. 382; Berlin 3022 = Reinach, i. 172; Munich 1187 = Reinach, ii. 109: cf. Bibl. Nat. 456.
Footnote 1254:
B.M. B 248, B 380; E 181, E 399; F 500; Berlin 1682 = Reinach, i. 441; Bibl. Nat. 277 = Reinach, i. 290; Munich 619 = Reinach, ii. 48.
Footnote 1255:
B.M. E 493; _Mon. Grecs_, 1878, pl. 2 (a fine example in the Louvre).
Footnote 1256:
Munich 619, 910 = Reinach, ii. 48–9; _Ant. Denkm._ i. 57. For Chrysaor see Reinach, i. 172 (Louvre E 857), ii. 49, and Stackelberg, 39.
Footnote 1257:
Millin-Reinach, ii. 4.
Footnote 1258:
B.M. E 169 = _J.H.S._ xxiv. pl. 5, and F 185; Engelmann, _Arch. Studien_, p. 6; and cf. Naples 3225; Millin-Reinach, ii. 3; _Jahrbuch_, xi. (1896), pl. 2 (in Berlin). For the correct explanation of the first-named vase see Petersen in _op. cit._ p. 104 ff.
Footnote 1259:
Berlin 1652 = Reinach, i. 217; Roscher, iii. p. 2053 (in Berlin; a fine instance); Naples 3225, S.A. 24, S.A. 708 = Reinach, i. 188.
Footnote 1260:
Reinach, i. 344; _Jahrbuch_, vii. (1892), p. 38: cf. _Philologus_, 1868, pl. 1, fig. 1, and pl. 3.
Footnote 1261:
Millingen-Reinach, 3: see _Philologus_, 1868, pl. 1, figs. 2–3, p. 16.
Footnote 1262:
Berlin 2377 = Reinach, i. 289.
Footnote 1263:
_Jahrbuch_, 1892, p. 33.
Footnote 1264:
Naples 2202 = Dubois-Maisonneuve, _Introd._ pl. 46; Reinach, i. 284.
Footnote 1265:
B.M. E 610, E 715 (Plate XLVI., fig. 4).
Footnote 1266:
B.M. B 2: cf. Bibl. Nat. 977 for a similar figure inaccurately (?) inscribed Oinomaos.
Footnote 1267:
B.M. F 331; Naples 1982 = Reinach, i. 292 (very doubtful; Oinomaos absent: see p. 123, note 1361).
Footnote 1268:
B.M. F 271, 278; Naples 2200 = Reinach, i. 379; Athens 968 = _Jahrbuch_, 1891, p. 34 (B.F.); Reinach, i. 290 = _Wiener Vorl._ i. pl. 10, 2; Naples 2858 = _ibid._ pl. 10, 1 (subject doubtful).
Footnote 1269:
Naples 3255 = Reinach, i. 235; Reinach, i. 163 = Baumeister, ii. p. 1203, fig. 1395; Naples S.A. 697.
Footnote 1270:
Berlin 3072 = Reinach, i. 204.
Footnote 1271:
Naples 2200 = Reinach, i. 379.
Footnote 1272:
Naples 3222 = Reinach, i. 167.
Footnote 1273:
Jatta 1499 = Reinach, i. 127 = _Wiener Vorl._ viii. 8; _Boston Mus. Report_, 1900, p. 68, No. 25.
Footnote 1274:
Naples 2418 = Dubois-Maisonneuve, _Introd._ pl. 69; _Wiener Vorl._ viii. 9, 1 = Roscher, ii. 282; Reinach, i. 287, ii. 318.
Footnote 1275:
_Amer. Journ. of Arch._ 1900, pl. 4; Louvre A 478; Reinach, i. 108 (Karlsruhe 388), 517 (Athens 1589), 331 (four late examples), and ii. 279; and see B.M. B 105, B 162; Naples 3253 = Reinach, i. 195; Berlin 3258.
Footnote 1276:
Petersburg 427 = Inghirami, _Vasi Fitt._ 3 (see Vol. I. p. 478 and _Ann. dell’ Inst._ 1874, p. 35).
Footnote 1277:
Baumeister, i. p. 303, fig. 319; and see Reinach, i. 331, and Munich 805 = _ibid._ i. 277 (the latter so interpreted by Flasch, _Angebl. Argonautenbilder_, p. 30 ff.).
Footnote 1278:
B.F.: François vase; Munich 333 = Reinach, ii. 119 = _Wiener Vorl._ 1889, 2, 2; Berlin 1705; Helbig, 34 = _Mus. Greg._ ii. 90; Reinach, i. 230. R.F.: Reinach, ii. 162, 210.
Footnote 1279:
Roscher, iii. p. 1811.
Footnote 1280:
_E.g._ B.M. B 37 (Plate XXI.), F 154; Vienna 217 = Reinach, i. 170. See also p. 166.
Footnote 1281:
Naples S.A. 11 = Reinach, i. 401.
Footnote 1282:
Naples 3412 = Reinach, i. 498 = _Wiener Vorl._ B. 2, 1 (Assteas; Phrixos also on ram); Reinach, ii. 309. For Phrixos on ram see Berlin 3345, and _Festschr. für Overbeck_, p. 17.
Footnote 1283:
_Tyszkiewicz Coll._ pl. 12 (the antiquity of this vase is very questionable).
Footnote 1284:
Naples S.A. 270 = Reinach, i. 319.
Footnote 1285:
Reinach, i. 226, 1–3: see _Festschrift für O. Benndorf_, p. 67 and p. 133, note 5.
Footnote 1286:
See p. 81.
Footnote 1287:
Ionic cup in Würzburg, Reinach, i. 201 = Furtwaengler and Reichhold, pl. 41; B.M. E 302; Jatta 1095 = Reinach, i. 119; Stackelberg, pl. 38 = Millingen, _Anc. Uned. Mon._ i. 15; and see Berlin 1682.
Footnote 1288:
Bibl. Nat. 442 = Reinach, ii. 79 = _Wiener Vorl._ 1889, 12, 5.
Footnote 1289:
_J.H.S._ x. p. 118 = Reinach, i. 226.
Footnote 1290:
Millingen-Reinach, 51 = Reinach, ii. 180: see above, p. 105.
Footnote 1291:
Munich 805 = Reinach, i. 277 = _Wiener Vorl._ iv. 3; but see Flasch, _Angebl. Argonautenb._ p. 30 ff., and p. 137 (Laertes and Antikleia).
Footnote 1292:
Petersburg 422 = Reinach, i. 139; Baumeister, i. p. 123, fig. 128; Millingen-Reinach, 6.
Footnote 1293:
Helbig, ii. p. 328 = Reinach, i. 102 = Baumeister, i. p. 124, fig. 129; Reinach, i. 137; but see Flasch, _Angebl. Argonautenb._ p. 24 ff.
Footnote 1294:
Naples 2413 = Roscher, ii. 81, and 3252 = Reinach, i. 449.
Footnote 1295:
Naples 3248 = Roscher, ii. 83.
Footnote 1296:
Millingen-Reinach, 7 = _Wiener Vorl._ ii. 8.
Footnote 1297:
Jatta 1501 = Reinach, i. 361 = Furtwaengler and Reichhold, pls. 38–39.
Footnote 1298:
Helbig, 179 = Reinach, i. 359 (ram led to caldron). B.M. B 221, B 328; Berlin 2188; Reinach, ii. 81 (ram placed in caldron; daughters of Pelias usually present).
Footnote 1299:
Reinach, i. 336; _ibid._ 359 = Helbig 179 (P. led to slaughter by daughters; M. waiting with knife).
Footnote 1300:
B.M. E 163 (J. as old man; ram in caldron).
Footnote 1301:
Naples S.A. 526.
Footnote 1302:
Munich 810 = Reinach, i. 363 = Baumeister, ii. p. 903, fig. 980; Reinach, i. 402.
Footnote 1303:
Naples 3221 = Reinach, i. 402.
Footnote 1304:
Bologna 273 = Baumeister, iii. 1999, fig. 2149.
Footnote 1305:
B.M. E 224.
Footnote 1306:
Cf. the poem by Stesichoros, Ἄthla ἐpὶ Pelίa
Footnote 1307:
Berlin 1655 = Reinach, i. 199: see Vol. I. p. 319.
Footnote 1308:
_Bull. de Corr. Hell._ xxiii. p. 158; but see _Burlington Fine Arts Club Cat._ (1903), p. 92, for another explanation; also p. 47.
Footnote 1309:
The only literary source for these stories (before Roman times) is in the tragic poets. But subjects from the _Septem_ of Aeschylus are not found on vases; and it is not until the Hellenistic period that any real references to the Sophoclean and Euripidean plays occur. On some of the Megarian bowls (Vol. I. p. 500) the subjects adhere very closely to the text.
Footnote 1310:
B.M. E 81; Petersburg 2189 = Reinach, i. 5.
Footnote 1311:
B.M. B 505–6.
Footnote 1312:
Louvre E 669 = Reinach, i. 435, 1; Berlin 2634 = _Wiener Vorl._ i. 7 = Roscher, ii. 837; Naples 3226 = Millingen, _Anc. Uned. Mon._ i. pl. 27 (Assteas); Millin-Reinach, ii. 7 (in Louvre); _Röm. Mitth._ v. (1890), p. 343.
Footnote 1313:
Athens 1858 = Reinach, i. 396: see p. 155, note 1548, for another interpretation; also _Arch. Zeit._ 1865, p. 68, and Frazer, _Pausanias_, v. p. 49.
Footnote 1314:
_Wiener Vorl._ C. 7, 3 = Roscher, ii. 842.
Footnote 1315:
Berlin 3296 = Reinach, i. 421 = Baumeister, i. p. 456, fig. 502. The vase given in Millin-Reinach, ii. 44, may represent Zethos and Amphion with Antiope.
Footnote 1316:
Reinach, i. 379.
Footnote 1317:
Berlin 3239; Naples 1769; _Wiener Vorl._ vi. 11 = Roscher, i. p. 903.
Footnote 1318:
Bibl. Nat. 372 = Reinach, i. 92 = Baumeister, ii. p. 1049, fig. 1266.
Footnote 1319:
B.M. E 696 = _J.H.S._ viii. pl. 81.
Footnote 1320:
B.F.: B.M. B 539; Stackelberg, pl. 16. R.F.: B.M. E 156; Vienna 336 = Reinach, i. 177; _J.H.S._ xxiv. p. 314 (Oxford); Helbig, 186 = Hartwig, _Meistersch_. pl. 73. See also parodies in _Philologus_, 1897, pl. 1 (in Boston), and _Arch. Anzeiger_, 1891, p. 119 (Berlin).
Footnote 1321:
See p. 147; _q.v._ also for Sphinx seizing Theban youth.
Footnote 1322:
_Wiener Vorl._ 1889, 9, 6.
Footnote 1323:
_Ibid._ pl. 8, 8 = Reinach, i. 376: see Roscher, iii. p. 736.
Footnote 1324:
Naples 2868 = _Wiener Vorl._ 1889, 9, 10. See also