Chapter XIII

.).

Turning to the subjects of daily life again, it may be observed that on the B.F. vases the preference is for battle-scenes, warriors setting out for battle, or scenes of the chase; even athletic subjects are in a great minority, except on the Panathenaic amphorae. In the R.F. period the preference is for athletic scenes, banquets, and the life of women and children; we also find frequent illustrations of religious cults, and scenes of sacrifice and libations. The R.F. vases of the severe stage in the main follow on the lines of the later B.F. period, except in the interiors of the kylikes of the Epictetan cycle. In these we find very few instances of mythological subjects, unless it be single figures of Satyrs. The main object of the painter was to fill in the circular space as best he might, and this space only admitted of a single figure, the rule being observed that exterior and interior figures should be of similar proportions. Hence the easiest solution was obviously to choose a simple figure, such as that of a nude young man, and depict him in various simple attitudes, running, leaping, carrying a vase or musical instrument, or otherwise engaged in such a way as to fill the space with his limbs or the objects he carried (see p. 426).

In the “strong” style we observe a new principle at work, which may be described in a single phrase as “the glorification of the Attic ephebos or young athlete.” A new impetus had been given to athletics at Athens by the Peisistratidae, who encouraged a more extensive celebration of festivals, and thus we find a growing fondness for the introduction of scenes from the palaestra and stadium, often rendered with considerable spirit and unconventionality, as in a group of boxers quarrelling,[1305] or on another vase depicting the humorous side of the armed foot-race.[1306]

The introduction of scenes from the story of Theseus, which now begin to be frequent, especially on the kylikes, is no doubt due partly to this cause, though partly also to religious and patriotic reasons. Theseus seems to have been regarded as the typical Attic ephebos and athlete, and his contests as analogous to success in the palaestra. Hence the grouping of scenes from his labours after the manner of groups of athletes variously engaged. It was formerly thought that the popularity of the Theseus legends was due to the bringing back of his bones from Skyros by Kimon, and their solemn burial in the Theseion, which gave rise to a regular cult of the national hero. But this took place in 469 B.C., and recent investigations have shown that many of the Theseus vases must be placed at an earlier date. He was, however, supposed to have appeared at the battle of Marathon in aid of the Athenians, and this event may have been quite sufficient to bring his cult into prominence.

Towards the middle of the fifth century several new types are introduced—such as the youth as distinguished from the ephebos, the girl as distinguished from the matured woman,[1307] and the infant playing with toys. Juvenile games, such as the top, hoop, and knucklebones, now become generally popular. The evolution of the types of Eros and Nike virtually dates from this time[1308]; hitherto Eros (as, for instance, on the kylikes) has seldom appeared, and Nike is also hardly found before the “strong” style. Meaningless groups of figures, conversing or without particular action, are common on the exterior of cups by Hieron and his contemporaries; and similar groups, though, in accordance with the spirit of the times, more freely and pictorially composed, become the recognised method of decorating the small elegant vases of the late fine style. In some of these an ancient practice is revived of attempting to give interest to the scenes by adding mythological names to the figures. But these are chosen quite at haphazard, sometimes as vague personifications (see