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PICTORIAL ATLAS HOMERSTO ILIAD AND ODYSSEY
THIRTY-SIX PLATES,
CONTAINING 225 ILLUSTRATIONS FROM WORKS OF ANCIENT ART, IVITH DESCRIPTIVE TEXT, AND AN EPITOME OF THE CONTENTS OF EACH BOOK, FOR THE USE OF SCHOOLS AND STUDENTS OF LITERATURE AND ART.
DR. R. ENGELMANN.
W. C. F. ANDERSON, M.A.
Professor of Classics at Firth College, Sheffield.
LONDON: H. GREVEL & CO., 33, KING STREET. CO VENT GARDEN, W. C. bib — : ' —
PREFACE.
HE present edition is about three First, those which reproduce with more or less artisans may be assumed to have possessed
at least a superficial times as bulky as the original fidelity scenes described by Homer ; secondly, knowledge of his poems.
work, and supplies an epitome those which throw light on the manners and " With reference to the second class of illus-
of the Iliad Odyssey ; notes trations that is say, and customs of his time ; and, thirdly, those which — to those which are given on the dates, style, provenance, and present give further details of the myths he narrates to illustrate manners, customs, and antiquities home of the selected works of art ; and suffi- or alludes to. I cherish the hope that my method of showing, cient references to standard authorities to make " As to the first class, it may be taken as a not single objects or figures, but whole scenes, the book useful, not only to the advanced recognised principle that the artists of antiquity, will justify itself. It is, I believe, the general student, but also to the ordinary reader. with few exceptions (e.g., II., figs. experience of practical teachers, that individual 3, 4, 60 ;
The commentary, too, has been enlarged by Od., figs. 43, 48), did not aim at ' illustrating details impress the pupil's mind much more many additional remarks on customs and art Homer. That is to say, they did not set to readily when they are presented to him as history. The titles of the illustrations no longer work to reproduce the scenes described, ac- part of a larger whole. contain references to the German works from curately following the words of the poet. On " Some critics may perhaps question the which they are derived, but notes on the the contrary, they freely abbreviated some parts, advisability of introducing the third class of character the originals, of the places where they expanded others, and combined the whole into pictures, to illustrate more fully legends which were found, and in some cases the museums artistic compositions, which were, so to say, Homer only mentions incidentally. I am, how- where they are preserved. new and original creations. All the same, every ever, convinced that the opportunity of following The principles on which the selection of unprejudiced observer will recognise at a glance mythological questions further will be seized illustrations was made by Dr. Engelmann are the value of such works of art as a commentary with pleasure by many teachers, and that their
clearly set forth in his : preface. He says and an introduction to Homer. Indeed the know- pupils will show themselves grateful for all " The illustrations which have been chosen ledge of the father of poetry was so universally new information in this direction. In making may be conveniently divided into three groups diffused in antiquity, that even insignificant my choice of this class, I have striven as far but, being nearer to it than we Palace at Tiryns, Od„ they illustrate, which //., figs. 6, 80; The power to get those pictures as is in my us to bridge over the vast gulf that are very few in number. are, enable time. figs. 5, 6), but such near as possible to Homer's come as us from the ancient world. many of these pre-historic 'works of separates cases where later monu- Besides, However, even in the correspond to artistic skill Finally, the third class would ' want of young art show such a striking have of necessity been introduced, ments legends of the saints and as a teacher, better to the pictures of the in the that it seems to me, profit by it. One may admit folk will Apocrypha which" are suggested illustrations which produce a less stories from the antiquities of Assyria make use of fullest degree that the allusions in the Bible. Like the grotesque impression, even though they are of by incidental and Egypt often represent the things described Greek myths, they add a mass of later date {e.g., The Mule-Cart, II., fig. 107; pictures of by Homer with more fidelity (because they to the canonical version, and of The Lying in State, fig. 113)-" details unknown are more akin in point of time) than those supplant it in the popular imagination. classical times, and yet one may look with Art and Homeric Pictorial Atlas is, in fact, a Greek illus- This comparison of Sacred satisfaction on every successful effort to make The was the Bible of also shows more clearly the value of a book our boys understand Homer in the -fashion trated Bible, for Homer like the present. The one introduces us to the in which Athenian boys understood him in classical times. described above may history of devotional and artistic Christianity, the age of Pericles. All the three classes clearly in the familiar Pictorial the other to the most characteristic develop- " This is, in fact, exactly what is done in the be seen quite of the Greek genius in Art and Myth. case of the Homeric text, for it is the version Bibles of modern times. ments that which was stereotyped by the Alexandrine critics, The first class consists of the illustrations of It gives, in fact, a clue not only to much and not modern attempts at the reconstruction works of Sacred Art which depict Bible scenes. is difficult to grasp in ancient literature and of the original, that we place in the hands They are drawn from Italian paintings, German art, but even throws a light on many modern of schoolboys. Indeed, in our eyes, Homer is, woodcuts, and it may be even Byzantine questions concerning these subjects. The public though by far the earliest, but one of the many mosaics or pictures from the Catacombs. Like for which it is intended is the whole body of poets of Greece; and it is in the hope that our the Greek illustrations of Homer, the earlier educated men who take an interest in the pupils will afterwards become acquainted with such works of art are, the greater is the inde- past. To the student it gives sufficient refer- the whole Greek world of life and thought that pendence of the Scripture text that they show. ences to enable him to pursue the subject we introduce them to his poems. The second class consists of the scenes of further, while the English reader who knows " Of course no illustrations which give a ancient Egyptian, Assyrian, or modern Oriental no Greek will find in the Epitome and Com- really contemporary picture of the heroic age life which commentators find so useful. They mentary enough to make the pictures intelligible can be omitted (cf. The Warriors from Mycena;, do not belong to the same period as the text and interesting.
W. C. F. ANDERSON. ———— — —————— ——— — ; —— —
INDEX.
The figures refer to the illustrations ; those of the Odyssey are distinguished by being in italics. The following abbreviations are used
G.P. Painting Statuette. V. Rel. with = on glass. Mr. = Engraving < i back of mirror. Ret.Rel. = Sculptured relief ini: clay or marble. Slle. = = Vase moulded relief. L. Rel.= Relief on Roman lamp. Mos. = Mosaic. St. = Statue. V.P. = Vase-painting. W.P. = Wall-painting.
Achteans routed by Trojans, V. Rel. 60. Ajax the Locrian, Coin, 66. Ball- Circe
Achilles Alcmson, V.P. 74. Girl playing, V.P. 27. And Odysseus, W.P. 43 e ; Rel. 48. Quarrel with Agamemnon, Mos. 9. Alcmene, V.P. 32. The game Trigon, W.P. 31. Bewitching a man, V.P. 44. Playing the lyre, W.P. 49. Amazon stringing bow, V.P. 24, 25. Battle- Threatened by Odysseus, V.P. 44; Embassy to, V.P. 50. Ambuscade, V.P. 7/. Over a fallen hero, V.P. 64. Mir. 46. Going out to battle, V.P. 62. Amphiaraus, departure of, V.P. 37. At the ships, V.P. 68; Gem, 69. Offering bowl to Odysseus, V.P. 43. Slays Lycaon, V.P. 92. Aphrodite rescues /Eneas, V.P. 29. Bed, V.P. 10. Circus, scene in a, V.P. 74. Slays Hector, V.P. 93. Apollo Beggar, V.P. 68. Clothes, women folding, V.P. 26. Drags Hector round Troy, Rel. 94. And Poseidon build Troy, W.P. 44. Bellerophon Curetes fight against Meleager, Rel. 54. Sacrifices Trojan youths, V.P. 96. Slays the sons of Niobe, V.P. m, 112. And Prcetus, W.P. 33. Slays Troilus, V.P. 106. Apotheosis of Homer, Rel. 2. And Iobates, V.P. 34. Death (Thanatos) carries off Sarpedon, V.P. Receives ransom from Priam, V.P. 73. 108 ; Argus, the dog of Odysseus, Gem, 76. Slays the Chimjera, V.P. 36. Diomede Rel. 109. Ariadne Bow Battle over body of A., V.P. And Glaucus, Gem, 37. 14. And Theseus, V.P. 84. How strung, V.P. 24, 25 ; Coin, 26 Slays Dolon, V.P. 57. Slays Meninon, V.P. 21. And Artemis, Mir. 33. V. Rel. 91. Slays Rhesus, V.P. 58. Contest for arms of, V.P. 37. Arms Boys shooting, V.P. 103. Adonis killed by a boar, Rel. Dionysus 81. Of Achilles, forging the, W.P. 78. Briseis taken from Achilles, V.P. 10, 11. Adrastus receiving Tydeus, Flies from Lycurgus, W.P. 31. V.P. 27. Contest for the, V.P. 57. Bronze Aedon slays Itylus, V.P. 82. Enters Olympus, V.P. 1. Artemis Archaic work in, 79. /Egis worn by Athena, And Ariadne, Mir. 33. V.P. 16. Slays daughters of Niobe, V.P. m, 112. Inlaid dagger-blade of, 80. Dirce and Antiope, V.P. 51. /Egisthus The Huntress, V.P. 28. " Slain by Orestes, V.P. Discobolus," or Quoit-thrower, St. 101. 2, 3 ; Rel. 4. And Ariadne, Mir. 33. Calchas and the prodigy at Aulis, Rel. 14. Dolon surprised and slain, V.P. 57. Slays Agamemnon, Rel. 23. Astragalus Calydonian boar-hunt, V.P. 52. /Eneas Door and key, V.P. 88. Vase in shape of, 95. Calypso visited by Hermes, W.P. 24. Rescued by Aphrodite, Doors, V.P. 89. V.P. 29. Athena Candlestick, W.P. 77. Fighting against a Greek, V.P. Draught-players, Stte. 8. 63. Wearing the cegis, V.P. 16. Carpenter with bow-drill, G.P. 39. Fighting Draughts, heroes playing, V.P. 7. over body of Patroclus, V.P. 76. The birth of, V.P. 30. Cart drawn by mules, V.P. 108. Agamemnon Drill-bow, G.P. 39. Moulding the " Wooden Horse," V.P. 32. Carving meat, V.P. 51. And his heralds, Rel. 8. And Ariadne, Mir. 54. Castor, V.P. 53. Quarrels with Achilles, Mos. 9. Aulis Centaurs and Lapiths, V.P. 93. Eos Murdered, Rel. 23. The prodigy seen at, Rel. 14. Cerberus dragged from Hades, V.P. 48. Goddess of the dawn, V.P. 67. Ajax Axe Chariot race, V.P. 98. Carrying off a boy, Rel. 73. Fights ^Eneas, V.P. 65. archaic, An 92. Chimfera Erichthonius, birth of, Rel. 1 7. Defends the ships, V.P. 68 ; Gem, 69. Form of, Rel. 35. Eris, V.P. 59. Fights over body of Patroclus, V.P. 76. Slain by Bellerophon, V.P. 36. Euphorbus, combat over dead body of, V.P. 75. Commits suicide, V.P. 38. Backgammon, heroes playing, V.P. Rel. 80. 7. Chryses propitiates Apollo, V.P. 12. Euryclea recognises Odysseus, V.P. 79 ; ——— ; — —— ———— — ———— —
moon-goddess, V.P. 67. Odysseus Selene, the Key- Ships fighting, V.P. 12. the treachery of, V.P. 73. Has his feet washed, V.P. 79; Rel. 80. Eurydice, holding a, V.P. 39. Priestess V. Rel. V.P. Rel. 63. Slays the suitors, Rel. 94; V.P. 95; Sirens, 63; 64; Girl using a, V.P. 88. Sisyphus, Rel. 62. Fountain, woman at a, V.P. 87. Rel. 96, 97, 98. a woman, V.P. 20. And Penelope, W.P. 99. Spinning, Lsestrygonians, the adventures among the, Suitors slain by Odysseus, Rel. ; V.P. 93 ; of, V.P. 90, 91. CEnone and Paris, Rel. 28. 94 Ganymede, the rape W.P. 43. 94- Orestes slays yEgisthus, Rel. 4. Rel. 96, 97, 98. Gjolbascbi, reliefs from, sa,b,c; 93, Lapiths righting against Centaurs, V.P. 93. Gem, Glaucus and Diomede, 37. Leda, V.P. 53. Tabula Iliaca— of the, V.P. /. Palace at Tiryns, 5, 6. Gods, assembly Lycaon slain by Achilles, V.P. 92. V.P. PaUestra, scenes in a, V.P. 30. The Capitol ine, 3. Gymnasium, scene in a, 99. Lycurgus Paris Fragment of a, 4. Pursues Dionysus, W.P. 31. Fights against Menelaus, V.P. 23. Fragment (Circe), 48. Hades- Punishment of, V.P. 32. And OEnone, Rel. 28. Tantalus, Rel. 62. Odysseus descends to, W.P. 61. W.P. 61 The Judgment of, V.P. 105. Teiresias and Odysseus, V.P. 49; Mir. 30. Scenes in, V.P. 59; W.P. 60; Marpessa, Apollo, and Idas, Mir. 53. Patroclus Telamon and Hesione, Mos. 89. Rel. 62. Megara, V.P. 32. battle, V.P. 72. iryns, 6. Going out to Telemachus Hall in the palace at T Melampus, V.P. 72. Battle over body of, V.P. 76. And Penelope, V.P. //. Harpy, V.P. 83; Rel 84. Meleager Trojans sacrificed at tomb of, V.P. 96. . Visits Nestor, V.P. 13. Hector- Fights against the Curetes, Rel. 54. Penelope Thamyris and the Muses, V.P. iS. Taking farewell, V.P, 38; V.P. 45 ; Statue of, 55. V.P. 16, At the loom, V.P. //. Theseus and Ariadne, V.P. 84. Slain by Apollo, Rel. 56. And Andromache, V.P. 41. Mourning, Rel. 71?. Thetis- Memnon slain by Achilles, V.P. 21. against Ajax, V.P. 42. And Odysseus, W.P. 99. Brings armour to Achilles, V.P. 86 ; W.P. 87. Menelaus 1. to ships, V.P. 68; Gem, 70. Philoctetes bitten by the snake, V.P. 19. In Hephaestus' forge, W.P. 78. Fights against Paris, V.P. 23. 82. 1 [ainst Menelaus, V.P. 75. Ploughers, V.P. Throwing club, the KaXaCpoi//, W.P. 102. Fights against Hector, V.P. 75. Slain I))' Achilles, V.P. 93. Pollux, V.P. 53. Tiryns Carries body of Patroclus, St. 77. I 'ragged round Troy, Rel. 94. Polyphemus Palace at, Captures Proteus, V.P. 22. 3. Dragged round tomb of Patroclus, V.P. 104. Takes the wine, L. Rel. 3$. Hall of palace at, 6. Mill, section of, 86. Hi body ransomed, V.P. 108; Rel. 109. Blinded, V.P. 36; W.P. 38. Treaty between Greeks and Trojans, Rel. 22. Millstone, 85.
1 ti 1 V.P. ubs and Hector, 38. And the ram, V.P. 40. Trigon, a ball game, W.P. 31. Mountebanks, V.P. 74. Helen, the rape of, V.P. 21. Mocked by Odysseus, Rel. 42. Troilus pursued Achilles, V.P. ro6. Mourning the dead, V.P. 113. by Helios, the sun-god, V.P. 67. Poseidon and Apollo, W.P. 44. Achilles, V.P. Muses with Thamyris, V.P. 18. Trojan youths sacrificed by 96. Heracles Potter with his wheel, V.P. 85. Tydeus as suppliant, V.P. Musician, a wandering, V.P. 9. 27. Stringing bis bow, Coin, 26. Priam Drags Cerberus from Hades, V.P. 48. With Hector and Hecuba, V.P. 3S. Nausicaa and Odysseus, V.P. 29. Vintage scenes, inlaid bronze, 83. 1 I lesions, Mos. 89 Ransoming Hector's body, V.P. 108 Neoptolemus fetched from Seyms, V.P. 33. M.i.i, v.r. j.\ Rel. Niobe 109. Warrior And Iplnlus, V.P. 90. Slain by Neoptolemus, V.P. 57. Children of, slain, V.P. Archaic statuette, 7. Hermes m ; V.P. 112. Priestess with temple key, V.P. 39. Bust of statue of, 1 14. Departing, V.P. 71 c. . St. 1 10. Protesilaus, ship of, set fire to, Gem, 70. Nymphs with Hermes, Rel. 70. Warriors \ 1 its 1 lalypso, W.P. 24. Proteus captured by Menelaus, V.P. 22. On the march, V.P. 6. With Teiresias, Mir. 30. Pygmies fight with storks, V.P. 20. Odysseus Arming, V.P. a, I. And the Nymphs, Rel. 71 70 Pyre, quenching the funeral, V.P. Surprises Dolon, V.P. 57. 92. Separated by friends, V.P. Hesione freed by Heracles, Mos. 89. 43. Takes horses Homer of Rhesus, V.P. 58. Washing hands, ewer and basin for, 100. Quoit-thrower, the "Discobolus," St. 101. On the raft, L. Rel. 25. Busl of, St. 1. Wedding And Nausicaa, V.P. 29. Apotheosis of, Rel. 2. Raft of Odysseus wrecked, L. Rel. 23. Procession, V.P. 81. " Gives wine to the Cyclops, Stte. Horse," " The Wooden," V.P. 34 Rhesus, the horses of, V.P. 58. Of Peleus, V.P. 88. 32 ; W.P. 33. L. Rel. 33. Hypnos— Weighing souls (^uxoo-rao-i'a), V.P. 47. Blinds the Cyclops, V.P. W.P. God of sleep, V.P. 67. 36; 38. Sacrifice Work-basket, V.P. 19. Carries Under the ram, V.P. 40; V.P. 41. V.P. ofT Sarpedon, V.P. 73. 15. Wrestling, V.P. 100. Mocking the Cyclops, Rel. 42. To Athena, V.P. 40. Consults Teiresias, V.P. 49; Mir. 30. pig, nes from the, Of a V.P. 69. Zeus Rel. 61. In Hades, W.P. 61. Sarpedon's Iphirusand Heracles, V.P. body carried away, V.P. 73. Olympias, head of, on coins, 13. 90. And dog Argus, Gem, 76. Scylla, V. Rel. Rel. 63 ; 66. Birth of Athena from head of, V.P. 30. ;
FULL TITLES OF BOOKS REFERRED TO.
Paul iv 'A&)»air dpvn' fflbM&M ,'''/ » liiliP ; /' I; (TflUV. 5a. Siege of a City. Relief from a tomb at Gjolbascbi, Lycia. Vienn Iliad. Plate II. ' ' -''' ' i vi in Tabula Iliaca. Found at B. n, Rom,. (The drawing has been restored in par;s by Feodor). Plate III. 12, Chryses propitiates Apollo. South Italian Vase-painting. Ruvo. 9. Quarrel of Achilles and Agamemnon. Mosaic from Pompeii. Naples. Iliad. Plate V. 20. Battle of the Pygmies with the storks. B. F. paintin the Francois Vase at Florence. Iliad. I'latc- VI. \ : iilli Iliad. 44. Poseidon building the walls of a town Pompeian Wall-painting. R HI mg« of Arms w 43- Combatants separated. B. F. Vase-painting in Munich. Plate IX. The Calydonian 52. Boar-hunt. B. F. painting on the "Francois" Vase at Florenc Iliad. Hind. Plate XI. Sarcophagus at Corneto. Marpessa, 53. Apollo and Idas. Engraving on Etruscan Iliad. Plate XII. 7o. Hector setting fire to the Ships. Engraved gem. 64. Heroes lighting Plate Xm. Iliad Menelaus and Hector righting over Euphorbus. 72. Departure of Pairoclus. R. F. Vase-painting by Epigenes. fmm Vulci in Cabinet 75. Vase-painting from Camirus, Rhodes, in British Museu: de M^dailles, Paris. Iliad. Plate XV Hephaestus 78. forging the arms of Achilles. Pompeian Wall-painting St. Wedding Processiou. li. F. Vase-painting. Plate XVI. Iliad. Iliad. Plate XVII. Rape of Ganymede by the Eagle. of Sacrifice of the Vase-painting late styl 96. The Trojan youths. South Italian Vase-painting from Canusium, in Naples-Museum. Iliad. Plate XVIII. Iliad. Plate XIX. Hermes resting. Bronze statue from Ilercula 105. The Judgment of Paris. R F. Vase-painting ill Naples Museum. Coli 113. Mourning a dead man. B. F. Vase-painting from Cape Iliad. Plate XX in. 1 he slaying of the children of Ntobe. K. F. Vase-painting from Orvieto, in the Louvre. THE ILIAD BOOK I, HE first book opens with the celebrated One of the Achaians is seen sinking under the fell too is in the act of drawing his sword in defence, but invocation to the muse to sing the disease, while below his couch lies a dead body, which is calmed by Nestor. This is not quite in accord with lay of the wrath of Achilles, the a dog is devouring (43-52). Homer, for there is no mention of Agamemnon's having source of infinite woes to the Greeks. 4. Ka\x be better told than by describing the scenes on the is the cause of the plague that devastates the army. sheath (line 247 foil.). Tabula Iliaca (figs. 3 and 4). He is depicted starting back in terror. 6. 'OSuo-creus ti\v iKaTOjx^iqv t<3 8e.o> aycui; 'A7rdX- , 1. ' Kyafiipvmv, Xpvcrr]';, "hiroiva (fig. 4, only one 5. \yafxifi.vii>v, NcVtoj/o, 'A^tXXeu?, Adrjva. On \tavi, Xpucnji's. Here we have once more the Temple figure being shown on fig. 3). This depicts Chryses the tenth day of the plague Achilles calls a council of Apollo, and at the altar before it Chryses receiving kneeling before Agamemnon (figure lost), and begging of war to determine what is to be done. At this back his daughter Chryseis (440), who has been him to accept the treasure he has brought in a waggon, council Calchas declares that the only remedy is to brought by Odysseus, along with swine, sheep, goats, and to restore to him his daughter Chryseis (lines restore Chryseis and offer a hecatomb to the god and oxen, as a sacrifice to the god. Homer makes 10-21). She had been captured at the sack of a (93-100), to the great vexation of Agamemnon, who no mention of such a variety of victims, and this (own, and was assigned to Agamemnon as his share ultimately consents, but announces that he intends to is probably due to the imagination of the Roman of the spoil. Agamemnon is enamoured of her, and console himself by taking Briseis, a fair captive, from sculptor, who had the " suovetaurilia " in his mind. father. refuses to restore her to her Achilles. Then follows the scene on the Tabula. 7. 6eTis. The next scene is Olympus, and is 2. "\cpou, 'ActoXXoh'os, S/ni'floos, Xpucr»)s (figs. 3 The warriors of the council stand behind the double separated from those which take place on earth by and 4). Chryses, thus rejected, is depicted standing seat on which Agamemnon, their commander-in-chief, a kind of rainbow. Zeus is seated on his throne, at the altar before the temple of Apollo, praying the is seated at the side of Nestor, the oldest and wisest his head leaning on his hand in anxious thought, god to send vengeance on the Achaians (lines 34-42). of the Greeks. To the right, Achilles has drawn his while Thetis, kneeling before him, pleads the cause 3. Aoijuos. The god has heard the prayer of his sword, and, as he rushes to slay Agamemnon, has been of her son, asking vengeance for his wrongs. priest, and stands, with quiver hanging from his back, checked by the goddess Athena, who has seized him by arrows of a showering the plague on the Achaeans. the hair of his head (193-8, cf. fig. 9). Agamemnon roll in the other. His Polyhymnia leaning on a pillar, fixing a rapt, ecstatic gaze I]., i. —Homer. holding a sceptre in one hand and a attitude recalls that of Zeus, and the expression of his head, on the god, Urania pointing to her globe, and Terpsichore Portrait must in the palace of Sanssouci, at Potsdam. with its long leonine locks and beard, is of the ideal type that seated with her lyre. The nose andparte of Ihe linir mid heard have been restored. suggests divinity. Behind his throne stand two figures, the In the second tier, to the left, Calliope is seated, holding up The engraving is taken from a photograph, tablets, as about to declaim or recite ; near her 1 Universe (OIKOYMENH), a goddess wearing the calathus, which her though and 1 nhmaler, p. 698. shows her connection with the earth, and Time (XPON02). Clio with a roll. Erato with a small lyre and Euterpe with a Friedi '• Ssse, No. 1628. The Universe is crowning Homer with a laurel wreath, while double flute come next, gazing upwards towards the summit of Time holds aloft the roll of his works, to bear witness that the mountain, where Zeus is seen seated in majesty, holding his Any portrait of Homer must, from the nature of the case, they are immortal. By the poet's throne kneel his two sceptre, with his eagle at his feet. The remaining two Muses be purely a work of the imagination, for the Greeks did not children, the Iliad (IAIA2) holding a sword, and the Odyssey appear on a sloping path which leads down to the third tier : produce portraits, in the ordinary sense of the word, until some (OAY22EIA) raising the aplaustre, or end of a ship's poop, in Melpomene moving with a rhythmic dance, and Thalia standing five hundred years after his poems were written. right her hand : these attributes personifying the war which is in majestic repose just below the throne of Zeus. The lyre The Imst here given is one of the well-known series (another the subject of the one, and the seafaring life that is such a which lies below Thalia's feet belongs to Melpomene. is in the British Museum), and shows us the conception which The large part of the other poem. interpretation of these four upper tiers seems to thi .mists of the third century B.C. formed of the poet's face be that Apollo On the footstool (in the original, though not in the figure and the Muses have assembled on Parnassus, andexpr lion Hi is an old man, and the marks of a troubled with the here given) a frog and a mouse can be dimly traced, an allusion approval of Zeus, to celebrate the apotheosis of the life in .1; be seen in the furrows on his brow and his sunken divine to the poem of The Battle of Frogs and Mice, which was poet. One figure, however, has been omitted in this As ;i poel he wears a chaplet round his head, which description, attributed to Homer by the ancients. as irered with a thick and rugged mass of hair, suggesting not belonging to any of the groups depicted. This is a man, In front of the throne is an the heroic force ami simplicity of his character. The mouth altar, prepared for sacrifice with who stands to the right of the second tier, on a dais in front of festoons and brightly burning fire and tripod. too, with its slightly open lips showing above the shaggy beard, ; behind the altar an ox, a large He is in ordinary Greek dress, wears a garland, is as victim, which is remarkable for its verj < live, tl is hump, a feature and carries a roll. All this pn the eyi 1, however, which give the imported shows that he is a triumphant poet, by the sculptor from greater part of its character to the face. In this bust (unlike Caria, a country near his native Ionia, who has won the tripod in a public contest, and now stands on Others of the same type) where we are told such cattle existed. the dais they are slightly upturned, and it where he recited, holding the successful poem in his a glance see that There are two ministers at the altar, to the poet is blind. a boyish figure with jug hand. The natural conclusion is that the relief is intended U have, in fine, in this and bowl prepared to offer , bust an embodiment of the feeling a libation, and a graceful priestess to commemorate his victory. "I the men of the hellenistic who scatters incense in the age, who strove to form a definite flame. The boy is called Legend The inscription of the artist is engraved on a tessera below ideaol the personality of "the blind old man," compiled (MY0O2) and the priestess History (I2TOPIA), the throne of Zeus " versions and their : Archelaus, the son of Apollonius, a man of his life, and worship of Homer disputed the vexed question of his birthplace. springs from the duty they owe him as the of Priene, made (me)" (APXEAA02 AIIOAAONIOY EIIOIH2E source of all their inspiration and knowledge. IIPII1XEY2). Further on is The characters are of the Roman period, and a crowd of Arts, Faculties, and Virtues, all this, taken paying homage to with the style of the work and the extravagant use FlO. 2.— the poet. Poetry (IIOIH2I2) The Apotheosis of Homer. leads the way, holding aloft of personification it, the in points to its date being about 100 B.C. tor, las of inspiration 1,1 by which the fire of worship 1 1 1 must MARBLl a\ Am hi 1 ,,, be m iv,, „, AB0UT I00!a ( ) kindled. Next follow hound al the Tragedy (TPAmAIA) and site ,f Bovillte, on the Appian Road. Comedy (KOMOAIA), in their Formerly in the peculiar dress, raising their hands Fig. 3.—A " Tabula Iliaca." Palazzo Colonna; now in the British Museum. in adoration to the giver of so many of their themes. • Then 1 and several farts of the fibres have Marble tablet (fragmentary), with figures in very there is a group of female low been restored. figures, first of which is a little girl I 11 11 1 AND INSCRIPTIONS, J 10 IN. HIGH BY 1 1 WIDE. entitled Nature ( Hin02), from which the Greeks are issuing and Fig. 4. —Fragment of a " Tabula Iliaca." fig. 48. They were intended for use in schools, as is shown by (AOYPH02 itself, Ajax is the inscription engraved in large characters on the band which slaying the Trojans. On the steps of the temple Tram a sketch of a lost ancient original, found among the runs across the top of the basis in the low^er part of the tablet. seen dragging Cassandra by the hair, while she vainly implores papers of Emiliano Sartis, and (at the time the drawing was Greeks This consists of two hexameter lines, which run the help of the goddess. Outside the courtyard are the made) in the possession of Professor Pellicioni, Bologna. is the who have been let in at the gates, while down below Jahn, Bilderchroniken, PI. 2 (b). I'Q <£<\e tcu. 0eo8] vprjw patie rd^iv 'Oprjpov Palace of Priam. Priam himself, seated on an altar in the dippa Saeis jrdiTijs ptrpov txys ootyias. " Learn, dear boy, Theodorus's digest of Homer. centre of the court (cf. Od., fig. 56), is being slain by Neopto- This fragment belongs to a Tabula Iliaca of the same That from its lesson thou mayst possess the measure of all wisdom." is lemus, while Hecuba, who sits beside him, dragged away kind as the Capitoline (fig. 3), to which it enables us to supply lie bodies of The first three words and part of the name of Theodorus by a rough Greek. On the ground the dead more than half of the lost left side, since it gives scenes from have been lost, but there can be no doubt that he is the person Astyanax and one of Priam's daughters. Outside the palace Books A to I of the Iliad. The arrangement differs some- two temples, and front of the one to the right, which referred to by Strabo, xiii., 3 (C. 625), where his summary and are in what from that of the Capitoline, for though the city of Troy selections are mentioned in connection with those of a certain is dedicated to Aphrodite (IEPON AWOAITH2), Menelaus appears in the centre, there are no pillars to frame it, the prose Apollodorus. 'A7nA\o6'wpos 6 prfrtap o Tus rex"'a ? t?;i' 'A7roAAoSwpeior' mpea-tv 7rapayayti>y, 7yrts 7TOT i(TTl ' 7roAAa yap intervention of the goddess). Before the other temple, which Above the town Thetis (0ETI2) appears, bearing the shield altar. eVe*cpaTei, fia'^ora ok rj Ka$' 7//ias c^oi'ra Trp> Kpurtv, Ziv €f/Tt *ai if is not named, a warrior is slaying a maiden near an of Achilles (bk. xviii.), which differs from Homer in having a left, 'ATroAAoSojpaos aip((Ti<; Kal ?) 0coOwpeio5. Further down, just inside the walls to the /Eneas border with the signs of the Zodiac engraved on it. " " This Tabula bears the title Trojan (TPf2IK02, sc. (AINHA2) is escaping with his household gods ; while to the From an inscription at the top we learn that, besides the TLvai), and it contains the events told in the Iliad of Homer right, /Ethra (AI—A) is led away, supported by her two grand- Iliad, the Sack of Troy (cf. fig. 3) and the Odyssey were (IAIAS KATAOMHPON), the /Bthiopis of Arctinus the sons, Demophon (AH ) and Acamas, who have recognised contained on the plate. Milesian (AI0IO1I12 KATA APKTINON TON MIAH2ION) and rescued her from the slaughter. The scenes from the Iliad are described below under the the Little Iliad, said to be by Lesches of Pyrrha (IAIAS In the centre is the Screan gate, from which .Eneas respective books. 2MIKPA AErOMENH KATA AE2XHN TIYPPAION) ; and (AINHA2) issues, led by Hermes (EPMH2), carrying his father the Sack of Troy by Stesischorus (IAIOY IIEP2IS KATA Anchises ( ArXI2H2) and the household gods, and leading Fig. 5 a, b, c. —The Greeks Fighting before Troy. 2TH2IXOPON). It is arranged architecturally. Two pillars Ascanius (A2KANI02) by the hand, while Creusa follows (the one to the left has been broken off) stand on a basis, weeping. Reliefs in coarse limestone from the inner walls of " a tomb (Heroon) at Gjolbaschi, Lycia. forming a frame for the central picture of the Sack of Troy." Outside the city walls are two tombs : to the right that of in by Schonborn, in 1SS1 brought to On the top, in a sort of frieze, are scenes from the first book Achilles (AXIAAE02 2HMA), at which Neoptolemus is sac- Discovered 1841 and of the Iliad, and down both sides scenes from the other books, rificing Polyxena (NEOIITOAEM02, LTOAYHENH) in the Vienna, where they are now preserved. the same tomb are given " Od.," fig. those from B to M being lost (cf. fig. 4) along with the pillar presence of Odysseus (OAY22EY2) and Calchas (KAAXA2). Other reliefs from 94. greater part the surface is much damaged, but there has to the left, but those to the right still remaining. All the To the left is the tomb of Hector (EKTOP02 TA*02), and The of at restoration. scenes have inscriptions, which are supplemented by a prose grouped round it sit the captive Trojans, Andromache, Cas- been no attempt made summary of the Iliad engraved on the pillars. These scenes sandra, and Helenus (ANAPOMAXH with Astyanax, KA2- Schreiber, Kulturhistorischer Bilderatlas, PI. 37, 1. are described below, under the books to which they belong. 2ANAPA, EAEN02), who appear twice, once with Thalybius, Bennuorf, Das Heroon von Gjolbaschi. Gipsabgiisse, Nos. On the basis supporting the pillars are the scenes from the Agamemnon's herald (cf. fig. 8) watching over them, and Friederichs-Wolters, 996, 997. Sculpture, ii., 21S. sEthiopis: Achilles slaying Penthesilea, Thersites, and Memnon secondly, talking to Odysseus, who comes to break to Hecuba Murray, A. S., History of Greek p. Sculpture, (cf. Od., fig. 21); the death of Antilochus (cf. Od., tig. 15); the (EKABH) the fate of Polyxena (I70AYHENH). Mitchell, History of Ancient p. 415. battle over the body of Achilles (cf. Od., fig. 14) ; the burial of Below the tombs the Achrean ships lie drawn up to the Gjolbaschi Heroon nearly all represent Achilles; the contest for his aims (Od., fig. 57); the madness of left (NAY2TA0MON AXAIfiN), while at the promontory of The sculptures on the Mythology, such as the hunting of Ajax (Od., fig. 58) ; Neoptolemus slaying Eurypylos; the theft Sigeum, which is marked by a pillar (2EirAI0N), the departure scenes taken from Greek of the Palladium the dragged Calydonian Boar (cf. fig. 52), Bellerophon slaying the ; wooden horse into Troy [Od., of .'Eneas (AnOIIAOY2 AINHOY) for the West with his the Pollux carrying off the daughters of fig. 33) through the treachery of Sinon, and despite the property is shown (AINHAS AILAIPflN EI2 THNE2IIEPIAN). Chimtera, Castor and battles of the Greeks and Amazons and of the prophecies of Cassandra (cf. Od., fig. 33). He is seen helping his father to embark with the household Leucippus, the fig. and above all the slay- The main part of the central picture is a bird's-eye view of gods (APXI2H2 KAI TA IEPA), leading Ascanius by the Lapiths and Centaurs (cf. Od., 93), Odysseus (Od., fig. This makes it the city of Troy, surrounded by lofty walls with towers and hand, and followed by the pilot Palinurus, who carries a large ing of the suitors by 94). battlements. Inside we see, first, the Temple of Athena, certain that the battle scenes on the reliefs here given steering paddle (cf. fig. 5 b ; Od., fig. 64). almost lying in the midst of the houses of the town, surrounded by a are intended to represent incidents in the Trojan War. The or colonnade. In the temple court stands the wooden horse artist, however, does not follow Homer closely either here form a clearer idea of the Homeric the fie 6 enables us to on her head. Below, outstde to woman bearing a bundle intermediate stage between the all that can be done is which represents an the slaying of the suitors, and sideways, escapes armour, in horseback, which she rides hurl of the scenes walls a woman on forwards with his hand upraised to the general correspondence of some two. He is striding point out peaceful contrast to the battle which by a man ; a " shape) held accompanied (of the so-called " Boeotian with the epic story. his spear, and shield of a poops of a number of sh.ps rages around. his body. His armour consists Beginning with 5 b, we see the well forward to protect paddles fixed high " cuirass under which he drawn up on the beach with their steering helmet of the " Corinthian type, a are the ships of the Greeks, but of greaves. A line of small holes above the ground. These Fig. 6.—Warriors on the March. wears a short shirt, and a pair is that and the only person visible on board " " style. the helmet and greaves shows the crews have landed, Fragments of a large vase of the Mycen/Ean round the edge of both On steersman, who sits quietly on the nearest poop. Schliemann, or other. It is somewhat strange a single Found in a Cyclopean building at Mycena by Dr. they were lined in some way has already begun, and the artist lias equipment differs from that shore the fighting and now at Athens. that the only point in which this In the upper a trumpeter arranged the combatants in two tiers. the cuirass, which has a projecting rim Schliemann, Mykena, fig. 213. of the later warriors is the fray, whilst below a bald old with is calling on his comrades to This seems to be identical Schuchhardt, Schliemann's Ausgrabungen, fig. 284, p. 317 running all round it below. warrior, who is rushing man is trying to hold back a youthful (translated into English by Miss Sellers). the £%a of the Homeric warrior. part of which is here to join two comrades in the battle, only Baumeister, Denkmaler, fig. 2193. represented. The central point of this battle is the town which Agamemnon, Talthybius, and Epeius. a. picture is divided into two in the FlGi s.— we see besieged in fig. 5 The This vase-painting and fig. 80 are the only pictures of the seventh the dividing line, a device which Marble relief in the archaic style tiers, the city walls forming present work that can claim to be older than the Homeric to see both the attacking force and the defenders. painting century b.c. enables us Poems. It dates from before 1000 B.C., and, with the in the Choiseul high, crowned with battlements, and strengthened Discovered on Samothrace in 1790. Formerly The walls are on a vase found at the same time, is quite unique among the attack is concentrated on two gates and now in the Louvre. by four towers, and the thousands of Mycenrean potsherds and vases. There can be Gouffier Collection, 100. (pointed arches), which the heavy armed soldiers are trying the warrior of Overbeck, Geschichte dergr. Plastik, i., fig. 3, p. no doubt that it gives in its way a true picture of while their lighter armed comrades, stationed on Gipsabgiisse, No. 34. to force, the heroic period, but unfortunately only the most general details Friederichs-Wolters, mounds outside the walls, are engaging the defenders. Inside History Greek Sculpture, p. 130. can be made out. The warriors are all armed with helmet, Murray, A. S., of the city the defenders, to the left, are showering stones and (fig.); p. 127S. cuirass, greaves, sandals, shield, and spear. The helmet has a Roscher, Mythologie, p. 97 other missiles on the enemy, while to the right a captain leads Diet, des An/it/,, p. 129, fig. 171. long crest, and, it would seem, horns in front (though this may Daremberg et Saglio, a detachment of men down the fortress ramp to make a sally discovered show that originally only be part of the crest). The shields are circular, with an arc [Drawings made when the relief was first rough and relieve the gate. It is interesting to note that three of ended in a horned monster covered with scales. A . cut out of the lower side. The cuirasses have a fringe, and the the right side ii 1 , are armed with sickle-shaped swords, the peculiar spiral is all that remains now.] greaves are bound to the legs by straps above the knee. A weapon of the Lycians. more difficult point to determine is the nature of the object relief is only a fragment showing us Agamem- The central slab shows the king of the city seated on his The Louvre attached to the spears. Some authorities regard it as a seated among his council. The other throne, and leaning on his sceptre. A page holds an umbrella non (ArAMEMNON) banneret ; others as a wallet in which provisions were carried lost, he alone remains on his chair of (painted and now lost) over the throne, and at his footstool figures have been and in the fashion adopted by the Romans. state, attended by Talthybius (0AAOYI3IO2), who bears a lies a tame panther, beside which sits a youth to guard it. is worth noticing that all the figures wear pointed beards, It Epeius (EltE the inventor and A little to the right the queen appears, also on a throne, and herald's staff, and by ), but have their upper lip shaven. Lastly, there is a female " " (cf. Od., figs. 32-3). with an umbrella held over her by a maid. To the left of the builder of the wooden horse figure to the left, behind all the warriors, clad in a long relief, seen in the awkward throne stands a warrior fully armed, who raises his hand in The archaic character of the garment. As the manner of women is, she bewails their long, strangely dressed hair of the figures, prayer, while a priest beside him slays a ram as sacrifice, it may drapery and the departure, beating her head with her hand. sculptures be, to the god whose temple appears on the next slab, —a scene makes it interesting as one of the very earliest which recalls Iliad, bk. vi., 256, where Hector gets Hecuba to which represent definite Homeric characters. sacrifice to Athena. If this, then, be Hector and the king Fig. 7. —An Archaic Warrior. Priam, the queen is most probably not Hecuba, but Helen, Fig. 9. The Quarrel between Agamemnon and Bronze statuette in the archaic Greek style 01 — who in the Ttiyoo-Koma of bk. iii. joins the king in surveying Achilles (line about 600 B.C. 190). the Greek host from the walls of Troy. Lastly, the slab on Found at Dodona ; in the Berlin Antiquarium. Gr/eco-Roman mosaic (considerably damaged). fig. 5 c shows another episode of the siege, the inhabitants Archaol. Zeitung, 1S82, PI. 1. From Pompeii; in the Naples Museum. escaping from the city in despair (cf. bk. xxiv., 3S3). The Baumeister, fig. 2191. The figure is taken from a rough drawing. fighting is not yet over, for the battlements are lined with warriors, but we sec a man with an ass laden with provisions This archaic statuette shows the equipment of the Greek Agamemnon, who in the original has a beard and is older descending the incline of the fortress ramp, followed by a warrior of the seventh century B.C., and by comparison with than in the figure, is seated on a throne to the left of the ; —: picture. He wears a royal diadem and holds a sceptre. His back, stands an old man, in whom we must recognise Phcenix, the sun. Talthybius carries a herald's staff, and Diomede two attitude is rather puzzling, and at first sight suggests that he the friend of Achilles (cf. fig. 50). spears. Briseis is clad in a long shift, a mantle, and a veil, is drawing a sword to ward off the attack of Achilles. The Further off the myrmidons of Achilles appear in full armour which she raises coyly to her face, and Agamemnon wears a original, however, shows no distinct traces of a sword, and the as their master's body-guard, while in the background to the cloak (chlamys) over his cuirass. Yet another noticeable point object lie holds seems rather to be a roll. Besides, he wears the right the tent, or rather hut, of Achilles, from which Patroclus is the way in which Diomede's hair is dressed. It is worn hitnation, a garment of peace, wrapped round his loins, and in has fetched Briseis, appears in view. long, and coiled up in a sort of chignon at the back of any case could not manage to draw a sword without the aid of his head. his left hand. The gesture and the movement of the head are, however, those of an angry man. Achilles on the other side Fig. 11. — Briseis Taken away (line 320). Fig. 12. —Chryses Propitiates Apollo (line 430). is drawing his sword and rushing forward, but is checked by Red-figured painting on a drinking-cup (cotyle) bv the Athena, who holds him by the hair, as in the Tabula (fig. 3). Athenian potter Hieron, of the early fifth century b.c. Red-figured painting on a South Italian vase. The fragment of another Naples mosaic from Pompeii (his signature appears under the handle). In the /alia Collection at Suva. (No. 9104) gives a replica of the figures of Achilles and Formerly in Ike Campana Collection ; now in Ike Louvre, The figure is taken from an original drawing. Athena excellently executed and well preserved. Paris. Archiiol. Zeitung, 1S72, p. 43. The reverse is given fig. 50, Baumeister, Denkmaler, p. 720. A/on. d. Inst., vi., 19. Luckenbach, Das Vcrhdltniss d. gr. I'. Filler Ep. Fio. to. — Briseis Taken from Achilles (line 320). Ann. d. Inst., 1858, pp. 352-73. Kyklos, p. 522. POMPEIAN WALL-PAINTING, 3 FT. II IN. WIDE BY 4 FT. I IN. Klein, Meistersignaturen, p. 170, No. 17. HIGH. Baumeister, Denkmaler, p. 721, fig. 776. In the centre of the picture is the Temple of Apollo, within is the god, with the laurel that are his From the " Casa del pacta " ; in Ike Naples Museum Wiener Vorlegeblatter, Series C, 6. which a statue of and doe (No. 9105). attributes. In front of the temple Chryses stands at the altar, 1. to Barbonico, ii., PI. 58. This picture has a landscape background suggested in making with the help of a youthful servant of the altar pre- Baumeister, Denkmaler, p. 721, fig. 722. primitive style. To the right lies the open country, sym- parations for the sacrifice of a bull, which two stout men hold Heldig, Wandgematdc, No. 1309. bolised by a single tree, while to the left stands the tent of in readiness. Chryseis, attended by a maid, stands near the with her father 1 right joins Daremberg 1 Saglio, Diet, dts Antiq., p. 28. Agamemnon, which is suggested to us by the royal throne altar, and raising her hand devoutly (for the camp-stool shape, cf. fig. 8). Agamemnon himself in supplication to the god. Behind her is a priestess, who The upper corner to the left lias been completely lost, and carries a tray of offerings on her head, and bears a jug of (Ar ME5MO— ), in full armour, is leading, or rather drag- the whole of the lower part of the picture is so damaged that ging, Briseis into the tent, followed by his herald Talthybius wine for the libation to the god. scarcely anything definite (excepl the legs "f Patroclus and the (0AA0YBIO2) and his warrior friend Diomede (AIOMEAE2). As is frequently the case with vases of this style, none of the skirt of Briseis) can be made out. The drawing from which It is plain that Hieron is not, like the Pompeian artist, careful other figures in the picture have any direct connection with the the figure is taken is very inaccurate. Among other mistakes, to follow Homer accurately ; for though Agamemnon threatened subject, which is all the stranger since we find that Odysseus the figure to the these uncon- (1) extreme left should wear a wide-awake to take Briseis away himself (1. 324, cf. 356), he did not do so. is altogether absent, not even appearing among hat (pelasus), like the herald next him, and not a helmet Again, Diomede is not mentioned in the Homeric story at all, cerned spectators. Only four of them can be identified (2) there should be no looped drapery round the top of the and has simply been inserted by the artist as being one of the Hermes talking to Minerva (?) on the left, and Aphrodite, building in the background; and (3) there should not be a ball foremost Greeks. Such differences, however, only bring out attended by Eros, on the right. on the top of Achilles' sceptre or spear. the originality of the painter, who wished to compose a picture The youthful hero Patroclus (to the right) is leading the representing Agamemnon leading Briseis in triumph into his weeping and unwilling (1. 34S) Briseis forward towards tent, rather than to illustrate the story as told by Homer. In Fig. 13. —The Zeus Olympias of Phidias (line 528). Achilles, who is seated on a throne, and with a gesture of many other vase-paintings of the fifth century we shall have command bids Patroclus (1. 337) hand the maiden over to occasion to notice a similar freedom. Two coins of Elis of the time of Hadrian (117 Agamemnon's two heralds, Talthybius and Eurybates, who It is worth while noting the costumes, especially those 138 A.D.). stand to the right of the throne. In the picture only one of of Talthybius and Diomede. Both wear short shirts (xnw), (a) Head on a coin at Florence. the two wears the wide-awake hat {pelasus) and carries the staff girt tightly at the waist, and over this a small cloak (c/ilamys), (b) Seated statue on a coin in Paris. (caduceus, or Kippvxctov) of his office, but this is the restorer's clasped at the throat with a brooch. As being wayfarers, they The figures do not give a very accurate idea of the coins. fault, for in the original picture the second was dressed in the have high leggings or socks, apparently of some soft material, Overbeck, Geschichte d. gr. Plastik, i., fig. 48, p. 467, same way. Both stand troubled ana -mbarrassed at their worn under their sandals and tightly strapped to their legs. note 18. painful errand (1. 331). Behind the throne, leaning on its They also wear wide-brimmed felt hats to protect them from Gardner, Types of Greek Coins, PI. xv., 19. of the influence that we must trace the use of long, thick, leonine of Hadrian give in the style of their period reproductions There was a tradition in antiquity that it was these lines locks in the later statues of the great male divinities, Poseidon, or its head. The figures explain for them- Homer which inspired Phidias when creating his masterpiece, great statue Asclepius, as well as Zeus himself. selves the way in which Phidias embodied the Homeric Plato, and the statue of Zeus at Olympia. description of the ambrosial locks, and show that it is to his Many varieties of coins struck in Elis during the reign of BOOK II priest, wearing garland raising his left hand EUS, mindful of his promise to Thetis, One of the arguments by which Odysseus persuaded the stands the a and Achaean host to continue the war was an appeal to the omen in adoration, while in his right he holds the cup (phiak) from ii ml a dream to Agamemnon to they had witnessed at Aulis. During a sacrifice there a snake which he has poured the libation. On each side of the altar him to war, and so by mis- had been seen to crawl from beneath the altar, climb a plane stand two naked youths, who hold pieces of flesh wrapped fortune to punish him for the wrong tree, and devour a sparrow and her eight nestlings. Calchas, in fat over the flames (cf. 1. 426), not to consume, but merely done Achilles. the seer, had interpreted this to mean that after nine years' to cook it for eating (1. 429 ; cf. Od., fig. 17). To the left, a Agamemnon's first step is to test the loyalty of his war they would take Troy in the tenth year. musician plays a double flute, an essential part of the ceremony The Lansdowne relief shows a man (the head has been in post-Homeric times (cf. fig. while, to right, followers by announcing to the assembly of the people 40 ; Od., 69), the restored as Homer's) seated in deep meditation, his head three worshippers look on and wait for the feast that is to that he has thoughts of raising the siege and returning resting on his left hand, and his right hand resting on a stick. follow. home. So glad were the people at this that the To the side is a tree, and at its summit a nest, towards assemblj was broken up, instant and preparations for which a serpent is climbing, while the mother strives to cover Fig. 16.—Athena with the .ffigis (line 446). departure would have been made, had not Odysseus, her young with her wings, and two other birds sit perched Part of a black-figured painting on an Attic wine- warned by Athena, rallied the host by taunts and helplessly, as though unable to escape the danger. jar (amphora) of the It is possible that this may be Calchas meditating on the sixth century b.c. threats, and brought them back to the place of From Villa in the at omen, but scarcely probable, for the griffin beneath his seat ; Museum Rouen. assembly. Then, after chastising the contemptible et is not likely to be given him as an attribute. The sculpture Lenormant de Wilte, Elite des Man. Ceramo.gr., i., I I" rsites (cf. fig. 4, bk. ii., 8e/)o-ir»s), who urged them PI. seems much more like an ordinary grave-relief, which would 8. to depart, he succeeded, with the aid of Nestor, in account for the presence of the serpent. In any case, the Baumeister, Denkmaler, p. 22, fig. 173. persuading motive Daremberg et Saglio, the host to continue the war. Thereupon of a bird climbing a tree to attack a nest is so common Did. des Antuj., p. 102, fig. 142. on Roman marble nemnon, seizing the opportunity, called on them candelabra and altars that it scarcely calls for a mythological to explanation, unless there is some definite The figure here given represents Athena prepare for battle. They assented eagerly, and, conquering the scene in which it takes its place, and this is not so here. giant Enceladus. after sacrificing She is fully dressed as a woman, and armed (fig. 15) and feasting, came forth in with a helmet, the a;gis, and a spear. The form of xgis full array. Then follows a long catalogue of the Fir.. 15.—A Sacrifice (line 411). given is the typical and traditional one in Greek art. It ships, the peoples, and the leaders of Agamemnon's consists of Red-figured painting on an Attic vase of the fifth a skin completely covered with scales and fringed army. The book closes with with the counter-preparations century b.c. serpents (ftWot, 1. 448), and was worn as armour across of the Trojans. Schreiber, the breast (cf. figs. Kulturhistorhcher Bilderatlas, PI. 13, 8. 42, 86, 93; Od., fig. 1). It could, however, be used as a Heydemann, HalUischts Winckelmannsf. Program, 18S0. shield to cover the left arm when advancing to strike an enemy. There is no reason to doubt that the I'ir.. 14.—The Prodigy at Aulis (line 308). Homeric aegis was of this kind, for the fact that the scales This depicts a sacrifice several centuries later than Homer's were of '"IN I! metal would explain why it is UNSDOWNJ I said to be of bronze. ONDON. time, but there are many features in it common with the Ththtado/th older In any case, it is atortA the defensive armour of a god, and made by ritual (for other pictures, cf. figs. 12, 40 ; Od., 16, Jahn, Bildcrchroniken, 17, 60). In Hephajstus so that, PI. ;, ,. ; even .hough it were all of metal, it might the centre is the altar, and on it a fire of split Michaklis, wood (1. 425), be as .;,„/,„, Marbbs ,„ flexible as the leather in human breastplates. Gnal Brjjah: in From p 43? which the chine of the ox is burning. In front of the altar the anthropological point of view it would seem, like most of ; the attributes of the gods, to be a survival from primitive times, Fig. 18.—Thamyris and the Muses (line 595). Formerly in the Campana Collection : nou at the Louvre, large shield had Foris. before the use of the become common. Red-figured painting on an Attic oil-jar (lecy/hus) A/on. d. Inst., vi., PI. S. PARTS, SUCH AS THE pkctrOtl, ARE GILDED. d. Inst., p. 21 1-9. In the Jaffa collection at Ruvo. Ann. 1857, Fir,. 17. —The Birth of Erichthonius (line 547). Baumeister, Denkmakr, p. 1325, fig. 1479. Romische Mittheilitngen, hi., PI. Terra-cotta relief in the Attic stvle of the fifth 9. Baumeister, Denkmakr, p. 1727, fig. 1809. century b.c. Michaei.is, Thamyris 11. Sappho, Leipzig, 1865. Found in a grave at Athens ; nmv in the Berlin Antiquarium. Philoctetes, a celebrated archer, had been bitten by a snake Archiiol. Zeititng, 1872, PI. 63, p. 51. forces while the Greeks were at Lemnos on their outward voyage to Harrison, Mythology and Hon. of Alliens, p. xxvii., fig. 2. Homer, when telling of the places whence the of story Thamyris, dared Troy. So noisome was the gangrene that set in from the Baumeister, Denkmakr, p. 491, fig. 536. Nestor came, mentions the of who bite, that the Greeks left him behind the island, Friederichs-Wolters, Gipsa/igiissc, No. 120. to contend with the Muses in song, but was vanquished by on where for them, maimed, and deprived of his power as singer and ten long years he wandered alone, filling the desert with his The story of Erichthonius (who was identified with musician. cries of pain. In the tenth year an oracle declared that Troy Ercchtheus) is a peculiarly Attic one, and this passage is The vase-painter has depicted a rather different scene. could not be taken without the aid of his bow, and then at generally regarded as the interpolation of an Athenian editor. last Odysseus (cf. Od., fig. went Thamyris (©AMYPI ), in the rich garments of a Thracian and Neoptolemus 55) and He was born of the earth, with Hephaestus as father, but harper, his brows crowned with laurel, sits on the side of a brought him away from the island. (This episode is the in some mystic way Athena was regarded as his mother, and pleasant flowery hill. He has just ceased playing on his subject of Sophocles' Philoctetes.) when he came from the earth received him to be nurtured as lyre, and one of three Muses, who have lyres, has just struck The vase-painting shows us the statue of the goddess Chryse her foster-son. (all wearing festal up in reply to him. The contest, however, seems to be a (XPY2— ), to whom the Greeks garlands) The Berlin relief shows us the head and shoulders of the friendly one, for another of the Muses stands beside him with have been offering a sacrifice on the rude altar which Jason great earth-goddess rising above the surface of the ground, a garland, while Aphrodite and two love-gods gaze on, im- had built in earlier days. The sacrifice, however, has been holding up the baby Erichthonius in her arms. He stretches parting a sentimental interest to the scene. Apollo, with his interrupted by a snake, which, crawling from beneath the his out hands towards Athena, who steps forward to receive laurel bough (cf. fig. 12), is also present, and in one of the altar, has bitten Philoctetes ($IAOKTETE2), who lies on the him. She wears her helmet, but has doffed her regis and figures to the right of Thamyris we may perhaps recognise ground writhing in agony. One of the servants of the altar laid her spear aside, becoming for the nonce a peaceful and while with a sacrificial spit wrapped the love-lorn poetess Sappho (2A— ) listening to a little love- goes to his aid, another gentle goddess. god, who points towards the beautiful harper. Altogether the round with flesh and fat (cf. fig. 15) starts aside in terror. the other side of the relief is half On Cecrops, man, half scene is idyllic and imaginative, and, even if suggested by The Greek leaders who are present look on in dismay, serpent, holding a laurel branch in his left hand, and placing Homer, fails to illustrate his version of the story. Agamemnon (with the sceptre) gazing on the serpent, and the forefinger of his right hand to his lips, as though enjoining Diomede (AIOME ) and another raising their hands in holy silence in the presence of the goddess. Cecrops was the gestures of surprise. Even the idol is horrified, and as well Fig. 19.— Philoctetes Bitten by the Snake (line 721). mythical King of Attica, and it was to his three daughters, as she can raises her hands. Aglaurus, Herse, and Pandrosos, that Athena intrusted the Red-figured painting on an Attic vase (stamnus) of infant Erichthonius to be nurtured. THE EARLY FIFTH CENTURY B.C. BOOK III. FTER the muster of their forces, the of storks as they fly to wage war on their enemies his chariot. Hector, however, by taunts persuaded two armies came out to meet one the Pygmies (fig. 20). him to offer to fight Menelaus single-handed, and to another in battle array, the Trojans Foremost among the Trojans was Paris, who called decide the issue of the war by his victory or death. advancing with loud cries, which forth the bravest of the Greeks to fight him, only to Menelaus agrees to the proposal, on the condition Homer compares to the chattering fly ignominiously when he saw Menelaus descend from that a formal treaty be made between the Greeks —; and two spears. approach wearing sandals, but armed with a shield when these birds leave Europe at the himself. An believing that, and Trojans, and ratified by Priam As he goes on his way he looks round at Paris (here called cold weather, they go to prey on the Pygmies. of backwards), was thereupon proclaimed, and whilst the by his other name, AAEX2ANAP0S, written armistice The myth was a favourite one in Greek and Roman art, helmet and brace of spears, leads the being prepared, Priam mounts the detail or with who, armed with a sacrifices were but nowhere has it been represented with more his hand upon her " " Pygmies, half-unwilling Helen from her home, walls of Troy, accompanied by Helen, who points more humour than on the Francois vase. We see rai xapTrui). She (HEAENE) is dressed like a bride, armed with slings, charging to rescue wrist (x«p' out to him the Greek leaders by name. This episode mounted on goats and with a veil drawn over her shoulder, and a little love-god the body of a fallen comrade or seize that of a dead stork (the TUXoarKO-rrla) is shown on the Tabula, fig. 4, hovers before her, while Aphrodite (A$—OAITH) herself puts while, in other parts of the battlefield, clubs and hooked sticks are seen looking where Helen and Priam (nPIAMOS) the last touches to her head-dress. The goddess is followed are the weapons used. The best group of all is that in the lower (cf. fig. over the battlements above the Scaean gate 5). by Persuasion (LTEI® ), her constant attendant, in the form of left hand corner of fig. 20,—a stork, attacked by two Pygmies, — plain, ratified the treaty a woman fully dressed, and holding up a flower in a dainty Then Priam descended to the making for the eyes of one of them, who seems quite dumb- Paris fashion. The scene is closed by a boy, who seems to be (fig. 22), and returned to the city, leaving to foundered at the attack. fill the vacant space underneath the subject with Roman wall- introduced solely to up fight with Menclaus. In the duel which followed Pygmies were also a favourite handle. in front of him is the artist's signature (MAKPON painters, and many of the frescoes of Pompeii show them Just Paris was the first to hurl his spear, but failed to The composition does not differ in any respect battling with hippopotami, crocodiles, and other monsters ErPA4>2EN). Menclaus, replied a thrust which pierced hit who by received story, for /Eneas was one of the foremost of the River Nile. This was due to the fact that ancient from the his corselet, and completely disabled, though it did on his voyage to Greece (fig. and writers agreed in taking their country, or the shores of companions of Paris 28), the cause of the abduction, not wound him. However, when Menelaus raised Homer's Oceanus, as lying near the sources of the Nile, Aphrodite naturally appears as she used bring it his sword and struck at Paris' helmet, the blade was a conveniently vague and distant locality. Oddly enough, accompanied by Persuasion, the agent to proving about. shivered, and he had nothing wherewith to slay him. recent travellers have vied with one another in this belief correct, for Schweinfurth discovered the Akka Yet he seized the crest of the helmet, and was niggers, who might well be regarded as the prototypes of the Fig. 22. —Treaty between the Greeks and Trojans dragging Paris to the Greek camp, when Aphrodite Pygmies (Schweinfurth, Reisen in Afrika, ii., p. 131), had not (line 275). suddenly appeared, broke the helmet strap, and carried Stanley discovered still more diminutive folk in the great Part of a relief on a Roman Sarcophagus. off Paris in a mist back to Troy, where she placed forest of Central Africa (cf. Stanley's Darkest Africa). As In the Museum, Madrid. this is fairly near the sources existence of him in his own bed-chamber. This is well shown of the Nile, the [This is only the left half of the fragmentary relief.] Homer's Pygmies may be taken for granted ; and it only Archdol. Zeitung, 1869, PI. 13. on the Tabula, fig. 5 (APOAITE—MENEAAOS). remains to be shown that they give battle to the storks, to Paris is represented in vain striving to free himself, justify him completely. To the right of the picture Agamemnon stands, holding a as Menclaus drags him off by the helmet. Aphrodite bowl ( He too is armed with helmet, cuirass (over it a cloak), and masters of the early fifth century b.c. In fact, the only point Red-figured painting on a drinking-cup {eylix) by the shield, and, so far from being disarmed, has still got his in which the picture agrees with Homer is the flight of Paris. Athenian potter Duris, of the early fifth century e.c. spear. This the artist has made even more disgraceful than the poet, The reverse is given fig. 42. In front of Paris stands the goddess Artemis (APTEMI2), for Paris still retains his spear, which means that he In the Louvre, Paris. has not with bow and quiver, raising her hand in a gesture of dismay tried to fight at all. Then he is saved by Aphrodite seizing Froehner, Choix des Vases Grecs, PI. 3. (cf., however, Od., fig. 55). On the opposite side another the hand of Menelaus, instead of loosing the strap of Paris' Wiener }'<>rlcgcb!attcr, Series vi., PI. 7. goddess appears, who has seized Menelaus' hand to check helmet and snatching him off in a mist. Lastly, the goddess Brunn, Troisehe Miscellen, hi., p. 201. the blow he is prepared to strike. There is nothing to dis- Artemis appears on the scene, without any warrant in literature Robert, Bild und Lied, p. 98. tinguish her, except perhaps a flower which she holds at all. The artist, however, wanted a female figure to balance Klein, Meis/ersigtiaturen, p. 160 (No. 21). daintily in her left hand, but there can be no doubt that Aphrodite, and so has introduced the goddess of archery, the is Aphrodite. only In the centre Menelaus (MENELE02), armed with helmet, this warlike art in which Paris excelled (cf. fig. 46 ; Od., cuirass (over it a cloak), and shield, is chasing Paris (AAEX- The painting is a striking contrast to the scene depicted fig- 14). BOOK IV. war, partly, no doubt, to the fact FTER the ignominious defeat of their The Tabula, fig. 4, summarises the contents of the bow as a weapon of and that the archers most familiar to the Athenians were the Scythian champion, the Trojans were on the book as the wounding of Menelaus ( AON), the bowmen who acted as police in their city. point of giving up Helen in accord- breaking of the treaty (crvyKv SIN OPKfiN), and the ance with the treaty, when the marshalling of the host by Agamemnon (EninnA Fig. 25. —Amazon stringing a Bow (line 105). goddess Hera intervened. She be- ArAMEMNON). The scenes it show Pan- gives (1) Red-figured painting on the inside of a drinking-cup sought Zeus not to allow the war to come to an end darus (nANAAPOS) shooting his bow, while Athena, (eylix). until the hated city of Troy had been destroyed. He in the form of a woman (a man in Homer), stands at Museo Gregoriano, ii., PI. 74. accordingly sent Athena down to the Trojan camp, his elbow to direct his aim Menelaus (MENEAAOS) ; (2) This bow, like that in fig. 24, seems to be of horn. Owing where she suggested to Pandarus the archer (figs. striding forwards to strike him, or it may be only to to their comparatively short length, such bows are extremely 24-6) that he should treacherously shoot at Menelaus, attack the Trojans difficult to string, as the suitors of Penelope found to their cost. ; and lastly (3) Machaon (MAXAfiN) The stringing was usually effected by a dexterous movement of and thus break the truce. The arrow struck Menelaus kneeling on the ground to extract the arrow from both legs, through which the bow was passed, as in figs. 24, 26, in the thigh, having been diverted by Athena from Menelaus' thigh. and Od., 91, the left hand bending the notched end to receive the joint of the cuirass at which Pandarus aimed. the loop of the string. Machaon, the surgeon, drew out the arrow, and dressed Fig. 24.— Amazon stringing a Bow (line 105). Fig. 26. — Heracles stringing his Bow (line 105). the wound with soothing drugs. Meanwhile, the Red-figured vase-painting. Design on a Theban coin. Trojans were marching out to battle, while Agamemnon Daremberg et Saglio, Diet, des Ant., fig. 472. The reverse bears the Baotian shield, which was the national went through his host, marshalling his men. The badge of the Thebaus. In Greek art, archers are, except in the case of gods like battle then began once more, and raged fiercely, for Schreiber, Kullurhist. Bilderatl., PI. 38, 6. Apollo and heroes like Heracles (fig. 26), represented as either gods were fighting on both sides : Apollo and Ares Scythians (Od., fig. or 91) Amazons. This is due partly to the Heracles is almost always represented with a short, curved with the Trojans, and Athena with the Greeks. contempt which Greek warriors of every period had for the bow of horn, while Apollo and Artemis generally appear, in as suppliants near one of the pillars that support the roof. Roberts, Introd. to Greek Epigraphy, p. 208 (194). vase-painting of the best period, with bows of wood (cf. figs. 23, Adrastus himself (AAPE2T02) reclines on a couch feasting, him Daremberg et Saglio, Diet, des Ant., p. 82, fig. 122. 111, 112; Od., figs. 18, 28, 55). The Theban coin shows front of him. has just caught Roscher, Lexicon der Mythologie, art. " Adrastos." with a three-legged table in He with his club laid aside, stringing the bow in the same way as sight of the suppliants, and his gestures show that he is the Amazon in fig. 24. For another picture of Heracles as an Tydeus and Eteocles came on the same night as refugees to welcoming them. Near the two suppliants stand the two archer, see fig. 46. the house of Adrastus, King of Argos, and as suppliants were daughters of Adrastus, while at the foot of the couch is the old received into his house by him. woman who acts as their duenna, appropriately depicted as Tydeus had slain a man, and fled to escape the vengeance somewhat fat. The strange owl which stands at the head of of the dead man's kinsfolk, while Eteocles had been driven into the couch is merely a device of the painter for filling up Fn;. 27. —Tydeus as Suppliant in the House of exile by his father CEdipus. He recognised in their coming the empty space there. Adrastus (line 376). the fulfilment of an oracle, which had bidden him wed his The promise of Adrastus to the two heroes led afterwards to Mi . 11.. 1 1 1 1. VASE I PAINTING ON A CHALCIDIAN OF THE two daughters to a boar and a lion. Some say that the badges the Expedition of the Seven against Thebes (Sefitem contra SIXTH CENTURY B.l . on their shields were a lion (cf. figs. 21, 36, 76, 108) and a boar Thefias), in which all concerned, down to Adrastus himself, /'mm Niila ; in (he Copenhagen Museum. (cf. fig. 62), others that they fought with one another like a perished. For another episode in this expedition, see Od., The shape and the figures on the reverse this vase are given of lion and boar, and others again that they were clad in the fig- 73- in fig- 59- skins of these animals. However this may be, he promised to The Adrastus, King of Argos, here mentioned must not be ArchaoL Ztitung, 1866, PI. 206, give them his daughters to take home as their wives. The confounded ii., with the Greek (//., 828 ; cf. xi., 328) who was 1; .1 h . Dcnkmaler, fig. 19. vase-painting shows us the hall of Adrastus' in palace, which slain by Diomede, or the two Trojans of that name (//., vi., 37 ; Klein, Euphronios, p. 65 (6). Eteocles (called 0MAX02 [?]) and Tydeus (TVAEY2) crouch xvi., 694). BOOK V. HE prowess of Diomede (Aio/xtjSovs the undaunted Diomede (336), and fled with tears and is mounting a chariot. The figure of Aphrodite has apurrtia cf. A Jjf* ; Tabula, fig. 4, 'Ei, sobs from the battle. Apollo thereupon came to the , disappeared, ; > but the mantle which she is throwing over a/no-Teuei p.lv AiOjuijSijs) in the rescue, transported .Eneas to the citadel of Troy, %• BS*1 and her son can still be traced in the drawing. Further battle which ensued takes up the cured him of his wound. Then he called on Mars on Diomede, on foot, is advancing to meet Ares, who whole of this book. He entered the to return to battle, and soon turned the fortune of is entering the battle in a chariot. field under the protection of Athena, who had per- the day, driving back the Greeks so vigorously that suaded Ares to retire, and wrought havoc among the Hera and Athena came to their aid. At length Fig. Paris Trojans. He was 28.— and CEnone (line 62). wounded in the shoulder by an Diomede, with the aid of Athena, wounded even Ares arrow of Pandarus but Marble relief of the Hellenistic (95), this only roused him to himself, and drove him back howling to Olympus. period. greater valour Intended for mural decoration. ; and he finally slew Pandarus, who had Content with this achievement, the goddesses also left In the Villa Ludovisi, Rome. mounted the chariot of .Eneas (290), and, hurling a the battle, and returned to the Palace of Zeus. Arclidol. Zeit., huge 1880, PI, 13, j. stone, all but killed .Eneas himself as he came In Book E (v.) the Tabula, fig. gives Schreieer, Hellenistische 4, only two Relief-Bilder, No. 23. to rescue his friend's body (305). Aphrodite, however, scenes, the rescue of .Eneas, and the wounding of Ares. Baumeister, Denkmaler, fig. 1360. suddenly appeared, and, drawing her mantle over the In the former Diomede (AIOMHAH2) is seen, urged fallen hero, strove to convey him from Homer here tells of the death, at the hands of Diomede, the field on by Athena, striding over the dead body of Pandarus of (fig- Phereclus, who 29), but was wounded had built the fleet that bore Paris to Greece herself in the hand by (nANAAPOS) in pursuit of .Eneas (AINHA2), who on the ill-fated voyage when he carried off Helen. The story of this voyage, which was the beginning of all helplessly groping for the ground (309), show that he is fainting. Athena (A0ENAIA) appears as a tiny figure leaping from the evils of the Trojan War, captivated the imagination of the Aphrodite (A*POAITH2), her eyes starting with terror, and her her father's brain ; she is fully dressed, and armed with the Greeks, especially those of the Hellenistic age, when it was mantle flapping in her haste, has descended from Olympus iegis, helmet, shield, and spear (cf. fig. r6). Hephaestus given a new and sentimental interest by being coupled with and raised the fallen hero to carry him away. Diomede (HE*AI2T02, backwards) is represented, not standing beside the desertion of the Nymph CEnone. The relief shows us (AIOMHAH2), however, nothing dismayed, is striding forwards Zeus, but at the extreme end of the scene (on the left side), Paris, with Phrygian cap and shepherd's staff (cf. fig. 103), with drawn sword (330) to attack the goddess. Behind him, flying with gestures of amazement and terror from the possible seated on a rock beneath a tree, watching his ship, which lies her back result of his blow. Just in front of the throne, where we turned to the spectator, stands Athena (A0HN—), at anchor under a precipitous rock just opposite. The poop of leaning quietly on her spear, and with a side-glance watching should expect Hephaestus, stands Eileithya (HIAEI0VA), the the ship is gaily decked with a shield and the more frolicsome the combat that she has caused. goddess of childbirth, welcoming the new-born deity. Behind Bacchic of the emblems thyrsus and tambourine, the oars are The dramatic feeling of the painting is excellent ; the help- her we see Heracles in his lion-skin, and armed with a club. out, and the steering paddle in its place, all ready for instant lessness of -'Eneas, the terror of Aphrodite, the onrush of His connection with Athena was a very close one, for it was departure. Near Paris stands CEnone, leaning mournfully on a Diomede (note his helmet), and the malicious unconcern of she who aided him in all his labours (cf. fig. 48), and it was rock (the restorer has not noticed this, and left her without a Athena, form a masterpiece in silhouette design. doubtless to suggest this that the artist has placed him among support), pointing mournfully to the ship, with forebodings of the gods of Olympus, disregarding the fact that he only reached the evils which will come through Paris' departure. She was it long after by the help of Athena herself. Beside Heracles a nymph, the daughter of the river-god Cebren, and, according stands Ares, the god of war, in full armour. On the other side, to an old legend, had become the wife of Paris when he behind the throne, Apollo (AIIOAON, backwards) appears in Fig. 30.—The Birth of Athena (line was still a simple shepherd (cf. fig. 105), and had not been 875). the dress of a harper, singing, to the music of the lyre, a recognised as King Priam's son. CEnone's sorrows to him are Hera have in- Black-figured painting on an Attic vase of the sixth welcome to the new-born deity. Next spired many poets, among them Ovid, armed with who makes her one of century b.c. (HEPA), crowned with a diadem, and Poseidon, his love-lorn heroines, and in our own times Lord Tennyson, his trident. Above Hera's head flies a bird, which the artist In the British Museum. who has called a poem by her name. In the relief the has added to fill the blank space in the design. buildings of Troy Mon. d. Inst., hi., PI. 44. appear in the far distance on a conventional The vase is an excellent specimen of black-figured painting ridge at the top of the picture. Harrison, Miss J. E., Mythology and Monuments of Athens, A relief in the Palazzo Spada, at its best, but unfortunately the engraving gives little idea of 2 fig. Rome, is an exact replica P- 43 > 38. of this, the Ludovisi one, except in its appearance. the architecture of this distant view of Troy. All the outlines are given by lines scratched on the black Ares' return to Olympus, howling with pain at the wound of the silhouette, but some—as, for instance, the faces of the inflicted by Diomede, is described by Homer with a quiet women (cf. fig. 45) and the shirts of the men—are filled in humour. Not the least witty part is the taunt he casts at with white paint. Other parts, marked with dark lines on the Fig. Zeus, that the daughter he brought into the world is the only engraving, are covered with a reddish purple paint. 29.—Aphrodite strives to rescue .ffineas (line 312). deity that does not pay heed to his commands. From an antiquarian point of view, the archaic costumes are Red-figured painting on fragments of an Attic vase The story of the birth of Athena is first told in literature very interesting, —the way in which the long hair of the men of the fifth century b.c. in the Homeric Hymn to the goddess, a poem considerably is dressed, the curious apron that Hephaestus wears, and the From Camirus. older than the vase-painting here given. Athena was con- patterns on the dresses, being especially noteworthy. The Journal Philology, of vii. (r876), B., p. 2 r5. ceived in the brain of Zeus, and when the time for her birth throne of Zeus is also interesting, being decorated below, as Luckeneach, loc. (it., p. 7. came, and his statuary, and above 5 1 head was in travail pain, he besought Hephaestus many famous thrones were, with a group of to strike it with his axe. No sooner had Hephaestus dealt with a horse's head. the blow, in the presence of all the assembled gods, than The birth of Athena has a special interest for English The vase-painter has followed Homer fairly closely. Athena leaped forth into the world fully armed. students, as being the subject of the sculptures on the East .Eneas (AINEA5) has sunk to the ground half-kneeling, The painting shows Zeus seated on his throne, in rich Pediment of the Parthenon, now in the British Museum. For wounded in the groin (line by a spear, 305) not a stone, as garments, holding the thunderbolt in his right and the sceptre the latest account of these, Miss Harrison's Mythology and in Homer (302); and his half-closed eye (310), and left hand in his left hand. Hephaestus has just struck the blow, and Monuments should be consulted. BOOK VI. The painting illustrates the first part of this story. To the FTER the departure of the gods, the of her and his little son Astyanax (390-496; figs. 3S, right is the Palace of Lycurgus, from which Dionysus with his battle continued to rage, and the 41, 46). This episode is the most touching and the thyrsus is flying towards the sea, where Thetis, the sea- Trojans gradually retired on Troy most famous in Homer, and in strong contrast to goddess, rising from the waves, holds out her arms to welcome before the onset of the heroes. the scene from Greek which follows. Hector, turning away him. Behind Dionysus one of his frenzied Mrenads (called Hclenus the seer then advised Andromache, meets Paris coming to the battle in the nurses by Homer) is seen in an excited attitude. Lycurgus Hector to return to the city, and send Hecuba and light-hearted pride of his youth and beauty, and with himself does not appear at all, and this has led some archrco- the Iogist, quite wrongly, to interpret the scene as Diana and aged women of Troy in solemn procession to the a heavy heart rebukes him for his levity. Temple of Gortinia hastening to rescue Britomartis. Athena in the citadel, there to present her The Tabula, fig. 4, summarises the contents of with the fairest garment that was in Priam's palace the book as " The conversation with Andromache, (the pephs), and to vow a sacrifice and entreat he " her and drags Paris into battle (?) (Zrjra- S'6/iiXia Fig. 32. —The Punishment of Lycurgus. to be gracious to the Trojans. 7rpos AvSpo/j.dxrji' kcu Red-figured painting on a South Italian vase. Udpiv e's X"-P iv &KL ['])• In Hector's absence the famous From Ruvo. episode of the The scenes it gives, however, are more compre- change of arms between Glaucus and Mon. d. Inst., v., 23. Diomede took hensive: (1) Diomede (AIOMHAH2) stands in an Ann. d. Inst., place (figs. 4 and They had 1850, p. 330-47. 3;). met one another easy attitude, leaning on his spear, talking to Glaucus in the fray, but suddenly recognised that they were (rAAT Paris issues ) ; (2) from the Seaman gate The legend of Lycurgus in classical times differed con- ancestral guest-friends (line 215, ^Cwo% TrarpoJtos), and of Troy siderably ; (3) Hector departs for the battle, while from the Homeric account given above. It was so instead of fighting embraced one another, and as with madness, not blinding, that Andromache (ANAPOMAXH) holds up Astyanax for he was punished, and the a pledge of good-will form exchanged their armour, Glaucus his embrace his madness took was to slay his own son and wife with ; (4) Hecuba, followed by two women, holds giving his gold an axe, thinking that he was armour, worth the price of a hundred cutting down the vine which up the peplos before the idol of Athena (TpcoaSe[s]- oxen, Dionysus had introduced. Euripides, for the brazen armour of in his play the Baccha, Diomede, worth but Trj A07/Va 1T£7r[\0J']). puts this tragedy into dramatic form, ending with the nine (235). crowning horror of the death of Lycurgus at the hands of his mother Meanwhile Hecuba, at Hector's request, had taken Agave, who, in Bacchic frenzy, knows not what she does. the Fig. 31.—Dionysus flying before fairest embroidered robe from Lycurgus (line 135). the palace treasury, The vase-painting shows us Lycurgus, in the dress of a Wall-painting and gone to the Temple discovered in 1869 at Pompeii, in of Athena, where the priestess a Thracian, slaying his wife with an axe, while Dionysus, in the HOUSE IN THE "VlCOLO Theano (fig. DEL PanaTTERE." form of a beautiful 39) laid it on the knees of the young man, stands by and seems to mildly goddess Archiiol. Zeitung, 1S69, PI. 21, i. entreating her, reprove him. On the side are a man and (wearing but all in vain, to be favourable woman a to the Scogliano, A., Le Pitture Murali Campane, Trojans. p. 40, No. 165. Thracian costume), carrying off the dead body of the son Baumeister, DenkmSUr, S36. p. Lycurgus has slain. Behind Dionysus Then Hector stands the padagogus, visited I >arlmberg et Paris, roused him from his Saglio, Did. des Antiq., 608. or old man who had acted as attendant and tutor to the dead dalliance in Helen's Bull. d. Inst., 1868, p. bower, and made 198 ; 1869, p. 13. boy, gazing him arm and on the scene with horror. Above Lycurgus, de- come out to the battle. scending from heaven in a radiant Diomede circle of light, is the goddess asks Glaucus who he is, with After this he the polite remark of madness (Movio, went to his own house cf. Od., fig. 52), hurling her javelin at to seek his wife that it is useless trying to fight with gods, as "' Lycurgus found Lycurgus. She A nacl,c but liJ has taken the form of a fury, is dressed in a ' < not find her, to for she had gone his cost when he smote the nurses of Dionysus with an short skirt, with to the city bands across her breast, like a huntress, and walls, to watch the ox-goad, and drove the fortunes of the fight god himself to plunge into the sea and has a cluster of snakes coiling from a lofty take refuge round her left arm (cf. Od., tower. He met her in the bosom of Thetis. In punishment at the Sc^an gate for this fi g- 59)- To the right below her is an and there Zeus sent blindness altar prepared for before the gate on Lycurgus, and brought him to took a most pathetic a bad sacrifice, with a fire farewell end. brightly burning and a water-jug for puri- fication not far off. Above this the god Apollo is seated with his lyre, while on either side of him, in a manner familiar in of Prcetus, handed him the fatal tablets. After reading them, as in the last figure, and its goat's head is turned upwards vases of this class, are grouped other deities as spectators of Iobates commanded him to slay the monster called the towards the hero, doubtless to spew fire at him. At the sides are the protected the hero : Poseidon, with his cloak the scene below : Hermes to the right, and Ares (?) and Chiraaera, intending thus to bring death upon him. gods who (chlamys) and trident, standing on the right, and Athena, armed Aphrodite (?) to the left. The painting shows us Bellerophon, who has just dismounted from Pegasus, standing before Iobates in his travelling dress with regis (cf. fig. 16), helmet, shield (with a lion as badge), boots, spear), and gazing with and spear, sitting on the left. Fig. 33.— Bellerophon given the Letter (line r68). (cloak, wide-awake hat, high and anxious expectation whilst the king reads the letter. Iobates, Wall-painting discovered at Pompeii in 1868. clad in a rich Phrygian dress (cf. fig. 96) and seated on his Still in situ, Reg. ix., Is. 2, No. 16. throne with a sceptre, is reading from the letter with a gesture 2. Fig. 37. — Glaucus and Diomede exchange Armour Ginriiale d. Scavi Pomp., N.S., i., p. 155 ; PI. 7, of intense surprise. Behind the throne stands the king's (line Bull. Inghirami, Gall. Omer., i., 85. in telling Diomede his genealogy, gives at length Glaucus, Roscher, Lexicon der Mythologie, p. 1678 (fig.). the story of the adventures of his grandfather Bellerophon. Fig. 35.—The Chimera (line 180). Bellerophon, a beautiful youth, had kindled the desires of Painting on a terra-cotta plate in the archaic The gem depicts two warriors embracing on the field of Antca (later called Sthenebcca), wife of Prcetus, King of Rhodian style. battle. One has laid aside his shield and spear, which may Argos, and when he would not consent to her advances, was Found at Camirus, Rhodes, and in the Louvre, Paris. be intended to suggest that he is about to strip off his armour denounced by her to her husband, just as Joseph was by Salzmann, Nccropole de Camiros, PI. 40. for the exchange, since there can be little doubt that the two Potiphar's wife. Proetus, to take vengeance on the hero, gave warriors arc Glaucus and Diomede. his father-in-law, dwelt in Lycia. " him a letter to bear to who The Chimaera is described by Homer as a monster : a lion The tablet was one folded double, and in it Prcetus had in front, a snake behind, and a goat in the middle, breathing written many baleful characters, fraught with destruction to forth an awful blast of blazing fire" (7rpocr0£ XeW, omOcv Fig. 38. —Hector, Hecuba, and Priam (line 242). Bellerophon. Sc SpuKW, /xcVfn; Se v/yxcupa, Savor aTrom'uov&a. Trvpos p.evos Red-figured painting on an Attic vase. The Pompeian wall-painting shows us Bellcrophon's de- aiSo/xci'oio), a description which the vase-painter has em- In the Vatican Collection, Rome. parture. The scene is the palace of Prcetus, and the hero bodied by taking a lion's body and legs as the basis of the Gerhard, Auserlesene gr. Vascnlnhier, iii., PI. 188. stands in his clonk (chlamvs), with a spear, ready to mount his monster, grafting a goat's neck and head into his back, and Overbeck, Gall. her. Bildw., PI. 16, 16; p. 398. winged steed Pegasus, whose head and fore-quarters are seen transforming his tail into a serpent. The fish in the lower Luckenbach, loc. cit., p. 552. through the door. He is in the act of receiving the baleful part of the design, and the rosettes and squares which fill tablets from Prcetus (he is bearded in the original), who sits all the vacant spaces, have, of course, no connection with the in kingly style on a throne, holding his sceptre. The trea- story of the Chimsera. The vase-painter shows us Hector, fully armed for battle Inn.us queen Sthenebcca (Homer's Antea) appears above (with helmet, short shirt, cuirass, cloak, greaves, shield, and the back of the throne gazing on her victim departing to his spear), pouring out a libation from a cup which his mother, Fig. 36. slays the (line doom. — Bellerophon Chimaera 183). Hecuba (EKABH), has filled from a pitcher of wine which It should be noted that Homer makes no mention of Red-figured painting on an Attic mixing-bowl {crater). she holds in her hand (258). Hecuba is very youthful in Pegasus, merely saying that Bellerophon trusted in the mar- Found at Ruvo, and in the Jatta Collection there. appearance, but her husband, Priam (IIPIAM02), who stands vellous works of the gods (Otm> Tepdurm jriSijo-as; cf. bk. iv., Ann. d. Inst., Tav. d'agg., D, p. 23. behind Hector, is well stricken in years. He has a diadem line 398). In the later form of the legend and in art the hero on his brow, is clad in a long embroidered shirt, over which and his winged steed arc quite inseparable. Bellerophon is seen high up in the air mounted on Pegasus he wears a mantle, and leans on his staff as though lost in (a mark branded on his hind-quarters), who soars aloft boding thoughts. Near Hector's head is an inscription, Fir.. 34— Iobates reads the Letter (line 176). above the Chimrera. The combat has not yet begun, for " Hector is beautiful " (KAA02 EKTOP). this passage Red-figured vase-painting of a late Attic style. the hero holds his spear in his left hand, and, shading his It is plain that this scene does not illustrate eyes with his right, is gazing anxiously at the monster below. in Homer, for Priam was not present at the meeting of Wiener Vorkgtblatier, Series S, PI. 9, 1. (It must be remembered that the painting is on the curved Hecuba and her son, and Hector refused to offer a libation Bellerophon reached Lycia, and after nine days' entertain- surface of the vase, otherwise Bellerophon would seem to to Zeus (267). Still there can be little doubt that the passage in ment by Iobates (Homer does not give his name), father-in-law be looking at Athena.) The Chimajra is of the same shape the sixth book suggested the subject to the artist, who worked rural cart, branches. Finally, the procession closes with a (line taking the stock scene of a warrior's de- Fig. 40.—Sacrifice to Athena 301). it out in his own way by mules. in which four worshippers are seated, drawn by parture, and putting names to the two figures. The names Black-figured vase-painting of an archaic style. are, in fact, all that shows this part of the picture to be a In the British Museum. Fig. 41.— Hector and Andromache (line 394). special episode, for the artist has not even taken the trouble Journal of Hellenic Studies, i., PI. 7. Red-figured painting on an Attic wine-jar (amphora). Hecuba look old or to dress her as a queen (for to make Handbuch der Sacralallertiimer, PI. 1, 4. Iwan Muller, From Vulci ; in the British Museum. figs. c and Priam was then added as the type, cf. 71 72). Harrison, Mythology and Monuments, fig. 30. Journal of Hellenic Studies, ix., PI. 7. a convenient figure to fill up the space at the side, just as Overbeck, Gall. her. Bildw., p. 404. in another vase-painting, almost identical with this, we find did not offer a sacrifice to Hector given a henchman as his companion. Hecuba and the Trojan women The vase-painter has separated husband and wife, and put Athena when they brought her the offering of the embroidered one on each side of the vase. Hector stands in heroic nudity, peplos, but they made a vow that in more prosperous days shield (serpent as badge), and spear, Flo. — Priestess with the Key of a Temple armed only with helmet, 39. they would sacrifice ten oxen at her shrine. A sacrifice of small cloak (ch/amys). Andromache (line 298). and clad only with a this kind is shown by the vase-painting. wears a long shift, girded at the waist and covered with a I M'll I ROM A RED-FIGURED VASE-PAINTING OF A LATE To the right is the temple of the goddess, indicated by a mantle. Her hair is wrapped tightly up in a kind of cap. STYLE. single pillar. In front of this is a statue of Athena Promachus, She turns her face to the left, as though speaking to some one From South Italy ; at the Hermitage, St. Petersburg. and beside it the sacred serpent which dwelt in her most on that side, while the little boy she carries holds out his Men. d, lust., vi. and vii., PI. 71, 2. ancient temple on the Acropolis. The altar is roughly built hands towards some one to the right. Ann. (1. Inst., 1862, pp. 266-74. of stone, of an unusual shape, with a sort of step on the top The chief problem in reconstructing the picture is to (cf. Od., fig. 16), on which a raven is perched. The fire on discover which side of Andromache Hector is supposed to be Unlike our keys, which revolve in wards, most ancient keys, the altar is burning brightly, and a priestess approaches, bearing on. Her gesture makes it practically certain that she is espei i.illy those of large size, were simply levers, the end of on her head in a basket the sacred barleymeal. Behind her speaking to him, so that the attitude of the child, who, we which fitted certain holes in the bolt of the door. To open comes a solemn procession, headed by a servant of the altar, may take it, is stretching out its arms to the nurse, whom the BOOK VII. KCTOR had returned to the battle a truce. This done, the Greeks proceed to fortify their and the two heroes talking in friendship with one with such renewed strength that the naval camp by the sea with a rampart and moat, to another and exchanging weapons ('AA\r/\ois 6VXa Greeks determined to choose a the great indignation of Poseidon, who, as builder of SojpovvTai). Who the other figures in this tier are champion to fight him single-handed. Troy (fig. 44), looked on them as impious rivals. is not clear. The lot fell on Ajax, but though he The Tabula, fig. 4, summarises the book as fought on more than even terms with Hector (fig. 41), follows: "Ajax fights in single combat with Hector, the battle t Fig. 42. —Ajax and Hector engaged in Single Combat was undecided when night came on and and night stops " them ( Ht Wiener Vorlegehlatter, Series vi., PI. 7. Black-figured painting on an Attic wine-jar (amphora) Wall-painting in the "Casa del Sirico" at Pompeii. OF THE SIXTH CENTURY B.C. us that the two heroes first hurled their lances Homer tells Formerly in the Candelori Collection, and now at Munich. Giornak d. Scavi., 1862, PI. 5. one another twice, Ajax wounding Hector in the neck, at Archiiol. Zeitung, 1854, PI. 67. Robert, Bild und Lied, p. 46. and then threw each a stone at the other. In this second Robert, Bild und Lied, p. 217. encounter Hector was struck in the knee, and fell to the ground ; but supporting himself with his shield, aided by Apollo (271), he soon regained his feet. The heroes were on This vase-painting has been taken by some authorities In this passage Poseidon claims for himself and Apollo the the point of beginning with the battle anew, hand to hand (Klein among them) to illustrate the separation of Hector and renown of having built the walls of Troy. In bk. xxi., 446, with swords, when the heralds intervened and stopped them Ajax by the heralds at the approach of nightfall. At first when recalling the year which he and Apollo spent in the for the night. there is nothing in the picture itself to disprove this, except service of Laomedon, King of Troy, he says that it was he The vase-painting shows the second and third stages of the the cloth which hangs from the wall in the background, and who built the walls, while Apollo tended the oxen in the glades fight, and gives Ajax the victory. In the centre Hector shows that the scene is not in the open battle-field. The of Mount Ida. (HEKAOP) is seen falling with eyes half-closed, but striving to painting, indeed, is one of a series of representations of the The Pompeian painter has given a somewhat idyllic break his fall by his shield. Behind him Apollo (AIIOAAON) quarrel between Ajax and Odysseus over the arms of Achilles rendering of this incident. Poseidon, with his trident, sits with his quiver and bow is hastening to help him to his feet. (cf. Od., fig. 57), and corresponds so exactly with the type of on a block of hewn stone beneath a half-finished column, Hector is armed only with helmet, shield, and sword (of the the rest that no doubt about its subject is possible. while facing him stands Apollo with quiver and bow, kind called the kopis), the artist's intention being to suggest The two heroes are represented armed with helmet, loin- holding a laurel branch (cf. fig. 12) and leaning on his lyre. that he has hurled his spear, but failed to wound Ajax, and so cloth (an archaic substitute for the later shirt), cuirass, and Apollo's back is turned to us, but he speaks to Poseidon, has had recourse to his last weapon, the sword. Ajax (AIA2), greaves (the holes through which the lining is sewn on should and it would seem as though they were talking of the on the other hand, is fully armed in short shirt, cuirass, helmet, be noted). They have just drawn their swords, and struggle to building of a huge stone wall which is going on in the greaves, shield, and sword, has already wounded Hector, rush at one another, but are held back each by two friends, background. and is advancing to slay him with the spear which he still an old man and a young. The old men are dressed in long This part of the picture is dim, but the workmen can retains. Behind him appears Athena (A0EAIA), dressed in shirts and mantles, the dress of peace, a trait which alone be seen laying and dressing the stones, and hoisting with shift and mantle, and armed with regis, helmet, and spear. would make the identification of the painting with a battle the aid of a crane the blocks which have been dragged to She rushes forward, and with excited gesture encourages her scene very doubtful. The young men appear in true heroic the spot by oxen (these oxen are regarded by Professor favourite to slay his enemy. Homer does not mention Athena, nudity, but the wreaths which they wear seem to show that Engelmann as an allusion to Apollo's having served but the vase-painter required a figure to balance that of they are engaged at either a feast or sacrifice, probably both. Laomedon as cow-herd). In the middle distance an altar Apollo (cf. Artemis in fig. 23), and so has added her to give The warriors also have wreaths, presumably of victory, on with offerings laid upon it suggests the worship of the gods symmetry to the design. their helmets. by the new city. BOOK VIII. N the next day Zeus called an assembly As the day went on, and the battle raged fiercely field, and he solely because one of his horses had been of the gods, and forbade any of them towards midday, Zeus took a balance, and weighed the wounded by an arrow of Paris' (lines So-91). Diomede, to take part in the fighting on either fates of the contending forces against one another however, took him into his chariot and rescued him. side. He then rode in his chariot to (fig. 47), the Greeks finally sinking in the scales. There- The Greeks then rallied, and Hera and Athena de- Mount Ida, to watch the Greeks and upon he thundered and sent confusion on the doomed scended to aid, only to be recalled by Zeus, who sent Trojans, who were aiming for the fray (figs. 45, 46). host, so that Nestor alone of the leaders was left in the down Iris to reprove them. The battle closed at similar scene in the Iliad (bk. xxii., 210), where the fate of flesh the ladies is painted white, though that of the men nightfall, when the Trojans left as victors on the field the of is decided in this way. This may be gathered, not is left black. Hector bivouacked there for the night. The Tabula, fig. 4, only from art, but from literature, for yEschylus himself wrote has lost its summary of this book, but gives as one Fig. 46. — Hector's Departure (line 55). a drama on the subject. Nestor falling from his shirt of the scenes (N ESTOP) Black-figured painting on an archaic vase with The Louvre vase shows Hermes (dressed in and cloak, his caduceus) weighing the two heroes, who chariot, hotly pursued by Hector fEKTOPj, a not very Chalcidian inscriptions. and holding appear as two tiny figures in the pans of the balance, in the accurate rendering of Homer (lines 80-91). The Gerhard, Auserlesene Vasenbilder, iv., PI. 322. presence of Zeus, who stands by, fully clothed, holding a other scene shows I'aris (flAl'IS) fighting, not as an Baumeister, Denkmiiler, p. 724, fig. 778. thunderbolt in one hand and a long knotted staff in the other. Klein, Euphronios, p. 65 (5). archer, but as a foot-soldier, with a Greek, whose name the other side a woman, who must be mother of one of the LUCKENBACH, p. 543. On has been lost. appears entreating Zeus by lively gestures Overbeck, Gall. her. Bildw., 403, 23. warriors, to favour [Like fig. 45, this is a genre picture, without any allusion to a special her son. On most of the other vases both mothers (Eos and Thetis ; cf. Od., fig. 21) are represented. FlO. .15.— Hector's Departure (line 55). To the right we have Cebriones (KEBPIQNE2) as a youth- b 1 l«;urkd painting on an archaic vase with Corinthian inscriptions. ful groom, seated on horseback with a switch, holding Hector's Fig. 48. —Cerberus dragged from Hades (line 366). Formerly in the Camfana Collection at Rome. horse, while his master (EKTOP), armed for battle, takes leave Black-figured painting on an Attic water-pot (hydria) The reverse has a picture 0/youths racing on horseback. of Andromache (ANAPOMAXE), who appears as a matron of the sixth century B.C. Mon. d. Inst., 1855, PI. 20. with her mantle drawn over her head. Further on, Paris, in Gerhard, Auserlesene gr. Vasenbilder, ii., PI. Ann. d. Inst., 1855, p. 67. the dress of an archer, and wearing (like Perseus) winged 131. l:>.i Baumeister, Denkmiiler, p. fig. 1 663, \m 1 1 r, Iknkmaler, p. 724. boots, takes farewell of Helen, whose attention, however, has 730. Roscher, Lexicon der Mythologie, Robert, l' LUCKF.NMACII, IflC. Cl't., p. 543. steadily backwards at some youths on horseback (not shown Brunn, Troische Miscelkn, p. here) who follow Cebriones. 75. Athena, talking with Hera of the favour Zeus has shown the Conzh, Vorlegtblatter, Scries iii., 1. It should be remembered that to represent warriors as riding, Trojans, says that her father is ungrateful to forget how she not using a chariot, is, as far as Homer is concerned, an aided Heracles in the labours which Eurystheus had imposed The oldei Greek vase-painters are extremely fond of de- anachronism, for in his time horses were never ridden in upon him, and has consented to listen to Thetis, and avenge plcting the departure of heroes for war (cf. figs. battle. 62, 71 c; Achilles. Od., fig. 73), but as a rule such scenes are represented without The labour of Heracles which she quotes as her greatest any Bpecial reference to Fig. 47.—Weighing any particular departure of the hero in of the Souls of Combatants exploit is his descent to Hades, whence he dragged Cerberus question. This is the case with the Corinthian vase given (Vtuxoo-Tao-ia), (line 70). up to the light of the world above. here to illustrate Hector leaving Troy for the last time. Red-figured painting on the fragments of an Attic In the vase-painting we see to the left the entrance gate to To the left of the picture Priam (HPIAMOS, backwards) and vase of the fifth century b.c. Hades, indicated by a single pillar. Out of this Heracles, clad Hecuba (BKABA) appear taking leave of Hector (EKTOP). Formerly in the collection of the Due de Luynes, now in the in a lion-skin (with a shirt under it), and armed with a bow, Hectoi is fully armed with helmet, loin-cloth, cuirass, shield, Louvre. quiver, and club, is dragging Cerberus by a rope from his post and spear, and is being embraced by his mother. Behind him Much restored. in the portico (two only of Cerberus' three heads are shown), Stand two ladies, Aino, or Ainos (AINO[5] ), and Kianis d. Mon. Inst., ii., PI. 10 b. to (KIANIS), the great dismay of Persephone, who gesticulates her protest. who are gazing on Hector's chariot, in which his Ann. d. Inst., pp. 264, 294. The road outside the gate is overgrown charioteer, Cebriones (KEBPIONES), with trees, which the stands waiting. The Robert, Bild und Lied, p. 143. artist represents by a single shrub. Hermes, chariot is drawn by four horses, one however (with of whom is called Overbeck, Gall. her. Bildw., PI. 22, 9; p. 527, 65. wide-awake hat, or petasus, winged " Raven " (KOPAB). On the other boots, and chlamys), is side of the horses we see Luckenbach, loc. cit., p. 617 (h). waiting to guide a warrior called Hippomachus the hero through the dark maze to the spot (UinnOMAXOS) talking to two ladii where Athena stands, fully armed, waiting for s, Behind the chariot is another warrior, him with a followed by This vase is one of a large series, which represent Zeus chariot drawn four a horseman (AAI*ONOS), leading by horses. another horse.called Xanthus deciding the issue of the battle between Memnon and Achilles costume (HANSOS), and accompanied The of Hermes is worth noticing, especially the by a warrior walking at the over the dead body of Antilochus (cf. Od., figs. , 15, 21). This archaic pig-tail in which he "" * side, Finally, Polyxcna wears his hair, and the boots with (HOAYSENA) and Cassandra weighing of the souls, or *vYoo-Tao-uz, was an episode in the 1 E3 \ X Al'A) the wing-like flaps in front, so different E close the scene to the right. from the later forms of his sEthiopis of Arctinus of Miletus (cf. Tabula Iliaca, It is worth fig. shoes (cf. fig. no). For another noting that in this, as in most 3), painting of Heracles dragging black-figure paintings, and had a much greater hold on the popular mind than the Cerberus from Hades, see Od., fig. 59. a BOOK IX. which he plays with a plectrum. Patroclus leans on the back Fig. 51.—Carving Meat (line 209). HE reverses which his army had suffered of the throne and listens. His sole costume is the chlamys at the hands of the Trojans led Black-figured painting from an archaic vase. (which, at this period of art, was the characteristic dress of From Care in the Agamemnon to summon the chieftains ; Campana Collection at the Louvre. heroes), and he carries a sword under his left arm. To the Other scenes from the same vase are given, Od.,figs. 58 and 90. and to propose a hurried retreat right of the picture two girls are seen seated on a large block Mon. d. Inst, vi., PI. 33. home. Diomede and Nestor, however, of stone, against which the sword and shield of Achilles lean. Daremberg et Saglio, Diet, des Ant., p. T270, fig. 1690. perhaps also singing, from a sheet prevailed upon him to give up such a disgraceful plan One of these is reading, and of paper, while the other beats time with her finger. In the and to continue the war. Still, all felt that nothing background is a draped curtain, showing that the tent of It was the custom in Homeric times for the host to slay the could be done without Achilles ; and so, at the banquet Achilles is the scene of the picture. animals, carve the meat himself, and apportion the parts that which followed, they persuaded Agamemnon to send were for the gods or the several guests (cf. //., xxiv., 621-6; to the hero offering to restore Briseis, with seven other Od., iii., 448 ; xiv., 425), his squire helping by holding the joints, presents, if he would give up maids, and many other Fig. 50.—The Embassy to Achilles (line 225). as Automedon did for Achilles. In the banquets of the suitors his wrath and fight for the Greeks. Phcenix, Ajax, Red-figured painting on a cup (cotyle) by the celebrated in the Palace of Odysseus, two servants (SaiTpoi) did the and Odysseus, with two heralds, were accordingly sent Athenian potter Hieron, of the fifth century b.c. carving (cf. Od., xvii., 331; xv., 140), but this was doubtless In tin Louvre. on account of the absence of the master of the house. to the tent of Achilles, where they found him, and The reverse is given in fig. n. The vase-painting shows us one of the side scenes at a feast Patroclus by his side, singing heroic ballads to the Mon. d. Inst., vi., PI. ig. (cf. Od., fig. 90). A bearded man with a large knife stands before music of the lyre (fig. He received them most 49). Baumeister, Denkmiiler, fig. 776. a table, on which lie portions of meat already carved, and courteously, and prepared a feast for their enter- Klein, Meistersignaturen, p. 170 (17). stretches out his left hand to take a leg brought him by a tainment. During the feast Odysseus, who was the Robert, Bild und Lied, p. 95. youth. Behind the carver stands a large mixing-bowl (crater), Wiener VorlegebUitter, Series C, PI. 6. on the side of which a wine-jug is balanced. When the spokesman, broached the business for which they had carving is completed, the portions will be carried off and come, but Achilles refused to hear of terms, and an- roasted, and then distributed by the host to his guests, with nounced his intention of sailing home on the morrow. Achilles ( AAEY2) sits in his tent (indicated by the sword due regard to their precedence. Even his old friend Phoenix, whom he had pressed and cap hanging on the wall), closely wrapt in his cloak,— to remain with him, was unable to move him, and naive way of expressing his sulky resentment against Agamem- non which is found in the vase-paintings of this type. Before Fig. 52. —The Calydonian Boar-hunt (line 533). Odysseus and Ajax had at last to depart with the him stands Odysseus (OAVTEV) in the costume of a traveller Black-figured painting on the celebrated Francois message that Achilles would not stir till Hector had (short shirt girded high, small cloak, or chlamys, wide-awake vase at Florence. attack slain the Greeks, and came to the Myrmidons hat, which has been improperly restored, two spears, and a Klein, Meistersignaturen, p. 32. in their tent. sword), leaning on his spears, and pleading the cause of the Greeks with an eloquent gesture. Fig. 49.—Achilles playing the Lyre (line 186). Behind him stands Ajax (AIA2), while on the other side The Calydonian boar was a huge monster sent by Artemis Wall-painting, 2 ft. i in. high, by 2 ft. 3J in. wide. Phoenix ( Museo Borbonico, xiii., PI. 37. on long knotted staves. The extreme youth of Achilles, who to honour her alone of the gods. The boar devastated the Helbig, Wandcgcmalde, No. 1315. is beardless, whereas the others have long thick beards, is crops, and even uprooted trees, and was in the end only slain strongly brought out. when Meleager gathered warriors and dogs from many cities inlaying chair Achilles, a strong and beautiful youth, is seated on a throne The rich of the on which Achilles sits and its and hunted it down. in the centre of the picture, singing to the sound of a lyre, embroidered cushion are worth notice. Later Greek tradition gave names to the heroes whom Meleager summoned to the hunt, almost making an epic of it, According to Homer, Meleager had wedded Cleopatra, the Found in 1838 at Santa Marinella ; now in the Berlin with a muster-roll only second to Homer's. daughter of Idas and Marpessa. Idas was the strongest of Antiquarium. The myth consequently became a favourite one in art, and men, and when Apollo had carried off his betrothed bride he Mon. d. Inst.,m., PI. 58. his is often found on vase-paintings; the most famous (next to dared to draw bow against the god. Ann. d. Inst., 1843, P- 2 37- the present one) being that of Archikles and Glaukytes at The myth was one of those represented on the famous Baumeister, Denkmiiler, p. 915, fig. 909. " Munich. In later times it was the subject of the sculptures "Chest of Cypselus at Corinth (seventh century B.C.). On it Verzeichniss der Ant. Skitlpturen (Berlin), No. 215. with which Scopas adorned one of the pediments of the Idas was depicted leading Marpessa, who followed him willingly, Temple of Athena Alea at Tegea. It also appears on the from the Temple of Apollo. reliefs from Gjolbaschi (cf. fig. 5) in Roman times, and is to The Etruscan mirror shows Marpessa (Marmis) standing Meleager was in Greek, and later in Roman art, the type of be seen on several sarcophagus reliefs. between Idas (Ite) and Apollo (Apulu), both of whom are the ideal hunter, and many Roman replicas (Pliny, N. H., 34, In the painting from the Francois vase, the boar appears in armed with bows. There is nothing to suggest their enmity 91) of what must have been a celebrated Greek statue of him the centre. He bristles with the arrows which the hunters except their gestures, which are those of lively debate, nor is are to be found in museums. The best known of these is that have planted in him, and is worried by a dog (MAP vase-paintings, notably one by Euphronios. The tree in HIS book is known as the AoXwi/eia, skin mantle and a cap of marten-skin, on a tamarisk other the background of the picture is the tamarisk (pvpUr)) on the capture and slaying of Dolon tree (fig. 57). Then both heroes went on to the tent of which Odysseus hung Dolon's spoils (line 466). being the central incident. Rhesus, slew the king and twelve of his followers as they The narrative begins with the coun- slept (fig. 58), took the king's horses, and, mounting Fig. 58.—The Horses of Rhesus (line 482). cil of war which Agamemnon, unable them, rode back to the Trojan camp in safety. Red-figured painting on a South Italian vase. to sleep for anxiety, had with the help of Menelaus Wiener Vorlegebldtter, Series C, PI. 32. called together in the middle of the night. The Fio. 57. — Dolon (line 370). proposition of Nestor, that a spy should be sent to the Two scenes are given in the picture. (1) In the upper part Red-figured painting on an Attic vase of the begin- Trojan camp, was eagerly taken up by Diomede, who lie the Thracians fast asleep on a wooded hill, their feet buried ning OF THE FIFTH CENTURY B.C. in the grass. They are all clad in their national costume (cf. chose as a companion Odysseus. The two heroes then Formerly in the Campana Collection ; now in the Hermitage, Od., fig. 59) of embroidered trousers and vest with tight armed themselves, Diomede taking a sword and shield, St. Petersburg. sleeves, over which a blouse or shirt is worn. The king, Odysseus a sword, bow, and quiver, and both putting on The picture is repeated on the other side of the vase. Rhesus (over whose head a star appears), is distinguished from Ann. d. Inst., 1875, Tav. d'agg., Q. 1, p. 299. skin caps. Thus equipped they set out in the darkness, the others by the cockscomb with which his tiara is adorned. Klein, Euphronios, p. 143. encouraged by the cries of a night-heron, which Athena On the right Diomede—in high boots and felt cap (pilidion), Roscher, Lexicon, p. 1195 (Dolon). and with only a small cloak girt to his waist—mounts the hill had sent as an omen. Before long they fell in with Baumeister, Denkmaler, p. 459. with a drawn sword, while on the left a Thracian, whom he Dolon, a Trojan of mean appearance, whom Hector has beheaded, lies dead, and one of his comrades flies in terror. had sent to spy out the Achaean camp. He fled at and In the centre Dolon is depicted clad in short shirt and (2) In the lower part of the picture Odysseus (in chlamys their approach, but was overtaken, surrendered without wolf-skin, and armed with a bow and quiver (line 334). He pilidion) is leading two prancing steeds away from the camp a struggle, and told them the whereabouts of the is running in full flight, closely pursued by two warriors, who, through marshy ground. He has his sword drawn, and is different detachments of the Trojans coming up on both sides of him, make escape impossible. hurriedly following Diomede, who looks round to beckon him ; giving especial Both heroes are dressed in a wide-awake hat (petasus) and to the left towards the ships. prominence to the fact that Rhesus, King of the short cloak (chlamys), and armed each with a spear. This The decorative character of the design is noteworthy; Thracians, an ally newly arrived, lay encamped far from equipment is at variance with Homer, who makes them wear Diomede and the flying Thracian balance one another, and the rest. After extracting this information, Diomede skin caps, and arms Odysseus with sword and bow, and Diomede the two horses are grouped symmetrically on each side of slew the treacherous spy, and hung his spoils, a wolf- with sword, shield, and spear. It is, however, found on several Odysseus. BOOK XL him in N the day following, Eris, the goddess retiring when grievously wounded (fig. 60). At his Ajax to rescue him (fig. 61). Menelaus took of strife (fig. 59), by the command of departure Hector rallied the Trojans to such good his chariot, for he was wounded, and Ajax held the Zeus, stirred up a mighty battle, in purpose that they routed the Greeks and wounded Trojans in play (fig. 60). After this Paris wounded which Agamemnon performed great Diomede, who strove to turn the tide of battle. After Machaon and Euripylus. The former, as he fled feats of arms, driving the Trojans, this Odysseus alone remained to face the foe, but even in the chariot of Nestor, attracted the attention of with Hector himself, back to the city walls, and only he was surrounded and driven to call on Menelaus and Achilles, who sent Patroclus to inquire how the battle in full armour (bearded, as On the left Achilles (AXIA ), 61.—Scenes from Iliad, Book XI. Nestor, returned Yio. wearing a cuirass over an embroidered loin- was going. Patroclus, on hearing from in all early art, and armed with shield and spear), into battle wear- Etruscan sarcophagus. cloth, helmet, and greaves, and to beseech Achilles to allow him to go Relief on an (NE2TOP), who appears as an is clasping the hand of Nestor terror into the Tarquinii) , i875- ing Achilles' armour, and thus strike Found at Corneto (the ancient which is a wreath), a close-cut old man with thin grey hair (on 205. Trojans. Jahrbuch des Inst., i. (1886), p. carrying a staff. Behind beard, wearing a long mantle and Mon. d. Inst., xi., PI. 5»- Phoenix (*OINIH, Achilles a four-horsed chariot is waiting. PI. v., 243. Ann. d. Inst., 1883, p. reins, and Nestor's son, Fro. 59.—Eris (line 73). backwards) stands in it holding the Chalcidian *™ed is m°untinS Black-figured painting on the archaic Antilochus (cf. Od., fig. 15), fu»V . chariot is the winged vase on which flg. 2^ is painted. (ANTIAOXOS). At the side of the the of combatants are represented in the relief, in her right hand ArchSol Zeitung, 1886, PI. 206, 2. Three pairs figure of Iris (IPI2, backwards), who holds distinguished by their Phrygian caps from the of the gods. Baumeister, Denkmaler, p. 18, fig. 20. Trojans being the herald's staff which is her badge as messenger wear breastplates. pledging Greeks, two of whom Professor Brunn interprets this scene as Achilles is Odysseus, easily other The first Greek, beginning at the left, join the expedition against In of strife, appears here (as on several himself to accompany Nestor and , the goddess evidently four recognised by his sailor's conical cap of felt. He is the artist means to archaic paintings) as a monster with a Gorgon's head and Troy. In this case we must suppose that must has on the defensive (460), and the next Greek warrior, who second chariot wings on her shoulders. She is clad in a long garment, imply that Nestor and Achilles will mount a hard to pass a the be Ajax, is striving to get to him, and fighting This would solve wings on her feet, and is supposed to be flying, though and depart with Phoenix and Antilochus. his last weapon. her running naked Trojan youth, who hurls a large stone as as the one artist's technique only allows him to represent the difficulty that there is no chariot for Achilles, hat, blowing a decorative, and has Next to Ajax is a man with a Greek wide-awake theory that the swiftly. The sphinx at each side is purely shown is already occupied. Luckenbach's shell to rally his side. This is probably Teucer. Then comes no connection with the goddess. painting represents the departure of Achilles and Antilochus a Greek grievously wounded in the left thigh by a spear (6) on some unrecorded expedition fails to explain this point. which has pierced and broken off at both sides. He totters, supporting himself with both hands on his spear, and seems to FiO, 60.— The Flight of the Achaeans. make no attempt to defend himself from the Trojan who faces Black-glazed vase with figures in moulded relief, him (7). Further to the right Patroclus (8) is seen putting pr0i1a1ilv of the hellenistic period. Fig. 63.—j*Eneas in Single Combat with an Achaean. on his cuirass, while an attendant brings him his sword and Found at Tanagra ; in the Polytechnikon, Athens. greaves. Black-figured painting on an archaic Corinthian 'KtftjjiitjUi 'ApxtuoXlKT/, 1887, 7ri'f. 2. 5, agrees better with Homer than On the whole, the picture unguent flask (aryballus) of the seventh century B.C. 5o lcB Winctolmannsfest J'rogramm, 1890, p. 21. most Etruscan reliefs ; the only important discrepancies being Found at Cervetri(the ancient Care) ; now in the Art Museum, that Euripylus was wounded with an arrow, not a spear (lines Vienna. On the left is seen the rampart of the Achaean camp, 5835), that Teucer is not mentioned, and that Patroclus is a lirisilinr, witli palisades d. Inst., Tav. d'agg., p. 275. (XAPAE AXAIfiN), towards which bearded warrior well advanced in years. There can however Ann. 1886, Q, three chariots are galloping at full speed. In the first chariot Luckenbach, loc. cit., p. be scarcely any doubt that it is Patroclus, for on a relief on 536. a bearded warrior stands looking backwards, apparently one of the sides of the sarcophagus he is again represented as towards a man on foot, who runs beside the second chariot. bearded. This is probably Menelaus driving away wounded, but shouting Two warriors, dressed in closely fitting shirts and armed with to the other heroes to make a stand. In the second chariot helmet and shield, are hurling their spears at one another, are two figures, both with names inscribed, but of these while their attendants, mounted on horseback, wait on each Odysseus Fig. 62. —Achilles going out to War (line 781). inscribed in (OAY5SEY2) alone is legible ; so that this represents side. One of the heroes has the name /Eneas his rescue by Menelaus, line 487 (the inscription, however, looks archaic Corinthian letters, but otherwise there is nothing to Red-figured painting on a drinking-cup (cylix) bv the mure like Agamemnon). The warrior in the third chariot is show the scene to be Homeric. It is, in fact, merely a decora- potters Euxitheos and Oltos. Hector, with his charioteer Cebriones whipping on the horses tive picture of a combat to which a name has been attached, in hot Formerly in the Canino Collection, now in the Berlin pursuit (lines 521-43). He raises his spear to and it is worth noting that the custom of going to war on hurl it at Antiquarium. Odysseus and Menelaus. It is not easy to name horseback is post-Homeric. the warrioi who runs beside the second chariot, but Pro- Wiener Vorlegebldtter, Series D, PI. 2. After the manner of archaic art, all the vacant spaces in the fessor Robert is probably in right identifying him with Ajax. Luckenbach, loc. cit., i., 62. design are filled with birds, palmettes, lotus buds, or stars, Homer, it is true, tells us he retired slowly, but the Greek potters, Klein, Meistersignaturen, p. 135. which have no connection whatever with the figures they even in the later periods, are proverbially inaccurate. Overbeck, Gall. her. Bildiu., xviii., 2, p. 428. surround. Fig. 64. —Battle over a Fallen Hero. Welcker, Antike Denkmaler, PI. xv. badge upon his shield), who are aided by an archer. The but in Black-figured painting on a Corinthian vase of the Longperier, Mus. Napoleon, iii., PI. 67. scene is one of the ordinary type of battle scenes, seventh century b.c. this case the fact that the figures on the right represent Diomede and Odysseus gazing at the transfixed body of The part representing the suicide of Ajax is given Od.,fig. 58. would suggest that this particular combat is over the Mon. d. Inst., vi., PI. 33. A warrior of gigantic proportions is defending the body of a Ajax Schneider, Der troische Sagenkreis, p. 166. fallen friend against two foemen (one of whom has a cock as dead body of Achilles (cf. Od., fig. 14). BOOKS XII., XIII., AND XIV. greatly in the fighting, but nearly always in M the fighting which follows the Trojans Fig. 65.— Single Combat between yEneas and Ajax. guished himself Black-figured Corinthian drinking-cup conjunction with his namesake. under Hector, favoured by Zeus, suc- painting on a classical times he was worshipped by the Opuntian Locri (cylix) of the sixth century b.c. In ceeded in breaking down the wall that as their ancestral hero, and so appears on their coins as a nude Found in Greece, and formerly in private possession at defended the Greek camp, and were warrior armed with helmet, shield, and sword rushing forward Athens. on the point of storming the ships on the foe. Between his legs his name is inscribed, while Ann. d. Inst., 1862, Tav. d'agg., B. themselves, Poseidon behind him and above his shield is the legend " Of the when came to their aid and enabled LUCKENBACH, IOC. tit., p. 536. Opuntians" (OrONTON). It is worth noting that the shield the two Ajaces and other heroes to repel the enemy. is ornamented inside with the figure of a griffin. The warriors, like those in fig. 63, face each other with up- The Tabula Iliaca, fig. 3, gives several of the single Of course the coin does not give a portrait of the Homeric lifted spear, while their attendants wait on them, holding their combats which took place in the melee that succeeded hero in any sense of the word, and we must picture him as horses. (Book XIII.). Meriones is shown seizing Acamas clothed in a cuirass of quilted linen (\wo6ibpr]£, II., ii., 529), The hero to the right has the name tineas, and his squire (Adamas in Homer) the with loin-cloth and greaves, if we wish to imagine the epic by hair to cut off his head, a that of Hippocles, while the warrior to the left is Ajax (AIFA2), warrior. version quite different from that in the text (line 567). his squire being also called Ajax (being intended, no doubt, Idomeneus rushes to slay the for Ajax the Locrian. Cf. fig. 66). wounded Othrioneus, Fig. 67.—Hypnos (lulling Ariadne to sleep), (line 290). On the extreme right is a naked man, who kneels in terror, whom Asius is trying to drag from the battle (quite Red-figured painting on an Attic drinking-cup (cylix) but is probably intended in the exaggeration of archaic art to unlike line 363 foil.), and .(Eneas is in hot pursuit of OF THE FIFTH CENTURY B.C. be flying with all speed. He is called Dolon (cf. fig. 57). Aphareus (line Found near Corneto (Tarquinii). 541). The names, however, which are in archaic Corinthian Mon. d. Inst., xi., PI. 20. The scenes from Book XIV. (H) continue the story characters, are inserted rather as an ornament to the battle Ann. d. Inst., 1880, pp. 150-8. of the battle. Ajax the Locrian (AIAS AOKPOS) scene than to show that it is an illustration of Homer, and so Baumeister, Denkmaler, p. 124. it is useless to inquire what is the precise incident represented. raises his sword to cut down Archelochus (cf. line 463, where he comes to rescue Satnius, who seems to be Ariadne lies on a rock under the shadow of a spreading vine holding out a represented on the original marble, though the artist fast asleep, while Hypnos hovers over her head Fig. 66.—Ajax the Locrian (line 442). garland to encircle it. At the foot of the couch Theseus is seen has omitted him in the drawing). Further on Ajax, Obverse of a coin of the Opuntian Locri. bare-footed lifting his sandal (the laces are in his left hand) as encouraged by Poseidon, and Hector, protected by In the Cabinet des Medailles, Paris. he quietly slips away after the god Hermes, who beckons him Apollo, are hurrying through the battlefield, but there Roscher, Lexicon der Mythologie, vol. i., p. 138. to depart. Hypnos is winged and youthful, and almost iden- is no hint that the scene refers to any definite incident Daremberg et Saglio, Diet, des Aniiq., p. 173, fig. 197. tical with Eros, with whom, in fact, some commentators have in the Iliad. The closing incident of the book, the confused him here. There are, however, so many other Ajax, the son of Oileus, King of the Locrians, and the leader instances of representations of this type, where Endymion and lulling of Zeus to sleep on Mount Ida by the god of the Locrians in the expedition against Troy, is generally others are visited in their sleep, that there can be no doubt Hypnos (fig. 67), and the consequent repulse of the called Ajax the Less, on account of the greater fame of Ajax, about the identification here, though elsewhere it is true the Achaeans, is not given at all by the Tabula. son of Telamon (cf. Od., figs. 57, 58). He, however, distin- god appears considerably older, e.g., in fig. 73. " BOOK XV. (line Teucer 69.— Battle at the Ships 442) ; correspond to Fig. The EUS, on awaking from his sleep, saw a torch. This last scene does not aids Ajax (line 718). XII., but not in the Achaeans, with the aid of Homer, for Helenus appears in Book Engraved gem. Poseidon, driving the Trojans before this, and /Eneas and Paris (341) are mentioned in In the Collection at Florence. Iris Apollo quite a different incident of the fight. them, and sent down and Overbeck, Gall. her. Bildxv., xvii., 9, p. 424. —the one to command Poseidon to Baumeister, Denkmaler, p. 729. depart, the other to heal Hector of see above in the Fig. 68.—The Battle at the Ships (lines 420, 718; cf. As in the scene on the Tabula (fig. 3, his wound, which he did with such success that the stands in the curved poop of the xvi., 125). summary of the book), Ajax Trojans once more reached the ships, and actually ship holding out his mighty shield, a very giant compared with the ship of Protesilaus. Red-figured painting on an Attic vase. threatened that he would burn Teucer, who kneels beside him showering arrows on the In the Old Pinakothek, Munich. The main incidents of this " Battle at the Ships Trojans. There are several replicas of this gem. Gerhard, Auserlesene Vasenbilder, iii., 197. (fig. 68) are given by the Tabula (fig. 3) under O. To Baumeister, Denkmaler, p. 727, fig. 783. the right is the ship (EIIINAT2IMAXH), from the deck Fig. 70.—Hector setting Fire to the Ship of Pro- of which Ajax with his shield and Teucer with his bow tesilaus (line 718). On the left of the picture is the curved poop of Protesilaus' are fighting (fig. 69). Hector (EKTOP) is at the poop ship, beside which Ajax stands at bay, hurling a spear (this has Engraved gem. of the ship, hurling a torch (fig. 70), while behind been rubbed off in the vase-painting) at the Trojans who are Overbeck, Gall. her. Bildw., PI. xvii., 8, p. 423. him is a Trojan who stoops to pick up a stone, and at rushing on. At his feet lies an Achaean (Cytherius ? cf. 431), Inghirami, Gall. Outer., ii., 137. his feet the lifeless body of Caletor, whom Ajax had struggling to rise, but wounded to the death by Hector, who Roscher, Lexicon der Mytlwlogie, p. 1921. slain (line 419). On the high ground to the left leads the Trojan attack, accompanied by a warrior carrying a at the blazing torch. Behind them is a Trojan warrior (Caletor? cf. Hector here, as in the Tabula (fig. 3), appears poop /Eneas advances to the fray holding out his shield having it 419), who is wounded, but seems to be cheering on a warrior, of the ship bearing the torch himself, instead of (wrongly restored as a bow), with Helenus in advance who advances to support Hector, armed with shield and sword. carried by a comrade, as in fig. 68. He has lowered it, evidently shooting his bow. Below them Clitus is seen sinking The scene is closed by Paris, in the dress of an archer, aiming with the intention of hurling it into the ship, and leans back- to the earth (line 445), and Paris runs forward with a bow towards the ship. wards to get the necessary impetus. BOOK XVI. story HE now returns to Patroclus, and Patroclus arms himself (fig. 71). He appears The Tabula (fig. 3), under IT, shows first Patroclus who, after saving Machaon (bk. xi.), on the scene in the guise of his friend just at the arming ; then Achilles seated on a throne dejectedly, came back to the tent of Achilles, moment when the ship has caught fire and Ajax is leaning his head upon his hand, and Phcenix and and with tears begged to be allowed sinking from fatigue. He routed the Trojans with Diomede standing before him (in the original the to lead the Myrmidons against the great slaughter, slaying Sarpedon, whose dead body figures have neither helmets nor short tunics, but these Trojans. Achilles consents on the condition that was borne away by Sleep and Death (fig. 73), but have been added by the restorer). This scene is not he is to do nothing more than save the camp, was himself slain by Hector. to be found in the Iliad as we have it : it is probably a reminiscence of some passage in a later poet, and his cuirass, is throwing his sword over his shoulder (line 135, Nestor and Amphilochus, he reminds us that it was owing to S' ap ufjioio-Lv /?oActo doubtless represents Achilles waiting anxiously to hear afupl £t<£os apyvpoyXov), and then the Nestor's eloquence that Patroclus went into battle (xi., 804) picture closes with two more youths, one of whom is tying to meet his doom, the news of which Antilochus was fated the fate of Patroclus. The rest of the picture is taken his pig-tail tighter. to bear to Achilles. up by the combat between Hector and Patroclus The picture in the centre shows a fully armed warrior on (730- the point of departure, receiving a farewell cup of wine from Fig. 73. —Sarpedon's Body borne away by Sleep and a lady (the artist's signature is inscribed above, AOPI2 Death (line ErPA*2EN). 454). Fig. 71. —Warriors arming (a and b), and a Warrior Red-figured painting on a drinking-cup (cylix) by the It is remarkable how closely the order of arming follows departing (c), (line 130). Attic potter Pamphaios, of end of sixth the Homeric description, the only difference being that the the the century B.C. Red-figured paintings on a drinking-cup (cylix) by the epic hero took his shield before putting on his helmet (line From Vulci ; in the British Museum. Athenian potter Duris, of the early fifth century b.c. 135), doubtless because the shield was worn in those early Wiener Vorlegebldtter, Series D, PI. times by a strap (rtXa/i^) round the body, and not merely 3. In the Oesterreichisches Museum, Vienna, Klein, Meistersignaturen, p. (20). attached to the arm (cf. fig. 80). It is worth noting that all 94 Schreiber, Kulturhist. Bilderatl., PI. 35, 1-5. Eufhronios, p. fig. on 272. the warriors in the painting have long hair, like the Homeric 274, p. Klein, Meistersignaturen, p. 157 (14). Robert, Bild und Lied, p. 110. Achaeans and the Spartans of later times, but unlike the Denkmdler, fig. Baumeister, p. 2034, 2207. T/ianatos, p. 9. Athenians of the fifth century, who wore it short. Another Wiener Vorlegebla/ter, vii., PI. 1. Luckenbach, loc. cit., p. 619. interesting detail is the use of pads to protect the instep from Overbeck, Gall. her. Bildw., xxii., 14, p. 533, 75. the rubbing of the metal greave, shown on the warrior ; cf. Although the vase-painting shows us warriors in the armour (<-). These, however, can scarcely be identified with Homer's Two daemons, in the form of youthful warriors with wings, of the sixth century B.C. at the earliest, and has no direct eVi is on at all periods. In (a) the scene is a palace hall, indicated dead man quite nude, and has been spoiled by his Fig. 72.—Patroclus going out to Battle (line 219). by the single pillar on the right. An aged king, with sceptre conqueror. Red-figured painting on a drinking-cup (cantharus) by and flowing garments, is speaking to one of the warriors. On the left the goddess Iris (without wings, cf. fig. 62), easily the Attic potter Epigenes, of the fifth century b.c. Near the pillar is a lady, holding the shield and sword of a recognisable by her herald's staff (mppmctoi'), hurriedly delivers Found at Vulci ; in the Cabinet des Midailles, youthful warrior, who stands before her polishing his spear. Paris. the commands of Zeus to the two daemons ; while on the right Ann. d. Inst., the mother dishevelled hair, is beating Next comes a youth fastening his shirt (x"' that he may gird it more conveniently. Beside him a I.UCKENBACH, lOC. Ct't., p. 553. The painting represents Death and Sleep {Hypnos, cf. fig. 67) warrior is binding his long hair into a convenient knot with Wiener Vorlegebldtter, Series B, PI. ix. bearing away a warrior to burial, for the name Hypnos is in- a riband, and farther on a bearded man (who has already put scribed on one of a series of similar vase-paintings. There has, on his cuirass, and holds a helmet and spear in his hands) is however, been much controversy as to whether the dead man Thetis (0ETI2) stands on the right holding a cup and wine- conversing with a comrade, who draws his sword in and out of is Sarpedon or Memnon (cf. Od., fig. 21), but the weight of jug, from which she has just given a parting drink to Patroclus, the sheath to test it. Last comes a warrior holding a helmet, authority seems to be in favour of the former. who stands by her, fully armed for battle. On the left who turns to listen to the king. It should be noted that the hair of the figure at the head of Amphilochus (AM*IAOX02), attired in cloak, wide-awake hat, The same scene is continued in (/>). On the left are two the corpse is black, while that of his comrade is light brown. and high boots (like an Athenian €c£ij/3os, or knight), is just youths conversing, and next to them a warrior with his shirt The former is accordingly Death, the latter his brother Sleep. turning away from Nestor (NE22TOP), his father, to join well girded and a helmet on his head, who stoops to fit a Patroclus. Between Thetis and Patroclus the potter's name is greave to his leg. It was necessary to put on the greaves inscribed (EIIirENE2 ELTOE2E). Fig. 74. — Scene in a Circus (line 745). before the cuirass or breastplate, for the latter was so stiff that This scene occurs nowhere in Homer, and is purely an in- Black-figured painting on an archaic Attic vase. the warrior could not bend low enough when wearing it vention of the artist, who has worked up the Homeric story From Camirus, Fhodes. (cf. line 130, mfjtuSas p.ev jrpun-a Trtpi Kvi'ip.ynv W-qKev). The in his own fashion. Thus, by taking the familiar farewell Schreiber, Kulturhist. Bilderatl., PI. 24, 2. next is figure just clasping the cuirass round his body (line group warrior of a and a lady (cf. //., figs. 38 and 71 c), and and it is worth noting 133), the shoulder flaps, which have not giving the latter the name of Thetis, he suggests the friend- In the battle with the Trojans, Patroclus smote Cebriones, yet been tied down. Farther on another warrior, armed in ship of Achilles and Patroclus; while, by the addition of Hector's charioteer, with a stone in the brow, so that he fell (KAA02TOIKYBI2TEITOI= the "Indeed he tumbles well" a martial dance, jumping from one to amusement of his shields, is performing climbing from the chariot, to the infinite m/JurrdToi). On the right a youth is seen helplessly very small on account of the lack koXu; rot a other. He is represented as him with compliments on his skill as support at one Side), but whether slayer, who mocked another figure up a pole (with a slanting of space. Below, between the horses' legs, is the jockey's display it tumbler. this is another performance or part of placed in this strange position for want given as prize at (also made small and in fig. which is on a vase The painting 74, the sand of the is impossible to determine. space) who is busily engaged in smoothing Athens, shows how accomplished of I'anathenaic Games in performance is evidently professional, and mani the do with rakes in a modern The whole horses ring with a pick, just as the grooms were in the sixth century B.C. Two circus rather than Greek acrobats festly must be regarded as taking place in a the horses is a man playing on a double flute a single rider, who circus. Behind in full gallop in the ring, guided by Even in Homer's time pro- are of benches to at one of the Public Games. in front of the spectators, who are seated on tiers acrobat who, with the aid of a spring- looks round at an were known (cf. //., xviii., 604-5). loudly, and one of them shouts, fessional tumblers and, with two the left. They are applauding board, has leaped on the back of his horse, BOOK XVII. over the Body of Patroclus (line 123). of Euphorbus (line 82). Fig. 76. —Combat FTER slaying Patroclus, Hector went Fig. 75.—Combat over the Body Red-figured painting by Oltos and Euxitheos. in pursuit of Audomedon, Achilles' Painting on an archaic flatter (pina.r) in the Rhodian The reverse offig. 62. charioteer. A fierce battle then STYLE OF THE SEVENTH CENTURY B.C. Wiener Vorlegebldtter, Series D, PI. 2. ensued over the dead body, in which From Camirus, Rhodes ; in the British Museum. Klein, Meistersignaturen, p. 135 (1). Mcnclaus slew Euphorbus, but was Baumeister, Denkmdler, p. 730, fig. 784. Luckenbach, loc. cit., p. 540. 2 unable to resist the onslaught of Hector, who had Salzmann, Nkropole de Camiros, PI. 53. Overbeck, PI. xviii., 3, p. 4 7- LUCKENBACH, lOC. Ct't., given up his pursuit and returned to strip the armour p. 538. In the centre the dead body of Patroclus (IIATPOKAOS) Smith, Diet, of Antiq. (ed. 1891), art. " Vas," p. 924. of Achilles from the corpse of Patroclus (fig. 75). Ajax lies on the ground stripped of Achilles' armour. Kirchhoff, Studien z. Gesch. d. gr. Alph., p. 48. then came to the rescue (fig. 76), and Hector had in On the right /Eneas (AINEA ), with a lion as his badge, Roberts, Introd. to Greek Epigraphy, p. 158. — and Hippasus (HIIIA202), with the badge of an eagle, his turn to retreat ; but though he returned to the fray advance to meet Ajax (AIA2) and Diomede (AIOMEAE2). and brought the bravest of the Trojans with him, the All four are fully armed, the Trojans being distinguished from Acha-ans succeeded in defending the body of Patroclus, Hector (name in early Doric characters) and Menelaus the Greeks by wearing a loin-cloth in place of a shirt beneath which Mcnclaus, at last, aided by the two Ajaces, (name do.) are engaged in single combat over the body of the cuirass. Like fig. 75, the scene is not to be found in Euphorbus (name do.). All three are armed in archaic style succeeded in bearing to the ships (fig. jy). Homer, Ajax and /Eneas (line 344) being the only heroes with loin-cloth and breastplate with projecting rim (//., fig. 7), The Tabula (fig. 3) shows us, under P, Hector in his among the four who fought over Patroclus. Hippasus would and have richly decorated shields, Hector's bearing a flying seem to be a mistake for Hippasides, a comrade of /Eneas, chariot attacking Ajax, who stands over the fallen bird as badge. All three helmets are of the shape known as who was slain in the fight (line 348) ; while Diomede, according body of Patroclus (line then 130) ; Menelaus lifting the the Attic. to Homer, had been wounded (xi., 376), and was unable to corpse, and afterwards, with the help of Meriones, The original vase is all covered with rosettes other and take the field on this day. which placing it in his chariot (cf. line 717), the horses of ornaments, the copyist has here omitted. The combat thus depicted is not mentioned definitely Fig. 77. —Menelaus with the Dead Body of Patroclus which are held by two men (probably Automedon and in the Iliad at all, but, after the manner of archaic artists, Menelaus, (line 648). Alcimedon). Both these latter scenes are at variance who slew Euphorbus (line 60), and Hector, whose approach Marble group of the Hellenistic period. with Homer, who makes Menelaus raise the body on drove him from the body (line 108), are represented as actually Found in Rome near the Mausoleum of Augustus ; now in a his shoulders (cf. fig. 77). face to face. court of the Pitti Palace at Florence. Restored in many places. of that name. The specimen here given is not the original his shoulder, for the muscles of the arms do not show a move- " better preserved, now in the Pitti Palace. ment strong or sudden enough Lubke, Gesch. d. Plastik, i., PI. 156, p. 225. Pasquino," but one to suggest this. There has Friederichs-Wolters, Gipsabgiisse, No. 1397-S. Menelaus is here represented as a bearded warrior of heroic been some little doubt whether the warrior is intended for sword. He holds the Menelaus or Ajax. fact Overbeck, Gall. her. Bildw., xxiii., 5, p. 551. build, armed only with helmet and The that the head in the original as sees the foe " Baumeister, Denkmaler, fig. 785, p. 731. lifeless body of his friend in his arm, and, he Pasquino" group is of a less vigorous character than the Flo- (on whom his eyes are fixed) approaching, is letting his burden rentine, and shows the mouth as though uttering a cry of terror, This group exists in several replicas, and is generally known sink gently to the earth, so that he may begin the battle once seems to point to Menelaus rather than the sturdier Ajax, as the "Pasquino," because the most famous of these replicas again. This seems to be a truer interpretation than the con- though for such a conception no real basis can be found in was found near the shop of the celebrated lampooning cobbler ventional one that the hero is raising the body to cast it across Homer's narrative. BOOK XVIII, prehistoric sites in Etruria and other 'CHILLES had all the while been a and a maid weep loudly near him ; next, Thetis (6ETIS) parts of Italy, as well as in Southern Austria, throw light on the prey to the gloomiest forebodings, with an attendant Nereid all in tears on her way to description of the Homeric shield. but, when Antilochus brought the Hephaestus ; and, lastly, the forging of the shield One of the most characteristic features of such designs is news of Patroclus' death, his grief (OnAOnOIA, HAlSTOS) in the smithy. the division of the decorated surface into a number of parallel knew no bounds, and he groaned so friezes, in which the figures appear either in processions or Fig. 78. —The Forging of Achilles' Armour (line 615). loudly that even his mother Thetis, in the depths of groups. The present relief, for instance, has three such friezes, the Wall-painting in the Casadi Sirico Pompeii, 3 ft. 4 in. the upper having a long procession of men, horses, and chariots sea, heard it. She came with all her Nereids ; high by 3 ft. 1 1 in. wide. the middle showing a pair of boxers contending for a helmet to console him, but found it impossible to shake his prize, From an original drawing. as and a sacrificial scene ; while the lowest is decorated resolve to slay Hector, though he knew that it would Helbig, Wandgemiilde, No. 1316. by a procession of animals. seal his own fate. His armour was, however, in the Bulletino d. Inst. 1879, p. 54. The Phoenician bronze cups which have been found at hands of the Trojans, and she succeeded in getting him Palestrina throw even more light on the description of the This picture represents Hephaestus to wait till the following day, when she would bring in the garb of a smith, shield. An excellent reconstruction of its design from the showing Thetis the arms which he has just finished. The data thus gathered may be found in Mr. him new arms and weapons fashioned by Hephaestus Murray's History of breastplate, greaves, sword, and helmet lie scattered about the Greek Sculpture. himself. After her departure the body of Patroclus forge, but the god has placed the shield upon an anvil for Thetis was brought to the tent of Achilles, where it was laid to admire. It is covered with the figures of the heavenly Fig. 80. —Bronze Dagger inlaid with Gold and Silver. out in state, and mourned throughout the night by the constellations (cf. line 485, iv Se ra reipea irdyra, rd t ovpavoi io-T Thus on the dagger in fig. 80 a lion-hunt is represented, four horses, at the side of which a woman walks waving two Black-figured painting on the Francois vase. with an ivy wreath five hunters are in pursuit of three lions. Two of the lions torches. In front of her marches Dionysus, II., figs. 52, SS, 106, are from the same vase. his Facing are in full flight, hut the third is at bay, and has struck down on his head and a huge horn of wine in arms. M011. d. Inst, iv., Pis. 56, 57. procession, part of the the foremost hunter. Three of his comrades are hurling spears the horses, and apparently meeting the Harrison, Mythology and Mon., p. exxviii., figs. 31, .;.'. al the beast, while a fourth shoots a bow at him. All the figure of Hermes (with winged boots) is visible, so that the men are attired in the loin-cloth which was the primitive bridal pair are probably a god and goddess. This vase represents Theseus, Ariadne, and the Athenian garment of the Greeks, and four of them are protected by Except for the torches carried to light the bridegroom, there youths and maidens, celebrating their deliverance from the huge shields, fastened like those in Homer by a strap (rcKaiiioi', is little to illustrate Homer's description of the shield. Minotaur and escape from Crete by a dance after landing on r:f. fig. 71 ) passing round the body. These shields are of Naxos. The left of the picture shows us a youth (<£AIAIM02) silver like the loin-cloths, while the men's flesh is gold, as are Fig. 82. Ploughers (line — 541). leaping ashore from the ship (here omitted), and with a also the lions. Each figure, however, is of several pieces, maiden Black-figured painting on a drinking-cup ( i : 111 man potter nlkosthenes, of the sixth cen urv tinguished from one another. who have clasped hands, youth and maid alternately, and B.C. follow Homer's description of the use of coloured metal on the Theseus (0E2EV2). He, ' lyre in hand, approaches Pound at Vulei, and in the Berlin Antiquarium. shield shows beyond a doubt that the decoration was precisely Ariadne (APIA—E) and her duenna (®P0*02). She is of this character. Thus the vineyard (line 561) was of gold, Gerhard, Trinkschalen 11. Gefasse, PI. i, 1. receiving him graciously, and the vase-painter wishes us to the grapes of dark metal, and the vine-props of silver, while Klein, Meistersignaturen, p. 69 (71). understand that in another moment the young folk will form a there was besides a trench of icvaros (blue glass paste) and a BAl Mustek, Dcnkimiler, p. 11, fig. I2«. circle and dance to the music of Theseus' lyre, for he on this fence of Kaacrirtpo^. occasion takes the place of the 0e!os doiSds (line 604). The More recently further discoveries have shown that the differences from Homer lie chiefly in the clothing of the Three ploughers are represented, driving each a yoke of oxen designs on the dagger-blades are by no means the bust that youths, who wear short cloaks and are unarmed, instead of with a long goad. In the lower part of the picture is a man the Mycemean age produced. The two cups of beaten gold having glistening shirts of linen and being armed with the with a basket, who is either sowing or scattering manure. which were found in the bee-hive grave at Vafio, near sword. It is worth noting that the maids wear the Homeric Two other men are engaged in breaking the clods with long Amyclte, have reliefs of a bull-hunt, which in vigour of style jrtVAos fastened at the shoulders with a brooch. sticks, while a third is seen stroking one of the herd of deer and excellence of draughtsmanship arc unsurpassed by any who graze in the background. These, like the tortoise, the Greel works of art before the great period (cf. "Ee^ep'u grasshopper, and the lizards, serve to fill up the empty spaces .m„V ik;,. llirnf \V v 7 1889, 9 ; Jahrbuch des deutschen Arch. in the design. Inst, Hand v., p. 104; Schuchhardt, Schlitmanris Excavations, Fig. 85.—The Potter's Wheel (line 600). trans., Appendix by Miss Sellers). Black-figured painting on an archaic Corinthian During the past year (1891) an equally important dis- Fig. 83.— Vintage Scenes (line 561). terra-cotta plaq1 e. covery was made of a relief in beaten silver, which was The uronze ends, inlaid with silver, which ornamented Found near Corinth ; in the f.oirore. among the objects found by Schliemann in the grave (iv.) from the head of a roman sofa. which the dagger-blade Ann. d. Inst., 1882, PI. U, 2 p. 182. came. It formed part of a small ; Found in Rome, and in the Capitoline Museum there. W sel, and is ornamented with a battle scene, depicting a city Kulturhist. standing on wooded hilly Bilderatl., PI. 10, Nos. 5 and 6. ground. Outside the walls warriors The invention of the potter's wheel was known to the with shield and Bullctino d. Comm. Arch. Municipale, 1874, p. 22. spear, archers and slingers, are repelling a foe, Greeks long before the age of Homer, for the vases of the while the battlements above them are crowded with women " " Mycenrcan period show full familiarity with its use. It is, tearing their hair and beating their breasts ('E^tpis 'Apv., In Homer's description the vines are trained on poles, but in fact, only in the very lowest of the prehistoric strata that 1891, II-,, .-, p, ,,). shows This that siege scenes were known in the relief here given they are supported by trees, as has been earthenware fashioned by the hand prevails. This, of course, i" an long before the Iliad was composed (cf line the custom in 509). Italy from time immemorial. To the right and does not imply that such handmade pottery was unknown left, in the highest parts of the reliefs, we see the gathering of in later times. On the contrary, it was manufactured at all Fio. St.—Wedding the grapes into baskets (line which are Procession (line 492). 568), carried off to the periods, especially for certain ritual uses. vat and there trampled under foot. In (a) the vessel into which 1,1 The oldest potter's wheel was merely a heavy disk like that I I '" I I I " 1 UNI Ml ON AN ARCHAIC VASE 01 nil the expressed juice ran is clearly shown. In (li) we see an in the vase-painting, which was mounted like a small table on EARL1 i\i 11 ,1 NTURY B.C. unruly labourer being chastised, and a statue of Dionysus, G) RHard, a single leg, so that it could spin round easily when set in Am I aseniilder, iv., PI. 112. before which stands an altar with a brightly burning fire. motion by the potter's left hand (in later times it was driven by a treadle). With his right hand he was then able to mould the aid of a bent stick. On the floor of the shop lies a large An excellent account by Mr. Cecil Smith of the ancient the clay thrown on the wheel into any desired form. The lump of clay, and two vases already baked are hanging from potter's art is to be found in Smith's Dictionary of Antiquities figure shows him giving the clay a more precise shape with pegs on the wall. under " Fictile." BOOK XIX. T the dawn of the next day Thetis Found at Camirus in Rhodes ; now in the British Museum. The figure of the Nereid struggling to restrain her sobs is noteworthy as unique in its way. came to the tent of Achilles, bringing Mon. d. Inst., xi., PI. 8. Mr. Murray has suggested it Ann. d. Inst., that might be laughter that is the newly made arms (figs. 86, 87). 1S79, p. 237. overcoming her at the sight of such a big boy fondled by his Thereupon the hero called an as- Baumeister, Denkmaler, p. 732. mother, but this seems improbable. Robert, Bild sembly of the Achaeans, announced und Lied, p. 141. that he had foregone his wrath, and demanded instant sits, Fig. 87. Thetis bringing renewal of the fighting. In reply Agamemnon made In the centre of the upper tier of the picture Achilles — the Armour to Achilles his head wrapped in his mantle (cf. fig. 50), bowed down with (line 3). amends for his former insults, and restored Briseis to grief. His mother has thrown her arms round his neck, and Wall-painting in Pompeii, Reg. ix., Is. 5, No. 2. her lord, with many gifts. Then, returning to the tent, is tenderly kissing him on the brow. She is followed by a From an original drawing. after a short space of lamentation for Patroclus, he put Nereid, who bears the newly made helmet and spear, and is Scogliano, Le pitturc murali Campane, No. 577. on the new arms, and, mounting his chariot, drove out accompanied by the goddess Athena in full armour. Notizie d, Scavi. d. Ant., 1878, p. 42. to battle. Behind Achilles is Phceni.x leaning on a staff, and another Bull. d. Inst., 1879, p. 51. Nereid (who, unable to restrain her sobs, has placed her The Tabula (fig. 3) shows us, under T, Achilles hand upon her mouth) holding a shield, with the badge of a arming and setting out for the battle. In the first Thetis on her way over the sea bearing the arms of Achilles dancing (?) girl. In the background is a helmet resting on the hero (AXIAAETS) is fastening one of his greaves, was a favourite subject with artists of the Hellenistic a block. The lower tier shows three Nereids and a youth be- and while periods. his mother, attended by a Nereid, stands by side an altar. They each carry some piece of armour, the one Grasco-Roman The goddess and her Nereids were to the right a sword, represented borne by Tritons and other sea-monsters, and ac- admiring. His breastplate lies on the ground at his shield, and spear ; the next, the youth, a companied by little love-gods hovering above them. spear ; the third a cuirass ; and the fourth a scabbard. The feet, another Nereid holds his shield (ASniS), and In youth is Automedon, and, like his master, has his head covered the Pompeian wall-painting Thetis reclines on the back Phoenix (OINIE) is in readiness with the helmet. as a sign of grief. of a youthful Triton, who bears her over the sea, in which a In the second scene Achilles (AXIAAETS) is mounting The painting only corresponds with Homer in the most dolphin is seen disporting himself. She carries the helmet in the chariot by the side of Automedon, who holds the general way. There is, for instance, no mention of the Nereids, her right hand, the spear and shield have been intrusted to reins. of Athena, or of the Triton, and the greaves are with difficulty supported by Just in front of the horses is a female figure, Automedon. These, however, are introduced for purely artistic two little Cupids, who fly above the goddess. reasons : the Nereids because it who seems to be stroking them, but her gesture merely would be im- possible to represent Thetis herself as carrying all the arms, For other representations of the same subject in Greek art, see implies that she is speaking. It is most likely that Athena to suggest the fighting that was to follow, and Auto- Baumeister, Denkmaler, p. 732, and Heydemann, Gratulations- the artist intended this for Thetis, suggesting perhaps medon as a foil to the Nereids. schift der Univers. Halle fitr das Archdol. Inst, in Horn, 1879. by her presence the prophecy of Achilles' fate, which The scenes in the two tiers must not be supposed to be in Homer is taking place at uttered by one of the horses (line 404). exactly the same time. In the lower tier the altar Fig. 88.— Procession of at shows that the Nereids are being received in the court- The Gods the Wedding of yard of Peleus and Thetis (line the tent ; while in the upper the presence of Phoenix, 390). Fig. 86.—Thetis brings the Armour to Achilles (line 3). the block on which the helmet rests, and the chair on which Black-figured painting on the Francois vase (cf. fig. 84). Red-figured painting on an Attic vase of the fifth Achilles sits, all show that it is indoors. This difference Mon. d. Inst., iv., Pis. 56, 57. century b.c. accounts for the doubling of the arms, which appear twice. Luckenbach, loc. cit., p. 589. Chariclo (Cheiron's follow in long procession : Hestia, ix., divided in two. To the right of the lower half, Thetis (0ETI2) who Overeeck, Gall. her. Bildw., PI. ; p. 198, 47- their chariot, the wife), Dionysus, the Seasons, Zeus and Hera in Wiener Vorlegeblatter, ii., i. can be seen through the half-open door of a palace built in Artemis, the guests with the Muses, Ares and Aphrodite, Apollo and kmaler, p. 1790, fig. form of a temple. She wears the bridal veil, and as the (wrongly restored) and Nike, the Fates, Hermes approach shyly raises it to cover her face. Outside, by the Graces, Athena Oceanus and Tethys (only the altar in the courtyard, Peleus (ITELEV2) stands to receive a and Maia, Nereus and Doris, their horse visible), and, lastly (in lower tier), I hi ipear of Achilles was made from the ash staff, which long procession of his friends. Cheiron (XIPON) is the first head of ass, with a sea-monster Chi iron brought from Mount Pelion, as a present to Peleus on arrival, and clasps the hand of the bridegroom above the altar. Hephaestus riding side-saddle on his front. his wedding with Thetis. The earliest version of this wedding Unlike the Centaurs of later art, his forelegs are human, and (whose tail alone remains) going in over the feast, to which all the gods came with gifts, is that known in he wears a shirt. Across his shoulder he has the ashen stick The names of the two potters are inscribed: (1) " " ; in antiquity by the epic poem of the Cypria, still preserved to us from Pelion (II>)AiaSa /xe\!nv), with three hares hanging from altar, Clytias painted me (KAPHAS MErPA*SEN) (2) " " (EPrOTIMOS by the paintings on the shoulder of the Francois vase. The it, which he has brought as his present. front of the first chariot, Ergotimus made me picture runs all round, but for convenience has been here By his side is Iris (IPI2), who comes as herald of the gods, ME1IOIE2EN). BOOK XX. N the battle which ensued the gods, rescued Hesione, daughter of Laomedon, who, like Andro- Ann. d. Inst., 1876, Tav. d'agg., C, 2. by permission of Zeus, came down meda, had been bound to a rock as prey for a monster of the Baumeister, Dcnkmaler, p. 5S1. sea (cf. vii., 452 ; xxi., 442). He came the second time, with from Olympus and fought for their an expedition of six ships, to take vengeance on Laomedon Fig. 91. —The Rape of Ganymede (line 234). favourites on either side. Thus it for having refused the promised guerdon. Telamon was his Red-figured vase-painting of the fourth (?) century came about that /Eneas, who had chosen companion on this expedition, and it was to him that B.C. been sent by Apollo to aid Hector, was saved by Hesione was given as wife. Ann. d. hist., 1876, Tav. d'agg., C, 1. Poseidon, while Hector himself escaped in a cloud cast In the mosaic Heracles (who wears his lion-skin over his Homer tells us that the gods carried off Ganymede to be over him by Apollo. head and shoulders, and carries his club in one hand and a cup-bearer to Zeus on account of his beauty, but in the later The bow and arrows in the other) is turning away, having just slain Tabula (fig. 3), under T, shows us Poseidon and better-known forms of the legend it was Zeus himself the monster, whose head appears from the water below pierced (IIOSlAfiN) urging ^Eneas to fly, next Achilles who bore earth. This is the version given with a dart. On the other side of the picture, Telamon (with him away from rushing with drawn sword on by the vase-painting in fig. which represents Ganymede a Trojan archer (perhaps chlamys, spear, and sword) helps Hesione to descend from the 90, Polydorus, cf. as a graceful youth trundling a hoop and holding a cock (a 407), then Hector (?) retreating, and, rocky wall, to which she had been fastened by two manacles. favourite lastly, a single She is dressed as a bride, for she had present to boys), trying to escape from Zeus, who combat and a warrior slaying his enemy been betrothed sym- follows calling him to stop. (this bolically to death, and her jewels are in a casket that lies at is a purely conjectural restoration). her feet. The artist has followed a form of the legend which The other vase-painting shows a still later version, in which it is the eagle of seizes the beautiful differs from that which Hellanicus gave (quoted by the Zeus who youth and bears him to its master. Ganymede is represented with Fio. 89.—Hesione freed by scholiast on this passage) in explanation of Homer. Ac- Heracles (line 145). cording to the effeminate long hair, wearing a chain of beads, necklet, '•' older version, Heracles entered the mouth of IN THE Grsco-Roman STYLE. anklet, and a cloak. His surprise at being on the the monster, made his way down to its belly, and hewed at pounced by In the 1 Ilia Allani, Rome. eagle is suggested by strigil, oil-flask, its vitals for three days until it was slain. the and ball which he From a photograph. has dropped on the grass. Rosi hi r, Ltxiton d. Mythologie, p. 2248. This representation of the legend is probably to be traced Ba\ mi ister, Dcnkmaler, p. 663. Fie. 90. —The Rape of Ganymede (line 234). to the famous statue by Leochares, a sculptor of the fourth Red-figured vase-painting Attic vase (eraler) on an of century u.c. In any case the type is one which recurs very Herai les came twice to Troy. The first time was on his THE FIFTH CENTURY B.C. frequently in Hellenistic expedition against and Grreco-Roman art, and is often the Amazons, and it was then that he Formerly in tlu Campana Collection. mentioned in Roman literature. BOOK XXI. CHILLES made great havoc among ( a^0orf/>as ' *AxiX\et}s hi ipvfc&itzvos £i0os <5£i> the Trojans, driving many into the city gates. Titye Kara. kXtjiSo Trap aiix^a, rrav oi hi eiffta river Scamander, where he slew all 55£i>>s 4<0i)««(lI5-Il8). Fig. 92.—The Death of Lycaon (line 117). save twelve whom he took alive to be Red-figukeii painting an an Attic vase of the fifth The artist, too, shows the rush of blood welling from the victims for the funeral of Patroclus century b.c. wound (119), and suggests the locality by the figure of a (cf. fig. He refused to spare the life of Lycaon, 96). From Vulri ; in the Munich Collection. Phrygian, who, clasping his hands in despair, writhes on the of Priam's sons (fig. and continued to slaughter one 92), Gerhard, Trinksclialen und Ge/asse, C, 4- ground behind Achilles. This may perhaps be one of the alive for so many Trojans that the river-god Scamander himself Overbeck, Gall. her. Bildw., xvii., 3. Trojan youths whom Achilles took as victims the shade of Patroclus (fig. 96). To the right of the picture, took the field, and with the help of the river Simois Archiiol. Zeitung, 1878, p. 31. another warrior fully armed turns round, as he hastens past, to would have drowned the hero in his waves had not Professor Robert's interpretation of this painting, as repre- look at the scene. Poseidon and other gods come to his rescue. Then senting the slaying of Lycaon, is, if not quite certain, at least The difficulties that may be suggested against this interpreta- Troy. Achilles once more drove the Trojans into highly probable. tion are that Achilles is bearded, and that the Phrygians are is The Tabula (fig. 3) epitomises in three scenes : A warrior, who is nude (as heroes were generally represented), much more like Amazons than men. Achilles, however, only with greaves, helmet, shield, and sword, is frequently represented with a beard on early vase-paintings first, Achilles slaying Lycaon (line 114) on the banks and armed plunging his sword into the throat of a youth, who kneels in (cf. //., figs. 62, 93, 104; Od., fig. 15), and the style of this of the Scamander (SKAMANAPOS is inscribed below supplication, and with uplifted hands vainly struggles against picture is not free enough to exclude the possibility of merely locality) as an indication of the ; secondly, his slayer. This exactly corresponds with Homer, for he tells us this older type. As to the Amazons, a glance at fig. 96 is Poseidon pulling Achilles (AXIAAETS) (nOSlAON) that Lycaon stretched out both hands, and received his coiip de sufficient to show that the effeminate young Trojans are out of the waters of the river ; and, thirdly, the Trojans grace by a word-thrust in the neck, at the collar-bone : — indistinguishable from them. OO K XXII. I alone ECTOR of the Trojans did not unfair way (fig. 93). The Achaean hero then despoiled proaches round the wall, (2) Achilles pulling the fly within the walls, and, in spite the dead body, heaped many insults on it, tied it by helmet from Hector's lifeless head, and (3) Achilles of the entreaties of his father and the heels to his chariot, and dragged it to the ships. driving his chariot to the ships with Hector's body mother, awaited the onset of Achilles, Meanwhile the Trojans, men and women, who had trailing behind. only to be overcome with terror at been watching the battle from the walls, raised a the sight of his enemy, and to flee before him at the mighty wail, that reached the ears of Andromache as Hector (line last moment. Fig. 93.—The Death of 306). He ran, strengthened by Apollo, thrice she sat awaiting the return of Hector. She hurried round the walls of Red-figured painting on an Attic drinking-cup (cy/i.x) Troy, Achilles following hard upon to the walls, and the book closes dramatically with her of the sixth century B.C. him, but at length was goaded by the reproaches of lamentations. In the Museo Gregoriano, Vatican, Rome. Athena to await his foe. In the battle that ensued The Tabula (fig. 3) shows Hector standing at (1) Gerhard, Auserlesene gr. Vasenbilder, iii., PI. 202, he was 5. slain, Athena having aided Achilles in a most the gate awaiting Achilles (AXIAAETS), who ap- Museo Gregoriano, ii., PL 74, 1. exact replica in the Musee de Cluny, Paris. In (cf. fig. but Hector alone wears There is an LUCKENBACH, Inc. tit., p. 515. Both heroes are nude 92), galloping under the walls of greaves. this relief there are two chariots ilk, Denkmakr, p. 735. the body of Hector along, and is that The painting follows Homer in representing Hector without Troy. The second drags IOI. OVERBECK, (Jail. Iter. Bildw., p. 451, his invitation to the Acha:ans his spear, and as drawing, not brandishing (line 311) his of Achilles, while the first suggests walls (line sword. Achilles slays him with a spear as in Homer, but to go with him in triumph round the 381). of the city is open, and in it stands Andromache, the place he aims at is the eye, not the neck (line 324). The gate and garments rent. Hectoi is vainly endeavouring to draw his sword from the There are four other vase-paintings which represent the scene forgetful of all else, with hair dishevelled horror-stricken at the scabhard, and sinks to the earth borne down by the onrush of in the same manner, with but small variations. She has just seen the body, and, Achilles, who pierces his eye with a spear. sight, is tottering back fainting into the arms of the Trojans On the left Athena, fully armed with aegis, helmet, shield who stand in the gate. Fig. 94. —Hector dragged round Troy (line 391). (the greater part rubbed away), and spear, stands to protect This rendering, though it does not agree with Homer, is Achilles ; while Apollo (armed with bow and arrow), recognising Relief on glazed Roman terra-cotta tile. dramatic and a natural one for the artist, to whom the repre- his defeat, is seen on the right deserting Hector, and raising From Syracuse : in Lord Strangford's Collection. sentation of Andromache on the city walls would present his hand with a gesture of dismay. Archiiol. Zeitung, 1864, PI. 181, 2. considerable difficulty. BOOK XXIII N returning to his tent, Achilles in which Achilles (AX1AAETS) is laying an offering (a Artificial "astragali" of metal, bone, ivory, or crystal were common in antiquity, and fig. shows a of this shape, honoured Patroclus by driving the lock of hair or a libation, cf. lines 2 " 95 vase 141, 18) ; (2) The but of chariots considerable size and only meant for use as a jar. It is round the bier, and by giving Funeral Games " (EniTA4>i02 Ar o>v), represented by prettily ornamented with figures of dancing girls. A descrip- a funeral feast to the Acha.>ans. The two racing chariots. tion of games played with the astragali is given in Smith's shade of Patroclus, however, unsatis- Dictionary of Antiquities, under "Tali." fied with these tributes, appeared to the hero during Fig. 95.— An Astragalus or Knucklebone (line 88). the night in a vision and demanded a proper funeral. Red-figured Attic vase in the shape of a sheep's Fig. 96.— Sacrifice of the Trojan Youths at the Pyre knucklebone. Next day, accordingly, a huge pyre was built, the body of Patroclus (line 175). From sEgina; in the British Museum. with its armour placed on it, the twelve Trojan youths Red-figured painting on a large South Italian Schreibek, Kulturhist. Bilderatl., PI. 20, 7. were sacrificed (fig. 9G), and all burnt together. The Amphora. pyre continued burning all the night, and it was not The doTpayuA.01 of the Greeks and "Tali" of the Romans Found at Canusiinn, and now in the Naples Museum. till the next morning that the ashes were slaked with were the small bones which form the joint in the ankles of Man. d. Inst., ix., Pis. 32, 33. wine (fig. sheep and other cloven-footed animals. They were much used Ann. d. Inst., 187 1, pp. 166-95. ,,;), and the bones of Patroclus picked out and both as playthings for children and as substitutes for dice. Baumeister, Denkmaler, p. 737. placed in an urn, over which a barrow was piled It was in a dispute over them, as playthings, that Patroclus LUCKENBACH, loc. tit., p. 527. up. Then the funeral games in honour of the dead slew the son of Amphidamas, and indeed, to judge from a began near the barrow, Achilles giving prizes for horse- celebrated marble group of one boy biting another's arm, such The picture is divided into three tiers. In the middle tier racing (fig. S), boxing (fig. quarrels were 9 99), wrestling (fig. 100), pretty frequent. The game was played with five the pyre of Patroclus (I1ATPOKAOY TA*05) stands in the foot-racing, pieces, and consisted essentially in throwing them all quoit-throwing (figs. 101 and 102), and together centre. On it lie two breastplates and a helmet, and below up in the air and catching as many as possible on the archery (fig. 103). back of at the side are the greaves, sword, and shield. This is the one's hand. This simple operation, however, was made more armour of Hector (xviii., ; cf. xxii., which Achilles had The Tabula (fig. summarises 334 368), 3) V with two scenes : complicated and difficult by combining with it a number of vowed to offer to his friend, with an additional coat of mail 1 ( ) "The burning of Patroclus" (KATSIS I1ATPOKAO), bodily movements. that is perhaps Patroclus' own. On a step in front of the pyre — fell after (Pausanias, i., who was whose on the flames. After the fire was quenched the ashes and into disuse Orsippus 44), Achilles has seized a Trojan youth (in Phrygian dress), victor in 01. B.C.), had run without it (cf. C. of slay- bones were collected and placed in an urn for burial. Olympic 15 (720 hands are bound behind his back, and.is in the act captives I. G. 1050). ing him. On the left of the pyre three other Trojan The vase-painting here given represents a lesson in the gym- the right a fully armed warrior, sit awaiting their doom. On Fig. 98.— A Chariot Race (line 287). nasium for youths, and not a public contest. The 7raiSoTpi'/?j;9, who must be one of the generals of the host, probably Black-figured painting on an archaic Corinthian vase. his wearing a (phiale Latin or trainer, who is distinguished from pupils by Agamemnon, is pouring a libation out of a bowl = From Can- : in the Berlin Antiquarium. mantle, is instructing two youths, chastising them with a long patera). At his feet is a pitcher. According to Homer, it was The reverse is given Oct., fig. 73. split cane for each foul blow. On his right is a youth with Achilles who offered the libation (line 218), but the painter Mon. d. Inst., x., PI. 4 and 5. jumping weights, looking on at the match with great excitement. doubtless did not wish to repeat his figure in the manner of Ann. d. Inst., 82-110. 1874, pp. On the left stands another youth with a tape, apparently measur- early art, and so substituted another leader. LUCKENBACH, loC. elf., p. 496. ing the length of his jump. For a similar scene see Od., fig. 30, Behind this figure are two women, one with her head covered Baumeister, Denkmaler, p. 1202. and for boxing generally Smith's Diet, of Antiquities, art. with her mantle, presumably the mistress of the girl who " Pugilatus." follows, holding her fan and bearing a basket of offerings for the dead and the customary riband for adorning a tomb. The The Homeric heroes raced in the same chariots as they lady is probably Thetis. used in war, each drawn by two horses, for it was at a later Fig. 100. Wrestling (line 701). lowest tier there are also two maidens, one of period that the light racing chariots with teams of four were In the Red-figured Attic vase-painting of end of sixth whom, perhaps Briseis, is in an attitude of melancholy, while introduced. The artists generally represent the chariots as century B.C. the other is pouring water from a pitcher ihydria) into a basin. four-horsed, even in scenes from Homer or early legend. Gerhard, Trinkschalen u. Gefasse, PI. 20. It is not clear whether this is lustral water, or intended to be The Berlin vase-painting depicts the race at the funeral of Blumner, Leben u. Si/ten der Griechen, ii., fig. 39. chariot, stands near, drink for the horses of Achilles' which Pelias ; it shows a confused crowd of horses racing at full speed driven by Automedon, who turns round to speak to a youthful towards the goal, where the tripods that are to be the prizes warrior (Antilochus?) seated near. The lifeless body of Hector, stand. Like the boxers, the wrestlers in Homeric times wore a loin- vase-painter covered with bleeding wounds and bruises, hangs from the Each of the competitors has his name inscribed above in cloth, which was afterwards discarded. The accord- back of the chariot. ingly depicts two pairs in a gymnasium as quite nude. Those Corinthian characters : Euphemus ('Ei^a/jos) leading, then On the left of this scene another Trojan captive stands in Castor (Kaoros), Admetus fAS/iaro), Alastor ('AXaorop), in the centre are trying to get the grip, while of the pair on in raising his the mournful dejection beneath a tree on which a shield is hanging. Amphiaraus ('Afitjiidpcos), and Hippasus ("Iimo-os). In front, the right, one has succeeded opponent from In the upper tier the tent of Achilles rises in the centre, ground, but is unable to throw him. The cloak of one of the beyond the tripods, sit the three aged judges : Acastus wall, while the ground and beneath its roof two old men are seen conversing, probably ("Akotos), Argeus ("Apyw), and Pheres ( poles. On the right Athena and Pan listen to Hermes, whose in the drawing above the smallest tripod. young man, with an embroidered mantle, who smells a flower raised shows that he is speaking. first mistaken hand For a detailed description of the race at the funeral games like a lady, and might at sight be for one. In the background are an ox-skull and a festoon of beaded of Patroclus, see Smith's Dictionary of Antiquities, art. ribbon. These are sacrificial offerings, and may possibly suggest " Hippodromus." Fig. 101. The " Discobolus," or Quoit-thrower (line that the scene is borrowed from the stage. 826). Fig. 99.— Scene in a Gymnasium, Boxers (line 653). Marble statue; a Roman copy of a celebrated Red-figured painting on an Attic drinking-cup (cylix). original by Myron of Eleuther*, of the fifth cen- Fig. 97.—Quenching the Funeral Pyre (line 250). From Vulci. tury B.C. Red-figured painting on a South Italian vase. Schreiber, Kulturhist. Bilderati., PI. 23, 4. In the Palazzo Massimi, Rome. Build, anli. Napoletano, iii., PI. 14. Roulez, Mimoires de rAcad. de Bruxelles, 1843. Seemann, Kunsthist. Bilderbogen, Ergang., PI. 9, 3. Baumeister, Denkmaler, p. 307, fig. 323. Gerhard, Auserlesenc Vasen/iilder, iv., 271. Friederichs-Wolters, Gipsabgiisse, No. 451 (remarks on). " Smith, Dictionary of Antiquities, art. Funus," p. 887. Baumeister, Denkmaler, p. 612, fig. 671. Overbeck, Geschichte d. gr. Plastik, p. 213, fig. 51. Baumeister, Denkmaler, p. 1002, fig. 121 1. Several vase-paintings show the quenching of a funeral pyre In boxing after the Greek fashion, the hands were protected just as Homer describes it. In fig. this is done by two 97 by leather straps (line 6S4), which also made the blows much This statue is the best of a series of replicas of Myron's maidens, who are pouring water from their pitchers (hydritc) more severe. The loin-cloth which the Homeric boxers wore celebrated statue, because it alone gives the true pose of the shepherd who holds it is Argus shown in fig. 102. The on head. With the aid of a passage in Lucian which describes Now destroyed by exposure. watch over Io (the sprouting horns on her head suggest her the quoit-thrower's action, the complicated balance of the statue Mon. d. Inst., ii., PI. 59, 6. subsequent transformation into a cow). To the right Hermes, becomes intelligible. The athlete held the quoit, which was Ann. d. Inst., x., 253-60, 328-30. who has been sent by Zeus, leans easily on his herald's staff a metal plate, and not, as in modern times, a ring, in his left Helbig, Wandgemalde, No. 136. (Ktipmaov=cadiiceus), and presents Argus with a Pan's pipe, his hand until the moment of throwing, when he passed it to his Baumeister, Dcnkmiiler, p. 752, fig. 802. object being to lull him to sleep and then to slay him. right hand ; and sharply swaying the whole of his body back- Museo Borbonico, viii., 25. wards with it, his head following, gained all the impetus iary for one great swing forwards with the quoit, jumping iron at the at a (line in the air as it left his hand. To get the right arm back as far Homer says that Polypoites threw the lump of Fig. 103. — Shooting Arrows Mark 850). funeral games as far beyond the marks of the other competitors as possible it was necessary to support the whole body on the Red-figured painting on a vase of a late style. right leg during the swing backward, and leave the left free as a herdsman can throw his cudgel. Throwing sticks are /// the Naples Museum. to come forward when jumping. The former attitude is not among the most primitive weapons all the world over, being Schreiber, Kulturhist. Bilderatl., PL So, 7. unlike that which some players assume at golf. The quoits known to even the degraded savages of Australia. They Daremberg et Saglio, Diet, des Ant, p. 390, fig. 480. thrown were usually some five or six pounds in weight, and the were used in Egypt for fowling, and in Greece were carried by Museo Borbonico, ii., 41. aim of the player was not to hit a given mark, but to throw the Theocritus' shepherds, who killed hares with their Xayuifiokov v.. i lii as far as possible, the game resembling the weight-putting just as commonly as Homer's herdsmen brought unruly cattle shooting at a cock tied to a pillar, and hammer-throwing of modern athletics in this respect. to submission with the KaXav/iuij/. The Italian shepherds also The boys in this painting are at a dove bound to a mast. used a throwing stick of the shape called the pedum, so that it just as the Homeric heroes shot became the standing attribute of pastoral deities and of the Each of them wears his quiver on his left side. Two are in Fig. 102. The KaXavpo^r, or Shepherd's Throwing Club it that they have just Fauns. That it was on occasion as formidable a weapon as a the act of aiming, and we may take (line 845). has depicted still modern blackthorn is plain from legends like that of the death discharged the two arrows which the artist as U ,1 ] PAINTING IN THE CaSA d'Io ED Argo AT HERCULA- of Electryon by mischance at the hands of Amphitryon. in the air. The third boy is stringing his bow in the usual NBUM, The throwing club is always bent, and its usual shape is well way (cf. //., figs. 24 and 52 ; Od., figs. 91 and 95). BOOK XXIV. CHILLES, whose thirst for vengeance solitary meal (fig. 108). The hero was so touched his tent, indicated by pillars and hangings, with I was unsated by the funeral sacrifice, by the age and grief of Priam that he consented to Priam at his feet and Phoenix beside him. Hermes dragged Hector's corpse round the receive the ransom (fig. 109), and next morning gave is also present inspiring Priam and supporting his barrow of Patroclus for several days him the corpse, washed, decently anointed, and wrapped entreaties. In Homer he does not enter the tent, (fig. 104). At length, on the twelfth in costly robes taken from the ransom. He also but the artist has chosen this way of suggesting day, Apollo, who had preserved the body from corrup- granted an eleven days' truce for the burial, and his share in the business. (2) The body of Hector tion, appealed to the gods to suffer such insolence no then Priam, who had been entertained right royally, is reverently raised by three Myrmidons to be longer. Thetis was accordingly summoned by Zeus, set out, and with the guidance of Hermes passed placed on the waggon, from which their comrades that she might persuade Achilles to give up Hector once more unnoticed through the Achaean lines. The are removing the treasures that form the ransom to the Trojans for burial. At the same time Iris was Trojans flocked to meet him at the gates, with lamen- (EKTfiP KAI ATTPA EKTOPOS). sent to inspire Priam to go himself and ransom his tation for the dead. Then the body was laid out son's body. Guided Fig. 104.— by Hermes (fig. 1 1 o), the Hector dragged round the Tomb of Patro- old in state in the palace (fig. 1 courtyard 1 3), and, after king, bringing much treasure on a mule-cart clus (line 14). (fig. 107), the customary mourning, burnt upon a gigantic pyre passed the slumbering sentinels and Black-figured painting on an Attic vase (amphora) of reached the tent of and honoured by a funeral banquet. Achilles, and THE SIXTH CENTURY B.C. found him at table, having just finished a The Tabula (fig. 3) shows (1) Achilles seated in Formerly in the Canino Collection. ; Gerhard, Aiiser/esette gr. Vasenbilder, iii., PI. 199. of Peleus (cf. fig. 88) formed no part of this early version, implies that he was a warrior, whereas in most later Greek Overbeck, Gall. her. Bildw., xix., 8., p. 457. and indeed was not incorporated until the Alexandrine age. literature, and in art, he was represented as Priam's youngest Musce Etrusque, No. 527. The vase-painting belongs to the early part of the fourth son, slain by Achilles in early youth. His death is a favourite Baumeister, Detikmaler, p. 735. century B.C., and gives the older version. It shows us Paris scene on vase-paintings of the archaic and early Attic styles, and Schneider, Der troische Sagenkreis, pp. 28 (h and note), in rich Phrygian attire seated on the side of Mount Ida, with is nowhere so well depicted as on the Francois vase. Troilus 3'. 3 2 - two spears, tending his herds, which are here symbolised by the had gone out from Troy to water his horses, accompanied by Luckenbach, loc. at., p. 500 (h). head and shoulders of an ox that lies in the grass beside him. his sister Polyxena, who carried a pitcher. Achilles, however, Roscher, Lexicon der Mythologie, p. 1923. The god Hermes stands on the hillside in his travelling dress lay in ambush at the fountain, surprised the youthful hero, pur- of short cloak, high boots, and wide-awake hat, and gives Paris sued and slew him. Fig. 106 shows us Troilus (TP0IAO2) On the right the tomb of Patroclus appears as a conical Zeus' commission to decide between the goddesses. The three on horseback, with a horse galloping beside, in full flight, and tumulus or barrow, with the mysterious serpent of the dead are grouped round the pair, awaiting the judgment. Athena Achilles (only his leg visible) just on the point of overtaking him. crawling on its side, and the shade of Patroclus (ITTPOKAOS) stands in full armour (cf. fig. 16) just below them, while a little Polyxena ( EN—) has thrown her pitcher (HYAPIA) on hovering above it in the form of a tiny warrior (cf. //., fig. 47 higher up Aphrodite in queenly attire is seated, speaking (note the ground, and runs in terror towards the city. Just in front Od., fig. 60.) her gesture) to a little love-god who flies towards her with a of her is Antenor (ANTENOP), who gesticulates, wildly calling Achilles (AXIAEY2) stands before the tomb, stooping down garland. Hera stands to the right, distinguished, like Aphrodite, for aid, and near him, seated on a stone (0AKO2) outside the to taunt the dead body of Hector (HEKTOP), which lies at his by her diadem and sceptre. These five figures form the main city gate, is Priam (IIPIAM02) himself, striving feebly to raise feet half hanging from the chariot. Automedon (bearded, like picture of the vase, all the others being painted either under himself with his sceptre. The city gate is half open, and Achilles) stands in the chariot, holding the reins of the four the handles or on the reverse side. As is usually the case in Hector (HEKTOP) and Polites (IIOAITES) in full armour are horses. He wears the long shirt which was the characteristic vase-paintings, it is very difficult to name these spectators. If sallying forth to the rescue. garb of charioteers, and has a shield slung across his back. it is necessary to do so, we may see in the lady to the right, On the other side of the picture the goddess Athena (A©ENA) Beside the horses is a winged diemon, above whom the name who lifts her veil in a dainty fashion, QEnone, the nymph whose stands encouraging Achilles, while Hermes (HEPME— ) beside Konisos is inscribed while hat, carrying (KONI202) ; to the right, in front, love Paris discarded (cf. fig. 28), and in the man behind her her (in shirt, skin jacket, and wide-awake the Odysseus (OA—TEV), followed by a dog, is going out to battle Zeus. The figures on the left are still more puzzling, for we herald's staff) points towards the chase, as though declaring fully armed. He turns his head, however, to look at Achilles. have under the handle what is almost a repetition of Paris, and the will of Zeus concerning it. Behind Hermes in .the original The scene occurs on a series of vase-paintings, which behind him another lady. Dr. Engelmann indeed regards (not given here) stand Thetis and her sister Rhodia, and farther fall into two classes, one representing the chariot of Achilles the former figure as Paris, and makes the goddess who faces on, closing the picture, was the fountain at which Achilles had galloping at full speed, the other showing it at rest, as here. him, and whom he seems to beckon towards him, Aphrodite. surprised Troilus. The fountain is covered with a portico like Neither type quite coincides with Homer. In fig. 104, for This splits the picture into two scenes, —an unparalleled thing that of a temple, which reminds one of the legend that it Troilus instance, there can be little doubt that the winged figure is in vases of this class,—and is open to the further objection was at the shrine of Apollo Thymbraeus that was for Iris (the lasting intended name inscribed probably belongs to one that it involves the assumption that Hera is either omitted or slain—an act of sacrilege which brought on Achilles the of the horses), introduced to suggest the message sent by Zeus represented as quite a secondary personage. enmity of the god. to Thetis (line 78). Odysseus, on the other hand, appears as The grouping of the figures on the hillside, the quail, the the representative of the Achaean host, being perhaps chosen shrubs, and the bull, are characteristic features worth noting. Fig. 107. —A Cart drawn by Mules (line 266). because of the part he played later on in saving Achilles' own Part of a black-figured painting on an archaic vase. body from the Trojans (cf. Od., fig. 14). In the British Museum. Another part of the painting is shown in fig. 40, where ig. 106.—The Death of Troilus (line 257). references will be found. Fig. 105.—The Judgment of Paris (line 29). Black-figured painting on the Francois vase. Figs. 52, 84, and 88 are from the same vase. In Homeric Greece the horse was only used for drawing the Red-figured vase-painting in the style of the best Mon. d. Inst, iv., Pis. war-chariots, and carts and waggons were drawn by mules. The Attic period. 54, 55. of Overeeck, Gall. her. Bildw., xv., 1. cart shown in fig. 107 has only two wheels, whereas that RSmische Mitteilungen, ii. (1887), Pis. n-12, 1. had four (line Klein, Euphronios, pp. 225, 228 (1). Idasus in which Priam went to Achilles 324). Luckenbach, loc. cit This passage is the only one in Homer referring to the Roscher, Lexicon der Mythologie, p. 38. famous Judgment of Paris. The myth was known to the Fig. 108. —Priam ransoming the Body of Hector ancients by the Cypria, an epic poem attributed at as early (line 47). a time as that of Herodotus to Homer himself. The story of Priam speaks of Troilus, " who had his joy in horses," as Red-figured painting on a large Attic vase. Iris flinging the golden apple among the guests at the wedding one of the bravest of his sons. As the scholiast remarks, this Found at Cervetri ; in the Vienna Museum. soar (line another moment Hermes will raise himself and away once Mon. d. Inst., viii., 27. Fig. 109. —Priam ransoming Hector's Body 471). more on one of the many errands of Zeus, to help Priam Ann. d. Inst., 1866, pp. 241-70. Relief on back of a Roman sarcophagus. perhaps, or it may be to release Odysseus from Calypso (cf. Od., : rER, Denkmaier, p. 737, fig 791 Found on the Monte del Grano, Rome; now in the Museo fig. 24). Si iim 11. ik, Der troische Sa^enkreis, p. 33 (d). Capitolino there. Robert, Bild und Lied, p. 18. This sarcophagus contained the celebrated Portland vase. Inc. at., p. 508. L-UCKENBACH, slaying of the Children of Niobe (line Conze, Wiener Vorkgebliitter, Series B, PI. 8, 5. Fig. in.—The 111 1 Ro ii . !< 1 ./1 , Wiener VorkgeMStter, i., PI. 3, 1. Overbeck, Gall. her. Bildw., PI. xx., ii., p. 477. Red-figured painting on an Attic mixing-bowl (crater) Roscher, Lexicon der Mythologie, p. 1926. of the fifth centurv B.C. The scene is laid in the tent of Achilles, on the walls of Found at Orvieto in 1880/ nozv in the Louvre, Paris. which his helmet, shield, sword, and cloak are hanging. The Mon. d. Inst., xi., PI. 40. Achilles is hero himself reclines (this is an anachronism) on a richly seated on the right, turning his head away in Ann. d. Inst., 1882, p. 273. inlaid couch, covered with a mattress and rug, and provided shame and amaze (line 478) as old Priam kneels at his feet to kiss the Bulletino, 1881, p. 276. with two pillows. In front of the couch is a three-legged hand that slew his son (479). Even the god Hermes Journal of Hellenic Studies, x. (1889), p. 117. table, on which arc placed long strips of roasted meat. At (his caduceus has been lost), standing beside Achilles, shares this the head of the couch stands a youth with a dipper or ladle feeling of embarrassment, and raises his hand to cover his Achilles persuades Priam to take food by saying that even (cyathus) in one hand, and a wine-strainer (I'/D/uk) in the other. face. Near Priam Automedon stands fully armed in Achilles' Niobe did not forget to eat, though her twelve children, six This is the boyish cup-bearer (another anachronism) whose chariot, ready to dismount, while a servant unharnesses the sons and six daughters, had died in her palace, —the youths duty it was to ladle the wine from the mixing-bow! into the horses. On the left two Trojans and a Greek are taking slain by Apollo, the maidens by Artemis, in their rage with drinking-cups. the treasure (coat of mail, precious vessels, etc.) that forms Niobe, because she compared herself with their mother Leto, At the foot of the couch I'riam is seen approaching, followed the ransom from the mule-cart (amjit;) of Idreus. and said that the goddess had only brought forth two children, by two in. n bearing metal vessels, and two youths who carry bales of goodly raiment on their shoulders. The Trojan king whereas she had borne twelve. is an old man (wearing long garments, a diadem, and shoes), The story of Niobe was the subject of one of Pheidias' Fig. no. —Hermes resting (line 334). and supports himself on a crutch-headed staff as he advances to reliefs on the throne of Zeus at Olympia. Afterwards it make his appeal. Achilles has caught sight of him, and, pausing Bronze statue of Gr*co-Roman workmanship. became a favourite subject in art, and is best known in modern in his meal, has turned his head Found times by the series of statues at the Uffizi in Florence (cf. away, raising at the same time in 1758 at Herculaneum ; now in the Naples Museum. his dagger to his lips. He is thinking The upper fig. 114). of vengeance, a feeling part of t/ie foreliead is restored, giving the temples suggested in a ghastly manner by the corpse of Hector, which and ears a somewhatpeculiar appearance. The scene of the vase-painting is a wooded (the solitary lies with hands bound and bleeding sides beneath Lubke, Geschichte pine tree symbolises a forest) mountain-side. Artemis and the couch d. bildenden Kiinste, fig. 170. mii «ln. Ii A. hilles rei lines. This is at variance Apollo stand on a ridge, with Homer, Friederichs, Bausteine, No. 844. and pour a shower of arrows on the but is easily explained by the artistic contrast afforded Baumeister, unfortunate children of Niobe. lie by the Denkmaier, fig. 738, p. 678. Two below them already juxtaposition of victim and conqueror. Artistic necessity is also Roscher, dead, a third flies to the left, Lexicon der Mythologie, p. 2419. endeavouring to pluck an arrow the explanation of the introduction of the four servants carrying [There is an excellent from his side as he goes, while a fourth is falling pierced in the reproduction in bronze of this statue in the collection treasure, for in the Iliad I'riam of goes to the tent alone. casts at the South Kensington Museum.] back by an arrow from the bow of Artemis. The artist, of The picture on the reverse of the vase shows the chieftains course, does not wish us to believe that the children of Niobe with whom Achilles took counsel (cf. line 651, oc'tc ,uoi iiA were only four in number, just The god is represented but was content to take as /3ou\« /JoiAnW. quite nude in the bloom of youth, irapiju^o.) in another part of the tent, which seated on a rock, many as suited his design (cf. the number of the Trojan resting from his flight. Even though is indicated by a pillar, and by the helmet, he spear, shields, and victims in fig. 96). In any case there was great discrepancy rests on earth, his pose is buoyant, his swords suspended from the feet scarce touch the wall in the background. Three in the numbers given ground, and the artist has by different writers, Hesiod speaking of |'I admirably succeeded the heroes are seated and would in conveying seem to be at home in the twice ten, and other poets of the impression that they are more used twice seven. tent, while two of the remaining in flying than in three are visitors, who still standing. That this is no wear mere modern conjecture is their wide-awake hats (petasi). shown by the rosette with which the straps They all of the wings are clasped Fig. carry sticks, though only one of 112.—The slaying of the Children of Niobe (line them seems old to the sole of the foot, a place where no sandals enough to require them for intended for 602). support, but this is merely an walking could possibly be clasped. anachronism The god, in fact, supports on the part of the painter, Red-figured painting who makes them himself, on an Attic drinking-cup (cylix). and that but lightly, with his right follow the Athenian arm, while his left fashion of his own Berichte d. Sachsischen d. times. Ges. Wiss., 1875, pl - a and * lies carelessly thrown across his 3 knee. One feels that in Baumeister, Denkmiiler, p. 1029. — the picture is divided into two Here scenes. That on the Found near Cape Kolias in Attica ; now in Athens. on the father's side (0E0I2 l=r,jOW] IIP02 IIATP), the cousin Apollo (ALTOAAON) lower shows aiming at a youth, who has Benndorf, Gr. u. Sicilische Vasen, PI. 1. on the mother's side, and another little sister, all follow her dropped his lyre and is flying in terror, at glancing back Schreiber, Kulturhist. Bilderatl. PI. 95, 6. example. At the foot of the bed, near his father, is the his pursuer. Between the god and his victim is a maiden Baumeister, Denkmliler, p. 238, fig. 217. youngest brother, a very little boy, who also joins in the flying like her sister, who is on the other side of the palm, and general lamentation. hastens away with gestures of horror. In the upper picture Artemis (APT ) is aiming at a It was the custom among the Greeks, after washing and maiden, while two youths run to the right and the left. anointing a dead man, to lay him out on a bed inside the The artist has skilfully arranged the figures, so that there house clothed in his best garments. Such a lying in state was Fig. 114. Head of Niobe (line 602). are two women and two men in each scene. Two, however, called the 7rpo0«ns, and it was the custom of all the near rela- Bust of the marble statue of Nioee belonging to the in each are mere additions to complete the design ; the tives to assemble and mourn aloud, giving way, at any rate in celebrated group of Niobe and her children. original groups being Apollo slaying a youth on one side, the older times, to the most extravagant outward manifestations Found in 1583 near the Lateran, Rome, and now in the Uffizi and Artemis a maiden on the other. of grief. Palace, Florence. The artist doubtless intends us to assume that the gods are In fig. 113 we have a scene of this kind. On the left, near The nose, parts of both lips, andpart of the chin are restored. invisible, and that the amazed terror of the children of Niobe one of the pillars of the hall, stand three men (one is a brother, Friederichs-Wolters, Gipsabgiisse, No. 1251. is due in part to their not knowing whence the arrows come. AAEA4>02), who form a choir, and raise their hands and utter a rhythmic wail (OIMIOI), following the lead of the father " (IIATEP) of the dead man. The women are gathered " Niobe all tears was the favourite illustration of grief in Fig. 113. —Family mourning a Man lying in State round the bed, the mother (METEP) at the head (712; cf. the ancient world, and this statue, which is a copy of an Attic (line 664). 724, Kaprj /iera x«po"tv r^ovcra). She tears her hair, and the original of the fourth century B.C., is justly considered one of Black-figured painting on an archaic Attic terra- youngest sister (AAEA The Odyssey. Plate I. The Odyssey. Plate II a. 8. Draught-play. 1 s. b. The Draught-board. 4. The Murder of Aegisthus. Relief from Ariccia. Terracotta, group from Athens. Plate HI. The Odyssey. Dg Nestor. Red-figured Vise-painting. on Athenian lecythtu. The Odyssey. Plate IV The Odyssey. Plate V. 29. Odysseus and Nausicaa. R. F. Vase-painting. Fr. Vulci, in Munich Collection. 27. Girl playing Ball. R. F. Vase-painting. 32. Athene modelling a horse. R. F. Vase-painting in Berlin Mu The 33- wooden Horse brought in Troy. Wall-painting from Pompeii. The Odyssey. ;,6. The Minding of Polyphemus. Archaic Vase-painting from Caere. Mus. Etr. Capit. Rome. 37. The Blinding of Polyphemus. B. F. Vase-painting in Naples Mu The Odyssey. Plate VII. 40. Odysseus under the ram. B. F. Vase- painting in Museum, Athens. 42. Departure of Odysseus. Relief on Etruscan urn in Museum. Leydei house on the Esquilina Hill, R, The Odyssey. I Elpenor. Engraving on Btnucu mirror, from ( ... i ,, p„jj_ Plate IX. The- Odyssey. 49. The shad r_ F Vasc . Antiope and Dirce. R. F. Vase-painting from l'ala2zuolo in Berlin ADtiqua The Odyssey. Plate X 53, Leda and the Dioscuri. B. 1'. Vase-painting from Caere, in Mus. Gregoriano, Rome. 56. The Taking of Troy and Death of friam. R. F. Vase-painting, in Bologna The Odvssev. 60. a. b. c. Hades. Etruscan Wall-paintings fr. Cornets. Plate XII. The Odyssey. The Odyssey. Plait- XIII. 76. The Dog Argus. Gen in Berl. Antiquarium. Penelope mourning. Terra-cotta relief. 67- Sun, Moon and Dawn. R. F. Vase-painting in Berlin Antiquarium. 75. Eos carrying off a boy. Terra-cotta relief from Caere in Berlin. The Odyssey. Plate XIV "-j I he < )dyssey. The slaying of the suitor, Relief from „ Sarcophagus • o, ,„>„. md .,„,„„;.. Re„ ef „ SUver the Herrmtage m St. Petersburg. Vase from the Crimea in the Hermitage. St. Petersburg 93. Centaurs and Lapitlis, The Odyssey. Plate XVr. • E ^2^M 94. a. b. c. The slaying of the Suitors. Reliefs from a tomb at Gjolbaschi, now at Vit slaying of the Suitors. R. F. Vase-painting in Berlin Antiqi 99. Odysseus and Penelope. Pompeian. Wall-painting. THE ODYSSEY. BOOK I. HE ODYSSEY is the story of the wan- Zeus, as befits the father of the gods, opens the was moodily watching the suitors, caught sight of the derings of Odysseus, king of Ithaca, council with words of rebuke to men for their folly in stranger, led her into the great hall (fig. 6), and there on his way home after the taking of laying the blame of the misfortunes they bring on entertained her with much hospitality. Presently the Troy, and of the vengeance which he themselves at the door of the gods. He is thinking of suitors came in too, and sat down in rows on the chairs wreaked on the suitors who had /Egisthus, who, despite the warning of the gods through and high seats, to partake of a supper of bread and beset his wife Penelope when he was away. Hermes their messenger, took to himself Clytemnestra, wine. When this was over they called on Phemius, the His wanderings lasted ten long years, but the story the wife of Agamemnon, and slew her lord, and in the lyre-player, for music (fig. 9). Meanwhile Athena has only begins in the tenth year, just six weeks before fulness of time was himself slain by Orestes, Agamem- been advising Telemachus to call an assembly of the he at last returned and slew the suitors. non's son (figs. 2-4). Achaean heroes, and to bid the suitors go home and The adventures, however, which he went through Athena seizes the opportunity to remind Zeus of leave Penelope free to choose a husband. He was during the former years are told by himself to King Odysseus, a god-fearing man, who has been kept from also to set sail for the mainland, and there to visit Alcinous in bks. ix.-xii., which are a treasure-house home ten long years, and is now detained in the island Nestor at Pylus and Menelaus at Sparta to ask news of hairbreadth escapes from cannibal ogres, of weird of Ogygia by the nymph Calypso. Zeus replies that of his father. The goddess then took farewell of tales of the world below, of seas unknown to man, and it is Poseidon who is to blame, and adds that the time Telemachus, and departed, flying upward. Phemius the of enchanted islands. has come for him, in deference to the other gods who minstrel was now singing the lay of the pitiful return The plot of the poem turns on the wrath of pity Odysseus, to lay aside his wrath and let him return of the Acha:ans from Troy, and as he sang, Penelope Poseidon, who was angered with Odysseus for having home. Athena accordingly asks that Hermes be hearing the music came down the stairs from the blinded his son Polyphemus (bk. ix.). Odysseus, sent to Calypso to bid her set Odysseus free. Mean- women's chambers (fig. 5), and stood to listen by the however, has a powerful protector in the goddess while she arms herself and descends from Olympus to doorpost of the hall (fig. 5). She fell a-weeping, thinking Athena, who not only sends his son Telemachus in Ithaca, where she alights in the courtyard of Odysseus' of the long-delayed return of Odysseus, and besought the search of news of him (bks. i.-iv., xv., xvi.), but palace (figs. 5 and 6), and takes the form of Mentes, the bard to choose some other lay. Telemachus, however, helps him at each juncture. ruler of the Taphians. A strange sight meets her persuaded her to go back, spoke boldly to the suitors, The first book opens with a council of the gods eyes ; before the doors of the great hall (fig. 6) are rebuking them, and then went to his chamber in the (fig. i ), in the palace of Zeus at Olympus, at which the suitors, playing draughts (figs. 7 and 8), and feasting court, where he slept wrapt in a fleece of wool (fig. i o), Poseidon is not present. on abundance of wine and flesh. Telemachus, who meditating on the morrow's journey. : father's murderer, is told more fully neck. She Egisthus, his in the later with a carved back ending in a swan's head and Fir:, i. —Assembly of the Gods and the Entrance her books of the Odyssey. leaves and fruit (or flowers?) in of Dionysus into Olympus (line 26). holds a branch with Aphrodite, The Homeric version is essentially different from that right and a flower in her left hand. Behind her is I 1 PAINTING ON OUTSIDE OF A VASE (cySx) plays of /Eschylus, [CURED THE a dove best known to us by the Sophocles, and wearing her hair in a curious headdress, and holding Ol.TOS AND EUXITHEOS, ATHENIAN POTTERS OF THE does not agree altogether with the BY side sits Ares Euripides, and scene on in her left hand and a (lower in her right. Side by BEGINNING OF THE FIFTH CENTURY B.C. the early fifth-century vase-paintings, which seem to give an with helmet and spear, gazing backwards like Aphrodite at the story, later than Homer and ( depicted on intermediate form of older Found at 'orneto, and in the Museum there. the approaching procession. The procession is story runs the than the Attic dramatists. Homer's as follows : the other side of the vase. In the centre is Dionysus in Mon. d. Inst., x., tav. 23 and 24. reins Orestes was the youngest child of Agamemnon, and quite an act of mounting a four-horsed chariot. He holds the Ann. d. Inst., 1875, 221-53- PP- infant when his father left for Troy (cf. //., ix., 142). Thus at and a large vine-branch in his right hand, and in his left Klein, Meistersignaturen, p. 136. the the time of the return and murder of his father (cf. Od., iii., carries his attribute, the drinking-cup (cantharus). At Baumeister, Denkmaler, i., xrii., fig. 2400. playing the lyre 195-312, and fig. 23) he was only ten years old. Homer does side of the horses is a satyr with snub-nose, ; The figures are arranged thus:— not tell how the child was saved from death at the hands of and in front a maenad advances with a thyrsus in her right says that in the eighth year 1 j Hebe, Hi . Athena, Zeus, Ganymede, Hestia, Aphrodite, Ares. /Egisthus, but merely of the rme hand, while in the left she carries by its hind leg a struggling {b) M.-enad, Satyr With lyre, Dionysus in chariot, M ' rial, Satyr with usurper's reign he returned from Athens and slew his father's doe. On her arm is a coiling, hissing snake. Behind the llute. iii., passage speaks chariot another maenad follows, with panther skin wrapped murderer (Od., 306). The same of the round her neck and shoulders, holding a thyrsus in her left burial of his mother, but there is nothing to show whether or not, and there is no reason to In the archaic art of the seventh and sixth centuries B.C. hand and carrying a lion on her right. She is followed by a she fell by her own hand iIh gods appear in many works of art assembled in large satyr playing on a double-flute. suppose that Homer knew the later version which turns on groups to take pari in some ceremony. At first they were One of the most noteworthy things about the scene is the the murder of Clytemnestra by Orestes, and the curse of represented forming a solemn procession and marching in absence of such a large number of the greater gods, Hera, blood-guiltiness that it brought upon him. due order, as in the scene of the "Marriage of Peleus" on Apollo, Artemis, Poseidon, and Hephaestus, and the presence The vase-painting from Bologna shows /Egisthus seated on the vase celebrated Francois (//., fig. 88), but in later art they of Hestia and Hebe in their place. This, however, is explained a throne,—suggesting, in this simple way, the usurpation and seated. appear The vase-painting of Oltos (whose signature by the occasion being the welcome of Dionysus to Olympus, murder for which he is paying the penalty. He is struggling is inscribed the throne of beneath Hestia) is one of the for Hera could scarcely be present to receive the son of a violently with hands and feet against Orestes, who has seized earliest instances of this new type. It shows, however, the hated rival. Hestia, the goddess of the hearth, accordingly him by the hair with his left hand, while with his right he gods n in the traditional forms of archaic an. takes her place. The other gods seem to be selected as plunges a dagger into his throat, above the collar bone and gives a very good idea of the manner in which the belonging, so to say, to the inner family circle of Zeus, being (ko.to. KXrfiBa). To the left a woman, whom we find called older Greek artists depicted them. all his children. Clytemnestra on the Vienna vase (fig. 3), rushes forward The scene is not the council spoken of in the Odyssey, Another point which calls for notice is the fact that four of swinging an axe to strike Orestes. On the other side of but represents certain of the gods assembled to welcome a the gods, Hebe, Hermes, Hestia, and Aphrodite, hold a flower the throne is another woman, named Chrysothemis on the III « god, I Honysus, to Olympus. in a dainty way,.as though smelling it. This is not an attribute, Vienna vase (fig. 3), and Electra on a Berlin vase, who in the In centre Zeus is seated holding the thunderbolt in his but merely a favourite device of the archaic Greek artists, who great agitation shouts to warn Orestes. He turns his head to l> 11 hand, while with his right he holds out a cup, into which employed it to give a certain daintiness to their female figures. see the danger which threatens him, but is at the same moment lus 1 up bearei 1 lanymede is about to pour wine. It is rare to see a male god, like Hermes, holding one. saved by a youth behind Clytemnestra, who has seized her Behind him sits Athena, in her traditional attire of regis, This helm, arm and laid hold of the axe and stayed the blow. and spear (cf. //., fig. 16); she looks round towards Fig. 2.— youth corresponds to the figure called Talthybius on the Hermes, who is The Murder of jEgisthus (line dressed in a cloak (chlamys) and winged boots, 30). Vienna vase (fig. 3), but seems too young to be Agamemnon's and has .1 wide awake hal (fetasus) Red-figured hanging at the back of his painting on an Attic vase (celebe) of neck. In his herald, the man who in one version of the story had saved left hand he holds a flower, and in his right THE FIFTH CENTURY B.C. doubtli ss held and brought up Orestes. Some archaeologists accordingly a herald's staff, which has been rubbed away Found in the Cerlosa in at Bologna, and in the Museum there. process of recognise in him Pylades, the faithful companion and friend time. Side by side with him, though the artist has Zannoni, Scavi detla Certosa, tav. 79, 3. placed Ik. slightlj behind, of Orestes. sits Hebe, holding a (lower in her Robert, Bild und Lied, p. 150 (E on list). left hand and , The dramatic trait of the mother in the act of slaying her , „, hei right s ,, c haJ tumed The are arranged her head round to see the figures thus — own son, whom she has not recognised, in defence of the procession which is approaching from Pylades the other side. (.?), Clytemnestra, Orestes, /Egisthus, Electra. paramour who had murdered his father, is peculiar to the To the of right Zeus is the goddess Hestia vase-paintings. It is hinted at by /Eschylus (Chatham, 882), on a throne The story of Orestes and the vengeance which he took on but otherwise is unknown to literature. — : : — ; — coup de grace, but, finding himself by a second " propylseum.'' Fig. 3. The Murder of /Egisthus (line 30). his short sword to give a This was the courtyard (av\r„ checked, turns round to Clytemnestra, who has placed her right cf. 77., vi., 316) of the palace proper, whereas the outer court- Red-figured paintings on an Attic vase (felice) of the hand on his shoulder. Behind /Egisthus is Electra, who yard was for the whole citadel. In this second court stands BEGINNING OF THE FIFTH CENTURY B.C. stands on tiptoe, with uplifted arms in terrified excitement the stone altar of Zeus Herkeios (lp«ios, cf. Od., xxii., 335, 442, Found at Orvieto, now in Vienna. while to the left a lady is seen raising her hand to her breast and 459), and round it ran colonnades (alOovo-ai) forming in alarm. By her side is another woman with upraised arms a cloister. The pavement of this court (avXij) is of concrete, 1/ - ./. Inst, viii., tav. 15. in terror. She is probably one of the servants of the palace. carefully laid down and decorated with patterns. imsti.r, Denkmdler, fig. 131 1, p. n 14. From this court one entered the great hall of the men ROBERT, Bild und Lied, p. 149 (a.) and 154 (fig.) (/icyapoi-, see fig. 6). To the side of this hall were a number of The scene is arranged thus — rooms, but only in the case of one to which Fig. 5. Palace on the Acropolis of Tiryns. can the use they (rt) Tallhybius holding Ijack Clytemnestra. were put to be determined. This is a bath-room, the floor (4) Chrysothemis, Orestes, /Egisthus. Excavated by Schliemann in 1SS4. of which is formed of a single slab of stone (10 ft. by 12 ft.), Schliemann, Tiryns, PI. n. made with a slope, so that all the water ran out at one point, Schuchhardt, Schliemann 's Ausgrabungen (Eng. trans, The same scene divided into two groups is shown by the through a stone pipe into the main drain. by Miss Sellers), PI. 4. Vienna vase, where it is treated in a more vigorous and On the other side of the great hall is the dwelling of the Baumeister, Denkmaler, PI. 75. quainter way. women, completely shut off from that of the men. It, too, " Smith, Diet, of Antiquities, art. Domus," fig. on p. 655. /Egisthus is represented here already wounded in the breast, has a court (avXr; — ), and a large hall, and round it are falling from the throne as he receives a second stab from apartments, in which we may recognise the ®aXa/*os and the Orestes' sword. He struggles faintly with one arm, his eye Schliemann's excavations at Tiryns have thrown a flood ©ijcrai'pos of Homer. is upturned and half-closed, and his leg kicks spasmodically of light on the structure and plan of the palaces of Homeric in the last throes of death. kings. The palace on the Acropolis of Tiryns is, however, Orestes, as in fig. 1, looks round, startled by the cries of no longer the only monument of its kind, for similar buildings Fig. 6. The Great Hall (Miyapov) of the Palace his sister Chrysothemis, who stands behind him with uplifted have been traced at Mycense, Hissarlik (Schliemann's Ilios), at Tiryns (line 103). hands gazing at her mother. and Arisba in Lesbos. However, it still remains not only the On the other side of the vase Clytemnestra largest, but the best preserved. is undoubtedly rushes forward It much more Schliemann, Tiryns, p. 237, fig. 113. in the act of raising the axe, while Talthybius magnificent than seizes her arm the palace of Odysseus, the homely king of Schuchhardt, Schliemann's Ausgrabungen, p. iji, fig. 102. and holds the axe. He wears the short cloak and the felt a group of small islands, seems to have been, but it gives, hat of a herald, and, as befits an aged man, is bearded. notwithstanding, a better explanation of Homer than the other simpler palaces. The Megaron or great hall of the men's apartments was The Acropolis of Tiryns rises out of the plain of Argos, and the chief room in the Homeric palace. It was in it that Fig. 4.— The Murder of /Egisthus (line 30). is no great height. It was, however, a strong fortress, for it strangers were received (Od., i., 125 ; iv., 15, etc.) and that the Marble relief in archaic Greek style. was surrounded by walls of immense thickness, built of such heroes met to feast and carouse. The room in the palace Found at bin,: huge blocks of stone that they were supposed by the ancients excavated by Schliemann at Tiryns gives the typical form of . towards the end of the eighteenth century, to have been the work of giants, and " such a hall. and now in the Despuig Museum at Palma in Majorca. were called Cyclopean." The citadel thus formed is divided into three parts at different It was entered from the court by an open portico of two .Irchaologische /.eitung, 1849, W- II. levels : the upper citadel, containing the king's palace ; the columns (the cU'tJouo-a) and an inner vestibule (the 7rpo'Spo/ios), Baumeister, Denkmaler, p. ma, fig. 1309. middle and lower citadels, where the attendants and soldiers which was connected with the portico by three doors, and with Overbeck, Geschichted.gr. Plastik, i., 160, fig. 31. had their quarters, amid stables and other offices. the hall itself by a single doorway without doors. In the middle Gall. Iter. Bi/dw., xxviii., 8,4). 696. Entrance was gained by a road on a gentle slope which of the hall was a hearth (the i road was a gate, which was closed by doors and bars, and probability a hole in the roof over the hearth, to allow the The archaic relief from Alicia shows a slightly later scene farther on the entrance to the upper citadel was guarded by smoke to escape and the light to enter. Indeed, except the in the murder. The throne has been left out, and /Egisthus a double gateway, " Propyteum," with a roomy portico on each wide door of the vestibule there seems to have been no other has sunk to the earth and is half erect, endeavouring to rise, side of the doors. Beyond this lay a courtyard, off which were provision for lighting. The floor of the hall was of lime while he clutches at the entrails, which protrude from the rooms for the use of the soldiers who guarded the gate ; and concrete, decorated with patterns of squares formed by rows wound in his breast. Orestes, who is bearded, advances with from this courtyard opened another court, which was entered of incised lines. Minstrels like Phemius in Ithaca, and Demodocus, the blind (line (line 107). Pig. ; Heroes Playing Backgammon 107). Fig. 8.— Draught-players bard of the Phreacians (Od., viii.), enlivened the feasts of the {amphora) by the Black-figured painting on a vase A TERRA-COTTA GROUP. heroes with their music and their lays. Athenian potter Exekias, ok the end of the sixth physicians, and builders, they were Siyuovpyoi, or From Athens, in the Plot Collection. Like seers, 11 ITURY B.C. craftsmen who were brought from abroad, from strange towns Schreiber, Kulturhistorischer Bilderatlas, PI. 80, 4. Gregoriano, in the Vatican, Rome. Jn the MusiO and lands, for the sake of their welcome services (Od., xvii., 383). Archiiologische Ztitung, 1S63, PI. 173. 8. Schreiber, Kulturhistorischer Bilderatlas, PI. 36, Some, however, were attached to great families, like the bard Baumeister, Denkmaler, p. 354, fig- 374- Mon. ,/. Inst., ii., tav. 22. who was faithful to the trust Agamemnon placed in him, and Blumner, Leben und Sitten, ii., 52, fig. 10. G H USD, Auserltsent Vasenbilder, iii., 206. true to her absent lord for a long time kept Clytemnestra BAUMEISTER, Dcnkmaler, p. 684, fig. 744. (Od., iii., 265). Ku in, Mcistersignaturen, p. (4). 39 vase-painting in fig. 9 depicts the wandering minstrel chequers was very favourite among The Panofka, Bilder ant. Lebens, 10, 10. A variety of draughts or his high estate, wandering to existed of the fifth century, sunk from the Greeks of classical times, and may possibly have ( 1 mini her. Bildw., xiv., p. 310. Gall. 4, accompanied by his dog, and group the music of his double-flute, as early as the Homeric age. The above terra-cotta lyre slung on his staff behind his back. close idea of what it carrying his Games of skill and chance played on a board, ruled either (fig. 8, a) enables us to form a fairly The picture should not be taken as giving an accurate idea in a chequer pattern of squares or in parallel lines, were very was like. especially as regards his dress, opposite of the lyre-player's appearance, popular among the Greeks at all periods. They are mentioned Two players, a young man and a girl, are seated attire long flowing garments, their for he wore as a professional in this passage by Homer, and, according to an old tradition, to one another, with a draught-board and men upon or such as we see on Orpheus in fig. 59. were invented by 1'alamedes to while away the hours which knees. A third figure, which is a caricature of an old man hung heavily on the hands of the Greeks before Troy. How- woman, is looking on, and taking part in some dispute about ever, panics of the same kind were played in Egypt long before the state of the game. 1' 1 in' much as 1 time, and it is probable that the origin of the game, Fig. 8 b shows the pieces lying on the board Fig. 10.—Bed (line 437). in the in Greece, lies much further back. We have nothing, in the modern game ; but unluckily the artist has placed (lecytkus) of the however, to tell us what kind of game his heroes played; but men at haphazard, without any relation to the squares, and so Painting on a white Attic oil-flask Exekias, the painter of fig. 7, represents Ajax and Achilles it is impossible to form any idea of the rules by which it was fifth century B.C. playing a variety The two heroes are seated in Smith's Dictionary of backgammon. played. The article "Duodecim Scripta," Noiv at Athens. mi square stone suis, with a block between them, on which the of Antiquities, ed. 1890, gives an account of the different Schreiber, Kulturhist. Bilderatlas, PI. 86, 1. board is placed. AcliilK s, who sits to the right (in a helmet, varieties of the game, as far as they can be recovered from Stackelberg, Graber d. Hellenen, PI. 38. loin-cloth, cuirass, greaves, and a richly embroidered cloak or classical writers. chlamys), holding two spears in his left hand, cries, " Four," the throw he has just made, and is moving his piece. Ajax, Attic funeral oil-flask, represents on the other side (in loin-cloth, cuirass, greaves, and cloak or This vase-painting, from an Fig. 9.— A Wandering Musician (line 153). his bed. If we can chlamys), cries " Three," and makes a counter-move. a dead man lying, as it were, in sleep in the ceiling replaced Behind each hero is a shield of Bieotian shape, that of Red-figured painting from an Attic vase of the fifth imagine the ribands which hang from we have a picture of Achilles decorated with a satyr's head, .1 snake, and a panther, century b.c. by Telemachus's clothes (cf. line 439) that of have drawn him. Ajax with his helmet resting on it, and ornamented Schreiber, Kulturhistorischer Bilderatlas, PI. 65,4. Telemachus as an Athenian painter might with a Gorgon's (often fleeces), with head and two snakes. A small and very PANOFKA, Bilder ant. Lebens, PI. 4, 3. The young man lies wrapped in a blanket is and has a curious point noteworthy : wool, both the heroes have their Daremberg et Saglio, Diet, des Antiquitcs, p. 12 14, fig. his head on a pillow, which is stuffed with thighs tattooed. 5 6 7- cover over it. J BOOK II N the next day Telemachus called to- Fig. 11. —Penelope at the Loom, with Telemachus winged human figure, a cross, and a star, while the side (line seams have an elaborate border of meanders and stripes. gether an assembly of the people, at 93). On-the cross-bar of the loom are a row of pegs, and Red-figured painting Attic vase of the fifth top which he took his father's seat, the on an what seem to be spindles. The drawing, however, is not century b.c. elders to him. giving place The accurate enough to enable us to determine accurately. how From Chiusi, now in the Berlin Aniiguarium. meeting was opened by the old man either these or the lower crossbars were worked. The vase- The reverse shows the " Recognition of Odysseus," given below, /Egyptus, with a few words of good will towards painting belongs to the fifth century B.C., but we have no fig- 79- reason to suppose that this loom is at all different from that Telemachus, who thereupon arose, and appealed to the Man. d. Inst., ix., PI. 4, 21. of Homeric times. Like all classical looms, it is upright, not people to see that the suitors no longer wasted his Ann. d. Inst., 1872, pp. 187-216. horizontal as in modern times, and was worked standing by substance. Antinous, the spokesman of the suitors, Baumeister, Denkmiiler, p. 20S5, fig. 2332. a weaver who walked backwards and forwards each time the replied that Penelope is to blame for having deceived Schreieer, Kulturhirt. Bilderatlas, PL 75, 1. shuttle was passed through the woof. the suitors by her famous web (87 foil). She had Blumner, Leben und Sitten, i., p. 171, fig. 81. Technologie, The scene here represented does not occur in Homer, but i-. is the been wooed seven long years before she consented to 53- manifestly intended to illustrate the second book, artist Smith, Diet, of Antiquities, article "Tela." allowing himself the liberty of inventing a scene in which give up hope of Odysseus, and to marry another ; but Telemachus before departing gazes in sorrow at his mother even then she pleaded that she must first finish the robe without taking a formal farewell. which she was weaving as a shroud for Laertes, the To the right of the picture Penelope sits in a pose which father of Odysseus, against the time of his death. The almost exactly corresponds with that of a famous series of statues suitors consented, and for three long years she deceived and reliefs representing her. (These are given in the Antike Fig. 12.—Ships. A Sea-fight (line 387). them, weaving by day and unravelling by night all Denhnaler of the German Arcliiiologisches Institut, Heft 3 (1883), Painting on an archaic mixing-bowl (crater) by the that she had woven. In the fourth year, just at the Plates 31 and 32, one of the reliefs being shown below in potter Aristonophos, of the seventh century B.C. fig. cf. Friederichs-Wolters, Gipsabgiisse, time the poem opens, one of her serving maids proved 78 ; No. 211, where the From Care, now in the Museo Etrusco Capltollno, Rome. bibliography of the subject is fully given.) Her attitude is traitor, and the suitors found her in the act of un- " sorrowful ; she has drawn her veil over her head, and rests it The reverse shows the Blinding of Polyphemus " and is ravelling it, and made her perforce finish the web. meditatively upon her hand. given below (Jig. 36). Antinous accordingly declares that the suitors will Before her stands a youth, is whose name, Telemachus, Mon. d. Inst., ix., PI. 4. not go until Penelope makes her final choice. After inscribed on the original vase-painting. He is clad in a mantle Ann. d. Inst., 1869, pp. 157-72- further (liimation), which leaves his right debate, and the appearance of an omen boding arm and chest free, and Klein, Mcistersiguatiiren, p. 27. carries two spears in death his left hand. The weapons indicate that fig. to the suitors, the assembly broke up, and Baumeister, Denhnaler, p. 1956, 2087. he is about to take his departure, and he gazes sadly on his Schreiber, Kunsthist. Bilderatlas, PI. 46, 2. Telemachus in despair went down to the sea, and mourning mother, for he has been forbidden to tell her of his prayed to Athena. She appeared to him in the form journey. of Mentor; promised to provide him with a ship In the background is the loom, a large upright framework, The only information that Homer gives as to the shape (fig. 1 for with 2), he had not asked the assembly for five bars running across. Round one of these is wound of the ships of his time is found in the epithets which he one ; and bade the web, from which the threads that form the woof hang gives them. Some of these (e.g., opOoxpatpai, Kopwv&es a/*<£i- him go home and get provisions for the voyage. to the ground, kept in place by little whorls or pear-shaped eAurtrai) seem to imply that both their bows and poops were The book closes with his departure for weights. The piece of cloth last woven, which hangs below built alike, and that at each end they had hooked beaks Pylus. the roll, shows a richly-woven pattern of winged horses, a curved like horns. The oldest picture of a Greek ship is fighting with one another. In helmets, shields, and spears, quite distinct in structure. The Habou, which re- prows and poops as already has no mast, a most unusual :> an Egyptian relief at Medinet to the left, which century or two the vessel vase-painting of Aristonophos given here is a sea-fight between the Egyptians under Rameses III. can be seen beneath the deck, but in presents a Both feature, the oarsmen shows practically the same type of ship. is very nearly that of the early later, but the rowers are not (1200- j 166 B.C., a date which which has a mast, They have a that to the right, vessels are represented as if out of water. (ireek pottery discovered by Mr. Petrie in the Fayoum), and the visible. to be dragged up on the peoples the Mediterranean, high curved poop to enable them scattered some of the white skinned of be noted that the stars and rosettes steered by large It should shore and to ride out a rough sea, and are probably the Greeks of Asia Minor (see the illustration in nothing to do with the scene, and and about the picture have the stern. The prow of the vessel to the left, Butcbei and Lang's translation of the Odyssey, p. 414, and oars in an invariable custom fill up the empty space, to im- are merely to possibly of that to the right, is decorated, according Baumeister's Denkmaler, p. 1595, fig. 1657). The earliest lines, on the other hand, the early potters. The zigzag ends in a beak or ram. with are the Dipylon ware, which memorial custom, with an eye, and pictures on Greek pottery on indication of the waves. with below the ships are a faint vessels have a deck, on which are warriors armed is at least as old as the ninth century, but these show the Both BOOK III. bowed down with age, and his right hand rests on his staff as the next day Tclcmachus and his the court (cf. fig. At early dawn on the next day N 5). young he speaks in welcome (note the two fingers raised) to the crew landed at Pylus, and found the a heifer with gilded horns was slain, and a burnt offer- man. A maiden, who is probably intended to be Polycaste, sacrificing to Poseidon and sacrificed to Athena. Telemachus then, after a the old people ing Nestor's youngest daughter (line 464), stands behind feast shoes, sword, a girdle, Nestor, with his sons in their midst. bath (cf. fig. 5), came forth and partook in the man, arrayed in an embroidered gown, a carries in her hand a dish S=2I Athena, in the form of Mentor, following the sacrifice. When this was over he and a bracelet, and a necklace. She of Telemachus with cakes on it, either for the entertainment advanced and was kindly greeted by Nestor, who in- Nestor's son Peisistratus left in a chariot, which Nestor or as a sacrificial offering. vited them to join in the sacrifice and feast (fig. 13). provided, on his way to Menelaus, and journeyed till he On hearing who Telemachus is, and of his quest in reached Phera:, where he lodged for the night with Fig. 14. —The Battle over the Bodyof Achilles (line 109). search of Odysseus, Nestor tells him of the troubles Diodes. Part of a black-figured painting on an archaic Achilles (fig. and of the Greeks before Troy ; how 1 4) vase {amphora) of the Chalcidian style, of the early Antilochus, his own son, fell in battle, arid how amid Fig. 13. —Telemachus visiting Nestor (line 31). PART OF THE SIXTH CENTURY. all their troubles Odysseus was the wisest of the Red-figured painting on South Italian vase of third From Vulci; formerly in the Pembroke Collection, now in tin- heroes. Then he spoke of the grievous return from or fourth century B.C. Hope Collection at Deepdene. Berlin Troy, of the death of Agamemnon (cf. fig. 23), and In Antiquarium. Mon. d. Inst., 1, PI. 51. Revue Archiologique, r845, PI. 40. Overbeck, Gatlerie her. Bildzv., PI, 23, 1, and p. 540. the vengeance of Orestes (cf. figs. 2-4), and ended by Luckenbach, Vasenb. d. Episclien Kyklus, p. 552. Baumeister, Denkmaler, PI. 1, fig. 10. advising him to journey to Menelaus and enquire Archiiologische Zeitung, 1S53, p. 106. Schreiber, Kulturhist. Bilderatlas, PI. 34, 5. if on his travels he had heard anything of Odysseus, Roscher, Lexicon, d. Mythologie, p. 50 (fig.). while at the same time he invited him to spend The artist of the Berlin vase has depicted the arrival of Helbig, Das horn. Epos., fig. 66. the night his in palace. Thereupon Athena, after Telemachus in the style of the South Italian painting of the Klein, Euphronios, p. 65 (I.). 622. commending Telemachus to Nestor's care, took the form third or fourth century B.C. Luckenbach, D. V. gr. Vasenbilder z. ep. Kyklus, p. Telemachus is a youth in a short shirt girded round the Sagenkreis, 151. of a sea-eagle, and departed, filling Nestor with such Schneider, Der Epische p. waist, armed with two spears and a shield, and carrying his Roberts, Introd. to Greek Epigraphy, p. 207 (189). awe that he vowed a sacrifice to the goddess (figs. conical felt cap in his left hand. Nestor is an old man, in a [6, 17). It was then evening, and they retired to rest, long embroidered shirt and ample of the mantle wrapped round his The death of Achilles is not described in any part Telemachus sleeping in a room round the colonnade of body and over his head, with soft shoes on his feet. He is Odyssey, but the battle which raged over his dead body is mentioned twice ; by Odysseus, who, in the stress of the storm Antilochus, son of Nestor, was slain by Memnon, son of cloth and has short hair) driving a heifer, which he holds in at sea, wished that he had died before Troy among the Achaeans the goddess Eos (bk. v., 187), and his death is shown on an by a rope tied to her off fore-leg. In front of the altar a who fought over Achilles (bk. v., 308/0//.), and by the shade of Etruscan urn. The present vase-painting is also supposed by woman in rich attire stretches branches, which she holds in Agamemnon in Hades, who tells the shade of Achilles how some archaeologists to depict it, though the inscriptions make both hands, over it, showing thereby that she is a suppliant the heroes fought over him the whole day, till Zeus stayed this doubtful. (they are iKrqpm KXdSoi). Behind the altar is the figure of them by a tempest (bk. xxiv., foil.) This battle is shown Two 37 warriors, armed with helmet, cuirass, greaves, sword, the goddess Athena in a rich garment, armed with helm and on the Pembroke vase. Achilles, fallen on the ground, lies with and shield, and wearing a shirt and a short cloak, are rushing shield, and raising her spear as if to thrust (the attitude of closed eyes, pierced by two arrows, one in the side, the other to attack one another. At their feet lies between them a Athena irpo/jLaxos). in the heel. Glaucus, one of the Trojan heroes, has thrown a dead man bearded and naked. Above and below the warriors' noose round his ankle to drag him off, but is himself struck shields " are the inscriptions Achilles " and " Hector," but Fig. 17.—Sacrifice (line 455). down by the spear of Ajax, who rushes forward and is thrusting there is no mention in Homer of any battle between them Fragment of a red-figured Attic vase of the fifth it into his side, having already driven another spear through over a dead man. Besides, the reverse of the vase represents century b.c. Glaucus's neck. Behind Glaucus kneels Paris, aiming his bow Eos bearing away the body of Memnon, which has suggested, From Tamilian, in British Museum. at Ajax ; but in vain, for the arrows and spears of the Trojans to those who find a difficulty in this, that the combatants here Journal of Hellenic Studies, are unable to pierce his shield, and rebound from it. are vol. ix., PI. 1. Achilles and Memnon (cf. fig. 21), and that the dead Iwan Muller, Haiidlmch. On the vase there are many other figures besides Sacralaltertiimer PI. 1. i. the four man is Antilochus, over whom they fought. The dead man here given. Behind Ajax is the goddess Athena encouraging is bearded, and this scarcely accords with the youth of In the centre is him, and making him more than a match for the two Trojan Antilochus but a column, on which is an idol of Athena ; in vase-paintings of this period all the figures in the archaic style. In front warriors, Aeneas and another, who advance to the aid are bearded (e.g., of this an altar of unhewn stone of Achilles and Memnon in fig. 21). A more has been built, a Glaucus. Besides these there are two more Trojans, one fatal objection, neat heap of faggots in a bright blaze. In and one that really makes the reference to the wounded, the other hurling a spear, and Sthenelus fire can be seen parts of the victim burning, binding Antilochus almost impossible, is the fact that the vase-painters, while over the fire two up the wounded finger of Diomede. in naming the youths (one youth invisible) hold rolls of flesh heroes in a battle scene, did not trouble to and fat (to a-n-Xiyxya) The armour of the heroes is well worth notice, especially the follow accurately on the end of double spits (cf. line 460). Homer (e.g., cf. Iliad, fig. 75). Close cuirass of Ajax, with the strange projecting rim seen in archaic to the altar is a sacred tree, from which a number of little votive tablets works of art (cf. //., fig. 7), and the loin-cloth or apron worn of painted terracotta are hanging. Further Fig. 16.— Sacrifice to Athena (line 440). to the left, a below it, in the place of the short shirt of later times. bearded man wearing a sacrificial chaplet is Black-figured painting on archaic vase of the sixth standing, while to the right the goddess Athena appears century B.C. armed with helmet (note the crest supported Fig. 15.—The Death of Antilochus (line rn). by a sphinx, as in the Gerhard, Etr. u. Parthenos of Phidias), a:gis, and spear. She in Black-figured painting on an archaic Attic Vase. Campan. Vasen, i., PI. 2. is the attitude of a spectator, gazing calmly at the sacrifice ; Millingen, Ancient unedited Man., i., PI. 4. but there can little Overbeck, Galkrie be doubt that the sacrifice is being offered to her, her. Bildw., p. 515, 36. Two men wearing fillets and long hair advance towards an and the artist intends us to suppose that Luckenbach, D. Verh. gr. Vaseni. :u ./. Kyklus, she is invisible to p. 539. altar of cut stone, accompanied by a man (who wears a loin- the worshippers. BOOK IV ELEMACHUS and Peisistratus arrive of Achilles (fig. iS), and that of Megapentes, son of The strangers are hospitably received by Menelaus in Sparta on the next day, and drive Menelaus by a slave. who tells them how he gained the great to the wealth of gold palace of Menelaus. They The feast was given in the great hall of the palace they see around them in his travels through Phoenicia, find him giving a feast to celebrate a (the Megaron, cf. fig. 6), and the guests were entertained Cyprus, and Egypt. He then speaks of his sorrow double marriage for —that of Hermione, by two acrobats, who tumbled to the music of the lyre the loss of Odysseus, and Telemachus bursts into tears. vho was being sent off as a bride to Neoptolemus, son (cf. //., fig. 74). Just at this moment Helen enters the great hall, with sends her a that both heroes have felt caps, showing that they are on a her maids, who carry her golden distaff charged with grief, cannot be comforted until Athena journey, and there is a second tripod for offerings near the purple wool (fig. 20), and her work-basket of silver set vision in her sleep. sacred palm-tree. on wheels (fig. 19). On catching sight of Telemachus she recognises at once his great likeness to Odysseus, Fig. 19. —Work-basket (line 125). Fir,. 18.—The Murder of Neoptolemos by Orestes too was wondering Red-figured painting on an Attic vase of the early and reveals to Menelaus, though he (line 5). fifth century B.C. at his grief, who he is. Peisistratus then declared Red-figured painting on a South Italian vase (large Found ill Attica. himself, and both were welcomed heartily by Menelaus amphora) of the third or fourth century b.c. Hevdemann, Griech. Vasenlulder, PI. 9, 5. and Helen. After they had taken food Helen tells the Found at Ruvo in Apulia, now in the Caputi Collection. Schreiber, Kulturh. Bilderatl., PI. 75, 9. story of Odysseus entering Troy to spy out the town Annali d. Inst., 1868, Tav. d'agg, I. Baumeister, Denkmaler, p. 1009, fig. 1215. The work-basket used by Greek ladies when spinning is in the disguise of a beggar. Menelaus gives a further Vogel, Sanen Euripid. Tragodien, p. 36. invariably of the shape shown in this painting, one narrow at instance of the prudence of Odysseus when the the bottom, wide at the top, and practically identical with our Achrean chiefs were concealed in the wooden horse " " baskets. The lady seems to be engaged in Neoptolemus, "son of Achilles, had been brought up during waste-paper betrayed themselves but for him and would have wrapping wool out of the basket round her distaff (^XaKanj), the Trojan war in the island of Scyrus (//., xix., 326), whence (cf. figs. 32, 33). from which she will presently spin it with the aid of a spindle after his father's death he was fetched by Odysseus (cf. fig. 55 (arpaKros). This is shown in her left hand. It consists of a Then Telemachus and Peisistratus retire to their and Od., xi., 506 foil.) At the taking of Troy he was one of at to the chief figures, and slew Priam on the altar of Zeus (cf. fig. short stem, with a hook the top hold the thread fast, and rooms, in the colonnade round the courtyard (cf. fig. 5), ending below in a weight called the whorl, which acts as a fly- 56). After the war he returned with the Myrmidons to his where luxurious beds had been laid for them father's throne, and wedded Hermione, daughter of Menelaus. wheel and keeps it spinning round. (cf. fig. 10), while Menelaus and his wife sleep in the It was this marriage that brought about his death at the It is somewhat unusual to find the basket used for unspun inmost part of the house, in the women's apartments hands of Orestes, to whom Hermione had been betrothed. The wool, for it usually held only the spun thread ; as in the passage in (line nj/iaros duKi^Tolo (cf. fig. 5). story is not given by Homer, but forms part of the plot of Homer 134, fitjivajLaiov) ; after it had Euripides, which agrees in the with been taken off the spindle. Next day Telemachus unbosoms himself of his the Andromache of main scenes in the vase-painting. In this version Neoptolemus had For baskets in antiquity see Smith's Diet, of Antiquities troubles with suitors, and asks news of his father. gone to Delphi to make atonement to Apollo for having asked (1890), article "Calathus," p. 330; and for the distaff and Menelaus replies by a long story : how when land- satisfaction for his father's death. Orestes lay in wait for his spindle the article " Fusus," p. 897. locked in Proteus, Egypt he captured the old man of the enemy at the shrine, and slew him on the altar. sea (fig. 22), and learned from him of the murder of The artist has depicted the temple of Apollo at Delphi in Fig. 20. —Woman Spinning (line 131). the background, with the oracular tripod, the Omphalus (Delphi Agamemnon (fig. 23), and the detention of Odysseus by Red-figured painting on an Attic vase. was believed to be the central point of the earth, and called its Calypso in the island of Ogygia. He ends by inviting Panofka, Bilder ant. Lebens, PI. 19, 2. " navel," or Omphalus, this is and symbolised in Greek art Schreieer, Kulturh. Telemachus to stay with him eleven or twelve days, but Bilderatl., PI. 75, 5. by the curious oval object covered with ribands and beads Telemachus pleads that his companions await him in in the middle of foreground), and the palm-tree in front, all The method of spinning with the spindle described above I'ylus, and that he must depart. They go in to feast, characteristic marks of the place. (fig. 19) is clearly shown in this painting. The lady held in and then suddenly the story Neoptolemus has been wounded in the side, and has taken of Telemachus' adventures her left hand the distaff with the wool wrapped round it, and refuge on the altar. He half kneels on it, and as the breaks off, not to begin again until the thirteenth book. blood with her right hand gradually drew a small portion out to form gushes from his wound tries to defend himself—with a mantle the thread. At the same time she gave it a twist, which the The scene shifts to Ithaca, and the astonishment (chlamys) wrapped round his left arm and a drawn sword in impetus of the spindle below continued, until it was closely and dismay of the suitors on learning that Telemachus his right from Orestes, who rushes from the — behind Omphalus spun thread. She continued this process until the thread had had really set out is described. In their fright to attack him. Meanwhile a companion of Orestes is they about to become so long that the spindle touched the ground, then determine that he must be slain, cast a spear at him from behind. In the background sits and devise a plan of pulled the new-made thread through the hook, wrapped it Apollo (arrayed in cloak and carrying a bow, while a shield waylaying him on his homeward voyage in a narrow round the spindle, and repeated the spinning until the wool in lies beside him) calmly gazing on the fight. On the other side the distaff was exhausted. strait. Penelope learns of the plot, is amazed to find is the priestess of the temple carrying the key (cf. //., fig. 39), The appearance of the spindle without thread wrapped round that Telemachus is from home, and, distraught with and raising her right hand in alarm. It should also be noted it is shown in fig. in. picture of the two heroes (the Brunn, Rilievi d. urne etr, i., PI. 74, 2. jr and Memnon The painting gives a spirited . between Achilles Ifi . 2I Combat armour except a helmet shows Baumeister, Denkmaler, p. 21, fig. 22. (line 188). fact that they wear no body them to be heroes) rushing on one another, Achilles with the Red-figured painting on the neck of an Attic vase The story of the murder of Agamemnon given here and spear, Memnon with a sword. Behind each hero is His the fifth century b.c. hi., differs from that in Od., xi., 421, in (crater) of in Od., i., 35 ; 198, 308, mother, following his fortunes with intense exciterhent, Thetis >Egisthus and none on Clytemnestra. at Cine, now in the British Museum. laying all the blame on Found cheering on the conqueror, and Eos crying alarm to the The latter version, however, in which Clytemnestra takes part Gerhard, Auserlesene gr. Vasenb., PI. 204, 1. conquered. in the murder, became the accepted one at an early date, and Baumeister, Denimaler, p. 920, fig. 993. like received its final form at the hands of the dramatists, who, Luckeneach, Das V. gr. Vasenb. 2. ep. Kyklus, p. 617. Fig. 22. — Proteus. /Eschylus, made her the chief actor. With this goes a change Overbeck, Galkrie her. Bi/Jw., xix., 4, No. 60 (p. 523). Red-figured vase-painting on South Italian vase. in the circumstances of the story. In Homer Agamemnon is Roscher, Lexicon der Mythologie, p. 1271 (fig.). In the Naples Museum. murdered at table (ms /3oCs rai i^irg), while in the classical Borbonico, xiii., PI. Museo 58. version Clytemnestra throws a robe over him in his bath, and, as he struggles in its folds, slays him with an axe. In the jEthiopis (cf. //., fig. 3, where the battle of Achilles the sea is here represented as a man down occur on any extant Greek works of art, the The old man of This scene does not and Memnon is shown on the bottom row but one of in crabs' claws, and to the waist, but with fishes' tails, ending but is shown on Etruscan urns, as in fig. 23. Tabula Iliaca), we are told that after the death of Hector, the his head, shoulders, sea-dogs instead of legs. This is the manner in which In it we see, in the centre, Agamemnon, Penthesilea, queen of the Amazons, came with her troops to Greek artist suggests the manifold shapes into which he could and arms covered with a cloth, struggling helplessly as he the help of Priam, but before long was conquered and slain change himself. Rays issue from his head, which, like his half-kneels on an altar, to which he has fled for refuge. by Achilles. Thereupon, Memnon came as a forlorn hope to with his left beard, is rough and dishevelled as befits a sea-god. To the left .'Kgisthus "comes forward, seizes him Troy. He was the son of Eos, the goddess of the dawn sword, to deal He is defending himself with a club, and a cloak wrapped hand by the head, and in his right holds a drawn (cf. fig. 75), and Tithonus, the brother of Priam, whom round his arm, against the attacks of Menelaus (armed with the murderous blow. Eos, enamoured with his beauty, had carried off and wedded. door, conical helmet, shirt, cuirass, and shield and sword), and one of the right Clytemnestra, hurrying through an open Memnon, with his army of Ethiopians, was a more formidable To his crew (in chlamys and " wide-awake " felt hat or petasus, swings a footstool with both hands above her head, aiming it enemy than Penthesilea. He pressed the Achseans hard, and armed with sword and shield). at her husband. Nestor was all but slain by him, only escaping at the cost of Behind her, hiding at the back of the door, is a terrified ser- the life of Antilochus (cf. fig. 15), who sprang between him the garb vant, while on the other side is a winged goddess, in and the foe. Antilochus had gone into battle in place of of (line She Fig. 23. —The Murder Agamemnon 23). of a huntress, and holding a sword drawn from its sheath. Patroclus, and Achilles, angered once more as he had been is present either Relief on an Etruscan funeral urn. is an Etruscan Fury (cf. figs. 42, 96, 97), and by Patroclus' death, went out to fight. He met Memnon in witness a deed of blood, and to Formerly in the Museo Gaddi, Florence ; now in the Louvre, as the deity of death or to single combat, and slew him ; for Eos had not been able to guilty as her prey. change the will of Zeus, and persuade him to save her son. Fan's. mark the BOOK V. difficulty persuades her to promise obedience to Zeus. HE fifth book, like the first, opens island of Ogygia. Zeus thereupon consents to the departs, and Calypso provides Odysseus with an with a council of the gods. Poseidon proposal she had made at the former council (i., 1 4), He axe adze. With these he worked for three days, is still absent, feasting with the and sends Hermes to command Calypso to allow and rude boat, the famous " raft." Ethiopians, and Athena once more Odysseus to depart. Hermes puts on his golden sandals, and built himself a good-sized boat, a careful piece reminds Zeus that Odysseus has not flies over the sea, and finds the nymph weaving in a It was, however, a carpentry, partly decked, with gunwales and bul- yet been released by Calypso, and lies pining in the delightful cave (1. 57 foil., fig. 24), and not without of of Zeus, with a certain elegant want of haste or ' wide, by mands A HOUSE, OPPOSITE THE Pantheon," 2 ft. 8 in. warks (1. foil). He fitted this boat with a mast 247 seriousness. The nymph seems equally at her ease, and 2 FT. 10 IN. HIGH. it cloth by Calypso, and rudder, rigged with provided the feeling of the whole is that of a graceful decorative design Museo Borbonico, i., PI. 32. and brought it down to the beach on rollers. On the rather than of a dramatic picture. Heleig, WandgemdUe, 20. next day he took in as provisions skins of wine and Archaologiuhe Zeilung, 1867, p. 14. water and a sack of corn, and set sail. When he had been out seventeen days, Poseidon, on his way Fig. 25.— The Raft of Odysseus wrecked (line 313/0//.). a back from the Ethiopians, caught sight of him from In the centre, forming the background of the picture, is Relief on a Roman terra-cotta lamp in the Munich with a strangely ornamented capital the heights of the mountains of the Solymi, sent down pillar rising from a rock, Antiquarium. of (like those erected in honour of Artemis). At the bottom a storm, and wrecked the raft. Odysseus clung to the Annalid. Inst., 1876, Tav. d'agg., R. 1. figure of a rustic deity. the pillar is the Denkmaler, p. 1037. timbers, and was in a sore plight until Leucothea, a Baumeister, To the right Hermes, wearing a cloak (ch/amys) and winged sea-nymph, took pity on him and gave him her magic wide-awake hat (petasus), stands in an easy attitude, holding The relief shows the raft tossed on the crest of a wave, and veil. Binding this round him, he swam for two days his herald's staff (mjpvxaov = caduceus). exposed to the blasts of two wind-gods, whose heads appear and two nights before seeing land. He was cast by He has not got winged shoes, his feet being bare. To the left. The mast has snapped where the yard- right elbow on a pillar, is a goddess. The above and to the the sea among the breakers left, leaning her ; but, by the aid of Athena, arm crosses it, and is falling. On the deck sits Odysseus, upper part of her body is uncovered ; she wears a mantle passed through them into calm water, and made for right in a gesture of speech (cf. 1. loosely wrapped round her waist, a veil which she is coquettishly raising his hand 299), the mouth of a river. There he landed, crept under with the other to hold the rudder. He is clad raising, a diadem, a necklace, and sandals. The drapery and while he strives some bushes, made a bed of leaves, and fell asleep, in a fisherman's shirt (exomis) and cap (pilidion = pilleus), his the attitude of the figure are those peculiar to Venus ; but The worn out by his troubles. this does not make Professor Michaelis's identification of it traditional dress (cf. figs. 34, 35, 47, 48, 65, 79, 80). built boat, but a true with Calypso impossible, for it is not unusual to find nymphs raft is not, like the Homeric, a carefully and other minor goddesses represented in this way in Graaco- raft of planks tightly lashed together. I 1.. 1 Hermes visiting Calypso (line js/oll). Roman art. If we interpret the scene on this supposition, we The surface of the relief is not well preserved, and it is wind-gods represented, but U'.u 1 PAINTING FROM POMPEII, FOUND TO THE NORTH SIDE have a rustic shrine with a pillar dedicated to Artemis, instead possible that there were two more <>l INI StRADA HI '1.1 AUGUSTALI, ON THE OUTER WALL OF of the cave by the sea, and Hermes giving Calypso the com- that their heads have been lost. BOOK VI, HE scene then changes to the city of maids. They drove to the river, on whose banks we him. The girls caught sight of him, and fled in terror, the l'h.uacians, a people who dwell left Odysseus asleep, and washed the clothes in its so wild was his appearance, all except Nausicaa, who in Schcria, having been driven from water. Then they spread the linen (fig. 26) out to dry, stood her ground. He stood apart and begged for their former home by the Cyclopes. bathed, and took their midday meal, and afterwards pity, and she gave him food and drink, oil to bathe Athena goes to the palace there, and cast away their wimples, and began to play a game with, and clothes. Then, refreshed, he went with appears to Nausicaa, the daughter of Alcinous, king of of ball (fig. 27), keeping time to the words of a song. Nausicaa and the maids back to the city, parting with the Phaeacians, in the form of her favourite maid. She As they played one of the maids failed to catch the her, however, at the grove of Athena, outside the city, persuades her to a washing, and next day Nausicaa ball, and it fell into the river, whereupon they shrieked to prevent gossip or scandal. starts out from the city, driving a waggon drawn by- and woke Odysseus, who lay near them. He crept mules, containing the linen, and accompanied by her out from the bushes, with only a leafy branch to cover ; both in the air at the same time. She is Fig. 29. —Odysseus and Nausicaa (line 127). Fig. 26.—Women folding Clothes (line 26). conjurers, keeps represented indoors and seated on a chair; while a young Red-figured painting on an Attic amphora of the Red-figured painting on an Attic vase (stamnus) of man leans on his staff and watches her. He is a visitor, early part of fifth century B.C. THE FIFTH CENTURY B.C. and has his mantle closely wrapped round him, as though he From Vulci ; in the Old Pinakothek at Munich. From Vulci formerly in the Campanari Collection. ; were still in the street. Between the two is a pet goose, a Gerhard, Auserlesene gr. Vasenbilder, iii., 218. Gerhard, Auserlesene Vasenbilder, iv., 301. bird that in classical times took the place of the domestic cat. Baumeister, Denkmdler, p. 1037. Schreiber, Kulturhist. Bilderatlas, PI. 82, 1. In Homeric times whole flocks of geese were allowed into Bolte, De mon. ad Odysseam pertin., p. 37, B. Blumner, Leben und Sitten, i., fig. 84. the house, and Penelope had as many as twenty of them, Overbeck, Gallcric her. Bildw., PI. 31, 3, p. 756. Baumeister, Denkmdler, p. 1919, fig- 2034. whom she fed herself (xix., 536-7), and even at the magnifi- Panofka, Bilder ant. Lebens, PI. 18, (only part). cent palace of Menelaus there were geese in the courtyard 5 (bk. xv., 160 foil.). This vase-painting shows us a scene indoors, in the women's There is an excellent account of ball games in Smith's To the left Odysseus stands on a rock, having left the apartments, as is hinted by the mirror and garments which Dictionary of Antiquities, ed. 1891, vol. ii., under "Pila." For shelter of the trees, quite naked, but holding in his right hand hang from pegs in the background. Two women are engaged the goose as a pet, see Daremberg et Saglio, Diet, des Ant. a brand to screen himself. In the other hand he holds of a in folding clothes, after washing them. Between them is a Bes/ia, p. 701. another bough, but in a way that suggests the gesture chair, on which more clothes are lying, and to the right suppliant rather than of one covering his nakedness. Before a chest (#cu/iia/*o's), in which they are about to pack the him, but in the background, and supposed to be invisible, is clothes. It is worth noting that cupboards, chests of drawers, the goddess Athena, his protectress, wearing the Eegis, and and similar articles of furniture were unknown in antiquity, armed with helm and spear. In front of her are two maidens ; Fig. 2S. —Artemis, the Huntress (line 102-9). and that only long chests of the kind here shown were used the one to the right running away in great terror, the other Red-figured painting on Attic vase of the early part for storing clothes. In this respect the vase-painting, though walking away, but yet through inspiration of the goddess of the fifth century B.C. painted some four centuries later, gives a good idea of turning round with a gesture of surprise to see the hero. Gazette Arch., 1885, PI. 32. is dressed Homeric times. This is Nausicaa, and like her attendant maid she in a shift {chiton), girt high up round the waist, and wearing over her shoulders a small shawl (himalion). Both have rank. The comparison of a beautiful woman with the goddess diadems on their heads to show their Fig. 27. —Girl playing Ball (line 100). it the clothes which the Artemis is frequent in Homer. Nausicaa here, Helen in Behind Odysseus is a tree, and on Red-figured painting are hung to dry. On the other side on an Attic vase of the fifth bk. iv., 122, and Penelope in xvii., 37, and xix., 54, are all girls have been washing in washing clothes. The century B.C. compared with her. The gift of beauty that she bestowed of the vase are three maids engaged in the water with a rock in front, and From Nolo, ; in the British Museum. was stature (cf. bk. xx., 71), and the point of the comparison one to the right stands it with Anna/id. Inst., is on the linen with her feet, and wringing 1841, Tav. d'agg., J. lies in the tallness and litheness of her form. The vase- treading high, like all the Baumeister, Denkmdler, p. 248, fig. 229. painting shows one of the earliest representations of the her hands. She has her shift tucked up The other two goddess as a huntress. Unlike the more familiar but later other figures, and wears her hair in a cap. another while wringing types, she is clad in a long shift (chiton), and a short mantle figures are represented talking to one This description of the game of ball played by Nausicaa fastened on her right shoulder and leaving her arm bare and folding the clothes. more closely than is and her maids is the earliest in Greek literature. They tossed while on her head is a cap or net, with a metal band or The artist has followed Homer much the ball variation he has introduced from one to the other in time to the words of a song, diadem in front. She is striding rapidly in pursuit of her usual in vase-painting, the only just invisible spectator, and as girls in the islands of the South Pacific do nowadays. quarry, and is in the act of drawing an arrow from the quiver. being the presence of Athena as an as a suppliant The vase-painting shows quite a different game, played with By her side runs a doe, one of her attributes in her character the twigs of olive branches which Odysseus two balls by a single girl, who, in the style familiar to of huntress. wears in his matted hair. BOOK VII Alcinous the king welcomed him as a had (cf. fig. 6). that moment the mist in which Athena DYSSEUS, after waiting outside the At guest, promising him hospitality and a safe convoy home. wrapped him melted away, and he became visible. walls for a while, came to the city, Then Odysseus was given meat and drink, bathed and the queen to aid him to return home, and and, under the guidance and pro- He prayed clothed in new raiment, and, wearied by his toils, slept custom of suppliants, took his seat by tection of Athena, who made him then, after the the colonnade of the palace. the centre of the hall in the ashes in invisible, entered the palace of King the hearth in Alcinous, and fell at the knees of Arete, the queen. BOOK VIII — it in half. In the upper part, to the left, is another quoit- Halius and Laodamas began their performance by throwing Fig. 33. —The Wooden Horse dragged into Troy (line 500). thrower (discobolus) preparing to throw ; and in the background a ball one to the other, and catching it with a jump while from Pompeii. a pick lying on the ground, and a discus in its case hanging in the air. Then they went on to dance and toss the ball Wall-painting from a peg. In front of him is a youth holding a staff or from hand to hand in measured time to the clapping of their In the Naples Museum (No. 9010). spear and resting, and behind in the background another pair friends. The Roman game of " Trigon," which is represented Ant. d. Ereolano, iii., PI. 40. of jumping weights (halteres). To the right are two wrestlers in the wall-painting, was somewhat of this latter kind. Three Helbig, Wandgemiilde, No. 1326. just about to close with one another. One of these wears youths stand, tossing six balls from one to the other under a felt cap, fitting closely over his hair. In the background the directions of a bearded instructor (pilicrepus), who is Homer's mention of the bringing of the wooden horse into are two staves, and above them a flesh-scraper (stlengis, Lat. teaching them and keeping the score of their failures to catch Troy is so brief that it is rather to Virgil than to him that we strigiiis) and oil-flask (lecythus), and a sponge for bathing. the balls. turn for the story. The Pompeian wall-painting agrees well The space between these and the pillar is occupied by one Another interpretation makes the young man to the left with the story as told in the -Eneid (bk. ii., 234-49). To of the handles of the vase. merely a spectator, and the bearded man one of the party the left we see the walls of Troy, and the wooden horse On the other side, to the left, a bearded man with a staff playing the game, not merely an instructor. See Smith's entering through the newly-made breach, dragged along on rollers by the Trojans, women. Children dance in his left hand, and in his right an object which it is difficult Dictionary, vol. ii., art. " Pila," p. 425. both men and to identify—probably a piece of string. He is doubtless one before the monster, and worshippers with branches in their of the trainers (iraihoTjtifiaL), who instructed the youths in hands accompany it to the Temple of Athena, whither also athletics, taking part in them himself; for he, too, wears a a long procession of women bearing torches is wending its close-fitting cap. way. Fig. 32. Athena modelling a Horse in Clay (line In front of him is a youth with jumping weights, who cannot — 493). To the right of the picture is a sacred grove, out of which be in act rises a lofty column surmounted by a vase. In the grove is a the of alighting after his jump, as some of the Red-figured painting on an Attic vase. German writers maintain, but is probably using the weights shrine, and before it a statue of Athena on a high pedestal. In the Berlin Antiqu as dumb-bells, a common practice in the wrestling schools. A woman kneels below, and with outstretched hands prays to Ann. d. Inst., 1880, Tav. d'agg., K. In the background near him are staves, a pick, flesh-scraper, the goddess. This must be Cassandra, who alone foresaw sponge, and oil-flask, as on the other side. Before him, in Baumeister, Denkmakr, p. 741. the ruin which was coming on the Trojans. In the grove the centre of the picture, stands a bearded man, leaning on Smith, Diet, of Antiquities (ed. 1891), art. "Fictile," are two other figures, —an old man seated in an attitude of a walking-staff, and holding a jumping weight. He, too, is p. 854. profound melancholy, probably Priam, and a priest who an instructor (7rai8o7yji/3>)s). To the right is a youth hurling approaches Cassandra. This can hardly be regarded as a spear, and in the background near him a quoit in its case Laocoon. and two staves are seen, while behind him and under the other High above the rest of the scene is the citadel hill, with handle of the vase is a pick. It was with the help of Athena (line 493 of Virgil, v£«., towers and battlements. On the slope a woman stands and This vase is ii., inscribed on the inside with the well-known 15, divina Palladis arte) that Epeius made the celebrated waves a torch. This is doubtless Helen, who is giving the " " love-name Panaitios, which shows that it is the work of wooden horse (lttttos bovpartos, or in Attic Greek, 8017x0s lttttos). Greeks at Tenedos a signal that their stratagem has succeeded tin school to which the great master The vase-painting represents her alone in the workshop of Euphronius and Duris (cf. Virgil, .En., vi., 518 : belonged, if not actually from the brush of the former. Epeius, whose carpenter's tools hang on the wall behind. " Flammam ipsa tenebat Danaos ex arce vocabat "). She is busy modelling a horse in clay, and is just finishing Ingentem el summa off the nose. The horse stands on a basis, and, except for The original picture is of very careless workmanship and very j Fig. i. —A Lesson in the Game of Trigon (line 372). the off hind-leg, which is only half modelled, is complete. dim in parts, so that the figure in the text, apart from being Wall-painting from the baths of Titus on the A large lump of clay lies in front of the basis. The artist reversed, gives but a faint idea of its appearance. This Esquilini Hill, Rome, of the second centukv a.d. evidently intends us to gather that Athena is forming in clay sketchiness is perhaps accounted for by the fact thai the Panofka, Bilder ant. Leiens, PI. 10, 1. a pattern, which Epeius will afterwards copy in wood. This scene is by night, a point which makes this and a replica Baumeister, Denkmakr, p. 248, fig. 230. interpretation is made certain by the bow, drill (cf. fig. 39), lately discovered quite unique in ancient art as the only Smith, Did. of Antiquities (1891), vol. ii., p. 425. and saw, which hang on the wall. attempts to represent torchlight. BOOK IX. allowed the rams to go out, carefully feeling their DYSSEUS at length reveals his name it again, imprisoning the Achaeans. Left thus alone, backs, but failing to discover the Achaeans tied below, and proceeds to tell the story of his Odysseus devised a plan of revenge, and taking the only having his suspicions aroused by the ten years' wanderings. Cyclops' huge trunk of olive wood, cut off a fathom's and fact that the finest ram left the cave last, instead of first, After the fall of Troy, he sailed length, sharpened it to a point, and hid it in the dung (figs. thus first to the land of the Cicones and that lay scattered in the cave. The Cyclops returned as was his wont 40, 41). Odysseus, set free, their crews, sacked their city Ismarus, then made straight for home in the evening, and once more seized two of the sailors went down to the ships and who had in anxiety but, unable to resist only to be driven out of his course by contrary winds, for his supper. Then Odysseus stepped forth holding waited ; taunting the nearly fell a victim to him which carried him to the land of the lotus-eaters. out an ivory bowl filled with wine (figs. 34 and 35), Cyclops, once more, for Thence he sailed on, and in the darkness of a misty, which the Cyclops drank with relish and asked for the crags which the giant threw into the sea all but moonless night entered a land-locked harbour in the more, promising a gift in return if Odysseus will tell drove the ship on the shore. Even after this escape country of the Cyclopes, savages who were without his name. Three times the cup was filled, and each he hurled taunts once, and brought down on himself even the elements of law or civilisation. time the Cyclops drained it. Then Odysseus told him the curse of the Cyclops, who prayed to his father Leaving the harbour, they rowed on to a huge cave that Noman was his name, and the Cyclops answered Poseidon to take vengeance on Odysseus, a prayer near the sea. Odysseus landed, and with twelve that as his gift he would eat Noman last of his fellows. which was the cause of most of his future troubles picked comrades entered boldly, carrying with him a Thereupon, overcome with wine, he fell into a drunken (see bks. i. and iii.). skin of wine and a wallet of corn. They found the sleep, and Odysseus and his comrades made the stake cave full of baskets of cheese and lambs and kids, hot in the ashes of the fire. Just at the moment that kindled a fire, prepared a supper, and waited for the it was about to burst into a blaze, they raised it all Fig. 34. —Odysseus with the Bowl of Wine (line 345). return of the owner. He was a huge ogre, soon and together, thrust it into his eye, and bored it out Statuette in the Museo Chiaramonti, Vatican, Rome. came driving home his flocks, and carrying a bundle (figs. 36-9). The Cyclops woke with a terrible cry, Annali d. Inst., 1863, PI. O, 2. of dry wood for his fire. After the rams had been and, maddened with the agony, shouted to the other Baumeister, Denkmdler, pp. 1035 and 1038, figs. 1249 separated from the ewes and she-goats, he closed the Cyclopes for help. They ran up and asked what and 125 1. door of the cave with an enormous stone, sat down ailed " him, and in reply he exclaimed, Noman is to milk his flock, and to curdle the milk for cheese. slaying me by guile, nor at all by force ; " and they, Odysseus is here shown in his traditional costume, a short This done he kindled a fire, and for the first time saw concluding that a fit of madness had come upon him, shirt with one shoulder free (exomis), a cloak pinned at the the Achaeans, and in spite of their entreaties seized two, shoulder (ch/amys), and a conical felt cap {tilleus). His went away without more ado. The Cyclops, left thus dashed out their brains, and ate them piecemeal, washing alone attitude, with the bowl raised up high, and his head raised in his pain, groped with his hands, and, lifting the with eyes gazing upwards, at once suggests the immense size down his horrid meal with milk. Surfeited, the monster huge stone, waited at the door to catch his prisoners of the ogre, to whom, as the gesture of his right hand shows, fell asleep, and Odysseus and his comrades spent the escaping. Odysseus, however, devised a plan of escape, he is speaking. night in fear and mourning. Next day Polyphemus by tying his comrades to the rams of the flock, one The same figure is shown in several replicas, none of which, kindled the fire anew, milked his flocks, and once more man however, reach such a high level artistic excellence (cf. being carried by three bound together by withes. of ate two of the Achaeans. Overbeck, Myths Then, after the meal, he Galkrie her. Bildwerke, 3 ; Miss Harrison, He tied himself beneath the belly of the Cyclops' 1 removed the stone and drove his of the Odyssey, p. 20). The subject is also shown on several flocks out, but closed favourite ram. The Cyclops, when the dawn came gems. giving the Bowl to the Cyclops the head of Polyphemus is a curious oblong piece of wicker- thrusting into his eye the pointed trunk of an olive tree, to pIG . jj. —Odysseus work, mounted on a pole stuck in the ground. This would which branches are still attached. Behind the ogre, in the (line 345)- seem to be an attempt to represent the cheese-baskets which recesses of the cave, the sheep gaze with interest on the Relief on a Roman terra-cotta lamp. Homer speaks of (line 219, rapa-ol ij.Iv rvpuv fipiQov). Above sufferings of their master, while a goat grazes peacefully on Bought at Navies by Prof. Brunt:, of Munich. this object is the artist's signature, " Aristonophos made," the crag above. Ann. d. Inst, 1863, Tav. d'agg., O. 3, p. 430. while all over the picture are circles filling up the vacant spaces,—a device very common on archaic pottery. The Cyclops is seated on a rock, and holds with his left Fig. 39. —Carpenter Drilling with a Bow-drill (line 384). companions of Odysseus, whom he has slain hand one of the Figure from an early Christian glass vessel with Fig. The Blinding of Polyphemus (line 382). for his ghastly supper. Odysseus, clad in the shirt and cap 37. — ornaments in gold. described above, reaches the bowl of wine to him, holding it in Black-figured painting on an Attic vase (anochce) Found in the Catacombs at Rome. both his hands. The difference in size between Odysseus and OF THE SIXTH CENTURY B.C. Schreiber, Kulturhist Bilderatl., PI. 7. is nearly so great as we should expect, but 74, Polyphemus not In the Naples Museum. Baumeister, Denkmdler, p. 1820, fig. rgi2. due to the artist's desire to fill in the whole of the left this is Gazette Archeol, r887, PL r. Abhandlunge?i d. Sticks. Ges., Band v., PI. xi., 1. side of the design. Where the composition allows it, as in Schneider, loc. cit., p. 53 (f). the case of the dead Achaean, the ogre is several times as big Bolte, loc. cit., p. 8 (e). as the man. The use of the drill (rpmravov) is of the highest antiquity, and point that calls for remark is the eye of the Cyclops, One was as well known in Homeric times as it is now. It was of quite ordinary shape, whereas literary The painting shows two distinct scenes : to the left a sailor which seems to be an driven round either by the use of a strap twisted round the (petasus), girt with tradition has represented him as one-eyed. This is, however, in short shirt and wide-awake hat and a sword, handle of the drill, or by the string of a small bow twisted fire pole, while to the right two rule in Greek art, and it is only in Roman and Etruscan is stirring up a with the men the round it in the same way, thus forming the " bow-drill." It is pole into appears with one or, as is sometimes the case, similarly clad are plunging the blazing the eye of the art that he worked by simply drawing the bow backwards, as the man in eyes. How hideous the result was may be seen in the giant, whom the artist has tried to depict in his true propor- three the picture is doing, and forwards, and is still used by most tions. He lies back half sitting on a rock beneath the spread- Etruscan painting in fig. 38 (for the authorities, cf. Daremberg metal-workers. his Saglio, Diet de Ant., ing branches of a tree, eye is closed in slumber, a club et p. 1695). For drills in antiquity see Smith's Dictionary of Antiquities rests on his left arm, while his right hand is laid upon his knee (ed. 1890-1), art. "Terebra." in an easy attitude. Fig. 36.—The Blinding of Polyphemus (line 382). The presence of a tree (cf. figs. 40, 41) leads one at first to artist has ventured to differ from Homer Painting onan archaic vase by the potter Aristonophos. assume that the and place the scene in the open air instead of the cave, but the 40. Odysseus under the Ram (line From Care, in the Museo Etrusco Capitolino, Rome. Fig. — 431). practice of vase-painters of this date scarcely bears this out. (cenoclue) The reverse is shown on fig. 12. Black-figured painting on an Attic vase of Such branches are employed merely to fill up space, and have, Mon. d. Inst., ix., PI. 4. the sixth century B.C. as a rule, nothing to do with the subject depicted. Schneider, Der troische Sagenkreis, p. 53 (a). In the Museum at Athens. Bolte, Mon. ad Od. pertin., p. 2. Hydemann, Griech. Vasen., PI. 8, 2. Miss Harrison, Myths of the Odyssey, p. 22, fig. io/>. Schneider, loc. cit, p. 60 (9). Fig. 3S. The Blinding of Polyphemus (line Baumeister, Denkmdkr, p. 1038, fig. 2087. — 382). Bolte, loc. cit, p. 12 (b). Etruscan wall-painting in the third chamber of the Harrison, Myths, p. 1 7 ; fig. 8 a. tomb of orcus at corneto (the ancient tarqinii.) Journal of Hellenic Society, iv., p. 259, No. 9. Polyphemus in this painting is no bigger than Odysseus Mon. d. Inst, ix., PI. 15, 7. and his mates. He is starting up from sleep, and supports Bolte, loc. cit, p. 9. himself on his left hand, while with his right he strives to The Cyclops, with his club, sits at the mouth of the cave in Miss Harrison, Myths of Od., p. S (note). ward off the burning pole which the Achasans have thrust into much the same attitude as in fig. 37, except that his eye is Daremberg et Saglio, Diet d. Ant., p. 1695, fig. 2259. his eye. The pole is held by Odysseus and four comrades open, and his hand raised to feel the ram's back. Only the issuing the cave, (cf. line 335, T«r(rapes, avrap eyui ttc'jUtttos fiera rolmv t\(ypt]v), head and shoulders of the ram appear from each of them armed with a sword. The figure to the Polyphemus is here depicted as a revolting monster with a represented by a shapeless piece of rock, and below his neck extreme left shoves with one foot against the wall which huge eye in his forehead. His name Cuclu (=Cyclops) is the bearded head of Odysseus is seen. The scene is shown to bounds the picture, to make his efforts more effective. Above inscribed above. Odysseus (inscribed Utusie) unaided is be the mouth of the cave by the rock to the left, and by Odysseus mocking Polyphemus (line 473). of the men have their Fig. 42.— the under his belly, approach him. Two rock to the right, which appears above another piece of in the at Leyden. tightly together round the ram's neck, but the Relief on an Etruscan urn Museum the latter, and spread arms bound of the Cyclops. Shrubs grow from head Drandishes d. urn. Etr., i„ PI. 87, 4. third, who leads the way, has both arms free, and Brunn, Ml. the background of the picture, as in fig. 37. over of the ram Gall. her. Bildw., xxxi., iS, p. 774- a sword in his left hand, while he clasps the neck Overbeck, with his right. ship holding a shield, and gazing This addition to the Homeric story of Odysseus arming Odysseus standing in his fails, is of his ship towards the land. The sail is set, under the Ram (line 431). himself, prepared to fight the Cyclops if his device over the poop Fig. it —Odysseus escaping has the at the oars, and the helmsman is working the tiller, found in most of the vase-paintings of the subject, and the rowers an Attic vase (cylix) of Red-figured fainting ON his is almost on the rocks, which appear in the artistic value of enabling us to distinguish the hero from but the ship FIFTH CENTURY B.C. 1 111 BEGINNING OF THE Polyphemus at the mouth of his comrades. The ram too by whom he is borne is in this case foreground. To the left is Formerly in the Castellani Collection. of Odysseus have distinguished by having his thick fleece indicated by dots. cave with two rams. The taunting words Journal of Hellenic Studies, iv., p. 232. Fury, who appears as a winged In the background is a tree with spreading branches, enraged him, and urged on by a LUCKENBACH, loc. cit, p. 311. probably suggesting the mouth of the cave (cf. fig. 40). huntress, he is hurling rocks at his tormentor. The Cyclops cit., (a). Bow 1 , loc. 13 with eyes, The failure of the artist to follow Homer, and represent the is represented, as is usual in Greek art, two and comrades of Odysseus as each bound to three rams, not one, Odysseus and the sailors are dressed in the traditional style, of his art, that it demands but the Fury is a characteristically Etruscan addition (cf. figs. To the right of the picture, l'olyphcmus lies in wait at the is so obviously due to the limitations For a relief very similar in style cf. fig. 65. mouth of the cave, while three rams, each with a man bound no further explanation. 23, 96, 97). BOOK X. SCAPED from the Cyclops, Odysseus in with a maiden going to draw water at the fountain (fig. 43 e), where, after two days' waiting, he set out sailed on to the isle of ^Eolus, who Artacia (fig. 43 a). They asked her who was king to find food, and caught sight of smoke in the distance. entertained him hospitably for a of the country and who the inhabitants, and she led Half the crew, two-and-twenty all told, with Eurylochus month, and on his departure gave them to her father's home, whither they went and in command, set out to explore. In the forest glades him a fair wind to waft him home, found the queen within a giantess, huge as a mountain they found the palace of Circe, and all around wolves and presented him with a bag in which all the other peak, and loathsome in their sight. She called in and lions, to their amazement, fawned upon them. winds were tied up. His men, just as they were in her husband Antiphates, who seized one of the men, These were men who had been bewitched by the sight of their home on Ithaca, while Odysseus slept, and prepared him for his midday meal. His two goddess. The comrades of Odysseus fared no better, untied the bag, and all the winds escaped, blowing them comrades fled and succeeded in getting to the ships, for all save Eurylochus, enticed into the palace, were back again to ./Eolus, who bade them depart as enemies while Antiphates raised the war-cry and brought out given a draught with magic drugs, and then, with a of the gods. They sailed on and came to the country a whole army of giants (fig. 43 b), who hurled great touch of the witch's wand, were transformed into swine of the La;strygonians, a race of giants, where they rocks down from the cliffs on the ships, and " there and penned in sties. Yet they still retained their found a land-locked harbour, and moored eleven of arose from the fleet an evil din of men dying and ships senses and power of thought (fig. 44). their ships. The twelfth ship, that of Odysseus, did shattered withal ; and like folk spearing fishes they Eurylochus, after waiting long, returned to the ship, not enter the harbour, but was made fast to a rock bare home their hideous meal" (fig. 43 c). Odysseus, and told Odysseus how they had been entrapped. just outside, —a wise precaution, which saved his life. however, escaped the fate of his comrades by cutting The hero thereupon girt on his sword and started As no inhabitants were visible, three men were sent his hawser and dashing out to sea (fig. 43 d). With out alone, and as he went met Hermes in the form out to reconnoitre, who, following a level road, fell the one ship he sailed on to /£a?a, the island of Circe of a youth (fig. 48). The god gave him the herb ) draw water from the fountain. Fig. 43?. Odysseus and Circe (line 312). Moly, by the power of which he could defy the charmed descending with a pitcher to — She has just met three of the comrades of Odysseus, A continuation of the above series. potion ; and told him to drink the draught, but when Antilochus (ANTIA0X02), Anchialus (ANXIAA02), and the witch struck him with her wand to draw his sword are led to the palace of Circe Eurybates (EYPYBATH2), who are advancing from the We now and the grove round to slay her. would it. To the left, Circe (KI), attended by a little maid, is opening and spring upon her as though She right and ask her who are the inhabitants of the country. the great gate of the court to admit Odysseus, who comes then fall and entreat him to be her spouse, but he must Behind them are sheep and cattle (cf. line 85) and marshy armed with a shield. One should note the lattice-work of sternly refuse until she had sworn an oath to do him ground. The whole scene does not differ in any important the upper part of the door, and the Hermes' figure in respect from Homer, though the artist has taken the liberty the no harm (figs. 43 c, 45-S). All happened as the passage. of naming the scouts, who in the poem are only mentioned god had foretold, and Odysseus was entertained right the right is a shrine built in a semicircle, with a colonnade as " certain of my company." To royally by Circe. He, however, refused to be comforted in front. Growing up in it is a sacred tree bound with ribands, l>. This is a continuation of the last picture, and was only while in front of a kind of oaldachino, which forms the centre until his bewitched comrades had been restored to separated from it by one of the pillars which divide the whole of the background, are altars and a table laden with strange their former shape (fig. 48) and the crew of the ship of the fresco into panels. To the left we see the pastures magic offerings. At the foot of the tree Odysseus (OAY22EY2 brought up to the palace. Then they spent a year (NOMAI) and the herdsmen tending the flocks shown in a. is seated, and before him kneels Circe in terror at the failure Above, in the distance, is a faintly sketched house, the palace with the goddess, feasting in the palace ; but at the charm, while the little maid runs away in her fright. where the Achseans had found the queen of the giants, and of her end of that time she sent Odysseus forth on a journey front of the shrine, in the court of the palace, magic twigs were devoured by her lord the king. In the foreground we In to are in the ground. the home of Hades to consult the soul of Teiresias, have a rocky landscape, with trees running down on the right seen stuck the blind soothsayer of Thebes, and learn from him into the sea. On the beach, holding his sceptre, stands Antiphates, king of the Laestrygonians, calling on his men the way home. She told him how to shape his course, Fig. 44.—Circe bewitching a Man (line 235). (AAI2TPYrONE2) to attack the Achffians. They are engaged and the ship sailed off with all its crew, except one Red-figured painting on an Attic vase (amphora) of tearing branches from the trees, uprooting rocks, hurling them the fifth century B.C. man, Elpenor (fig. 46), who had fallen from the palace towards the sea, into which one of them has waded to seize From Nolo, in the Berlin Antiquarium. roof and been killed. the ships. To the right, in the foreground, one of the giants Arch. Zeitung, 1876, PI. 14. is dragging a corpse by the feet, and carrying another on his Harrison, Myths, PI. 18*. shoulder. Bolte, loc. cit., 44 c. c. The scene is the harbour surrounded by cliffs, and with Figs. 43 a, b, c, d.—The Laestrygonians (line Si). Luckeneach, p. 507, note 1 (c). a narrow entrance described by Homer in line 87. Wall-painting in a house on the Esquiline Hill, Some of the ships are already complete wrecks ; one has Rome, discovered in 1848. The painter has reduced the scene to its barest elements, been dragged to shore, and its crew are making vain efforts Wormann, Die ant. Odyssee-landscha/ten, Pis. 1-4. and only shows us two persons. Circe, clad in shift (chiton) to escape the stones hurled at them by the Cyclopes, who Harrison, Myths of the Odyssey, PI. 45. and mantle (himation), with her hair gathered in a snood, is appear on the headlands, on juttings. rocks, or wade into the Baumeister, Denkmaler, p. 1039. seated on a chair, and holds in one hand the bowl with her sea. One of them hurls a trident at the wrecked sailors, who magic draught, and in the other the enchanter's wand. A swim about the harbour, spearing them as though they were comrade of Odysseus has just drank from the bowl, she has fish. touched him with the wand, and the transformation, here a. To the left of the picture the ships of Odysseus are seen d. In this picture, which leads on to the adventures with shown by a swine's head and tail, has taken place. At this putting in to shore, while above them the demons of the Circe, we see the ship of Odysseus (OAY22EY2) to the left, moment she utters the words, " Get thee to the sty " (line 320), winds, who had driven them from their course, appear as with sail fully set, stealing out to sea from behind a lofty rock. his and he is turning hurriedly away, striking his head with winged figures blowing trumpets. In the foreground is a In the foreground below a Lrestrygonian giant is dashing a hand in despair. rock with a jutting point below, from which a ferryman is huge stone down upon a sailor, who lies, making vain entreaties, just shoving off his boat. This is inscribed AKTAI, and is at his feet. offering the Bo wl to Odysseus (line 3 1 8). a personification of the beach. On the other side of the On the right of the picture is the isle of Circe, towards Fig. 45.—Circe rock is a cave, by which a female figure holding a long which Odysseus is sailing. The coast is hilly, but without Black-figured painting on an archaic vase (lecythus) feathery reed is reclining. She is the goddess of the fountain rocks, and on the nearest headland (AKTAI) are three nymphs OF THE SIXTH CENTURV B.C. (KPHNH), which Homer calls Artacia. More in the back- of the coast, one of whom points inland to the palace of Circe. Found in Sicily, and in the Berlin Antiquarium. is lofty, ground a wooded hill, on which a mountain deity Further off, on another headland, other figures of the same Arch. Zeitung, 1876, PI. 15. reclines, at while the side, by a steep path, a giant maiden is kind can be dimly seen. Baumeister, Denkmaler, fig. 837. of Fig. 48. —Odysseus in the Palace of Circe. breast. She sits on a sort plunge it into Circe's (Cerca) .-. PI. Hi Myths, 21, p. ; in terrified supplication. Marble relief on a Roman tablet for use in schools throne, and raises both her hands i . loc. tit., p. 67. mantle, and wears a necklace, (cf. Tabula Iliaca, II., figs. 3 and 4). She is fully clad in shift and at., p. 5° 6 - Collection, lost. throne is a boar, to suggest Formerly in the Rondinini tut now a bracelet, and sandals. Below the tit., p. 18 (a). Circe is a youth wearing O., Bihtcrchroniken, PI. (h). the enchantment of the sailors. Near Jahn, 4 "cockscomb," and Baumeister, Denkmater, fig. 839. a Phrygian tiara, with its characteristic quite unrecognisable Myths, PI. 25. holding a bow and arrow. He would be Harrison, united The vase-painter has, in the manner of early art, two (Felparun), which shows that Bolte, loc. tit., p. (a). if it were not for the inscription 24 offering the bowl to Odysseus, and successive scenes : Circe killed by falling from the Overbeck, Gall. her. Bildw., xxxii., 3, p. 782. he is Elpenor, the youth who was Odysseus threatening her with the sword. his voyage to roof of Circe's palace when Odysseus set out on Circe sits in the centre on a camp-stool, clad in a long shift Hades (line 552). and mantle, and holds the bowl in her left hand and the wand This fragment of a tablet, giving pictures from the Odyssey, in her right. In front of her stands Odysseus wearing a short " " is inscribed below, From the narrative to Alcinous, Book K shirt Uhiton), a small mantle (thlamys), and felt hat (petasus). Circe with his Sword represented. In the while other he Fig. 47.—Odysseus threatens (i.e. X.). Three scenes are (1) foreground 1 [1 hi. one hand raised to threaten her, in the (line 321). to the left is the stern of Odysseus' ship drawn up on the holds 1 drawn sword. At the sides are four bewitched sailors, is clad in the traditional short shirt an ass and an ox to the left, a boar and a swan to the right, Wall-painting at Pompeii, of about the Christian beach. Odysseus, who (pilleus) is with a spear, has the different forms being perhaps adopted from the hint given Era. (exomis) and felt cap and armed " the herb in line 212. These are human except for their heads and Discovered at the " Casa di Modesto in 181 1, hit has now just landed and met Hermes, who gives him Moly MfiAY EPMH2), pointing tails (cf. figs. 44 and 48), and seem to take the deepest interest perished. (the inscription below is OAI22EITO gesture is : the ass is braying to warn Odysseus iii., time with an emphatic and hasty to the in what going on ; Zahn, Wandgemdlde, PL 74. at the same thi Bwan has sunk to the ground and;beats his breast ; while Helbio, Wandgemalde, No. 1329. palace of Circe, the gate of which is quite near. The god is the ox and the boar both stretch out their hands to Harrison, Myths, p. 76, PI. 23. clothed much in the same way as Odysseus, except that he expostulate. Overbeck, Gall. her. Bildw., xxxii., 11, p. 784. wears a cloak, and seems to have sleeves on his arms and The whole of the background of the picture is filled with breeches on his legs. This, however, is probably due to the pri ading brani lies, an artistic device of this period mentioned modern artist who drew the sketch, to whom, also, we may under fig. 37. The scene is a room lighted by a window high up in the possibly owe the absence of the winged hat and boots and wall to the left. The door is open, suggesting the recent the herald's staff, which are the usual attributes of the god. towers. arrival of Odysseus (line 312). He is striding forwards, with The palace is a fortified court, with battlements and one foot on the stool of the throne in which Circe had placed Round the court run covered colonnades, with houses to the |ii. is I ig. -Odysseus threatens Circe with his Sword him as her guest (line 315), while his right hand is on the right and left. (2) In the lower part Odysseus (OAI22EY2) (line 321). hilt of his sword ready to draw it. He is dressed in the seen, armed with sword and shield, rushing with drawn sword traditional costume of conical felt cap (pilleus), short to attack Circe (KIPKH), who kneels before him in supplication Engraved di k»n on rw back of an Etruscan mirror. violet shirt (exomis), and red cloak (thlamys). Facing him is Circe, (cf. figs. e, Above is the third scene, Circe Found at Corneto, and in the Louvre, Paris. 43 45-7). (3) distinguished by a blue halo (perhaps as being the daughter of summoning the bewitched comrades (ETAIPOI TE0HPIOM Ann. ,/. Inst., 1852, lav. d'agg., H. Helios), sinking to her knees, and holding out both hands [evm]) from the sty, and raising her wand to strike and restore I I \l 1 [SON, p. 74, PI. 22. in supplication. She is dressed in a green shift and long mantle, them to their former shape. As in fig. 45, the artist has in contrast to two servants standing near her, who only wear departed from Homer's version and given them the forms long yellow shifts (chiton). One of these starts back in terror. of an ox, ram, and bear, as well as that of swine. The Odysseus (Uthste), who here appears bare-headed is and only The other carrying a wine-jug. sailors thus freed show their joy by lively gestures, while wearing a small mantle (thlamys), has drawn his sword from its The painting is architectural, and bounded on either side by Odysseus gazes calmly on, his head resting on his right sheath, which he holds in his left hand, and is threatening to Ionic columns hand, with his elbow propped by his left. ; BOOK XI. DYSSEUS and his comrades sailed on him, and of Achilles. To Achilles he spoke of the On either side of Odysseus stands a comrade (Perimedes and Eurylochus in line 23), clad, like Odysseus, only in a cloak to the limits of the world and the wisdom and prowess of his son Neoptolemus, and the (ch/amys). The one to the right, who wears a felt cap and stream of Oceanus. There, guided renown he won at the sack of Troy (fig. 56). After shoes, leans on his spear, while the other, who has on a pair the of Circe, they landed the of ; but by words shade Achilles, that of Ajax came up of hunter's sandals, has a sword upraised ready to ward off the in the country of the Cimmerians' though Odysseus spoke softly to him, he answered spirits of the dead. a land of mist and night, through which they journeyed not a word, for he was still angry that Odysseus had till they came to a rock at the meeting-place of the won the arms of Achilles in contest with him (figs. rivers of Hades. Near this they dug a trench ; and Next followed the shades of the great men 57, 58). Fig. 50. — Odysseus, Hermes, and Teiresias (line 50). Orion, after libations of mead, wine, and water, and prayers of days long before the Trojan War, Minos, Engraved design on an Etruscan mirror. letting a), to the dead, sacrificed sheep over the trench, Tityos, Tantalus, Sisyphus (figs. 59 and 61 and From Vulci. the blood flow into it. Thereupon the spirits of the Heracles. Theseus and Peirithous he was fain to see, Mon. d. Inst., ii., PI. 29. Bullet, d. Inst., I22 • lS 6 8l "9' dead, young and old, flocked to drink the blood ; but but fear came upon him that Persephone might send 1835, > '59 3 > Ann. d. Inst., vol. viii. Odysseus, remembering Circe's command, would let the Gorgon's head and slay him ; and so, getting to his Harrison, Myths, PI. 29. none approach till Teiresias had spoken to him vessel, he set sail over Oceanus once more. refusing this boon even to the spirit of his own mother. Teiresias came at last with a golden sceptre in his Here, as in fig. 49, Odysseus (VTHTZE) is seated on a hand, drank of the blood from the trench, and then rock, over which his cloak is spread, with sword drawn to Fig. 49. —Odysseus and the Shade of Teiresias (line 23). told (figs. 49, 50, and 61 a) Odysseus of the troubles ward off the spirits of the dead. Teiresias (HINTIAL Red-figured painting on an Attic vase (crater). appears, not rising from the earth, but that were in store for him on his homeward voyage, of TERASIAS), however, at Found Pistica. leaning on his staff (cf. line 91, x/>iotcoi> trurfirrpov l\wv), having how he should slay the suitors, and in old age meet Mon. d. Inst., iv., PI. 19. a band or diadem round his hair, clad in a mantle (himal/on) with a death from the sea, the gentlest death that His eyes are closed, for he is blind, and Baumeister, Denkmdlcr, fig. 1254. and wearing shoes. may be. Then telling Odysseus that whoever of the in a swoon, but is led forward by Harrison, Myths, PI. 27. he stoops as though almost dead drank of his hand on the prophet's shoulder to guide the blood would gain the power of Overbeck, Gall. her. Bildw., xxxii., 12, p. 787. Hermes, who laid Hermes (TVRMS AITAS), who is easily speech, he vanished, and the hero let the other spirits and support him. recognised by his winged hat (petasus) and short cloak come to the trench and drink, his mother first. After is speaking to Odysseus, Odysseus is seated on a heap of stones, over which his cloak (chlamys), has his hand upraised and her came the " Fair Women " of old, Tyro, Antiope is spread. His thick hair and beard are all dishevelled, his whose eyes show that he listens to the god. (fig. 51), Alcmene (fig. 52), Epicasta, Chloris, Leda in accordance with Homer, brow is knit, and his eyes turned half upwards with an air of The presence of Hermes is not version (% 53). Iphimedeia, Phaedra, Procris, Ariadne (fig. 54), distraction and awe. In his right hand he holds a drawn but the Etruscan artists seldom follow the literary and the god doubtless appears here, as in Mfera, Clymene, and Eriphyle (fig. 73). sword dripping with blood, while between his feet lie the head (compare fig. 46), and bleeding remains ram he had sacrificed. many other scenes, in his capacity of guide both to the living At this point in the story Odysseus paused, but of the that Rising from the earth in the. trench wet with the victim's blood and the dead. entreated by the Phaeacians, who were entranced with rather later than is the shadowy head of Teiresias, with long hair and beard, Indeed, according to the creed of times his narrative, went on to tell how he saw the shades that halls of the his eyes closed, for he is blind, and lips open as if in speech, Homer, it was only under his guidance the of Agamemnon, and the followers who were slain with prophesying to the hero the troubles of his homeward journey. dead could be reached at all. Pollux (line . Leda, Castor, and 298). brought forth her two pIG- S3 the cave as that in which Antiope had Fig. 51.—Antiope and Dirce (line 260). Black-figured painting on an Attic vase (amphora), sons. 01 RED PAINTING ON A LATE VASE (crater) OF THE in drawing and treatment. potter Exekias, of the end of the sixth The style of the vase is late, both by the B.C. FOURTH CENTURY were at this period, The youths are depicted, as heroes mostly century b.c. From Palaziolo, in the Berlin Antiquarium. which flaps round the neck. naked except for a small cloak, From Cozre, in the Museo Gregoriano, Rome. Arch. Zeitung, 1878, PI. p. 44. has the flowing, embroidered 7, Lycus, on the other hand, Tlie reverse is shown in fig. 7. figures, wears shoes. : 1 lister, Denkmaler, fig. 502. like all the other garments of a king, and, Mon. d. Inst., ii., PI. 22. .1 60, 61. 1 Euripid. Tragodien, , Semen pp. Klein, Meistersignaturen, 39, 4. (note 1 1. ROBERT, Bild mid Lied, p. 36 fig. on 1 73-4. Roscher, Lexicon d. Myth., pp. 1 Fig. 52.— Alcmene and Megara (line 266). Red-figured painting on a South Italian vase (large Antiope, the mother of Amphion and Zethus by Zeus, was of the fourth Tyndareus, bore the twin demi-gods did amphora), by the potter Assteas, Leda, the wife of pi 1 ecuted by Dirce and handed over to her sons, who Castor, the tamer of steeds, and Polydeuces (generally known not recognise her (for they had been taken from her when CENTURY B.C. as Pollux), the boxer. The vase-painter shows a scene of babes), to be tied to a bull. Just at the moment when they From Peestum, now at Madrid. these savage orders, a shepherd revealed their their family life. were obeying Mon. d. Inst., viii., PI. 10. richly embroidered garment (peplos), with relationship, they freed their mother, and bound Dirce in her Leda, clad in a Klein, Meistersignaturen, p. 206. in her hair, and holding a branch in her left and place to the bull. This myth is best known in modern times a garland Vogel, Scenen aus Eur. Tragodien, p. 143. stands between her two sons, who by the celebrated group of the Farnese bull, the work of a flower in her right hand, Roscher, Lexicon der Mythologie, p. 2235. Vpollonius and Tauriscus, two Khodian sculptors of the both have their names inscribed above them. In front stands (KA2TOP), with his hair elaborately dressed in the second century D.( . In antiquity the story formed the plot Castor of a celebrated play of Euripides, of which some new frag- Both Megara and Alcmene appear in this vase-painting with archaic style, a cloak (chlamys) hanging down his back. He is just seizing 111. ni', have been recently discovered in the papyrus wrapping their names inscribed. The scene is the madness of Heracles, has a spear in his left hand, and with his right of an Egyptian mummy. The popularity of this play is shown and the painting was probably inspired by the tragedy of the bridle of his horse, as if to start on some expedition. The below, he has by several wall paintings, which are evidently intended to Euripides, 'HpaKAijs juaifo/tevos. It shows us the . court of horse's name, Cylarus (KYAAP02), is inscribed illustrate it. The vase-painting here given possibly owes its a large house, in which a fire has been kindled. On this a band covered with ornaments round his neck, and is, it inspiration to the same source. It shows to the left Dirce, fire Heracles has flung all manner of household utensils and would seem, being stroked by a bearded man who stands in tied to the horns of the bull, who tramples on her senseless pieces of furniture,—tables, chairs, chests, workbaskets, jugs, front. This is Tyndareus, who is clad in a long, full mantle body, and is starting off in a wild gallop. The scene is laid goblets, cups, and bowls. The hero himself appears half armed (hi/nation), and wears his hair dressed in the same style as ">i uiii.iin, with a forest on its slope, here suggested by in helmet and greaves, but is only clad in a light, transparent Castor's and Pollux'. Between him and the horse is a little a single tree. Near Dirce lies a branch torn off, suggesting shirt and a short cloak. He carries a shrieking baby, his boy, quite naked, who carries a flask of oil and bathing im- the headlong course of the bull through the trees. In daughter, one of Megara's children, and is in the act of plements on his arm, and a chair with garments, or it may tl mil. mi side 1,, the right is a cave, by throwing her fire. overshadowed on the Her mother, distracted at the sight, be a cushion, laid upon it. The twins, being athletes, were trees. In this /.elhus and Amphion, with drawn swords, is is are in a porch, and flying through the open door into the fond of bathing, and this is their attendant. about to slay Lycus, the husband of Dirce, who has hurried house. Above, on the first floor, is a gallery covered by a On the other side of the picture is Pollux (IIOAYAEYKES), to her aid but, ; caught and thrown on his knees, he raises roof on pillars, in this and are three spectators, one of whom quite naked, patting a dog which is fawning upon him. his hand in supplication, while Antiope flies from the cave in is a matron with white hair, and is inscribed Megara. Next terror of the violence of her sons. At this tragic moment the toher is Iolaos, the faithful henchman of Heracles, raising his od 1 [1 rmes appears above the cave, and, holding his herald's hand in amazement at his master's frenzy, while farther to the Fig. 54.—Athena, Artemis, Dionysus, and Ariadne stall aloft, answers the prayer of Lycus, and bids the young men left appears the goddess Mania (inscribed), gazing peacefully (line 298). st.i\ their hand. \\ e know that this was part of the Euripidean on the ruin she has caused. tragedy, and further that Lycus had to resign his kingship in Engraved design on an Etruscan mirror. As is usual in paintings of this period, the drawing is very favour of Zethus. in the Ravenstan free, with much elaboration of detail. Thus, the shirt of Said to have been found at Palestrina ; The panther skin which hangs from the roof of the cave is Heracles is fringed and ornamented with strings of beads, his Collection at Brussels. another trait which recalls Euripides, for we are told that breast is hairy, and his helmet fantastic. Megara too, like Aunali d. Inst., 1859, Tav. d'agg., L. Dirce had come to the cave with a troop of Bacchantes. This Mania, wears an embroidered shift and a mantle with rich Baumeister, Denkmaler, p. 127. leads us further to identify the mountain as Cithaeron, and border, and has soft shoes on her feet. Roscher, Mythologie, pp. 541 and 544. ; — The Homeric story of the death of Ariadne, whom " Artemis The painting shows the youthful Neoptolemus holding out the horror of the scene, and to emphasise the brutality of slew in sea-girt Dia, by reason of the witness of Dionysus," his hand to Odysseus, ratifying his promise to go with him to Neoptolemus. At each side of the central scene is a warrior, does not seem to be known to later classical writers, who Troy. His mother Deidameia hangs on his neck, entreating and the artist intends them to be regarded as a pair of com- make Ariadne the beloved spouse of Dionysus, who discovered him to desist, while in the background two other daughters batants, a Greek and a Trojan, fighting in the background. It her on Naxos (Dia) when Theseus deserted her. of Lycomedes express their grief and amazement by lively is not possible to name these warriors, and they are doubtless The strange engraving on the Etruscan mirror given in gestures. added rather to fill up the space at the sides symmetrically fig. 54 very probably refers to the older story. To the left To the right of the picture is the palace, represented by an than to represent any known heroes. They both wear a short stands Athena armed with a:gis and helmet, and winged (an architrave supported by a single Doric column. Beneath this shirt under a quilted cuirass, and are armed with helmet, shield, addition of the Etruscan artist's own devising). She holds her is the aged king Lycomedes seated on a throne with a footstool, and spear. Neoptolemus is armed in much the same way, hands stretched out with amazement as she gazes on Artemis. and holding out a cup to drink good luck to his departing except that his cuirass is either of leather, or bronze worked in Next to her is Dionysus, clad in a long garment, with a garland grandson. In front of the palace stands the goddess Artemis, imitation of leather. in his hair, and holding the drinking cup (cantharus), which is dressed in a long shift and archaic cloak, and holding a bow The remaining figure who appears between Neoptolemus his peculiar attribute, in his right hand. He, too, expresses in her left hand (cf. fig. 28), while she stretches out her right and the warrior to the left is a little girl, who is clad in a his amazement by a gesture. hand towards Neoptolemus to signify that, as a youthful hunter, single garment (pepios), and carries a wine-skin in her left" To the right stands Artemis wearing a diadem, with her bow he is under her protection. hand and a cap in her right. She is flying in terror, but there and arrows, and holding in both arms a girlish figure. At her is nothing by which she can be identified. feet is the head of a satyr. The names of the deities are inscribed near their heads, Fig. 56. —The Death of Priam (line 533). Fig. 57. The Contest for the Arms of Achilles (line but in a very corrupt form. Athena is called Menrra (instead Red-figured painting on an Attic mixing-dowl (crater 545)- of Menfra) ; Dionysus, Phuphlunus Found near Bologna, and in the Museum there. (instead of Phuphlems) Black-figured painting on an Attic vase. Ariadne, d. Inst, xi., Eisa j and Artemis, Artunrs (instead of Arthems). Mon. 14. Wiener Vorlegebldtter, Ser. C, PI. 8, 28. Artemis is often mentioned in 'Homer as the goddess who Ann. d. Inst., 1880, 27-9. brought death to women, as Apollo brought it Klein, Euphronios, p. 162 to men (cf. //., (6). The contest between Odysseus and Ajax for the arms of vi., 205 ; xxi., 483), so that it is probable that the Robert, Bild und Lied, p. 249. Homeric Achilles ^Oir\m> xpitris), referred to in this passage, was the story refers to a natural death, and not one wrought by the opening episode in the Little Iliad ("IAjas /xwpa) of Lesches goddess in vengeance. The epic poem by Arctinus of the Sack of Troy ('Ikiov 7re/}rm), of Lesbos (cf. //., fig. 3, Tabula Iliaca). The dispute arose was, in ancient times, after Homer, one of the most popular from the rival claims of the two heroes to have rescued the FlG - 55— Neoptolemus fetched from Scyrus (line of heroic lays (cf. //., fig. 3, and Od., figs. 32, 33). To us it dead body of Achilles from the Trojans, for though it was Ajax 508). is best known by the second book of Virgil's Aineid. who carried it off the field of battle on his shoulders, it was Red-figured painting on an Attic drinking-cup (cylix) Its popularity is well reflected in art, for the number of Odysseus who kept the Trojans at bay and enabled him to do OF THE EARLY PART OF THE FIFTH CENTURY B.C. vases with scenes or episodes from it is very considerable (see so. Hence when the arms were put up as a prize for a con- Found near Corneto (tit ancient Tarquinii). Robert and Klein, loc. cit.). Sometimes a series of scenes test restricted to these two heroes, Odysseus was adjudged Mon. d. Ins/., xi., 33. is shown, as in the Tabula Iliaca (II., fig. 3), but more often victor. Thereupon Ajax drew his sword, and had they not been Ann. d. Ins/., 1881, pp. 168-81. one incident only is chosen. This is the case with the Bologna checked, the contest would have become an actual battle. vase, which gives the chief event of the sack, the death of Eventually the question was referred to the Achrean host, but This vase-painting has been wrongly interpreted as repre- Priam at the hands of Neoptolemus. as they could not come to a decision, the Trojan captives were senting Meleager entreated to repel the attack of the Curetes Priam is seated, clad in rich robes and holding his sceptre, appealed to. They listened to the claims of the rivals, and, (cf. //., fig. 52-6). It depicts the visit of Odysseus to Scyrus on the altar (shown by the volute at the top) of Zeus, the god by the inspiration of Athena, decided in favour of Odysseus. to fetch Neoptolemus to Troy. He had been left quite a babe of the household (Zeus c/jkciosJ, which stood in the centre of Ajax was so mortified at defeat that he went mad, and, after in Scyrus with his mother Deidameia, daughter of Lycomedes, the palace court (cf. fig. 5). In spite, however, of the sanctity doing much mischief in his frenzy, committed suicide (fig. 58). at whose court he was brought up (//., xix., 326). On the death of the place, Neoptolemus has seized him by the hair, and A number of vases (cf. Robert, Bild und Lied, pp. 213-21) of Achilles before Troy, however, he was fetched from the is battering him to death with the lifeless body of the little show the heroes rushing at one another with drawn swords, island by Odysseus, in consequence of a prophecy of Helenus, Astyanax, Hector's son, whom he holds by one leg. This and with difficulty held back by their friends. who had foretold that the city could only be taken if Philoctetes pleading ghastly version of the tragedy is the traditional one in early Fig. 57 represents the later scene of the heroes (cf. II, fig. 19) and Neoptolemus came with the",arrows of art, and is doubtless due to the desire of the artist to combine before the Trojan captives. Odysseus (OAY5EY2) stands Heracles. The intrigues by which this was brought about the two events—the murder of Priam and the death of on a small platform with his head slightly raised, evidently form the basis of the plot of Sophocles' play Philoctetes. Astyanax—into one group. It also, of course, serves to heighten speaking. Before him on the ground lie the arms for which (her attribute). The group of Theseus and Peirithous is explained by the he is urging his claim,—helmet, shield, greaves, and sword; and veil on her head, and holding a cross-torch presence 'of Heracles down' below, for Heracles brought and close to these, leaning on his spear, stands Ajax (AIA2), The temple must accordingly be regarded as the palace m Theseus back with him to the "world above. The artist has with his mouth open, as though impatiently interrupting. It is which Pluto dwells below. Two wheels, doubtless. belonging suggested this by representing Theseus as taking farewell noteworthy that though both heroes, as befits claimants, are to his chariot/hang from the wall in the background. of Peirithous, who is guarded by Justice and cannot escape. clad in long flowing mantles (himatia), they have also got Persephone turns her head to listen to her husband, and spears to their Orpheus is the subject of ; perhaps suggest warlike character. from her attitude it would seem that their conversation. He is in front of the temple, pIaying;on a lyre all hung with ribands, and seems to be dancing to the Fig. 60 a, /', c. —Hades (line 568). is long flowing embroidered Fig. 58. -The Suicide of Ajax (line sound of the music. His costume a 549). Etruscan wall-paintings from the second chamber of garment, worn over a shirt with tight, coloured sleeves, and a Group from an archaic black-figured Corinthian the "Tomb of Orcus " at Corneto. cloak which hangs loosely from his shoulders. On his head is Vt 1 PAINTING, OTHER PARTS O] WHICH ARE GIVEN IN II., fig. Fig. $% gives another paintingfrom the same tomb. an Oriental tiara, which shows him to be a barbarian, not 51, and Od., fig. 90. Mon. d. Inst., ix., PI.'; 1-3 and 5. a true Greek. His errand in Hades is to seek his wife 15, Eurydice. Ann. d. Inst., 1870, p. 5-74. In the centre of the picture Ajax has fallen on his sword, Myths, Pis. Behind Orpheus is a young man, who is crowning himself Harrison, 35, 36. which has pierced his body through and through. Jets of with a myrtle wreath, accompanied by a young woman and a blood arc spurting from the wound, and Diomede, who stands little boy dragging a toy-cart. There is nothing to show who to the left, is beating his head in despair, while Odysseus, to the this couple are, nor do they appear on the other vases of the a. On a throne to the right Pluto (AITA = Hades) is right, is gazing on the sight with interest, but unmoved. same class. Above this group, in the upper left-hand corner, in seated, wearing the skin of a wolf, its mouth, with grinning Ajax has stripped hirriseli of his breastplate, and only wears front of a fountain, a is teeth, appearing above his forehead, and the rest hanging down helmet and cuirass. The other heroes are fully armed with young woman seated on a bank, and helmet, shield, cuirass (of archaic beside her stand two youths, one with a couple of spears, the his back. This is doubtless the celebrated cap of Hades shape, cf. //., fig. 7), greaves, other with bathing utensils (an oil-flask its invisible. His left and spear. The names of all three are inscribed in early and flesh-scraper). ("Ai'Sos Kvverj) which made wearer hand Corinthian characters. Both these youths have bands round their waists, from under is raised, and round it coils a snake. Beside the throne which blood streams out of unhealed wounds. This shows stands Persephone (Phersipnei), with snakes in her hair, tight that they are the two sons of Heracles whom he slew in his wrapped in a long garment. In front is the giant Geryon frenzy, Fig. 59.— Hades (line 568). and that the woman is their mother Megara (cf. fig. 52). (Gelun) with three heads, in full armour, waiting attentively To the right, Red-figured painting on a large South Italian vase in the upper corner, two youths in the for his lord's commands. Near him are the remains of a winged costume of Athenian knights are ; {amphora) of aboui the third or fourth century b.c. conversing one, it would Fury or Demon. seem, From Canosa, in the old Pinakothek, Munich. taking farewell of the other. These are Theseus and Behind the throne of Hades the coils of an enormous snake Mii.i.in, Peirithous, and the goddess of justice (AIKH) sits Tomieaux de Canosa, PI. 3, 4. beside them can be seen, though the head and tail have been lost. All the with drawn sword. Below " Wiener Vorlegebldtler, Her. E, PI. 1. them are the three judges of the figures are enveloped in clouds, the " misty darkness (£o'0os souls of the departed. Baumeister, Denkmaler, PI. Ixxxvii. On one of the vases they are named ijEpo'eis) of which Homer speaks. Triptolemus, .-Eacus, and Rhadamanthus. Archaol Zeitung, 1884, p. 256. Triptolemus is /'. In the centre of the second fragment Teiresias (Hinthia the standing figure, clad as a barbarian in the tiara, and wearing Teriasals) is seen seated, wearing a cloak drawn over his head. long coloured sleeves. /Eacus sits in the centre, and Pictures Rhada- He has grey hair, and is blind. To the left of him is a man of Hades, the heroes, and the tortures of mythical manthus to the right. All three have sceptres. sinners with a beard and flowing locks, in the prime of life. This is were common in antiquity, the most celebrated being In the lowest row of figures we have Heracles, dragging the fresco the Memnon (Memrun), cf. line 522. Between him and Teiresias by Polygnotus in the Lesche at Delphi. A certain triple-headed dog Cerberus up to the light above. He is is a tree, on the branches of the feeble forms of the numbei ol vases, all of them which of the late South Italian style, conducted by Hermes, who is pointing out the way, while show the scenes arranged decoratively Shades (a/ienpo irap^va) are fluttering hither and thither. in a large design. Fig. 59 behind him an Erinnys, or Fury, dressed as a huntress, waves is a typical specimen of this To the right of Teiresias is a figure which is probably Ajax, class. In the centre is a small a pair>f torches to make him temple, desist. the son of band consisting of an architrave and gable borne by Telamon (Aivas). Like Memnon, he has a six Ionic To the right of this group is Tantalus in the dress pillars, and raised on two steps. "of an round his body to conceal his wounds. In this is a richly decorated Oriental king, starting back in terror from throne with a footstool, > rock, which c. On the third fragment a Fury, with the on which Pluto is seated with winged Demon or a royal threatens to bury him. diadem and sceptre, clad in beak of an eagle, the ears of an ass, and snakes for hair, called embroidered robes. His right To the left is Sisyphus, hounded on by an Erinnys hand is outstretched, for with snakes Tuchulcha, holds a and he is speaking to his consort out snake to torment Theseus (These) in her hair, who is lashing him Persephone, with a scourge. He is striving who stands to the right, Peirithous, who sit before him bound to the rock, in punish- wearing a high diadem with all his might to shove up a falling rock. ment for their attempt to carry off Persephone from Hades. Fig. 6ia, /'. —Odysseus in Hades (line 568). Some of these figures have their names inscribed, — Pha;dra, at game that he is pursuing. The inscription above him is not Wall-paintings found on the Esquiline Hill, Rc Ariadne, and Leda,—showing that they are the fair women plain, but there is every reason to believe that this is Orion. whom Odysseus questioned after Teiresias had gone. High with figs. 43 a-d. up in the background the shade of Elpenor sits with head bent Fig. 62. —Tantalus and Sisyphus (line 582). WoRMANN, Esquil. ll'andgemd/de, Pis. 6 and 7. down in grief, for he had not yet received the due rites of Relief on the side panel of a Roman Sarcophagus. Harrison, Myths, pp. 99, 116. burial, and could not enter Hades (line 57). In the Vatican Museum, Rome. In the centre of the foreground are two men seated on Visconti, Museo Pio-Clement, V., PI. 19. a. To the left the ship of Odysseus approaches land, with projecting rocks amid marshy reeds. These are most probably Baumeister, Denkmakr, p. 1924. sail set and oars plying. In the centre is a huge bridge of personifications of the Acheron and the Cocytus, the rivers of rock. This is the entrance to Hades, and all that lies to the the world below. There are two different traditions of the punishment of right and front of it represents the dark underground cave of /'. Tantalus and Sisyphus. Tantalus. According to the later version a stone hangs over Hades. This picture, which is only partly preserved, is the con- him, and his torment lies in his fear that it is falling upon him Odysseus (OAYCEYC) has passed through, and stands just tinuation of the last. In the foreground the daughters of (cf. fig. 59). In Homer's version, on the other hand, he inside the grim gate, with the light of the outer world pouring Danaus, who are not mentioned by Homer, are busied in suffers from eternal hunger and thirst. This is represented in in upon him. He has two comrades, who are holding the legs striving to fill with their pitchers a huge, bottomless tub. the Vatican relief, where he is raising water to his mouth in his of the sacrificial ram so that its blood may flow into the trench. Higher up is a woman in a mournful attitude, sitting amid clasped hands, only to find it escape him. Odysseus stands above the trench resting his right foot on a reeds below a beetling cliff, and beyond her a giant pinned to On the other side Sisyphus is half kneeling, making painful stone, prepared to drive off with the sword any of the spirits the ground by feet and hands, while an eagle preys on his efforts to rise with the stone which he is bearing on his back, save Teiresias. They are all flocking from the darkness in the liver. This is Tityos (TITYOC), who had laid rude hands on only in another instant to have it slip from his grasp and leave distance towards the blood, first among them being Teiresias Hera. Above, on the top of the rock, is Sisyphus (CICY*OC), him to begin once more. Between the two is a huge wheel (EIPECTAC), distinguished from the rest by his sceptre and rolling his never-resting stone uphill. Nearer the summit is a to which Ixion is bound, to atone for his attack on the long flowing robe. hunter throwing a shepherd stick (lagobolon, or " hare-stick ") goddess Hera. BOOK XII jFTER reaching once more the upper the ears of his crew with wax, and made them bind Helios, where the crew of Odysseus insisted on landing, world Odysseus sailed back to JEzea, him to the mast and row past with all speed (figs. 63 only to suffer the direst pangs of famine, while contrary where he buried Elpenor, and was and 64). Thus he himself heard the song of the winds kept them from sailing. At last, as Odysseus slept, entertained by Circe, who told him Sirens, but was kept from obeying them by Perimedes the sailors slew the oxen of the sun-god, and, despite of the dangers that awaited him on and Eurylochus, who bound him still more tightly to strange omens, feasted for six days on this forbidden his voyage past the Sirens, and through the strait the mast as he nodded to the rowers to stop (fig. 65). food. But their doom was sealed, for Helios had gone between Scylla and Charybdis, to the land of Thrinacria, Next, they came to the strait where the whirlpool of to Zeus, and by threatening to depart from the world where he was doomed to lose all his comrades and Charybdis seethes on one side and the monster Scylla above and shine to the dead in Hades had obtained escape with bare life. The Sirens were two maidens lies in wait for her prey (fig. 66) on the other. Whilst promise of vengeance. Thus it was that when the who, sitting in a mead among the bones of the victims, they kept away from the whirlpool Scylla seized six of ship at last set sail they were struck by a thunderbolt, chanted a song so sweetly that they lured all sailors who his men and lifted them high into her lair (fig. 63), and Odysseus was left alone on the sea clinging to the passed that way to shipwreck on their rocks. Warned, so suddenly that Odysseus could make no attempt to mast and keel (all that remained of the ship), which however, by Circe, Odysseus lowered his sail, for the wind attack her. After escaping Scylla at this horrid cost he had lashed together. The wind then shifted, and failed when they drew near the enchanted isle, stopped they came to Thrinacria, the island of the sun-god drove him into the whirlpool of Charybdis, into which but made the Sirens eight in number, and represented them However, the absence of Odysseus from the ship planks were sucked, though he himself escaped by land him. the hovering in the air over the ship. The novelty of the Sirens is rather against this interpretation. tree above. clinging to the branches of a fig which grew appearing with the bodies of birds, and in such number, led to The number of the Sirens—three instead of Homer's two- After long waiting Charybdis spewed the planks up form of Scylla an interesting correspondence in the Standard and Pall Mali is that usual in Greek art (cf. fig. 64), while the and Odysseus, dropping on them, was once Gazette. once more, is described under fig. 66. more adrift on the open sea, where, rowing with his hands, he reached the island of Calypso. With this Fig. 64. —The Sirens and Odysseus (line 1S3). the story to Alcinous comes to an artistic close, for we Fig. 65. —The Sirens (line 195). Red figured painting on an Attic vase (hydria) of the have now learned how Odysseus came to be with Relief on an Etruscan urn. BEGINNING OF THE FIFTH CENTURY B.C. Calypso, and the adventures he underwent during his In the Museum at Volterra. From Vulci, now in the British Museum. nine years' wandering. From this passage on the Brunn, Relievi d. urne etr., 1, PI. 92, 3. Mon. d. Inst.. 1, PI. S. story of his return becomes continuous. Overbeck, Gall her. Bildw., 28?. Overbeck, Gallerit her. Bildw., xxxii., 8. Harrison, Myths, p. 46. Harrison, Myths, PI. 37. Bolte, loc. cit., p. 31 (u). BAUMEISTER, Denhmaler, fig. 1700. Fig. 63. —The Sirens and Scylla (line 39). BOLTE, IOC. Cit., p. 2S. Luckenbach, toe. at., p. 514. ' !' 1 \l Dl 1 LIEF on a cup (phiale) of black ware. In this Etruscan version of the myth, the Sirens appear in as three seated Pound at Corneto by the Brothers Marzi. fully human form women on the shore playing In this picture the sail is furled, but the mast has not been the lyre, the Pan's-pipe, and the double-flute. The ship, whose Ann. (I. /int., 1875, Tav. d'agg., N. lowered, and Odysseus (OAY2EY2) is bound to it by both poop is turned towards the Sirens, has already passed by the BAUMEISTER, Dlnktnaler, fig. 1675. wrists. The ship itself has eyes painted on its bows, and the tempters, but Eurylochus and Perimedes are binding Odysseus B01 11. he, cit., p. 32 (»)• oars pass through round holes in the gunwale. ,It is decked still tighter, in accordance with the command he had given forward and aft, and has a high poop, on which a pilot sits, with The ship of Odysseus is represented four times, at four them (line 164) him, different stages of the story. two huge steering paddles. Behind hanging down from The ship is decorated on prow and stern and along the gun- (or aplaustre) of the poop, floats piece of cloth First we see to the right two men lowering the mast and the curved end a wale with shields, and is steered by a large paddle with a bent something like flag. vessel is just passing furling the sail, to prepare fur the passage between the rocks a The between two handle. Unlike figs. 63 and 64, the sail is not furled. rocks, and the pilot, with outstretched hand, is beckoning the (line 170) ; secondly, one of the sailors binding Odysseus with It is worth noting that the artist has made an awkward rowers pull their hardest. are his hands behind his hack to the bare mast; while in the to They bending to the work, attempt to represent the oars of the farther side of the vessel while the sets the stroke looks third figure the vessel is sailing past three Sirens, Odysseus man who backward to see the by a cluster of them below the bow. tied to the mast being the only man visible. Lastly, the coming danger. On each of the rocks is perched a Siren, with ship is seen sailing up to Srylla, who has seized one of the the body of a bird, but the head of a beautiful woman. crew with her left hand and dragged him from the deck. They gaze at Odysseus, and sing to him so sweetly that he is Fig. 66. — Scylla (line 245). Abaft, on the deck, Odysseus, armed with a shield and trident, straining every nerve to burst his bonds. Just in front of him Relief on a Roman terra-cotta plaque. and followed by a comrade, who shoots a bow, makes a vain is a third Siren in mid-air. Her eyes are closed, and she attempt to fight appears to be falling helplessly from cliff the monster. the above. Homer Mon. d. Inst., iii. PI. 53. In this speaks only of two Sirens, but a late explanation no account has been taken of a figure author gives us a tradition Baumeister, Denkmiiler, p. 708 (vignette). between that when the Sirens found the first and second groups, a man standing that their spell had failed, they Harrison, Myths, PI. 560. on a jutting committed suicide by throwing rock, his head leaning on his staff. A dog themselves from the rocks, just as the Sphinx did fawns before him, and this suggests that he is a shepherd. when CEdipus guessed her riddle. This Scylla has the head and the body of a woman, but from the Profi undoubtedly is 01 Kliigmann regards him as Odysseus returned to what the artist wishes to depict. hips downwards has sea-wolves and sea-serpents instead of legs. Ithaca, and During the present year recognised by his dog Argos (cf. figs. 76, 80), and (1S91) this vase-painting has come She holds stones in both hands, and has raised them to hurl at with before this clue interprets the first ship as that of the Phasacians, the public as the source of a popular painting by her victims. Below there is an ornamental border to suggest who have brought Odysseus home, and are lowering the Mr. ^Vaterhouse, who followed the vase in its general sail to features waves. BOOK XIII. HEN the story was ended King Alcinous Furtwangler, La Collection Sabouroff, i., PI. 63. Before her is a chariot with four galloping steeds, driven winged bade his people bring on the morrow Roscher, Lexicon der Afythologie, pp. 1276 and 2007 (fig by Eos, the goddess of the dawn (cf. Od., xxiii., 246) She too is crowned and wears a long garment as she drives more presents for Odysseus. He over the flowers. departed in the evening of the next In the earliest works of Greek art the gods who personified The order of the figure is somewhat unusual, for on most lay the the changes of the day from light to darkness and darkness to day, and asleep on the deck of works of art Selene comes first, followed by Eos, who is the light are not represented. They were, however, familiar to the Phaeacians' ship, which reached Ithaca at dawn (fig. 67). harbinger of Helios. Greeks in literature from the time of Homer, and when art It may be that the artist wished to depict Selene and the There they carried him to land ; laid him, still asleep, took a more literary turn, in the fifth century, appear constantly. stars, out-ridden by the dawn, disappearing before the rays of shore, upon the with the treasures they had given near Thus, to take the most familiar example, the East Pediment the sun. him, and sailed away to meet their doom, for Poseidon of the Parthenon (the sculptures of which represented the Birth smote the ship when in sight of the harbour with a of Athena) is bounded on the left by Helios (the Sun) rising from the waves, and on the right, Selene (the Moon) disappear- stone, and sank her utterly. Fig. 68. —A Beggar (line 429). ing below the horizon. As for Odysseus, when he woke Athena had shed a Red-figured tainting on a drinking cup (,;r//v) by the The vase-painting of fig. 67 shows us the deities, not as the mist round him, and he knew not what the country Attic potter Hieron, of the fifth century e.c. accessories which fill up the background of a historic scene, was. The goddess, however, came to his aid, showed but by themselves. From Vulci, now at Neuburg, near Heidelberg. him a cave to bestow his treasure in, transformed In the centre of the lower half of the picture is an obelisk or Moil. d'Inst., ii., PI. 48. column resting on a capital surmounted by palm leaves. This Klein, Meistersignaturen, p. 170 (16, b). him into an aged beggar with filthy clothes (fig. 68), reminds one of the turning-point of a race-course, and just to Dakemberg et Saglio, Dictionnaire des Ant., p. '140, tig. 724. and sent him on his way to seek Eumaeus, the swine- the right of it is the sun-god rising with his chariot from the herd, who was still loyal to his old master. margin. He is a youth with long flowing hair, wearing a crown of rays, and clad in the long shirt of a driver. Above This is one of the figures in a picture of Eos carrying off him shines the full orb of the sun, while stretching forward in Cephalus (cf. fig. 75), and has been inserted by Dr. Engelmann Fig. 67. — Helios, Selene, and Eos (Sun, Moon, and his car he guides the prancing steeds. to give some idea of the appearance of Odysseus as a beggar. in shabby, is not a beggar, but Dawn), (line 93). In front of him, seated woman's fashion sideways on a The old man, however, though cantering horse, is Selene, the goddess of the moon. She also a slave who carries the bathing apparatus of flesh-scrapers Red-figured vase-painting on the cover of an Attic wears a diadem and has a long garment. Above her are stars, (s/rigiles), oil-flasks (lecythi), etc., of some noble youths out TOILET OK OINTMENT POT (fy'Xl's) OF THE FIFTH CENTURY B.C. and below flowers spring out of the earth, over which she hunting. Figs. 76, 79, and 80 give pictures of Odysseus in Found in Greece, and now in the Sabouroff Collection at the is hasting in flight from Helios, whom she turns backward to his disguise as a beggar which may supply the place of this Berlin Antiquarium. watch. illustration. BOOK XIV. DYSSEUS found Eumaeus sitting at Odysseus foretold that he would himself come to take After the supper was over Odysseus told a tale of an am- the door of a house which he had vengeance, but Eumaeus, though still loyal to his master, bush (fig. 71) before Troy on a winter's night, and of the built for himself by the sties, and would not believe it in spite of his oaths. Then the swine- cold he endured for want of a mantle. As a reward for was received hospitably by the swine- herds returned from the fields with their swine, and his ingenuity in hinting at his wants, Eumaeus made him herd, who told him of the misdeeds made a feast in honour of the guest, beginning with a a bed of skins and fleeces near the fire, and gave him a of the suitors, and how things were going in Ithaca. sacrifice to Hermes and the Nymphs (figs. 69 and 70). thick mantle, wrapped in which Odysseus slept soundly. perched on a ledge of (line goat's legs, rock ; while opposite, on the Fig. 69.—Sacrifice of a Pig (line 420). Fig. 70.— Hermes and the Nymphs 435). right, is the mask of the river-god Achelous, who, as Homer in the Sabouroff Collection at the BLAI K 1 IGURED PAINTING ON AN ARCHAIC VASE IN THE FORM Votive relieffrom Megara, connected with the tells us, was Nymphs (//., xxiv., 616, vv^ii,lv 01 A I I'"".'. Berlin Antiquarium. oXt a[x<$> 'A\o\(ij(of fj>fn''nraiTo). From Tanagra, nolo in the Berlin Antijuarium. Furtwangler, La Collection Sabouroff, i., PI. 2S. Archaologischt Ztitung, 1881, PI. iii., 2. the shepherds' god, in the In Homeric times and during the whole of classical antiquity The association of Hermes, Fig. 71. —An Ambuscade (Xdx a fire is burning brightly. The boar-pig which is to be the with a rhythmic step, often to the music of the Satyrs or of victim walks up to the altar, followed by a servant of the temple, Pan himself. with chest bare and a cloth wrapped round his waist. He Fig. 70 is a fourth century B.C. version of the same subject. Four warriors are crouching down in a vineyard waiting for carries a dish, on which there is an object like a piece of twisted The scene is a large cave, the home of the Nymphs (cf. Od., the enemy. They are armed with crested helmets, and shields cloth, though it may possibly be the club with which the animal xiii., 103-4), through which Hermes leads three of them hand bearing different badges, —two dolphins, a bull, an octopus, and In 1 to killed. Then comes a procession of three men, all fully in hand, in solemn procession, towards four worshippers, who a lion (?). Above them are entwined the vine branches, bearing draped in long festival mantles. A player on the double flute wait on the left side. These are a man and his wife with their bunches of grapes. If it were not for this, and the fact that leads the way, followed by two men bearing the branches usual two children, and they greet the gods with the right hand there were three, not four warriors, one might almost assume with suppliants (cf. fig. 72) or worshippers. raised in prayer. Above them sits the god Pan, with his that the artist had intended to illustrate the story of Odysseus. BOOK XV. I IF. scene then changes from Ithaca to talk. Next day, at dawn, Telemachus lands on Ithaca, the following way. The daughters of Prcetus had withstood Sparta, where the introduction Telemachus had now and, sending his crew on to the city, goes himself to of the new worship of Dionysus, and in conse- quence were visited {i.e., since bk. iv.) stayed twenty- the hut of Eumaius. by the god with madness. Melampus, being a seer, healed them, and was nine days. Athena visits him as he made king. This is probably the subject of the vase-painting in fig. 72. In the lies awake at night, and urges instant Fig. 72. —Melampus (line 225). centre stands the statue of Artemis Lusia, and on the altar return to Ithaca by way of Pylos, warning him at the Red-figured painting on a South Italian vase of the Mow it are seated three maidens, one holding a kind of same time against the ambush which the suitors have fourth or third century b.c. thyrsus, another a sword, and the third resting her head upon laid for him (bk. iv., 842 and foil.). Laden with pre- From the South her hands, in a distracted way. of Italy .formerly in the Zurlo Collection, and A man with a sceptre, wearing sents from a rich Menclaus, he returns to Pylos, and embarks now in the Naples Museum. mantle and shoes, stands before them, speaking solemnly. In the background without visiting Nestor, taking on board to the right stands Dionysus with his cup with him Muller-Wieseler, Denkmaler, i., PI. 2, 11. (can/harus) and bough Theoclymenus, the seer, a Milling) n, Peintures, of ivy, to show that he is the cause descendant of Melampus 53 (ed. Reinach, p. 119). of the malady. BAUME1STER, Denkmaler, To the left, seated crouched up dejectedly (fig. 72), and Amphiaraus (fig. for he had art. "Melampus." 73), slain a on an indistinguishable object, is a Satyr with thyrsus. kinsman and was flying from vengeance. The scene Melampus, is supposed to be in front of a shrine, the walls of Meanwhile the ancestor of Theoclymenus, the Odysseus, in Ithaca, was asking Eum.xus fugitive seer, which are decorated by two small votive pictures. Near the had migrated from Pylos to Argos, to take him where, according to a ver- to the city, and listening to the old altar is a pillar, with an man's sion of the legend Ionic capital, which bears a sacred unknown to Homer, he had become king in tripod on its summit. Departure of Amphiaraus (line as is fitting, in the background, drawing her veil across her Fig. 7.3. —The 243). of everyday life by the addition of a commonplace accessory, face, while she still holds the huge necklace, the bribe for Black-figured fainting on an archaic Corinthian for cock-fighting was a very favourite amusement among the which she had sent her husband to the death that he had vase of the seventh century b.c. Greeks. himself foreseen. From Care, now in Oie Berlin Antiquarium. Hippotion On the other side of the picture the groom Fig. 75. —Eos carrying off a Boy. The other side is given II., fig. 98. stands before the horses, while near him the old man TERRA-COTTA RELIEF FOR THE DECORATION OF THE GABLE- Mon. d. Inst., x., PI. 4-5. Halimedes sits on a stone before the gate, his hair dis- END OF A HOUSE, OF ITALO-GREEK MANUFACTURE. . I : 1 meister, Denhmaler, fig. 69. hevelled, beating his head with his hand. He, like Amphi- From Cure, now in the Berlin Antiquarium. Lexicon d. Mythologie, Roscher, p. 296. sight, foresees the araus, possesses the gift of second and Archaol. Zeitung, 1882, PI. 15. Luckenbach, loc. cit., p. 551. coming doom. Roscher, Mythologie, p. 1273 (fig.). All over the painting are scattered animals, —a snake, eagle, The legend of Amphiaraus, the seer, who through the centipede, owl, hare, hedgehog, and lizard, —which have nothing The love of Eos (cf. 67) for beautiful youths is the subject of treachery of his wife joined in the Expedition of the Seven whatever to do with the story, but are inserted, after the many myths. Thus in this passage we are told that she carried against Thebes, and perished accordingly, was the subject of manner of Corinthian vase-painters, to fill up the vacant spaces. off Clitus, and elsewhere in Homer that Orion (Od., v., 121) several well-known works of ancient art. The picture on the and Tithonus (//., xi., 1; Od., v., 1) suffered the same fate. In chest of Cypselus at Corinth is the most celebrated of these, Attic mythology Cephalus, the beautiful hunter, was the youth Fig. 74.—AlcmEeon (line 248). and to judge from Pausanias's description corresponded very she loved most, and there are many vase-paintings representing attic pitcher (hydria) of closely with this vase-painting. Red-figured painting on an her pursuing and bearing him away. In the group here THE FIFTH CENTURY B.C. The chariot of Amphiaraus, with its four horses, stands in the given the boy seems too small for Cephalus, Tithonus, or centre before the city gate. The charioteer Baton (name in From Attica, now in the Berlin Antiquarium. Orion. Archaic artists were little troubled about proportion, early Corinthian characters) stands in the chariot, holding the Archaol. Zeitung, 1S85, PI. 15. but it is best not to give the figure a name, and to take reins. Me is fully armed, and before starting is taking the it in a general way as applicable to all such removals. farewell drink handed him by a woman called Leontis. This picture is a contrast to fig. 73, for it shows us the Indeed, it is probable that "carrying off" by Eos was but Behind him Amphiaraus, armed in archaic style before his wife betrayed him. a poetic symbol for early death : "Those whom the gods (cf. //., fig. 7), happy family life of Amphiarans is mounting the chariot with a hasty bound. His rage is Euriphyle ( 4>YAH) sits on a chair in the centre suckling love die young." shown by his drawn unlike true Greek sword and the glance he casts at his Alcmajon (AAKMEfiN), while Amphiaraus (AM*IAPA ) Eos appears here as usual with wings, but, house, which lies to the left. Beneath its portico are his leans on his stick behind the chair and watches them. Before representations, her ankles are winged as well as her shoulders, children bidding him farewell. First stands his son Alcmreon, her mistress stands a maid whose name is not clear (Demo or making her resemble the Gorgons and Daemons so common on hair with behind whom are his daughters Eurydice and Demonassa, Ainippa ?). She is spinning with a spindle, which hangs from this class of monument. The whole relief, from the with their nurse, who bears on her shoulders a second boy her right hand, and doubtless originally held a distaff in her its diadem, formal waves, and long, rigid plaits falling over (Amphilochus, cf. line 248). They all stretch out their hands left. Beside her is the workbasket into which the thread the ears with their large earrings, to the long dress, through in supplication, and the artist undoubtedly intends us to spun was placed (cf. figs. 19 and 78). On the floor between which the legs are seen, is thoroughly archaic. understand that the hero had only desisted from slaying his her and her mistress are two cocks fighting, inserted apparently The spiral ornament below is intended to represent the treacherous wife at their entreaties. She (Euriphyle) stands, without any reason, except perhaps to give the picture the air waves of the sea over which Eos is flying- BOOK XVI. with news of GLEMACHUS is lovingly received by the aid of Athena to recognise Odysseus. After the ships have arrived at the same moment rage at Eumojus, and, noticing the stranger, recognition they both take counsel as to how the suitors, Telemachus's return, which fills the suitors with plans regrets that he cannot entertain him who are so strong and numerous, can be overcome the failure of their plot, and drives them to new best ; this, and rebukes at the palace, by reason of the and resolve that Odysseus shall accompany Eumajus for his destruction. Penelope hears of the return of violence of the suitors. He sends to the city, disguised as a beggar, whilst Telcmachus the suitors. The book then closes with Eumrcus to the Tclemachus city to tell his mother of his return, stows away in hiding all the arms that are in the Euma:us to his hut, where Odysseus and and then, to his great amazement, is enabled by palace. Meanwhile, Eumrcus and a herald from the await him. — BOOK XVII. Overbeck, Gall. her. Bildw., PL 33, 10, p. 803. beggar's dress, he came into the hall in his ELEMACHUS next day started for died. As Baumeister, Denkmaler, fig. 1256. him, he went of the food Telemachus sent Saglio, Did. des Antiq., p. fig. 838. the city, commanding Eumoeus to after tasting Daremberg et 697, taunts, and the suitors, suffering their bring his guest there also. a-begging among at Antinous hurled a footstool recognition of Odysseus As Odysseus was on his way to the only protesting when The interpretation of this gem as the who is dressed dispute was overheard by Penelope, his old dog is a very probable one. The man city, the goatherd Melanthius reviled him. The by news of conical hat, short shirt, and small cloak that summoned the stranger to her in hope of in the sailor's him, to the annoyance of Eumaaus. On entering the etc.), and until characterise Odysseus (cf. figs. 25, 34, 35, 42, 65. Odysseus, but he wisely begged to be excused courtyard of his home, the old dog Argus—a hound meditative way, carries a beggar's staff, on which he leans in a before, but they were alone in the evening. which had been his favourite twenty years watching the dog. The dog issues from a kind of tower, which dung-hill to consider as a kennel. It is now lay, despised, full of vermin on the it would be undoubtedly wrong Dog Argus (line 291). represented in this abbreviated recognised Odysseus, wagged his tail, and dropped his Fig. 76.—The rather the palace of Odysseus cornelian. way by the gem-engraver, who had no room to make it ears, but had not strength to go to him (fig. 76). Engraved larger. Odysseus shed a tear and passed on, and then the dog In the Berlin Antiquarium. BOOK XVIII 77.— Candlestick (line 305). HEN Eum.eus had gone, Odysseus was to win her by gifts. Moved by this, they make her Fig. from an Etruscan wall-painting. left alone with the suitors, and Antinous noble presents, and she retires to her apartments. The Figure Baumeister, Denkmakr, vol. ii., p. 816, fig. S92. for their amusement incited a braggart night had now come on, and Odysseus, wishing to have vagabond called Iris to challenge the hall clear, offers to tend the braziers that lighted wood, Homeric palaces were lighted at night by fires of dry were Odysseus to fight. The hero felled it (fig. yj) for the maids, but they laugh him to with which torches (made of resinous strips tied together) braziers at him with a single blow. Later on, when the wooers scorn. Then by threats he drives them out, and mixed. This mixture seems to have been placed in Engelmann, however, thinks were feasting, Penelope, forgetting her sorrow for the bids defiance to Eurymachus, who hurls a footstool intervals throughout the hall. Dr. on candle- it probable that the torches may have been stuck nonce, decked herself, and, entering the hall, first at him, which strikes one of the lads that ladle wall-painting sticks in the manner shown by the Etruscan rebuked Telemachus for the rough welcome given to out the wine (cf. figs. 94 and 96). Afterwards the been given here. Bronze candlesticks of this pattern have his guest, and then, turning to the suitors, reproached suitors ended their drinking, and went home for appear to often found in Etruscan tombs, but there does not hem with wasting her substance instead of striving the night. be any evidence that they were used in Homeric Greece. BOOK XIX. HEN the suitors had all gone for the This figure is of a type which recurs in a series of Greek The artist has not followed Homer nearly so closely as night, Odysseus and Telemachus, sculptures and reliefs (see remarks on fig. n). the sculptor of fig. 80, but has treated the subject quite Penelope is seated on a chair, beneath which her workbasket independently. Thus, Odysseus stands instead of sitting ; the aided by Athena, who lighted them (cf. fig. 19) is seen. She has paused for a moment in her nurse is young, not old, and called Antiphata instead of at their work, cleared all the arms spinning, and, resting one foot on the footstool, leans her head Euryclea ; while, finally, Eumajus is present and Penelope from the hall. This done Telemachus upon her hand, with elbow supported on her right knee. The absent. This last trait, however, is no doubt due to the wish went to bed, but Odysseus remained in the hall, and whole attitude is one of pensive meditation, as she thinks of to suggest that it was Eumreus who had brought back Odysseus presently was found there by Penelope and her maids. her lost husband. As befits a matron, she wears a mantle over to his palace. As to the name Antiphata, it is just possible her shift, and has drawn it across her head like a veil. that the artist invented it from a hazy recollection of Anticlen, She bids him tell who he is, lamenting at the same of The pathos of the figure seems to have made it a favourite the name Odysseus's mother. time her own hard lot (fig. 78). Pressed by her, he one for funereal monuments, and mourners appear in this feigns that he is a man of Cnossus, in Crete, and that natural attitude of grief on many monuments. he had known Odysseus, describing exactly his appear- Fig. 80. —Odysseus recognised by Euryclea (line 357). ance and dress. He goes on to swear an oath that the Roman terra-cotta relief of about the Christian hero is safe and will return again before long. Penelope Fig. 79. —Odysseus has his Feet washed (line 357). Era. promises him many gifts if this prove true, and bids Red-figured painting on an Attic vase of fifth the Formerly in the Campana Collection, now in the Bibliothkque her maids prepare him a bed bath. and He refuses to century b.c. Nationale at Paris. have his feet washed by any save an old woman, and From Chiusi, now in the Berlin Antiquarium. Campana, Antiche op. in plastica, PI. 71. Penelope bids Euryclea, his old nurse, do so. As she This is the reverse 1 1. ofJig. Gall. her. Bildw., PI. Overbeck, a, 5 ; p. 40. washes him she recognises an old scar in his thigh Mon. d. Inst., ix., PI. 42. Millin, Mon. inldils, ii., PI. 40. (figs'. and 80), which has remained from a he 79 wound Baumeister, Denkmaler, p. 1042. Baumeister, Denkmaler, fig. 1257. had got in a boar-hunt (fig. 81), and, in her amazement, Roscher, Mythologie, p. 1423. Daremberg et Saglio, Diet, is on the point of uttering his name, when Odysseus, des Antiq., p. 640, fig. 725. The scene is shown to be a room by the curtain which Schrieber, Kulturhist. Bilderatlas, PI. 63, 3. seizing her by the throat, checks this untimely recogni- hangs in the background. Odysseus, wearing his sailor's hat, tion (fig. 79). Luckily, Athena prevents Penelope clad in a tattered shirt (line 72), with a small mantle and a from remarking the old woman's discovery, and she, Odysseus (OAI5EY2), wearing his characteristic conical beggar's staff, is seated on a cushioned chair (lines 100-103). sailor's withered face and lean body, has after comparing her grief to that of the nightingale cap, with a mantle loosely wrapped round, is depicted Euryclea, an old woman with as a beggar carrying his victuals in a basket and wine in a skin just felt the scar and in her amazement overturned the pan (fig. 82), and after telling a strange dream, which on the end of a stick, to which, at the other end, a wallet (line 468). She is about to utter a cry, but Odysseus has Odysseus interprets favourably, retires to her apart- (Od., xvii., 197), or perhaps a small cooking vessel, is attached. seized her by the back of the neck, while he stuffs his right ments for the night. Leaning on his beggar's staff, he holds out his left foot to be hand into her mouth to check her (line 480), looking backward washed in a brazen pan by his nurse (ANTI backwards). She is dressed in the single garment of a serving the chair is the swineherd Eumaius, dressed in a rough Fig. 78.— Penelope mourning (line 124). woman, and kneels holding his foot over the pan. She has shirt, girt tightly about his loins, a small cloak, a goat-skin just discovered the wound, and as she feels it looks up to (Od., xiv., line and boots of undressed hide (Od., TERRA-COTTA RELIEF, 530), recognise her master. Behind her stands Eumseus ('EvMtuOS), xiv., 23-4), and holding his staff in one hand and a small bowl Anlike Denkmaler, I, Heft 3, p. 17. clad in a mantle wrapped round his waist. in the other. The dog Argus lies seemingly asleep by the a sudden Young Itylus, or rather Itys (ITY5), lies quite nude on chair of Odysseus, reminding us of the episode in bk. xvii. followed by Adonis, but the wild beast has made the pillow of a bed, struggling for dear life with his the dog. mother . (cf. fig. 76). Just in the same way Eumajus is introduced to rush, ripped open Adonis's thigh, and trampled on Edon stands over suggest his journey with are acting as beaters (A1EAONAI). She him, her hair all dishevelled, Odysseus to the palace (cf. fig. 79). All round the cave the herdsmen who in madness and, having seized him by the The absence of Penelope in such a faithful illustration of are hurling missiles at the boar to distract his attention from ; hair, is plunging a sword into his throat just at the collar-bone (xari Homer's story is at first sight surprising, but it must be re- the hero. (3) The death of Adonis, of whom Aphrodite takes kXi^Sh, cf. background, the membered that Athena had bewitched her senses, so that she a tearful farewell. fig. 2). In the on wall of the bed-chamber, failed to perceive hang a lyre and the sheath of the sword what was happening (line 478), and an It should be noted in the central scene that Adonis is which Aedon holds attempt to represent this would probably have overtaxed the distinguished from the peasant as hero by being nude but while below, under the bed, is a huge foot-pan, which takes artist's powers (cf. fig. 99). for the small cloak which he has wrapped round his arm (the the place of the footstool generally seen there in Greek traditional way of attacking the boar). The weapon he used paintings. The characters above the lyre and the right was a spear of the shape shown in //., fig. 55 ; but, owing to ill arm of Aedon have Fig. Si.— Boarhunt (the Death of Adonis), (line 439). " usage, it has been broken away in the relief, and only the part no reference to the story, and are merely the customary " love Reliei un- a Roman Sai coph igus. he grasps in his right hand remains. inscriptions of the potter. It is perhaps worth noting that the /// the Louvre, Paris. For another end ofthe pillow which Itylus lies M'ii representation of a boar-hunt see Iliad, fig. 52, on looks at first sight like a ER-Wieseler, Dcnkmaler, ii., PI. 27, 292. which gives the picture of the Calydonian boar-hunt the Phrygian cap, but must not be mistaken for it. The story Baumeister, Denhmalet, from how p, 75, fig. u 5 . Francois vase. Aedon slew her son unwittingly is told by the scholiast on this passage. She had but one son her The story by husband Zethus ; and, how Odysseus was wounded in the thigh by the boar agrees smitten with jealousy at the many children of Niobe, resolved in a very remarkable way with this sculptured Fig. 82. —Aedon slaying Itylus. to slay the eldest son among them, version of the death of Adonis. but in the darkness of the The relief is divided into Red-figured painting on the inside of an Attic drink- three night murdered poor Itylus. Zeus took pity on her sorrow, and separate scenes. To the right () a herdsman brings ing CUP (cylix) OF THE FIFTH CENTURY D.C. the of turned her into a nightingale, and this is why the nightingale news the devastation caused by the boar to Adonis Journal of Hellenic Studies, vol. viii., p. 440. her as he stands by an altar spends days and nights in mourning. in the bower of Aphrodite. (2) In ' :ntri The legend in later times was mixed up with the Attic "" I myth beat . have driven the boar to his lair, a cave This vase-painting seems to be almost choked an exact illustration of of Philomela, Tereus, with brushwood and reeds. A and Procne, and in the composite hound has entered, the Homeric story. version occurs very frequently in classical literature. BOOK XX. DYSSEUS went to the bed of undressed of thunder, and by the prayer of a poor serving woman, ever, hide that had been made prevents them, and they once more begin to for him in who was grinding corn (figs. 85 and 86) in the court- the portico, but revile Odysseus, and laugh at the prophecy of could not sleep for yard, that the suitors might be slain. Theoclymenus, the thoughts of vengeance. His anger The seer, whose eyes were opened to next morning was a feast-day, and the hall was see the became even fiercer as he saw suitors shrouded in death, and walls and rafters some being prepared for a great banquet of the maids (fig. 87). Presently of the steal from the women's apartments hall dripping blood. out Eumaeusand Melanthius, through the goat-herd, enter, the the hall (cf figs. latter 5 and C) to join thdr once more reviling the beggar-guest, who, paramours among the however, is suitors. At last Athena came welcomed by Philoctius, the cow-herd. and gave him sleep, Then Odysseus only to have it Fig. S3.— broken by the cries seizes A Harpy (line 66). the opportunity, and gets °l Penelope praying Eumaeus and Philoctius for a death like that Black-figured painting of the to solemnly declare on an Archaic pitcher (hydria) daughters that if he should return they of Pandarcus (figs. S3 would OF THE SIXTH CENTURY and 84). He was be B.C. his loyal men. The suitors have however, encouraged by now come in, with a double omen,-by the From Vulci, twtv in the Berlin Antiquarium. sound the intention of slaying Telemachus. An omen, how- Jahrbuch des Deutschen Arch. Inst., i. (1S86), p. 210. " The Harpies were demons of the storm (line 66, 0u'cAAai), and the Harpies." The chief objection to this view is that the rest lower conical, the upper shaped like a double funnel,—working the top of the ; as messengers of death carried off quickly those that were of the figures have no connection at all with ordinary Greek one on other and, when the top one was turned that round, grinding the mill is doomed (cf. line 77). Their appearance in earlyGreek art, where mythology, and that there is no evidence to show the corn poured into the funnel. This they appear seizing food from the table of Phineas and pursued Lycians were acquainted with Homeric legends. of great antiquity in the East, and was known to the Greeks " " all the classical by the winged sons of Boreas, is rather more human than in The peculiar egg-shaped end of the Harpy's body led through period. It was worked either by hand interpretations of its mean- or by a donkey or horse. section in fig. 86 is this vase-painting. In it the Harpy is represented with the some people to advance symbolic The shown based the donkey-mills body of a bird, and the grinning head and winged shoulders of ing. It is, however, nothing more than the artist's awkward on discovered in such great numbers a gorgon, holding a youth, snatched up from earth, in each attempt to combine a view of the upper part of a bird seen in at Pompeii : c is the conical understone ; ..', e, the double funnel placed over it, driven bar passing hand, and carrying him off to the Furies. profile, with one of the lower part, seen from below ; a universal and round by a difficulty with primitive artists. through it horizontally. The corn poured into the funnel passed out on to the ledge /', where it was gathered and sifted. Fig. 84.—Harpy (line 66). Although it is Roman, there is no reason to suppose that it Figure in relief on the "Harpy Tomb," a Lycian Fig. 85. —A Millstone (line 107). differs from the mill used in ancient Greece. monument of the sixth century b.c. From the hill of Hissarlik (the site of Troy), discovered by From Xanthus, now in the British Museum. Schliemann, and noiu in the Ethnographical Museum at Pier/in. Archaol. Zeituug, 1855, PI. 73. Fig. 87.—Women at the Fountain (line 153). Schliemann, Ilios, p. 266, fig. 75. Friederichs-Wolters, Gipsabgiisse, No. 127-30. Red-figured painting on an Arnc vase. Murray, A. S., History 0/ Greek Sculpture. Panofka, Bildcrant. Lebens, PI. 18, S. Mitchell, History of Ancient Sculpture. In Greece, from the earliest times, corn was crushed on a Schreiber, Kulturhist. Bilderail., PI. 65, 1. Paris, P. (ed. Miss Harrison), History of Ancient Sculpture. broad, flat stone, with a smaller stone, and rubbed into meal, Overeeck, Geschichte d. gr. Plastik (1881), p. 171, fig. 37. just as is done by savages in many countries at the present Fetching water from the fountain was one of the daily tasks day. The flour and bran were not separated, but both to- of the maids in a Greek household (cf. Od., vii., 20; x., 104), and This figure recurs four times in the reliefs of the famous gether prepared as food. a favourite subject with Greek vase-painters. In the early black " Harpy Tomb," two appearing on each of the narrower reliefs, Schliemann found a very great number of these stones in figured style, the fountain appears covered with a colonnade, as a border on both sides. It has the head, arms, and breasts the lower strata of Hissarlik (i.e., Troy and the town over which beneath which the water spouts from the carved heads of lions of a woman, and the body, claws, and tail of a bird, and bears it was built). or other animals. In front of this the maids are represented a tiny female figure, folded close to its bosom. The girl (or gossiping. In fig. 87 we have a simpler form of fountain, it may be woman) is stroking the chin of its captor with its left with three plain spouts ; a small number compared with the Fig. 86. — Section of a Roman Mill (line 107). hand, but rather in a caressing than a supplicating manner. Alto- Enneakrounos at Athens, which had nine. On the right is a Schreiber, Kulturhist. Bildcrati, PI. 67. gether the " Harpy " is much more human and kindly than that maid stooping to raise on her head a pitcher (hydria) filled in fig. 84, and this has led to the popular name and interpretation with water, while to the left is another maid waiting for her that the figures borne away are the daughters of Pandareus. The rude mill described above (fig. S5) was displaced at an pitcher to fill, and talking with lively gestures. Above the This is to a certain extent corroborated by a small figure early date, though perhaps not as early as the time of Homer, fountain a sash is suspended as a votive offering to the god or crouched in a mourning attitude, which is seen below one of by the quern, or round mill. This consists of two stones, —the nymph who presides over the fountain. BOOK XXI. N this same morning Penelope went to with the arrows. Then she descended to the hall, and the bow. The first failed, though he tried to make the the treasury of the palace, unlocked proposed to the suitors a contest for her hand, for she bow more supple with melted lard. had gone out with Eumaeus and its strong doors (figs. S8 and 89), and would marry the man who could bend the bow and Meanwhile Odysseus took the bow of Odysseus, which shoot an arrow through twelve axes (fig. 92), fixed in a Philoctius, the cow-herd, and, revealing himself to them in his thigh, he bade them get had been a gift from Iphitus (fig. 90), line in the floor of the hall. Telemachus set the axes by the token of the scar in turn, to try to all the women out of the hall, and all the doors barred, from the pin where it hung in its case (fig. 91) along in a row, and the suitors began, bend — Eurytus (here called panel of Next, to the left, reclines 'Evpimos), the the key-hole into the bolt. On the left still vainly trying key through and then returned to find the suitors (AiStufos) beside him. On the farthest while on the host, with Didaios couch the door is what may possibly be a knocker, the bow. He asked to be allowed to try (KAimos) and Toxus (Tdf'os). to bend to. the right are Clytius panel below it is a strap for pulling the door On depicted the moment when the guests also, but was rebuked by Antinous, who reminded supposed to The artist has are lower panel is a rough graffito sketch (probably Centaur whose mind pledging one another, and seems to have wished to suggest him of the fate of the wayward be in chalk) of a girl's head. the anger of Heracles by representing him alone as not was darkened with wine, and led him on to folly in the drinking, but holding a dagger in his hand instead of a knife. Peirithous, for which the Lapiths wreaked house of the vase Figs. 89 a, b. —Doors (lines 6 and 46). It should be noted that though belongs to the Penelope interceded for fearful vengeance (fig. 93). seventh century B.C., the Oriental custom of reclining at a a. Schreiber, Kulturhist. Bilderatl., PI. 56, 2. him, but Telemachus persuaded her to leave the hall, toilet feast instead of sitting, as in Homeric times, has been already b. Part of red-figured painting on an Attic father, As to the arrangement of the tables and couches, and himself bade Eumaeus give the bow to his OR OINTMENT POT (fyxis) OF THE FIFTH CENTURY B.C. introduced. exigencies of space that have led the artist Euryclea to bar the door of the it is only the to depict at the same time telling Found at Alliens, now in the Louvre. them in a long row. He probably intended us to regard them escape. women's apartments, so that none could Then Baumeister, fig. 753. as facing each other or as side by side. and 10). Odysseus bent the bow with the greatest ease, shot the Schreiber, Kulturhist. Bilderatl., Pis. 56 and Si (1 It is interesting to note the dog tied beneath each table, and through the axes, and called on the suitors arrow clean the dishes with two loaves set before each guest. The doors, like that of fig. 88, are strengthened by strong to begin the feast, nodding the while to Telemachus, bronze plates, fastened to the wood by large-headed bronze who drew his sword, and took his stand by his father's nails. The door to the right has a key-hole and knocker in Fig. 91. — Scythian stringing a Bow (showing the side. the upper panels, and two rings for closing it in the lower. ympvrd^, (line 54). this dramatic point the book closes. At Figure in relief on the shoulder of a silver vase. From the Crimea, now in the Hermitage, St. Petersburg. Fig. 90. —Heracles and Iphitus (line 14). Fig. 88. — Door and Key (lines 6 and 46). Schreiber, Kulturhist. Bilderatl, PI. 38, 11. Black-figured painting on archaic Corinthian mixing- Red-figured vase-painting on an Attic vase of the bowl (crater). The yutyjurds was a case which held both bow and arrows. fifth century d.c From Care, now in the Campana Collection at the Louvre, The Scythian in the picture wears it on his left side. The bow Gerhard, Trinkschalm u. Gefasse, ii., PI. 28. are given II., itself is a short one, of horn, and the manner in which lie Paris. Other scenes from the same vase fig. 51 ; Od.,fig. 58. strings, resting one end on his right thigh, is the usual one for of the ancients essentially different The doors were from such bows (cf. II., fig. 24). Mon. d. Inst., vi., PI. 33. ours. They were not, as a rule, fastened to the posts by Roscher, Mythologie, i., 220; ii., 313. hinges, but worked on pivots fitting into holes in the threshold Diet, des Ant., fig. Daremberg et Saglio, p. 1273, 1694. Fig. and lintel. Such holes are still visible in the thresholds of the 92. Axe (line 120). three vestibule doors of the Megaron at Tiryns (cf. fig. 6, where Helbig, Das Homerische Epos, p. 254, fig. they are shown on the plan). The legend was that Heracles had come to the house of favourite The lock was a bolt sliding in a socket (lines 6 and 47, Eurytus as suitor for the hand of Iole, and, in wrath at being The feat of Odysseus, which Penelope proposed as l>Xcis). It had a hole in its upper face, into which the key rejected, had slain Iphitus, the son of his host. an ordeal to the suitors, is described in bk. xix., 572-5. It (k\t;i's), was simply a bent piece of iron (line fi, in was to set up twelve axes in a row like Spvo^oi, which, as which hiKainn'p; j The vase-painting shows Heracles feasting the house of the cf. //., fig. 39) fitted. To open the lock, the bolt was shoved Eurytus. He (name in early Corinthian characters) reclines Merry says in his note, " seem to be the trestles or blocks with back with the key. on the last couch to the right, a garland round his head, a central notch on which the keel of a ship was laid when her In later times, by making a complicated pattern of holes in and a knife in his right hand, with which he cuts the food building first began," and then to shoot the arrow straight the bar, ami corresponding set of teeth on the key, the opening taken from a three-legged table placed before his couch. At through them. Homer tells us in this book (lines 120-2) how of the door by a false key was made much more difficult. the foot of the couch stands Iole (FioXa), clad in a long shift Telemachus set them up, making first a long straight trench The dour was also made fast by a thong (i/ias), which was and a mantle, taking no part in the feast, for that would not in the floor of the hall, and then placing the axes in it in a tied in a complicated knot to a hook or handle (KOfwnj). The have been decent for a lady. She is walking towards Heracles, perfectly straight line, stamping the earth round them. There painting in fig. SS shows a girl flying in terror to with a casket of but turns her head to speak her brother Iphitus (Fi^n-os), is, however, no hint as to the way in which it was possible to jewellery. She has just reached the large double door of the who has addressed her, and is in the act of stretching out shoot through the axes, except the passage where Odysseus treasury, and, with her foot on the threshold, has placed the his hand for a goblet which stands before him on the table. " performs the feat : Even from the settle whereon he sat and with straight aim shot the shaft, and missed not one of the axes where too the whole question is discussed in an admirable note In the centre is the throne of bride Hippodamia (here called beginning from the first axe-handle, and the bronze-weighted on p. 418. AAOAAMEIA), whose marriage with Peirithous the Lapiths shaft passed clean through and out at the last " (Butcher and had invited the Centaurs to celebrate. A Centaur, however, " Lang's translation). The fact that he was sitting shows that Fig. 93. —The Battle of the Centaurs and Lapiths flown with insolence and wine," has tossed aside his goblet, (line the arrow must have gone in some way through the head of the 295). and seized the bride to carry her off with him. She struggles axe, the whole length of the handle being required to give it a Red-figured painting on a South Italian vase. in his grasp, and Peirithous with a sword, and his friend sufficient height, and commentators have long been in search Theseus with a club, hasten to her aid, and vigorously attack of axe-heads which would be open enough to shoot through. The battle of the Centaurs and Lapiths was proverbial in the Centaur. On each side is seen a lady flying in terror from against The axe which Helbig has chosen would suit the purpose antiquity as a warning immoderate drinking. In art it the violence of the monster. The vase-painting is abbreviated moderately well, for the curved heads would form a sort of was regarded as symbolising the struggle of human wisdom to the smallest compass, and only shows one Centaur. In unrestrained animal passions, channel through which an arrow might be shot, but it would and moderation over and was the sculpture, however, especially on friezes or metopes, the of famous sculptures. The best hardly be a difficult feat. There is the further objection that subject many known of these number of combatants was endless, the artist carving as many in times the metopes of the Parthenon, there is no evidence worth speaking of for the use of such a modern are many of groups as he needed to fill up the required space. shape in pre-historic Greece. Since Helbig's work was pub- which are now in the British Museum, where there is also a In the upper half of the picture we are shown the bridal bed, fine frieze with subject from the lished, attention has been called by Dr. Warre to an axe shown the same temple of Apollo at and in front of it the bride, assisted by her maid, adorning her- Phigaleia, near Bassae. More famous in antiquity on some Egyptian paintings, which consists of a loop of metal were the self. To the left, on a throne, sits Aphrodite (?) in a meditative with its ends fastened to a shaft, and its convex side sharpened sculptures of Alcamenes which decorated the West Pediment of attitude, while a little Eros flies towards her with a riband. * to an edge. To shoot through twelve such axe-heads " would the temple of Zeus at Olympia. These too still exist, having Behind her is an old duenna. To the right of the picture an at once test the skill of the artist in aiming, and the strength been discovered by the Germans in their excavations of the old pitdagogus talks to a woman. On the wall in the back- of the bow in the flat trajectory of the arrow." A picture of year 1876. The lower half of the vase-painting treats the ground are suspended a casket of jewels, a ball, and a curiously this axe will be found in the appendix to the last edition subject in much the same style as these larger monuments, if shaped musical instrument. (1890) of Butcher and Lang's Translation of the Odyssey, allowance is made for the difference of style and material. BOOK XXII. HE suitors had not yet realised that unclosed to the treasury (cf. fig. 94), where he was caught Figs. 94 a, b, c. —Odysseus slaying the Suitors. their doom had come upon them, red-handed by Eumjeus and Philoctius, and bound to Reliefs from the tomb at Gjalbaschi, in Lycia, now in the Museum at Vienna. and so when Odysseus, mounting the the rafters to abide his punishment. Fig. 5 of the Iliad comes from the same tomb, and references to threshold of the women's apartments, Then Odysseus and his three comrades, encouraged the literature of the subject are given there. drew his bow, and drove the arrow by the goddess Athena, slew the suitors one after Two scenes are represented : (a) and (c) the slaughter of the clean through Antinous's neck (fig. 94), they thought it another, sparing only Phemius, the minstrel, and Medon, suitors, and (b) the denunciation by Euryclea of the faithless was but a misadventure. Then, despite the entreaty of a servant, who had wrapped himself in a newly-flayed maids. Eurymachus that he would be content with one victim, ox-hide, and hidden under a seat (figs. 94-8). His In the slaughter scene, which appears on four slabs, two of vengeance on the suitors accomplished, Odysseus he slew him too, aided by Telemachus, who fought with which (c) are connected by a Doric column, Odysseus appears sword and spear. The combat, however, was one-sided, purified the hall, carrying out the dead, washing and to the left, in his characteristic costume, drawing the bow and lies on a couch before him begging and the arrows were failing, so that Telemachus went scraping off the blood, and burning sulphur. Then, with aiming at Eurymachus, who for mercy (lines 45 and foil.). By the sideof Odysseus is Tele- and fetched four suits of armour for himself and father the aid of Euryclea, he separated the faithless from machus with drawn sword advancing to the fray. He is clad and the faithful swine-herd and cow-herd. There was, the faithful handmaids (fig. 94), and, taking them out, in a cloak (chlamys) and conical cap. At the foot of the couch for the faithless from the rafters, while the faithful moreover, treachery in the household, Melanthius, hanged on which Eurymachus reclines is the mixing-bowl (crater) the goat-herd, stole away by a side door that was still crowded round him with joyful welcome. from which the wine for the banquet had been drawn. In the ; — Slaughter of the Suitors. (fourth or perhaps p IG . gf, The next slab, on the other side of the column, we see to the right accords with the early date of the sculptures Relief on an Etruscan urn. Antinous lying stretched in death, and on the ground the cup even fifth century B.C.). In the Museum at Volterra. from which he was drinking when the arrow struck him (line 9 of the Suitors. Wiener Vorlegeblatter, Series D, PI. 12, S. and foil.). Before him on another couch one of the suitors holds Fig. 95.—The Slaughter Attic drinking-bowl (cotyle) up a table as a shield,—a means of defence suggested by Eury- Red-figured painting on an This relief shows us four suitors on a couch, with a similar B.C. machus (line 74), but not mentioned as actually used. Beside OF THE FIFTH CENTURY table to that in fig. 96 in front, and a mixing-bowl beside it. him a man who has been struck in the back is feeling with In the Berlin Antiquarium. They are no longer drinking, for one lies dead at the top of both hands in a helpless, agonised way for the arrow, to draw it Man. J. Inst., x., PI. 53. the back, writhes the couch ; another, pierced through in his out, At the foot of the bed a youth appears to be trying to Baumeister, Denkmaler, p. 1044. efforts to draw the arrow out, while he raises his cup to hurl hide himself behind the last victim. This beautiful painting appears on the two sides of the vase. it at the archer ; a third strives to pull an arrow from his eye In the next slab (a) we have a solitary suitor shielding himself one side Odysseus (QAY22V), clad in his short sailor's On and the fourth, rising on the couch, draws his mantle round with his cloak. On the fourth slab is another youth holding behind shirt and girt with a quiver, is aiming his bow, while him to give himself some small protection. up .1 table as a screen, and a man sinking in death, both on a him stand two maids, one clasping her hands in terror or Odysseus (dressed as in fig. 96) is drawing his couch behind which a third kneels in hiding, protecting himself Close by him anxiety, the other leaning her head upon her hand in thoughtful while Leiodes, in the form of a boy, has seized with a cloak and preparing to hurl a footstool at his enemy. bow once more, meditation. On the other side is a couch with pillow and the knee, and implores mercy (xxii., 310). To the left, Behind him is a fourth figure, who seems to be carrying another him by coverlet, at the head of which a man (Eurymachus ?), crowned in terror, one of footstool. behind Odysseus, two women have fled whom for the feast with a garland, is starting up from his recumbent the altar (cf. line and clasps the The slab (/>) gives a continuation of slab (c), its right end places her knee upon 379), position, and holding out both hands in wild entreaty. At the fitting the left of (c). It shows a youthful figure escaping idol which stands on a pillar above. foot of the bed is a youth wounded in the back with an arrow, Fury with her torch up a step and through a door. This corresponds well with On the other side of the picture stands a which he is vainly endeavouring to reach in the same way as has the story of Melanthius, the goat-herd, who fled through a (cf. figs. 23, 96), gazing on the fell work that she brought the older man in fig. 94. The same figure reappears again in side door to bring arms for the suitors (line 126). The figure, about. fig. 97. Half-kneeling on the ground near the bed is an older however, is much too small for a grown man, and it is safest bearded man, who holds a shield to protect himself from the to assume that it is intended for one of the boys who Fig. 98.—The Slaughter of the Suitors. arrows, like the men in figs. 94 and 97. served out the wine to the suitors. In this case he would Fragment of a Greek relief of the fourih century have been stationed at the great mixing-bowl, and fled when B.C. Fig. 96. —Odysseus and the Suitors. ( l.lysseus began to shoot. In the Hermitage, St. Petersburg. Relief on an Etruscan urn. On the other side of the wall, in which is the side door, the Wiener Vorlegebliitter, Series D, PI. 12, 7. In tiie Museum at Leyden. Bceni changes to the women's apartments. To the left, near Robert, Die antiktn Sarkophag-Reliefs, PI. 53, No. 153. Brunn, Rilievi d. urne Etr., i., PI. 95, 2. the foot of a bed, stands Penelope, taller than any of the other women, attended by a girl. in the same style as fig. 94- Before her Euryclea points to In the centre is a three-legged table, on which stand a This is part of a relief somewhat ;i maid who stands with is seen, and near it a folded arms and seems to be one of mixing-bowl (crater) and two jars of wine (amplwree). Behind To the left one of the pillars of the hall those who had proved faithful. fallen, doubled up by his agony. A Beyond is another maid who this is a couch with footstool, on which four suitors recline. A couch on which a suitor has lost in melancholy a table as a shield thought ; couch, holds up while farther on, one of boy stands by the table with a ladle to fill the goblets (one companion, seated on the those who have been strives to draw an denounced rushes from the room beating a drinking-horn, or rhyton) from which the suitors are drinking. with his left hand, while with his right he her head with her right hand, stretched in death under- and waving her left in wild despair. As they drink they turn their heads to the right to gaze on arrow from his side, and a third lies She is certainly Melantho, the paramour figure is seated holding of Eurymachus, who had Penelope, who is seated on a richly carved throne with a neath. At the head of the couch a nude reviled Odysseus in his disguise (xviii., xix., Behind him is a man 320; 65). To the footstool. She wears a diadem, over which her mantle is a shield, and gazing round in terror. right of her is Odysseus just leaving the up a spear as women's apartments, drawn like a veil, holds a fan in her left hand, and with her fully armed with helmet and shield, holding with a drawn sword and lighted torch, to purify be an ally of the hall with right is in the act of taking jewels from a casket which an though about to hurl it. Neither of these can burning sulphur (lines 481 and foil.). artist has chosen attendant maid bears to her. Behind the throne is another Odysseus, and one must assume that the This last scene does not follow the how- Odyssey closely, for maid. this way of depicting the treachery of Melanthius, who, Penelope was fast asleep (xxiii., 5) when the faithless into the hall maids On the other side of the picture Odysseus is seated on a ever, was caught before he succeeded in getting were denounced, and they were denounced, not to her, but in the two to stone with sailor's cap, a scanty cloak thrown over his shoulders, (line 135 and foil.). Professor Robert recognises Odj us (xxii., 420). Further, Odysseus did not himself in the fetch and a twisted beggar's staff. He is watching the feast, and wounded suitors, Amphinomus, who had been wounded the sulphur and fire to purify the hall, but sent Euryclea for was above him, touching his shoulder, stands the Fury (cf. figs. back by Telemachus (line 90), and Eurymachus, who them (line 4S1). Such independence of the text, however, well 2 3> 97) "'ho has marked the suitors as her prey. struck in the breast by an arrow of Odysseus. BOOK XXIII ENELOPE has been buried in a deep with the aid of Athena, he overcame the kinsfolk in bk. xvi., but it does not seem to correspond so well with the slumber all the time that Odysseus of the suitors, and was once more unquestioned king account there, nor is the incident so picturesque as this second meeting. was slaying the suitors, nor would of Ithaca. she believe, when Euryclea waked her and told of his vengeance, that Figs. \ooa,b (Plate xv.).— Pitcher and Basin for Washing Fig. 99.— Odysseus and Penelope. the he had really returned. Yet she went down, to see the Hands of Guests. pompeian wall-painting from the so-called temple dead, to the hall where he sat awaiting her beside one Cypriote earthenware. of Augustus. of the pillars, but did not recognise him in his beggar's From the graves at Marion, in Cyprus. Zahn, Die schbnsten Orn. u. Gemdlde, i., PI. 85. In the Berlin Museum. rags, in spite of the assurances of Telemachus. Even Overbeck, Gall. her. Bildw., xxxiii., 16. Hermann, Das Graberfeld von Marion, figs. and when he had bathed and put on kingly robes, she 42 46. Odysseus, with his sailor's cap (pilidiou) and beggar's cloak, is refused to believe, till he described to her the inner seated on the drum of a fallen column, just inside the door A large number of pitchers and basins in pairs have been chamber that he had built long before. Then with of his palace. He raises his head to speak to Penelope, who found in the graves at Marion, in Cyprus, and there can be no tears she ran to him, and threw her arms round his stands beside him in a meditative and melancholy attitude (cf. doubt that they are the irpo^ovi (pitcher) and Ki{Sijs (howl) used neck and kissed him, he, too, weeping in turn. After figs. 11, 78). In her hand she carries a bunch of poppy heads, for washing the hands of guests at feasts in the manner described this the book closes with a description of their probably to suggest the deep sleep from which she has just by Homer (xepit/?a Su/ac/kVoAos ttpo^oui cirque fpepuvaa KaXij, happiness. been wakened (line 16). She is clad in a long under-garment, Xpwet';;, fnrip apyvpemo Ac/Ji;tos). They are, however, not made a mantle, and a veil, and wears a bracelet and sandals. of precious metal, but common ware, and they belong to a Book xxiv. describes how the souls of the suitors In the background a woman gazes on this group through a period long after Homer's time. The custom remained not were led down to Hades by Hermes; how Odysseus window near the door. This is probably Euryclea (line 177). only then, but is observed, in the same manner, even in revealed himself to his father Laertes ; and how, Some archaeologists refer this picture to the meeting described modern Greece. H. 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