CHAPTER XV

_SUBJECTS FROM ORDINARY LIFE_

Religious subjects—Sacrifices—Funeral scenes—The Drama and burlesques—Athletics—Sport and games—Musical scenes—Trades and occupations—Daily life of women—Wedding scenes—Military and naval subjects—Orientals and Barbarians—Banquets and revels—Miscellaneous subjects—Animals.

It is hardly possible to give within brief limits all the illustrations that the vases afford, either directly or indirectly, of the religious and secular life of the Greeks. It is, however, feasible to classify these subjects under several headings, and to give a list of the most typical and popular in each case. Thus we have:

1. Religious ceremonies and sacrifices. 2. Funeral scenes and offerings at tombs. 3. Subjects connected with the drama. 4. Athletic contests, games and sport, and musical scenes. 5. Trades and occupations. 6. Scenes from daily life of women and children. 7. Military and naval subjects. 8. Oriental and barbarian figures. 9. Miscellaneous subjects and compositions of no particular import. 10. Animals (mostly only decorative).

1. RELIGIOUS SUBJECTS

These mostly appear in the form of sacrifices, either before a simple altar, or before the statue of some deity, a cult-image, or terminal figure. Thus we have representations of the offering of a bull to Athena,[1534] sacrifices to a primitive image of Dionysos[1535] or to a terminal figure of Hermes,[1536] or a sacrifice or libation to Persephone, Apollo, or other deities.[1537] A procession of six maidens carrying chairs and a boy with game is probably in honour of Artemis[1538]; and in another scene we have the Dioskuri coming to the Theoxenia or feast prepared in their honour.[1539] Many other examples may be found under the heading of the various Olympian deities. In other instances we see the preparations for a sacrifice,[1540] or a procession of figures with victims and sacrificial implements[1541]; the victims are either rams,[1542] bulls,[1543] goats,[1544] or pigs.[1545] Other scenes of sacrifice represent the roasting of a piece of meat held on a spit over a blazing altar[1546]; or two men stand over a large krater on a stand, accompanied by a flute-player.[1547] In many cases the sacrifice is doubtless intended to celebrate a dramatic, agonistic, or other victory.[1548]

Among other religious scenes we have the dedication of a tripod,[1549] religious festival dances,[1550] praying figures,[1551] men or women burning incense over an altar or incense-burner[1552]; or scenes of libation,[1553] a Metragyrtes or mendicant priest praying before devotees,[1554] and a priest examining the entrails of a ram.[1555] An ephebos is initiated and purified by the Διὸς κῴδιον[1556]; oaths are taken over a tomb,[1557] or omens from birds on a tumulus[1558]; and here perhaps may be mentioned a man making a gesture against the evil eye.[1559] There is also a scene illustrative of the Πιθοίγια, an Athenian feast[1560]; and a possible representation of the feast of Adonis, and the “gardens” or pots of flowers exhibited on that occasion.[1561] Lastly, there are scenes relating to votive offerings, such as a figure of a child on a column offered to Athena,[1562] a youth carrying a votive tablet,[1563] and others in which similar votive tablets occur.[1564] The number of scenes which can be shown to relate to Athenian festivals, or bear on Greek religious belief and ritual, might be greatly expanded and multiplied, but at present little has been done in this direction.[1565]

2. FUNERAL SCENES

Closely connected with these religious subjects are those which played so large a part in the life of the Greeks, and found such a strong reflection in their decorative art—namely, those which relate to the burial and cult of the dead. The relation of Greek vases to the tomb has been discussed elsewhere (Vol. I. p. 141 ff.), and it is sufficient here to repeat that there are only three or four classes of vases which yield undoubted evidence that they were expressly made for funeral purposes, each belonging to a different period of the art.

In the earliest period we have the great Dipylon vases (Vol. I. p. 285), many of which represent funeral processions and rows of mourning women[1566]; these were made for standing outside the tomb. In the B.F. period there are the prothesis-amphorae, made likewise for placing first round the bier and then on the tomb, as plainly shown in one instance[1567]; and in the R.F. period the Athenian white lekythi are decorated almost exclusively with sepulchral scenes. Among the vases of the decadence a whole series of Lucanian and Campanian hydriae and Apulian kraters and amphorae, as well as some late Athenian vases, the Apulian examples being usually of enormous size, equally betray the special purpose for which they were made.

On the B.F. vases the commonest subject is the _prothesis_ or _conclamatio_, where the body is exposed on the bier and the mourners stand round in attitudes of grief,[1568] a subject also occasionally found on the lekythi.[1569] Elsewhere we have the carrying of the bier to the tomb,[1570] accompanied by warriors, and the _depositio_ or placing of the body therein.[1571] On the vases of this period the tomb invariably assumes the form of a mound (χῶμα or tumulus),[1572] as it appears in some mythical scenes already described.[1573] On the lekythi, on the other hand, the tomb is in the form of a tall plain _stele_, on a stepped base, crowned with an ornament of acanthus-leaves or a palmette, and wreathed with coloured sashes, while vases and baskets of flowers are sometimes placed on the steps.[1574] On the vases of Southern Italy it is developed either into a tall column with altar-like base,[1575] or into a large shrine or _heroön_, with columns in front and gabled roof, within which stands the figure of the deceased,[1576] or sometimes an acanthus-plant[1577] or several vases.[1578]

The subjects on the white lekythi and later vases almost invariably take the form of mourners,[1579] or men and women making offerings to the dead, or placing sashes, wreaths, and vases on the tomb.[1580] Or, again, we may note interesting parallels with the Athenian sepulchral reliefs of the fourth century, which are mostly contemporaneous with the vases.[1581] Thus we have “farewell scenes” between a man and woman,[1582] or between two women[1583]; or the equestrian figure of a warrior, as on the famous _stele_ of Dexileos,[1584] or a warrior charging with his spear[1585]; or, again, a hare-hunt at a tomb, perhaps with reference to the occupations of the deceased.[1586] Sometimes the tomb of a warrior is indicated by his armour.[1587] The interior of a tomb is occasionally shown, with a dead boy in it,[1588] or a series of vases,[1589] or as in the story of Polyeidos.[1590] In one instance a group of figures is placed on the top of the tomb.[1591] Mythological figures are sometimes introduced, as Charon ferrying the dead in his bark,[1592] or Hermes Psychopompos[1593]; or the type of Thanatos and Hypnos (or that of Boreas and Zephyros) with Memnon is borrowed for that of a warrior, a youth, or a woman whom they place in the tomb.[1594] Occasionally we see the soul of the deceased as a small flitting winged figure.[1595] On the Italian vases the figure of the deceased usually appears inside the _heroön_, painted white, as if to indicate a sculptured marble figure: a warrior with armour,[1596] or a youth with his horse or dog,[1597] or pouring a libation from a kantharos.[1598] These _heroa_ are always surrounded by figures of women bearing baskets of offerings, unguent-vases, and wreaths, and by youths as mourners.[1599]

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PLATE LV

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Apart from the under-world scenes already described,[1600] the future life is not illustrated by the vases, except in a curious scene on a B.F. Cyrenaic cup, representing a banquet of the blessed, attended by Sirens.[1601] There is also one single representation of the subject so common on later Greek reliefs—the sepulchral banquet.[1602]

3. THE DRAMA

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

4. ATHLETICS AND SPORT

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

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

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

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

Equal in importance in the eyes of the Greeks was the other great division of their education, μουσική; the wider sense in which they used the word, the culture of the mind as opposed to that of the body (γυμναστικη), admits of including under this heading school scenes as well as musical performances. Among the former is the well-known kylix of Duris in Berlin (Plate XXXIX.),[1705] where a teacher is seen unrolling a manuscript on which appears an epic hexameter (see Chapter XVII.); a pupil is about to write on tablets; and others undergo instruction on the flute and lyre. Elsewhere we see a youth writing on a tablet,[1706] or on his way to school[1707]; a man reading from a roll[1708]; and a vivid representation of a schoolmaster giving a writing lesson.[1709]

Lessons in music,[1710] singing,[1711] and dancing[1712] are by no means infrequently represented, especially on R.F. vases; we have already seen the young Herakles and Iphikles receiving instruction of this kind,[1713] and on the vases both boys and girls take part in the lessons. Dancing scenes include dances of maidens (very common on early B.F. vases), or single figures of dancers[1714]; a girl dancing to the flute or with castanets,[1715] or a youth to the music of a girl[1716]; a woman dancing the Pyrrhic dance in the attire of a warrior,[1717] and a sacred Lydian dancer with her wicker head-dress.[1718] The grotesque dancers on some early B.F. vases appear to be performing the _kordax_.[1719]

Groups of musicians with no particular signification are often found, generally playing the lyre and flute,[1720] or single figures, such as a lyre-player in female costume,[1721] or in the distinctive ὀρθοστάδιον of the musician.[1722] Other scenes relate to agonistic and musical competitions, which often formed part of the great games; thus we have on some Panathenaic vases and elsewhere contests for victory with the lyre[1723] or flute.[1724] Sometimes the victorious musician appears receiving the prize[1725] or a crown from Nike[1726]; he usually stands on a _bema_ or raised platform. On one vase a poet recites an epic to the sound of the flute; the opening words appear proceeding from his mouth.[1727] On another a man is seen tuning his lyre.[1728] Singing was a common recreation of banqueters or revellers, especially as seen on R.F. vases.[1729]

5. TRADES AND OCCUPATIONS

The trades and occupations represented on vases are very varied, ranging from mining to shoemaking. The representations of miners in caves which appear on some of the early Corinthian _pinakes_[1730] most probably refer to the digging out of the clay for the potteries rather than to mining for metals. This seems the more probable when it is taken into consideration that potters’ workshops and furnaces are so frequently depicted in the same series.[1731] Besides these we find later instances of potters turning vases on the wheel,[1732] painting them, or finishing them off,[1733] as already described in a previous chapter: one vase represents the interior of a potter’s workshop with vases in various stages[1734]; another, a man painting the design with a sort of quill.[1735] Young men and girls are depicted negotiating the purchase of completed vases in the shop.[1736] Another of the Corinthian _pinakes_[1737] represents the exportation of vases in a ship. Metal-work is represented by a well-known R.F. kylix in Berlin,[1738] showing a bronze foundry, with statues in various stages of completion; there are also representations of a smithy,[1739] in some of which writers have seen an allusion to Hephaistos and the Kyklopes (see p. 37). A man is depicted finishing off a bronze helmet,[1740] or carrying a completed terminal figure[1741]; and of similar import is the subject of Athena modelling a horse.[1742]

Agriculture is represented by vases in Berlin and the Louvre with scenes of men ploughing with oxen (Fig. 136) or hoeing, sowers, and mules carrying sacks of grain[1743]; and certain vase-paintings have been interpreted as referring to the digging of a well.[1744] A man is seen cutting down a tree,[1745] and another birds’-nesting.[1746] Shepherds with flocks of sheep and goats are seen on two early Boeotian vases,[1747] and also fishermen,[1748] and men crushing grapes in a wine-press.[1749] The various stages of oil-making include the gathering of the olives from a tree,[1750] the pressing in an oil-press,[1751] and lastly the merchant measuring out and selling his oil.[1752] A butcher is represented cutting up meat,[1753] and also the preparing and cutting up of a tunny-fish,[1754] and the baking of bread[1755]; on a B.F. vase two men weigh goods in a balance[1756]; and the export of the silphium (?) on the Arkesilas vase may also be mentioned here.[1757] Lastly, we have a shoemaker in his shop,[1758] a carpenter working with an adze,[1759] and a boy going to market with two baskets carried on a pole.[1760]

6. DAILY LIFE OF WOMEN

Scenes from the daily life of women form our next heading, and we include therewith those relating to marriage or preparations for nuptials, which play so important a part in woman’s life. The “type” of a marriage procession on B.F. vases is, as we have seen (p. 16, and Vol. I. p. 378), liable to be confused with the subject of the marriage of Zeus and Hera; the bride and bridegroom appear in a four-horse chariot, accompanied by persons who, if not deities, at any rate bear similar attributes, such as the caduceus of Hermes or the torches of Artemis (as _pronuba_).[1761] In scenes of simpler character the wedding party walk in procession or drive in a cart.[1762] On later vases the bride is generally led by the hand by her husband, accompanied as before in appropriate fashion.[1763] We also find scenes representing the bridal pair on their marital couch (_lectus genialis_),[1764] and the return of the bride after the ceremonies.[1765] Other scenes may possibly represent a betrothal,[1766] a bridal toilet,[1767] or a nuptial sacrifice,[1768] and, finally, the arrival of the bridal pair at their house, with a servant preparing the marriage-bed.[1769]

More common, especially on R.F. vases of the fine style, are scenes taken from the life of the women’s apartments (γυναικωνῖτις),[1770] such as women at their toilet,[1771] spinning wool,[1772] or bleaching linen,[1773] or embroidering.[1774] Under the heading of toilet scenes are included single figures of women arranging their hair,[1775] painting their faces,[1776] fastening on their girdles[1777] or shoes,[1778] or putting clothes in a wardrobe.[1779] They also play with cats or dogs[1780] or pet birds,[1781] and there is a subject identified as a “consolation” scene.[1782] Again, we see women bathing both in private and public baths,[1783] or even swimming[1784]; but in some of these scenes the bath merely forms part of the toilet. Many of these toilet scenes may perhaps be idealised and regarded as groups of Aphrodite, the Graces, etc.[1785]

A favourite subject, but almost confined to the B.F. hydriae, is that of maidens with pitchers on their heads fetching water from a fountain, which is usually in the form of a building with columns and lion’s-head spouts of water; the maidens, five or six in number, carry the empty hydriae flat on their heads, the full ones upright.[1786] Women are sometimes seen in gardens or orchards, gathering fruit[1787] or (on late R.F. vases) frankincense.[1788] Other miscellaneous scenes which cannot be classified are: a woman in bed,[1789] woman with foot-pan,[1790] at a meal,[1791] reading from a scroll,[1792] burning incense,[1793] spinning a top,[1794] balancing a stick,[1795] riding in a mule-car[1796]; two or more women wrapped in one large cloak[1797]; and an accouchement scene.[1798] Those in which children appear include a nurse and child[1799]; a child learning to walk[1800]; a mother, and a child in a high chair[1801]; and a woman beating a child with a slipper[1802]; subjects of children playing with toys, etc., have already been discussed (p. 167). Finally, there are the scenes in which women appear as jugglers[1803] or performing dances in armour,[1804] of which mention has been made; these were probably amusements associated with banquets (see p. 182; also _ibid._ for banquets in which women, _i.e._ courtesans, take part).

A very common decoration of vases, especially the inferior ones of Apulia, is that of a woman’s head, either as the main subject or in some subsidiary part of the decoration; these, however, are so common that they hardly call for detailed description.[1805]

7. MILITARY AND NAVAL SUBJECTS

Subjects of a military character on vases are chiefly confined to three—the arming of warriors,[1806] their setting out in chariots, on horseback, or on foot,[1807] and combats of two or more figures.[1808] In all these cases we are confronted with the often-recurring difficulty as to when such subjects have a mythological significance. Especially on B.F. vases, familiar types—such as the departure of Hector or the combat of Achilles and Memnon, to be identified in other cases by inscriptions—occur again and again in the same form, only diversified by the varying number of bystanders, which is generally regulated by the space at the painter’s disposal. Even when names are added they are often of a fanciful kind; and thus, for instance, we find combats between Homeric heroes which have no counterpart in literary record.[1809]

In the scenes of warriors arming we may note certain motives as recurring with more or less frequency—such as that of a warrior putting on his greaves,[1810] helmet,[1811] or cuirass (Fig. 137),[1812] or lacing up his helmet.[1813] Kindred subjects are that of a warrior taking his shield out of his case,[1814] or an archer drawing an arrow from his quiver,[1815] testing an arrow,[1816] or stringing his bow.[1817] We may also note the rarer occurrence of such scenes as the harnessing of a chariot (Frontispiece)[1818] or the equipping of a war-horse.[1819] In the departure scenes the usual type on B.F. vases is that of a four-horse chariot to the right, which the warrior is mounting or has mounted; a woman sometimes give him drink, and an old man stands at the horses’ heads. This “type” is used for the departure of Amphiaraos (cf. Berlin 1655), Hector, or other heroes.[1820] It is sometimes varied by placing the quadriga to the front.[1821] Or, again, the warrior is seen on horseback, accompanied by his groom,[1822] or a company on foot set out in marching array.[1823] On later vases the more usual version is that of a warrior receiving a libation or “stirrup-cup” from a woman before his departure, but the same scenes might be interpreted as referring to his successful return.[1824] Unmistakable instances of the return are those scenes where he receives a crown,[1825] or is brought back as a corpse by his comrades.[1826] There are scenes representing warriors taking oaths or omens at a tomb, or omens by the inspection of the liver of a victim, all before departure for battle[1827]; and single figures are countless, especially inside R.F. kylikes.[1828]

Among the various scenes incident to warfare may be mentioned an ambuscade,[1829] a wounded warrior dragged out of battle,[1830] a warrior protecting himself from darts,[1831] the capture of a prisoner,[1832] warriors carrying dead bodies,[1833] or human heads as trophies of victory.[1834] Besides single figures of warriors, heralds,[1835] trumpeters,[1836] slingers,[1837] and archers[1838] often appear; or representations of the armour of a warrior[1839]; or of the Δοκιμασία or parade of Athenian knights.[1840] Of a somewhat burlesque character is a scene depicting warriors riding on ostriches and dolphins.[1841]

* * * * *

Naval scenes are very rare, but we find occasional early representations of sea-fights,[1842] as on the Dipylon vases, the vessels on which appear to be biremes.[1843] On the B.F. and R.F. vases we find war-galleys[1844] or merchant-vessels,[1845] usually in places suitable for a row of ships—such as the outer edge of a kylix[1846] or the broad rim of a _deinos_ or large bowl.[1847] These are specially common on vases of “mixed” technique. The subject of “keel-hauling,” the punishment administered to refractory sailors, must also find a place here.[1848]

8. ORIENTALS AND BARBARIANS

Oriental figures which can neither be classified as mythological, historical, or _genre_ subjects sometimes appear on vases. We have already made mention of such quasi-mythological subjects as combats of Gryphons with Arimaspi or other figures in Oriental attire.[1849] Phrygian warriors, too, may be seen in some Trojan scenes—such as the sack of Troy or the flight of Aeneas[1850]—but their presence in scenes of departure or combat does not necessarily make the subject mythological.[1851] It is not always easy to identify the nationality of these barbarians, and the names usually given to them—Persian, Phrygian, or Scythian—must in many cases be regarded as somewhat conventional, except where details of costume are unmistakable.[1852]

Archers in Oriental costumes, wearing peaked caps with long lappets, and close-fitting costume of jerkin and trousers (ἀναξυρίδες), stippled over to indicate skin, are seen shooting arrows, on foot or on horseback,[1853] or accompanying the chariots of Greek warriors,[1854] or taking part in general combats[1855]; as also warriors blowing trumpets.[1856] Persian warriors in combat with Greeks appear on R.F. vases of the strong period,[1857] and may have some reference to the historical events of the time. It is even suggested that one is copied from the famous painting by Mikon of the battle of Marathon.[1858] One vase represents a sort of triumphal procession, perhaps of a Persian king, riding on a camel[1859]; and others depict Persians riding.[1860] Those of undoubted historical signification have already been mentioned.[1861] Scythians appear as mounted or unmounted archers,[1862] a Scythian horseman is attacked by a lion,[1863] a Scythian pursues two courtesans,[1864] and there is a curious scene depicting the revels of the Scythian Agathyrsi.[1865] Thracians, in the typical local costume of ζεῖρα (a thick cloak) and ἀλωπεκῆ (a fox-skin cap), appear by themselves or with Orpheus and Boreas[1866]; Thracian horsemen are represented setting out[1867]; and after the conquests of Miltiades the local costume appears to have become fashionable among the Athenian youth, as they are depicted wearing it on some contemporary vases.[1868] The Thracian custom of tattooing is suggested in some of the Orpheus scenes.[1869]

Figures of negroes are not very common on vases, though many of fifth-century date and later are modelled in the form of negroes’ heads; but there is a small class of B.F. alabastra on which they are represented in the traditional barbarian costume of trousers, etc., and are armed with the Oriental battle-axe.[1870] In one case a negro accompanies a camel.[1871] Ethiopians are seen conveying the body of Memnon or an ordinary warrior to his grave,[1872] and one vase represents an Ethiopian with a jug.[1873] A pair of Egyptian combatants can be identified on a fragmentary vase from Daphnae (Defenneh).[1874] Lastly, many of the vases of Southern Italy, especially those of Campania, represent combats or leave-takings of native Osco-Samnite warriors, in their typical costume of triangular cuirass, gaily plumed helmet, and scanty tunic.[1875]

9. BANQUETS AND REVELS

A group of subjects which play an important part on vases of all periods, especially the height of the R.F. style, but which do not exactly fall under any of the headings so far enumerated, is that of scenes connected with banquets and revels, especially of Athenian ephebi. In the ordinary “type” of banquets at all periods (as in other branches of art) the participants recline on couches on their left elbows, the right arm being free to use, and that hand often holding a drinking-cup or other appropriate attribute.[1876] In this fashion the gods—such as Dionysos, Hermes, or Herakles after his apotheosis—indulge in the pleasures of the banquet and the wine-cup.[1877] There are scenes which represent the preparations for a banquet,[1878] or young men on their way thither[1879]; and in those depicting the feast itself a table is often placed before the couch, on which viands of various kinds are seen[1880]; or the krater (mixing-bowl) stands by, ready for the drinkers to replenish their cups.[1881] Vases are also filled by means of a funnel.[1882] The results of over-indulgence are sometimes realistically indicated on the R.F. cups.[1883] After the drinking-bouts come amusements of various kinds, notably the game of the kottabos.[1884] No instances of this occur before the middle of the R.F. period, and on the cups of that time it is usually only indicated by the manner in which the banqueters twirl their kylikes with a finger crooked in the handle,[1885] preparatory to throwing the remaining drops of liquid at the little figure on the top of the kottabos-stand, the hitting of which caused part of the apparatus to fall with a ringing noise.[1886] On the latest Athenian and many Apulian vases the stand is often represented as well,[1887] not only in position for the game, but borne along by revellers.[1888] It is also carried by Seileni, Maenads, or Eros, and used by Dionysos at his banquets.[1889]

Other amusements take the form of music and dancing. The banqueters themselves play the lyre or flute,[1890] or listen to male and female performers on those instruments,[1891] or a young girl dances for their amusement.[1892] The women jugglers, tumblers, and acrobatic sword-dancers who often appear on late vases[1893] no doubt often contributed to the entertainment of the “gilded youth” of their day. Sometimes a banqueter is represented reclining on his couch and singing, the words in one or two cases being inscribed as proceeding out of his mouth.[1894] Not only men but women are represented banqueting, as on the psykter by Euphronios at Petersburg, which has a group of courtesans.[1895] This character also appears on the R.F. vases at the men’s banquets.[1896]

The κῶμος or revel is equally popular with the banquet. It usually takes the form of a procession of young and elderly men in various unrestrained attitudes,[1897] dancing,[1898] singing,[1899] playing the lyre, flute, or other instruments,[1900] carrying drinking-cups and other vessels,[1901] or balancing them in sportive manner.[1902] Frequently these κῶμος scenes are of a Dionysiac character, the god himself, Seileni, Satyrs, and Maenads taking part,[1903] and sometimes human beings are mingled with them. On a vase of the series connected with the comic stage (Fig. 134, p. 161) a father is seen dragging a drunken youth home from a banquet; but these scenes of rioting are not always necessarily conceived as taking place before or after social festivities. On a red-figured cup at Petersburg the subject of the return from the feast of the Brauronian Dionysos is depicted in most realistic fashion, the revellers indulging in all sorts of buffoonery and fantastic actions, which suggest an Athenian counterpart of modern Bank Holiday amusements[1904]!

To turn to a subject of a quieter character, what may be termed “love scenes” are not uncommon on vases, especially of the later period. On the Apulian vases indeed such subjects are innumerable. The usual type, occasionally found on earlier vases,[1905] is that of a youth and a seated girl exchanging presents, such as mirrors, wreaths, baskets of fruit or jewel-boxes, Eros being frequently present.[1906] Scenes of this kind were originally interpreted somewhat fantastically, as having some reference to the Eleusinian or other mysteries,[1907] an idea which no one would now seriously hold. Similar scenes which have no particular import, such as groups of women, often with Eros, occur on many R.F. vases of the later fine style, especially the pyxides and lekythi.[1908] They are all clearly fanciful, and belong to an age when tastes resembled those of the eighteenth century in their artificiality. There are also some instances, especially on the R.F. vases, where the sentiment is more definitely expressed, and couples are seen embracing or caressing one another in amorous fashion.[1909] It is not necessary to make more than passing allusion to the many vases on which this harmless sentiment is replaced by coarseness and open indecency of treatment, some of which, however, belong to the very finest stage of red-figure painting.

Finally, we may mention here a few subjects of a _genre_ character which seem to defy classification, and yet are sufficiently definite to require separate mention. Such are the scenes so common on the interiors of R.F. kylikes, which represent ephebi in all kinds of attitudes, or carrying all sorts of objects, the great aim of the artist being to find the most suitable design to fill in the circular space.[1910] Thus we have such subjects as a youth putting on a greave or sandals,[1911] carrying a wine-amphora[1912] or a lyre,[1913] playing with castanets,[1914] or pursuing a hare[1915]; reclining at a banquet[1916]; armed with a club or a large stone[1917]; a man leading a leopard,[1918] and a man who seems from his gestures to be treading unawares on a snake[1919]; and others of an athletic or military character, of which mention has already been made. There are also many subjects which appear to have a meaning, yet are not mythological, and cannot be satisfactorily explained; such instances it would, however, hardly be profitable to describe in detail.

10. ANIMALS

The last class of subjects with which this section has to deal is that of animals, as considered apart from human beings, or objects of what modern painters term “still life.” In the historical chapters of this work it has been shown what a large part the animal world played in the decoration of vases down to the sixth century B.C., and also which were the animals most frequently selected for the friezes and other decorations of early vases. Most noteworthy in this respect are the Mycenaean vases (Vol. I. p. 273), with their representations of cuttle-fish (Plate XV.), the nautilus or argonaut,[1920] and other marine subjects. But to these early vases in the present case no further allusion need be made; as _subjects_ they have not as a rule sufficient interest. On the Attic vases of the B.F. and R.F. periods animals rarely form a principal subject on vases, though they still sometimes appear in small friezes on the less important parts of the vase; it may, therefore, be of interest to note a few typical instances in which this feature retains its prominence. Sometimes we have subjects with action: as, for instance, one in which a panther tears a stag, and is attacked by an archer and an armed warrior[1921]; or a lion attacks a panther, a bull, or a deer.[1922] Again, the interior of a B.F. kylix is sometimes filled with an animal subject, such as a wounded stag,[1923] or a deer scratching itself or grazing,[1924] or other animals[1925]; and in a similar position on one R.F. kylix we have an ass with its pack.[1926] Other animal subjects worth mentioning are a sea-serpent,[1927] goats browsing on vines,[1928] a fox caught in a trap,[1929] cats and mice,[1930] the appearance of the swallow.[1931]

There is a class of ware made in Southern Italy which takes the form of flat plates or dishes, decorated with representations of fish and molluscs, such as the pike or mullet, the cuttle-fish and various shell-fish; these were clearly used for eating fish off, and they have in the centre a hollow to receive the sauce.[1932] Friezes of fish are not infrequently found on the vases of Apulia. Animals, especially birds, sometimes appear in friezes on the early Ionic vases, such as geese, quails, or guinea-fowl[1933]; cocks and hens confronted are more common, especially in the B.F. period,[1934] and one late Italian vase has an amusing group of a cock and goose greeting one another with the words, “Ah, the goose!” “Oh, the cock!”[1935]

Lastly, of subjects from still life, distinct from their appearance in figure subjects, we find the armour of a warrior,[1936] a washing-basin,[1937] a flute-case,[1938] a lyre,[1939] a table with bread upon it,[1940] and a collection of objects for the toilet.[1941]

Footnote 1112:

Athens 1259 = Reinach, i. 506; _Mon. Grecs_, 1876, pls. 1–2.

Footnote 1113:

B. M. F 68.

Footnote 1114:

Reinach, ii. 186.

Footnote 1115:

Petersburg 2188 = Reinach, i. 8; Reinach, i. 279 (= Baumeister, i. p. 635, fig. 706) and 380. In _Ant. Denkm._ i. 59 (now at Boston) and in Berlin 2430 they do not appear in this connection.

Footnote 1116:

B.M. B 170; Helbig, 78 = Reinach, i. 96 = _Wiener Vorl._ 1888, pl. 6, 1 (Exekias).

Footnote 1117:

Millin-Reinach, ii. 44 (doubtful; perhaps Zethos and Amphion).

Footnote 1118:

Petersburg 1924 and 1929 = Reinach, i. 9.

Footnote 1119:

Reinach, i. 244.

Footnote 1120:

_Ibid._ i. 363.

Footnote 1121:

B.M. E 696.

Footnote 1122:

François vase; Reinach, i. 230, ii. 119.

Footnote 1123:

Reinach, i. 361 = Furtwaengler and Reichhold, pls. 38–39.

Footnote 1124:

Bibl. Nat. 442 = Reinach, ii. 79 = _Wiener Vorl._ 1889, 12, 5.

Footnote 1125:

Jatta 1095 = Reinach, i. 119 (Phineus scene); Reinach, i. 226 (in Louvre).

Footnote 1126:

Reinach, i. 231, 507 (= Athens 853), ii. 1: see generally Roscher’s _Lexikon_, _s.v._ Leukippiden.

Footnote 1127:

B.M. E 224 = Furtwaengler and Reichhold, pls. 8–9; probably influenced by the painting by Polygnotos of this subject (see Vol. I. p. 443).

Footnote 1128:

Reinach, i. 484: cf. Bibl. Nat. 388.

Footnote 1129:

B.M. B 633 = _Wiener Vorl._ iv. 9, 3.

Footnote 1130:

Inghirami, _Vasi Fitt._ ii. 187: cf. Reinach, i. 361 (rev. of vase).

Footnote 1131:

See p. 19.

Footnote 1132:

B.M. F 479; Reinach, i. 229; _Gaz. Arch._ 1875, pl. 14 (in Louvre).

Footnote 1133:

B.M. F 107.

Footnote 1134:

Munich 611 and 291 = Reinach, i. 419, ii. 47.

Footnote 1135:

Munich 371 = _Ber. d. sächs. Gesellsch._ 1853, pl. 10, 1, p. 145. He is represented as attacking Linos, who had found fault with his playing.

Footnote 1136:

Reinach, i. 326 (Iphikles here with Linos).

Footnote 1137:

See _B.M. Cat. of Vases_, ii. p. 13.

Footnote 1138:

Reinach, ii. 70.

Footnote 1139:

Furtwaengler, however, thinks the subject is Herakles sacrificing a bull (_Gr. Vasenmalerei_, p. 16: see below, p. 106).

Footnote 1140:

Cf. Paus. v. 19, 1: τρεῖς ἄνδρες ἀλλήλοις προσεχόμενοι.

Footnote 1141:

See p. 106.

Footnote 1142:

_Isthm._ iii. 90.

Footnote 1143:

B.F.: B.M. B 196, B 322; Munich 3 = Reinach, ii. 62; an early Athenian example in _J.H.S._ xxii. pl. 2. R.F.: Reinach, i. 242 = _Wiener Vorl._ v. 4 = Louvre G 103 (Euphronios); Athens 1166. See also Vienna 322 = Reinach, i. 339 and Munich 605 = _Ber. d. sächs. Gesellsch._ 1853, pl. 8, fig. 1.

Footnote 1144:

B.M. B 314; Berlin 2057; Louvre F 208 = Reinach, i. 452; Munich 1180 = Reinach, i. 255, 2, and Helbig, 228 = _Ber. d. sächs. Gesellsch._ 1853, pls. 5, fig. 2, and 8, fig. 2; Reinach, i. 255, 1 = Baumeister, i. p. 49, fig. 56; Reinach, i. 451. The only R.F. examples published are Munich 401 (= Furtwaengler and Reichhold, pl. 32) and 605 (= _Ber. d. sächs. Gesellsch._ 1853, pl. 7, fig. 1).

Footnote 1145:

See above, p. 72.

Footnote 1146:

Bibl. Nat. 322.

Footnote 1147:

Cambridge 43: cf. Pind. _Nem._ iv. 46.

Footnote 1148:

_J.H.S._ xiii. pp. 71–2.

Footnote 1149:

B.F.: B.M. B 197, B 364 (= _Wiener Vorl._ 1890–91, pl. 6, 1, Nikosthenes); Berlin 1732 = Reinach, ii. 66 = _Wiener Vorl._ 1889, 1, 2 (Kolchos). R.F.: B.M. E 73; Reinach, ii. 47, 68, 1 (?), and i. 223 = _Wiener Vorl._ D. pl. 5 (Pamphaios).

Footnote 1150:

Jatta 1088 = Reinach, i. 475 = _Wiener Vorl._ iii. 4: see _Röm. Mitth._ 1894, p. 285.

Footnote 1151:

_Arch. Anzeiger_, 1898, p. 51 (vase in Boston).

Footnote 1152:

B.F.: B.M. B 228, B 313; Berlin 1851–52. R.F.: Munich 251 = Reinach, i. 259.

Footnote 1153:

B.M. E 437 = Reinach, ii. 62 = _Wiener Vorl._ D. 6, 2.

Footnote 1154:

B.F.: B.M. B 223, B 311; Berlin 1906; Louvre F 38 = _Wiener Vorl._ 1889, pl. 5, fig. 3 (Timagoras); Reinach, i. 227. No good R.F. examples (see Reinach, i. 346).

Footnote 1155:

B.F.: B.M. B 225; Bibl. Nat. 255 = Reinach, ii. 61. R.F.: B.M. E 162; Athens 1202 = Benndorf, _Gr. u. Sic. Vasenb._ pl. 32, 4.

Footnote 1156:

Reinach, i. 339 (R.F.).

Footnote 1157:

B.M. B 226; Helbig, 27; Reinach, ii. 64 (one = Bologna 195). R.F.: Reinach, i. 221 and i. 41 (= Petersburg 1272, curious).

Footnote 1158:

B.F.: _Amer. Journ. of Arch._ 1900, pl. 6 (Proto-Corinthian); _J.H.S._ i. pl. 1; Berlin 336 (= Reinach, i. 448), 1670 (= _ibid._ ii. 64, 1), 1737. R.F.: Reinach, i. 221. Late: B.M. F 43; Millin-Reinach, i. 68.

Footnote 1159:

Petersburg 1787 = Reinach, i. 40.

Footnote 1160:

B.F.: B.M. B 30; Berlin 1702; Helbig, 5; Athens 657 = _Ant. Denkm._ i. 57; Louvre E 852 = Reinach, i. 156. R.F.: B.M. E 42, E 176; _Boston Mus. Report_ for 1900, p. 49, No. 17 (Aristophanes and Erginos).

Footnote 1161:

_Mon. Antichi_, ix. pl. 3 (in B.M.); Naples 3089 = _ibid._ p. 10 = Millingen-Reinach, 33.

Footnote 1162:

Berlin 1722; Reinach, i. 388.

Footnote 1163:

Louvre F 60.

Footnote 1164:

Oxford 249; Berlin 766–67; Munich 783; Reinach, ii. 59, 10. Late R.F.: Berlin 2359. Parody: Schreiber-Anderson, pl. 5, 2 = _Jahrbuch_, i. p. 280.

Footnote 1165:

Bibl. Nat. 393 = Reinach, i. 397.

Footnote 1166:

B.F.: Vienna 217 = Reinach, i. 169 (Caeretan hydria). R.F.: B.M. E 38; Athens 1175 = Dumont-Pottier, i. pl. 18; Berlin 2534. See Hartwig, _Meistersch._ p. 53, note 1.

Footnote 1167:

B.M. E 364; Reinach, i. 229, 338, 392.

Footnote 1168:

Berlin 4027 = Reinach, i. 338: cf. Aelian, _Var. Hist._ i. 24.

Footnote 1169:

Reinach, i. 384, and see i. 475 and ii. p. 423; Louvre E 633 (capture of heralds): see for the myth, Paus. ix. 17, 2, ix. 25, 4; Diod. Sic. iv. 10; Apollod. ii. 4, 11.

Footnote 1170:

Athens 970.

Footnote 1171:

Berlin 1927 (?); B.M. E 290.

Footnote 1172:

_Arch. Anzeiger_, 1895, p. 37 (R.F. in Berlin).

Footnote 1173:

Bibl. Nat. 174.

Footnote 1174:

_Boston Mus. Report_ for 1898, No. 33.

Footnote 1175:

B.F.: B.M. B 195, B 316; Bibl. Nat. 251 = Reinach, ii. 252. R.F.: B.M. E 255 (= Hoppin, _Euthymides_, pl. 5); E 318, E 458; Berlin 2159 = Wernicke-Graef, _Ant. Denkm._ pl. 27, fig. 3; Munich 401 = Furtwaengler and Reichhold, pl. 32 (Phintias); Reinach, i. 224. Late: Naples 1762 = Millingen-Reinach, 30.

Footnote 1176:

Stackelberg, pl. 15.

Footnote 1177:

Munich 1294 = Reinach, i. 403; _ibid._ ii. 4 = _Wiener Vorl._ ii. 8.

Footnote 1178:

B.M. B 57.

Footnote 1179:

Cambridge 100; and see _J.H.S._ xix. pl. 9.

Footnote 1180:

Helbig, 232 = Reinach, ii. 59; a B.F. example in _Röm. Mitth._ 1902, pl. 5.

Footnote 1181:

B.M. E 65 = Reinach, i. 193.

Footnote 1182:

B.M. F 494; Berlin 3291; heads of Herakles and Omphale, Bibl. Nat. 866.

Footnote 1183:

Louvre E 635 = Reinach, i. 151 = Rayet and Collignon, pl. 6; _Mon. Grecs_, 21–2 (1893–94), pl. 14 (in Louvre).

Footnote 1184:

B.M. B 165; Athens 477 = Reinach, i. 519 (Melian vase): see note 1186 below.

Footnote 1185:

_J.H.S._ xii. pl. 19; _Jahreshefte_, 1900, p. 64. The slaying of Iphitos is represented on a white-ground cup in the Louvre, _Monuments Piot_, ii. p. 53.

Footnote 1186:

Athens 477, according to Pottier in _Revue des Études Grecques_, 1895, p. 389.

Footnote 1187:

_Anzeiger_, 1891, p. 119 (in Berlin); a burlesque of the subject is given in Fig. 105, Vol. I. p. 474.

Footnote 1188:

Millin-Reinach, ii. 71.

Footnote 1189:

Reinach, ii. 75.

Footnote 1190:

Fig. 107, Vol. I. p. 480.

Footnote 1191:

Oxford 322; Reinach, ii. 62 = Roscher, iii. p. 762.

Footnote 1192:

Naples 3359 = Reinach, i. 400; and see note 1186.

Footnote 1193:

B.M. F 68.

Footnote 1194:

Hartwig, _Meistersch._ pl. 38, p. 422.

Footnote 1195:

Bibl. Nat. 822 = Millin-Reinach, ii. 10; _Ber. d. sächs. Gesellsch._ 1855, pls. 1–2. See above, p. 67.

Footnote 1196:

Reinach, i. 226.

Footnote 1197:

Berlin 2164: cf. Athens 1119 = _Ath. Mitth._ 1901, pp. 146, 149.

Footnote 1198:

B.M. B 473; Berlin 1856, 1919.

Footnote 1199:

Berlin 3256 (Argonautic?).

Footnote 1200:

B.M. E 494 (? see p. 106, note 1216); Reinach, ii. 180 = Millingen-Reinach, 51. On Chryse see _Class. Review_, 1888, p. 123; the same figure occurs on the B.M. vase E 224 in connection with the rape of the Leukippidae.

Footnote 1201:

B.M. E 505: cf. for statue B.M. F 233.

Footnote 1202:

Jatta 423 = Reinach, i. 205.

Footnote 1203:

Millin-Reinach, ii. 25.

Footnote 1204:

Reinach; i. 257; and cf. B.M. F 211, F 278 for H. at Olympia; also Stackelberg, pl. 42.

Footnote 1205:

B.M. B 198, B 498; Reinach, ii. 74–5; Louvre F 116–117 = Reinach, i. 297 (Nikosthenes); Helbig, 93 = _Mus. Greg._ ii. 54, 2.

Footnote 1206:

B.M. D 14; Munich 369 = Furtwaengler and Reichhold, pl. 24 (Duris); Benndorf, _Gr. u. Sic. Vasenb._ 42, 4; Reinach, ii. 298.

Footnote 1207:

B.M. B 301, B 497, E 66; Berlin 1961 = Reinach, ii. 43; Berlin 2534 (with Seilenos); Munich 388 = Furtwaengler and Reichhold, pl. 4 (B.F. and R.F. “bilingual”); Reinach. ii. 39; Millin-Reinach, i. 37; Athens 764 = Heydemann, _Gr. Vasenb._ pl. 3, 1.

Footnote 1208:

B.M. B 167.

Footnote 1209:

Benndorf, _Gr. u. Sic. Vasenb._ pl. 44 (in Petersburg).

Footnote 1210:

Reinach, ii. 318; Helbig, ii. p. 327 = Millingen-Reinach, 35; _Philologus_, 1868, pl. 2.

Footnote 1211:

B.M. B 229: cf. Berlin 4027 and B.M. E 814.

Footnote 1212:

_Él. Cér._ iii. 14.

Footnote 1213:

Berlin 2293, 3988; Petersburg 523 = Reinach, i. 467; _Él. Cér._ i. 1; _Mon. Grecs_, 1875, pl. 1.

Footnote 1214:

B.M. B 147; Reinach, ii. 21.

Footnote 1215:

B.M. B 228; Berlin 1857; Helbig, 25; Reinach, ii. 43: cf. Athens 791 = Heydemann, _Gr. Vasenb._ pl. 3, 2.

Footnote 1216:

See B.M. E 494; _J.H.S._ xviii. p. 275; Roscher, _Lexikon_, i. p. 2235; Bacchylides, _Od._ 16; also p. 96, note 1211.

Footnote 1217:

B.M. E 370.

Footnote 1218:

Munich 384 = Reinach, i. 130 = Baumeister, i. p. 307, fig. 322; Reinach, i. 481.

Footnote 1219:

B.F.: B.M. B 199–201, 211 (Pl. XXIX.), 230, 317–21; Reinach, ii. 72; Oxford 212 (no deities). R.F.: Helbig, 230 (A. about to mount chariot).

Footnote 1220:

Bibl. Nat. 253 = Reinach, i. 399 and 254.

Footnote 1221:

Berlin 1827 = Reinach, ii. 74; Reinach, ii. 161.

Footnote 1222:

With Athena: B.M. F 238; Millingen-Reinach, 36. With Nike: B.M. F 64, F 102; Reinach, i. 368, 481, and ii. 204; _Wiener Vorl._ E. pls. 7, 8, fig. 3 = _Mon. Grecs_, 1876, pl. 3 (in Louvre; parody; chariot drawn by Centaurs).

Footnote 1223:

B.F.: B.M. B 166, B 379, B 424; Berlin 1691, 1857; Reinach, i. 359, 1, ii. 76 (in Berlin). R.F.: B.M. E 262 = Reinach, ii. 75; Berlin 2278 = Reinach, i. 70 = _Ant. Denkm._ i. 9 (Sosias); Furtwaengler and Reichhold, pl. 20; Reinach, i. 222, 408 (Fig. 127). Late: Naples 2408 = Reinach, i. 323; Petersburg 1775 = Reinach, i. 302 (parody).

Footnote 1224:

B.F.: Louvre F 30 = _Rev. Arch._ xiii. (1889), pl. 4 (Amasis); F 116–117 = Reinach, i. 297 = _Wiener Vorl._ 1890–91, pl. 4, figs. 1–2 (Nikosthenes); Bibl. Nat. 254; Berlin 1961 = Reinach, ii. 43. R.F.: Berlin 2626; Reinach, ii. 76, 186.

Footnote 1225:

B.M. E 262; Bonn 720 = _Jahrbuch_, 1892, p. 69; Athens 1346 = Dumont-Pottier, i. pl. 15; B.M. F 178; Reinach, i. 251 (all R.F. or late).

Footnote 1226:

B.M. E 244; Berlin 3257; _Forman Sale Cat._ 364: see p. 77.

Footnote 1227:

Berlin 2538 = Reinach, ii. 162.

Footnote 1228:

B.M. E 264 = _Wiener Vorl._ 1890–91, 8, 1; a similar vase in _Röm. Mitth._ 1894, pl. 8, has been otherwise interpreted (see below, p. 110, note 1233).

Footnote 1229:

Petersburg 830 = Reinach, i. 150 = _Wiener Vorl._ A. 8 (Hieron).

Footnote 1230:

See on the subject generally _Museo Ital._ iii. p. 235.

Footnote 1231:

_Gaz. Arch._ 1884, pls. 44–6.

Footnote 1232:

_Wiener Vorl._ E. 12, 2.

Footnote 1233:

See _J.H.S._ xviii. pl. 14, and pp. 277–79 for three other instances; the last, however, is susceptible of other interpretations.

Footnote 1234:

Bologna 273 = Baumeister, iii. p. 1999, fig. 2149. The B.M. vase E 264 (see p. 108, note 1228) _may_ have the same meaning, in which case the woman holding the clue is a sort of “short-hand” allusion to the adventure awaiting him. See also Reinach, ii. 81 (Theseus receiving libation from Aithra).

Footnote 1235:

B.M. E 41 = Reinach, i. 532 (Chachrylion).

Footnote 1236:

Berlin 2179 = _Wiener Vorl._ iii. 6; Reinach, i. 222 = Plate XXXIX. (also interpreted as Peleus and Thetis, see p. 120); Harrison and Verrall, p. cxxxi (in Vienna): see also _Boston Mus. Report_ for 1900, p. 67, No. 25.

Footnote 1237:

Reinach, i. 91; ii. 264 (= Bibl. Nat. 421).

Footnote 1238:

Munich 7; B.M. E 41; Reinach, i. 87.

Footnote 1239:

B.M. E 157, 272, 450; Reinach, ii. 163 (now in B.M.; a complete and magnificent example); Millin-Reinach, i. 10; Naples 2421, 3253, and R.C. 239 = Reinach, ii. 278, i. 330, i. 482 (the first of these given by Furtwaengler and Reichhold, pls. 26–8).

Footnote 1240:

B.M. F 272; Munich 368 = Hartwig, _Meistersch._ pls. 59, 60, and 805 = Reinach, i. 391; Reinach, ii. 181–82; _Boston Mus. Report_ for 1900, p. 50, No. 17 (Erginos and Aristophanes); and see under Centaurs, p. 145.

Footnote 1241:

Munich 410 = Reinach, ii. 86 = Furtwaengler and Reichhold, pl. 33.

Footnote 1242:

Berlin 1731 = Roscher, iii. p. 1782, has been interpreted as the rape of Helene.

Footnote 1243:

See Furtwaengler, _op. cit._ p. 177; and cf. Bibl. Nat. 256 = Reinach, ii. 254. Berlin 3143 = Reinach, i. 373, may also represent a rape by Theseus.

Footnote 1244:

Jatta 1094 = Reinach, i. 356: see also Reinach, i. 108, 455, and above, p. 68.

Footnote 1245:

Munich 849 = Reinach, i. 258.

Footnote 1246:

_Ant. Denkm._ i. 59 (in Boston).

Footnote 1247:

See B.M. F 123 and F 272; also a vase in Berlin (_Arch. Anzeiger_, 1890, p. 89), where Eros shoots with his bow at Phaidra; Hippolytos is present. Cf. also Naples 2900 = Millingen-Reinach, 41.

Footnote 1248:

B.M. F 279.

Footnote 1249:

Petersburg 1357 = Reinach, i. 244, and 1723 = Baumeister, i. p. 406, fig. 448; Naples 3140 = _Mus. Borb._ ii. 30, 4; _Monuments Piot_, x. pl. 8 (in Boston); and cf. Berlin 2300 = Reinach, i. 273.

Footnote 1250:

B.M. B 155, F 490 (?).

Footnote 1251:

B.M. F 83.

Footnote 1252:

Athens 1956 = _Ath. Mitth._ xi. (1886), pl. 10.

Footnote 1253:

B.M. B 471 = Fig. 97, Vol. I. p. 382; Berlin 3022 = Reinach, i. 172; Munich 1187 = Reinach, ii. 109: cf. Bibl. Nat. 456.

Footnote 1254:

B.M. B 248, B 380; E 181, E 399; F 500; Berlin 1682 = Reinach, i. 441; Bibl. Nat. 277 = Reinach, i. 290; Munich 619 = Reinach, ii. 48.

Footnote 1255:

B.M. E 493; _Mon. Grecs_, 1878, pl. 2 (a fine example in the Louvre).

Footnote 1256:

Munich 619, 910 = Reinach, ii. 48–9; _Ant. Denkm._ i. 57. For Chrysaor see Reinach, i. 172 (Louvre E 857), ii. 49, and Stackelberg, 39.

Footnote 1257:

Millin-Reinach, ii. 4.

Footnote 1258:

B.M. E 169 = _J.H.S._ xxiv. pl. 5, and F 185; Engelmann, _Arch. Studien_, p. 6; and cf. Naples 3225; Millin-Reinach, ii. 3; _Jahrbuch_, xi. (1896), pl. 2 (in Berlin). For the correct explanation of the first-named vase see Petersen in _op. cit._ p. 104 ff.

Footnote 1259:

Berlin 1652 = Reinach, i. 217; Roscher, iii. p. 2053 (in Berlin; a fine instance); Naples 3225, S.A. 24, S.A. 708 = Reinach, i. 188.

Footnote 1260:

Reinach, i. 344; _Jahrbuch_, vii. (1892), p. 38: cf. _Philologus_, 1868, pl. 1, fig. 1, and pl. 3.

Footnote 1261:

Millingen-Reinach, 3: see _Philologus_, 1868, pl. 1, figs. 2–3, p. 16.

Footnote 1262:

Berlin 2377 = Reinach, i. 289.

Footnote 1263:

_Jahrbuch_, 1892, p. 33.

Footnote 1264:

Naples 2202 = Dubois-Maisonneuve, _Introd._ pl. 46; Reinach, i. 284.

Footnote 1265:

B.M. E 610, E 715 (Plate XLVI., fig. 4).

Footnote 1266:

B.M. B 2: cf. Bibl. Nat. 977 for a similar figure inaccurately (?) inscribed Oinomaos.

Footnote 1267:

B.M. F 331; Naples 1982 = Reinach, i. 292 (very doubtful; Oinomaos absent: see p. 123, note 1361).

Footnote 1268:

B.M. F 271, 278; Naples 2200 = Reinach, i. 379; Athens 968 = _Jahrbuch_, 1891, p. 34 (B.F.); Reinach, i. 290 = _Wiener Vorl._ i. pl. 10, 2; Naples 2858 = _ibid._ pl. 10, 1 (subject doubtful).

Footnote 1269:

Naples 3255 = Reinach, i. 235; Reinach, i. 163 = Baumeister, ii. p. 1203, fig. 1395; Naples S.A. 697.

Footnote 1270:

Berlin 3072 = Reinach, i. 204.

Footnote 1271:

Naples 2200 = Reinach, i. 379.

Footnote 1272:

Naples 3222 = Reinach, i. 167.

Footnote 1273:

Jatta 1499 = Reinach, i. 127 = _Wiener Vorl._ viii. 8; _Boston Mus. Report_, 1900, p. 68, No. 25.

Footnote 1274:

Naples 2418 = Dubois-Maisonneuve, _Introd._ pl. 69; _Wiener Vorl._ viii. 9, 1 = Roscher, ii. 282; Reinach, i. 287, ii. 318.

Footnote 1275:

_Amer. Journ. of Arch._ 1900, pl. 4; Louvre A 478; Reinach, i. 108 (Karlsruhe 388), 517 (Athens 1589), 331 (four late examples), and ii. 279; and see B.M. B 105, B 162; Naples 3253 = Reinach, i. 195; Berlin 3258.

Footnote 1276:

Petersburg 427 = Inghirami, _Vasi Fitt._ 3 (see Vol. I. p. 478 and _Ann. dell’ Inst._ 1874, p. 35).

Footnote 1277:

Baumeister, i. p. 303, fig. 319; and see Reinach, i. 331, and Munich 805 = _ibid._ i. 277 (the latter so interpreted by Flasch, _Angebl. Argonautenbilder_, p. 30 ff.).

Footnote 1278:

B.F.: François vase; Munich 333 = Reinach, ii. 119 = _Wiener Vorl._ 1889, 2, 2; Berlin 1705; Helbig, 34 = _Mus. Greg._ ii. 90; Reinach, i. 230. R.F.: Reinach, ii. 162, 210.

Footnote 1279:

Roscher, iii. p. 1811.

Footnote 1280:

_E.g._ B.M. B 37 (Plate XXI.), F 154; Vienna 217 = Reinach, i. 170. See also p. 166.

Footnote 1281:

Naples S.A. 11 = Reinach, i. 401.

Footnote 1282:

Naples 3412 = Reinach, i. 498 = _Wiener Vorl._ B. 2, 1 (Assteas; Phrixos also on ram); Reinach, ii. 309. For Phrixos on ram see Berlin 3345, and _Festschr. für Overbeck_, p. 17.

Footnote 1283:

_Tyszkiewicz Coll._ pl. 12 (the antiquity of this vase is very questionable).

Footnote 1284:

Naples S.A. 270 = Reinach, i. 319.

Footnote 1285:

Reinach, i. 226, 1–3: see _Festschrift für O. Benndorf_, p. 67 and p. 133, note 5.

Footnote 1286:

See p. 81.

Footnote 1287:

Ionic cup in Würzburg, Reinach, i. 201 = Furtwaengler and Reichhold, pl. 41; B.M. E 302; Jatta 1095 = Reinach, i. 119; Stackelberg, pl. 38 = Millingen, _Anc. Uned. Mon._ i. 15; and see Berlin 1682.

Footnote 1288:

Bibl. Nat. 442 = Reinach, ii. 79 = _Wiener Vorl._ 1889, 12, 5.

Footnote 1289:

_J.H.S._ x. p. 118 = Reinach, i. 226.

Footnote 1290:

Millingen-Reinach, 51 = Reinach, ii. 180: see above, p. 105.

Footnote 1291:

Munich 805 = Reinach, i. 277 = _Wiener Vorl._ iv. 3; but see Flasch, _Angebl. Argonautenb._ p. 30 ff., and p. 137 (Laertes and Antikleia).

Footnote 1292:

Petersburg 422 = Reinach, i. 139; Baumeister, i. p. 123, fig. 128; Millingen-Reinach, 6.

Footnote 1293:

Helbig, ii. p. 328 = Reinach, i. 102 = Baumeister, i. p. 124, fig. 129; Reinach, i. 137; but see Flasch, _Angebl. Argonautenb._ p. 24 ff.

Footnote 1294:

Naples 2413 = Roscher, ii. 81, and 3252 = Reinach, i. 449.

Footnote 1295:

Naples 3248 = Roscher, ii. 83.

Footnote 1296:

Millingen-Reinach, 7 = _Wiener Vorl._ ii. 8.

Footnote 1297:

Jatta 1501 = Reinach, i. 361 = Furtwaengler and Reichhold, pls. 38–39.

Footnote 1298:

Helbig, 179 = Reinach, i. 359 (ram led to caldron). B.M. B 221, B 328; Berlin 2188; Reinach, ii. 81 (ram placed in caldron; daughters of Pelias usually present).

Footnote 1299:

Reinach, i. 336; _ibid._ 359 = Helbig 179 (P. led to slaughter by daughters; M. waiting with knife).

Footnote 1300:

B.M. E 163 (J. as old man; ram in caldron).

Footnote 1301:

Naples S.A. 526.

Footnote 1302:

Munich 810 = Reinach, i. 363 = Baumeister, ii. p. 903, fig. 980; Reinach, i. 402.

Footnote 1303:

Naples 3221 = Reinach, i. 402.

Footnote 1304:

Bologna 273 = Baumeister, iii. 1999, fig. 2149.

Footnote 1305:

B.M. E 224.

Footnote 1306:

Cf. the poem by Stesichoros, Ἄthla ἐpὶ Pelίa

Footnote 1307:

Berlin 1655 = Reinach, i. 199: see Vol. I. p. 319.

Footnote 1308:

_Bull. de Corr. Hell._ xxiii. p. 158; but see _Burlington Fine Arts Club Cat._ (1903), p. 92, for another explanation; also p. 47.

Footnote 1309:

The only literary source for these stories (before Roman times) is in the tragic poets. But subjects from the _Septem_ of Aeschylus are not found on vases; and it is not until the Hellenistic period that any real references to the Sophoclean and Euripidean plays occur. On some of the Megarian bowls (Vol. I. p. 500) the subjects adhere very closely to the text.

Footnote 1310:

B.M. E 81; Petersburg 2189 = Reinach, i. 5.

Footnote 1311:

B.M. B 505–6.

Footnote 1312:

Louvre E 669 = Reinach, i. 435, 1; Berlin 2634 = _Wiener Vorl._ i. 7 = Roscher, ii. 837; Naples 3226 = Millingen, _Anc. Uned. Mon._ i. pl. 27 (Assteas); Millin-Reinach, ii. 7 (in Louvre); _Röm. Mitth._ v. (1890), p. 343.

Footnote 1313:

Athens 1858 = Reinach, i. 396: see p. 155, note 1548, for another interpretation; also _Arch. Zeit._ 1865, p. 68, and Frazer, _Pausanias_, v. p. 49.

Footnote 1314:

_Wiener Vorl._ C. 7, 3 = Roscher, ii. 842.

Footnote 1315:

Berlin 3296 = Reinach, i. 421 = Baumeister, i. p. 456, fig. 502. The vase given in Millin-Reinach, ii. 44, may represent Zethos and Amphion with Antiope.

Footnote 1316:

Reinach, i. 379.

Footnote 1317:

Berlin 3239; Naples 1769; _Wiener Vorl._ vi. 11 = Roscher, i. p. 903.

Footnote 1318:

Bibl. Nat. 372 = Reinach, i. 92 = Baumeister, ii. p. 1049, fig. 1266.

Footnote 1319:

B.M. E 696 = _J.H.S._ viii. pl. 81.

Footnote 1320:

B.F.: B.M. B 539; Stackelberg, pl. 16. R.F.: B.M. E 156; Vienna 336 = Reinach, i. 177; _J.H.S._ xxiv. p. 314 (Oxford); Helbig, 186 = Hartwig, _Meistersch_. pl. 73. See also parodies in _Philologus_, 1897, pl. 1 (in Boston), and _Arch. Anzeiger_, 1891, p. 119 (Berlin).

Footnote 1321:

See p. 147; _q.v._ also for Sphinx seizing Theban youth.

Footnote 1322:

_Wiener Vorl._ 1889, 9, 6.

Footnote 1323:

_Ibid._ pl. 8, 8 = Reinach, i. 376: see Roscher, iii. p. 736.

Footnote 1324:

Naples 2868 = _Wiener Vorl._ 1889, 9, 10. See also Chapter XVII.

Footnote 1325:

B.F.: Berlin 1655 = Reinach, i. 199 = _Wiener Vorl._ 1889, 10; Kopenhagen 112 = Millingen-Reinach, 20; _J.H.S._ xviii. pl. 16 (?); Roscher, i. p. 295. R.F.: Munich 151 = Overbeck, _op. cit._ iii. 5; Petersburg 1650 = Reinach, i. 120, and 406 = _ibid._ i. 480.

Footnote 1326:

B.M. B 247; Berlin 1712.

Footnote 1327:

Millingen-Reinach, 20.

Footnote 1328:

_Ath. Mitth._ 1899, p. 361.

Footnote 1329:

Berlin 2395 = Reinach, i. 461: see _Arch. Zeit._ 1881, p. 258.

Footnote 1330:

Athens 960 = _Wiener Vorl._ 1889, 11, 8.

Footnote 1331:

_Jahrbuch_, viii. (1893), pl. 1: see Thiersch, _Tyrrhen. Amphoren_, p. 56.

Footnote 1332:

B.M. D 7; Petersburg 523 = Reinach, i. 466 = _Wiener Vorl._ 1889, 11, 1.

Footnote 1333:

Naples 3255 = Reinach, i. 235 = Baumeister, i. p. 114, fig. 120; perhaps also Millin-Reinach, ii. 37 (Lasimos in Louvre).

Footnote 1334:

Munich 144: cf. Naples 1766 = Overbeck, _Her. Bildw._ pl. 4, 4; and see Reinach, ii. 284, Roscher, i. p. 296, and Stat. _Theb._ v. 699 ff.

Footnote 1335:

Kopenhagen 64 = Reinach, i. 259 = Baumeister, i. p. 17, fig. 19.

Footnote 1336:

Louvre E 640 = Reinach, i. 147 = _Wiener Vorl._ 1889, 11, 4; Millingen-Reinach, 22 (?).

Footnote 1337:

Petersburg 452 = Reinach, i. 161 = _Wiener Vorl._ iii. 3.

Footnote 1338:

_J.H.S._ xviii. pl. 17, 1 (?).

Footnote 1339:

Jatta 423 and Berlin 3240 = Reinach, i. 205, 409 = _Wiener Vorl._ 1889, pl. 9, figs. 14, 12; B.M. F 175 (?): see also Jatta 414 = Reinach, i. 467 = _Wiener Vorl._ B. 4, 2.

Footnote 1340:

Reinach, i. 273.

Footnote 1341:

Petersburg 2188 = Reinach, i. 8; Berlin 2430 = _ibid._ i. 287 (Helen coming forth); Reinach, i. 279 (= Baumeister, i. p. 635, fig. 706) and 380; Micali, _Mon. Ined._ 38; _Ant. Denkm._ i. 59 (in Boston). For the various versions of the myth see Roscher, _s.v._ Helena.

Footnote 1342:

_Boston Mus. Report_ for 1900, p. 70, No. 27; and cf. Reinach, i. 173.

Footnote 1343:

For a collected list of all vase-paintings connected with this story see _Jahrbuch_, i. (1886), p. 201 ff.

Footnote 1344:

B.M. E 647; Munich 807 = Millingen-Reinach, 4; Louvre E 639 = _Jahrbuch_, 1886, pl. 10, 1; Reinach, ii. 91; and see _ibid._ i. 222 = Plate XXXIX. (otherwise interpreted, p. 111).

Footnote 1345:

B.F.: B.M. B 215 (Fig. 128); Munich 380 = Reinach, ii. 115 = Baumeister, iii. p. 1799, fig. 1882. R.F.: B.M. E 424; Berlin 2279 = Baumeister, iii. p. 1797, fig. 1881 (Peithinos); Athens 1202 = Benndorf, _Gr. u. Sic. Vasenb._ 32, 4; Athens 1588 = $1$2 1897, pl. 9; Munich 369 = Furtwaengler and Reichhold, pl. 24 (Duris); Overbeck, _Her. Bildw._ pl. 7, fig. 8 (in Vatican).

Footnote 1346:

B.M. E 9, E 73; and see above, pp. 25, 26.

Footnote 1347:

Palermo 1503 = Overbeck, _Her. Bildw._ pl. 8, fig. 6: see also for Cheiron p. 146.

Footnote 1348:

Furtwaengler and Reichhold, pl. 1.

Footnote 1349:

B.M. B 620; Berlin 4220; De Witte, _Coll. à l’Hôtel Lambert_, pl. 1; Athens 966 (with Athena and Hermes); Louvre G 3 (Pamphaios); Micali, _Storia_, pl. 87; B.M. B 77 = Fig. 98 (parody).

Footnote 1350:

Bibl. Nat. 538 = Reinach, i. 90 (doubtful); Jahn. _Arch. Beitr._ pl. 11 (?), and see p. 352 ff.

Footnote 1351:

Reinach, ii. 43.

Footnote 1352:

Bibl. Nat. 1047 = Reinach, i. 87.

Footnote 1353:

Reinach, i. 126 = Bibl. Nat. 422.

Footnote 1354:

See _J.H.S._ vii. p. 196 ff., whence this classification is taken.

Footnote 1355:

B.M. B 236–38; early Ionic vase in Munich, 123 = Furtwaengler and Reichhold, pl. 21; Overbeck, _Her. Bildw._ pl. 9, fig. 2 (Xenokles); _J.H.S._ vii. pl. 70, p. 198.

Footnote 1356:

B.F.: B.M. B 312. R.F.: B.M. E 445; Berlin 2536 = Roscher, iii. p. 1615.

Footnote 1357:

B.F.: B.M. B 171; Munich 1269 = Overbeck, _op. cit._ 9, 6. R.F.: Berlin 2291 = Fig. 129 (Hieron); Reinach, i. 246 = Roscher, iii. p. 1610 (Brygos, in Louvre); Roscher, iii. p. 1617 (fine pyxis in Kopenhagen; the goddesses in chariots).

Footnote 1358:

Berlin 2633; Petersburg 1807 = Reinach, i. 7; B.M. F 109, F 167; Berlin 3240; Karlsruhe 259 = Furtwaengler and Reichhold, pl. 30; _Ath. Mitth._ xxiv. (1899), p. 67 (R.F. kotyle in Berlin, Hermes omitted).

Footnote 1359:

_Wiener Vorl._ E. 11 = _Jahrbuch_, ix. (1894), p. 252.

Footnote 1360:

_Boston Mus. Report_ for 1899, No. 30, and 1901, p. 35 (both from the Kabeirion, Thebes).

Footnote 1361:

B.M. F 175; Athens 1942 = Reinach, i. 402; Petersburg 1924 = Reinach, i. 9 = _Wiener Vorl._ C. 1, 3; Naples 1982 = Reinach, i. 292 (? See p. 113, note 1267); Reinach, i. 375.

Footnote 1362:

B.M. E 226; Jatta 1619 = _Él. Cér._ iv. 72 = Roscher, i. 1961.

Footnote 1363:

B.M. E 69 = _Wiener Vorl._ vi. 2; Berlin 2291 = Reinach, i. 437, 1 = Baumeister, i. p. 637, fig. 709 (Hieron); Petersburg 1929 = Reinach, i. 9; Reinach, i. 437, 2 (Hieron and Makron): see also _Rev. Arch._ xxxiii. (1898), p. 399.

Footnote 1364:

B.M. F 175 (?).

Footnote 1365:

Millingen, _A.U.M._ i. 21 (fine R.F. vase in Louvre); _Röm. Mitth._ ii. (1887), pls. 11–12, 4; Berlin 1737 = _Wiener Vorl._ B. 9, 4.

Footnote 1366:

Naples 3352 = Reinach, i. 485; and see Bibl. Nat. 418 = Reinach, i. 83; also Roscher, _s.v._ Nereus.

Footnote 1367:

Reinach, i. 286 = Bibl. Nat. 851 = _Wiener Vorl._ B. 9, 2 (Epigenes).

Footnote 1368:

Berlin 2264 (Oltos and Euxitheos) = _Wiener Vorl._ D. 2, 1; Bibl. Nat. 851 = Reinach, i. 287 = Roscher, iii. 295: see also Roscher, iii. 1697–99 (setting out of Patroklos). As Nestor himself went to the war, it is possible that this scene is to be regarded as taking place during and not before it.

Footnote 1369:

Bologna 273 = _Wiener Vorl._ i. 4.

Footnote 1370:

B.M. E 16; Baumeister, i. p. 683, fig. 743; and see Overbeck, _Her. Bildw._ pl. 13, 7, p. 276.

Footnote 1371:

_Jahrbuch_, 1902, pl. 2 (in Boston).

Footnote 1372:

_Iph. in Aul._ 192 ff.

Footnote 1373:

B.M. B 193 (Plate XXXI.), B 211, E 10; Helbig, 78 = Reinach, i. 96 = _Wiener Vorl._ 1888, 6, 1 (Exekias). A “bilingual” example in Boston (by Andokides? B.F. and R.F.): see _Amer. Journ. of Arch._ 1896, pp. 40–41, figs. 15–16. The latest example seems to be _Arch. Anzeiger_, 1892, p. 102.

Footnote 1374:

B.M. B 541, E 160: see below, p. 133, and _B.M. Cat._ iii. p 36.

Footnote 1375:

B.M. F 159 = _Wiener Vorl._ v. 9, 3.

Footnote 1376:

Reinach, i. 358 = Millingen-Reinach, 50; _ibid._ i. 145 = Baumeister, iii. p. 1326, fig. 1479; Milani, _Mito di Filottete_, frontispiece.

Footnote 1377:

Bibl. Nat. 256 = Reinach, ii. 254: see p. 111, note 1243.

Footnote 1378:

Petersburg 1793 = Reinach, i. 3: for a more probable interpretation (birth of Dionysos) see p. 19.

Footnote 1379:

Dubois-Maisonneuve, _Introd._ pl. 63; Engelmann, _Arch. Stud. zu den Trag._ p. 17; and see Urlichs, _Beiträge_, pl. 4.

Footnote 1380:

Petersburg 1275 = Reinach, i. 152: cf. Millingen, _Anc. Uned. Mon._ i. pl. 22 (Overbeck, _Her. Bildw._ p. 296).

Footnote 1381:

Overbeck, _Her. Bildw._ 13, 9.

Footnote 1382:

B.M. E 382; Naples 2293 and R.C. 141 = Baumeister, iii. p. 1725, fig. 1807.

Footnote 1383:

_Boston Mus. Report_ for 1898, No. 40 (signed by Hieron).

Footnote 1384:

B.M. B 153.

Footnote 1385:

B.M. B 324, 542; _Forman Sale Cat._ 282 (= Reinach, i. 285, 1) and 308 (both in B.M.); Athens 620 = Reinach, i. 394 = _Wiener Vorl._ 1888, 1, 1 (Timonidas); B.M. F 493 (caricature).

Footnote 1386:

Louvre E 703 = Reinach, ii. 92 (early Ionic); B.M. B 307; François vase; Berlin 1685; Helbig, 130 = _Mus. Greg._ ii. 22, 1; B.M. E 10, E 13, and _Forman Sale Cat._ 339.

Footnote 1387:

Reinach, ii. 114–15 = Baumeister, iii. p. 1901, fig. 2000 (Euphronios); Reinach, i. 285, 3; Louvre G 18 = Reinach, i. 203, 3; Louvre E 703 = Reinach, ii. 92; B.M. B 326.

Footnote 1388:

Munich 124 = Reinach, ii. 113.

Footnote 1389:

Berlin 2278 = _Ant. Denkm_. i. 10; and see Overbeck, _Her. Bildw._ p. 297.

Footnote 1390:

Reinach, ii. 198.

Footnote 1391:

_Ibid._ i. 306 = _Wiener Vorl._ iii. 1 (the names may be fanciful); _ibid._ i. 77 (cf. Overbeck, _Her. Bildw._ p. 333).

Footnote 1392:

Louvre E 609 = Reinach, i. 395 = _Wiener Vorl._ 1888, 1, 3 (Chares pyxis).

Footnote 1393:

Like others of the Homeric scenes on B.F. vases, this type is sometimes used for an ordinary warrior taking leave of his family, and unless names are given it is difficult to distinguish.

Footnote 1394:

Robert, in _Hermes_, 1901, p. 391, connects this scene with Book xix. 320 ff.

Footnote 1395:

The text is not exactly followed here. Menelaos kills Euphorbos in the _Iliad_, but does not fight over his body with Hector as he does on the vase. Possibly there is a confusion with the Patroklos episode below.

Footnote 1396:

The “Psychostasia” is also referred to the combat of Achilles and Memnon (p. 132).

Footnote 1397:

See, for a revised drawing of this vase, Hill, _Illustrations of School Classics_, p. 105.

Footnote 1398:

B.M. B 209–10 (= _Wiener Vorl._ 1888, pl. 6, 2, 1889, pl. 3, 3 = Reinach, ii. 105), B 323 (?), E 280; Munich 478 = Reinach, ii. 105, and 370 = Furtwaengler-Reichhold, 6.

Footnote 1399:

See below, p. 144.

Footnote 1400:

_Boston Mus. Report_, 1903, No. 70: cf. Quint. Smyrn. i. 741 ff.

Footnote 1401:

Overbeck, _Her. Bildw._ 21, 16 = Roscher, ii. 2674; and see B.M. B 209 = Reinach, ii. 105.

Footnote 1402:

Millingen, _A.U.M._ i. 4 = Engelmann-Anderson, _Atlas to Od._ iii. 15 (? see above, under _Il._ xxii. 306 ff.); Reinach, ii. 105, 2.

Footnote 1403:

B.F.: Berlin 1147; Helbig, 8, 31 = _Mus. Greg._ ii. 28, 1, and 38, 1; Bibl. Nat. 207 = Reinach, ii. 254. R.F.: B.M. E 468; Millingen-Reinach, 49 = Reinach, i. 358; _Tyszkiewicz Coll._ pl. 17 (now in Boston). In the last-named the subject is slightly varied.

Footnote 1404:

B.M. E 12 = _Wiener Vorl._ D. 3, 1; Reinach, i. 149; Louvre F 388 (?): see p. 71.

Footnote 1405:

Millingen, _A.U.M._ i. 5; _Wiener Vorl._ vi. 7 = Roscher, i. p. 1265 (in Louvre); Reinach, i. 347 = _Bourguignon Cat._ 19: cf. also Athens 1093 = Roscher, ii. 2678 (Eos, together with Thanatos and Hypnos, two Keres).

Footnote 1406:

Helbig, 43 = _Mus. Greg._ ii. 49, 2.

Footnote 1407:

Reinach, ii. 106.

Footnote 1408:

B.M. E 808 (?).

Footnote 1409:

Reinach, i. 82.

Footnote 1410:

B.M. B 172; Munich 380 = Reinach, ii. 115; Helbig, 77 = _ibid._ ii. 107 (see below, p. 177); Bibl. Nat. 537 = Reinach, i. 90; _Boston Mus. Report_ for 1899, No. 28 = _Arch. Anzeiger_, 1898, p. 51. (Thetis present)

Footnote 1411:

Louvre E 643 = Reinach, i. 311; _ibid._ ii. 107 (?).

Footnote 1412:

B.M. B 240 = Reinach, ii. 99.

Footnote 1413:

Reinach, i. 304 (and i. 226, 1–3 (?), see p. 115); Engelmann, _Arch. Stud. zu d. Trag._ p. 37: cf. _Sale Cat. Hôtel Drouot_, 11 May, 1903, No. 100.

Footnote 1414:

Athens 475 = Baumeister, iii. p. 1955, fig. 2086 (Melian vase); B.M. B 327, B 397, E 13; _Forman Sale Cat._ 298; Berlin 2000 = Robert, _Bild u. Lied_, p. 217; Baumeister, i. p. 29, fig. 30; _Wiener Vorl._ 1889, 5, 2 (in Louvre); Naples 3358 = Reinach, i. 313 = _Wiener Vorl._ C. 8, 2. The type is derived from that of Herakles and Kyknos (p. 101).

Footnote 1415:

B.M. E 69 = _Wiener Vorl._ vi. 2; Millin-Reinach, i. 66.

Footnote 1416:

B.M. B 541, E 160: see above, p. 124.

Footnote 1417:

Vienna 325 = Reinach, i. 174 = _Wiener Vorl._ vi. 1.

Footnote 1418:

Two Corinthian vases, _Arch. Anzeiger_, 1891, p. 116, and _Boston Mus. Report_, 1899, No. 12; Louvre E 635 = Reinach, i. 151 = Rayet and Collignon, p. 69; B.M. F 480 = Plate LVIII.; Reinach, i. 278.

Footnote 1419:

Petersburg 830 = Reinach, i. 150 = _Wiener Vorl._ A. 8; Naples 3231, 3235 = Reinach, i. 299, 102; parody, B.M. F 366.

Footnote 1420:

Bibl. Nat. 186 = _Jahrbuch_, vii. (1892), pl. 2; Munich 400 = Reinach, ii. 116; Roscher, i. 1279.

Footnote 1421:

_Mon. Antichi_, ix. pl. 15: see _Jahrbuch_, 1891, pl. 4, p. 190.

Footnote 1422:

See for the various types _J.H.S_, xiv. p. 171.

Footnote 1423:

Berlin 2301 = Reinach, i. 381; Petersburg 812 = Reinach, i. 381 = Millin-Reinach, i. 58 (doubtful).

Footnote 1424:

Reinach, ii. 16; Naples 2858 = Overbeck, _Her. Bildw._ pl. 28, 5; _ibid._ 1755 = Baumeister, iii. p. 1848, fig. 1939; _ibid._ 1761 = Millingen-Reinach, 16.

Footnote 1425:

B.M. D 33, F 57.

Footnote 1426:

Reinach, ii. 175: cf. _Boston Mus. Report_ for 1899, No. 38.

Footnote 1427:

Vienna 333 = Reinach, i. 169; Berlin 2184 = Reinach, i. 296 = Baumeister, ii. p. 1113, fig. 1310; Reinach, i. 143; Roscher, iii. 969 (in Berlin).

Footnote 1428:

Vienna 333 = Reinach, i. 169 = Roscher, iii. 971; Reinach i. 381; Millin-Reinach, ii. 24.

Footnote 1429:

B.M. E 446.

Footnote 1430:

Petersburg 349 = Reinach, i. 19; _ibid._ ii. 9, 316; Naples 1984 = Baumeister, ii. p. 1116, fig. 1313.

Footnote 1431:

B.M. F 166; Reinach, i. 132 (in Louvre); Millin-Reinach, ii. 68; Naples 1984; Helbig, 117 = Reinach, i. 390; _Arch. Anzeiger_, 1890, p. 90 (Berlin); and cf. B.M. B 641 (possibly Orestes and Pylades at Omphalos?).

Footnote 1432:

Petersburg 2189 (according to Roscher, iii. p. 993); but see Reinach, i. 5, and above under Kadmos.

Footnote 1433:

Reinach, i. 105 = Naples 3223; _ibid._ 133 = Baumeister, i. p. 757, fig. 808; _ibid._ i. 158 = Petersburg 420; Naples S.A. 24; and see B.M. F 155, and Reinach, i. 279.

Footnote 1434:

Reinach, i. 321 = Baumeister, ii. p. 1009, fig. 1215 (Jatta Coll.).

Footnote 1435:

See generally on Athenian cults, as illustrated by vase-paintings, Harrison, _Mythol. and Mon. of Athens_, Introd. p. xxi ff.

Footnote 1436:

On one of these vases the scene (in the interior of a cup) is watched by a group of Athenians at the foot of a hill, round the outside of the cup (Reinach, i. 107 = Hartwig, _Meistersch._ pls. 39–40).

Footnote 1437:

See Harrison, _op. cit._ p. lxxxiv ff.

Footnote 1438:

Cf. Strabo, ix. § 392, and see for Lykos in another connection p. 124 above. In the vase here given they witness the exploits of their kinsman Theseus (on the obverse).

Footnote 1439:

Cf. $1$2 1893, pl. 9, p. 130 ff., and Frazer’s _Pausanias_, ii. p. 203.

Footnote 1440:

E 224 = Plate XLI. = Furtwaengler and Reichhold, pls. 8–9.

Footnote 1441:

Furtwaengler (_50^{tes} Winckelmannsfestprogr._ p. 163) refers the Orpheus scenes to the Aeschylean tetralogy of the Lykourgeia.

Footnote 1442:

B.M. E 390; Naples 1978, 2889, 3143 (see Reinach, i. 176); Reinach, i. 403 = Roscher, iii. p. 1181; Roscher, iii. p. 1179 (in Berlin).

Footnote 1443:

Munich 383; Reinach, i. 63; ii. 80.

Footnote 1444:

B.M. E 301; Naples 3114; Reinach, i. 186, 327 (= Roscher, iii. p. 1185–86); Roscher, iii. p. 1184: see also _J.H.S._ ix. p. 143.

Footnote 1445:

Reinach, i. 493 = Roscher, iii. p. 1178.

Footnote 1446:

She occurs on B.M. F 270, Petersburg 498, and Karlsruhe 256.

Footnote 1447:

Reinach, i. 96 = Helbig, 99; _Röm. Mitth._ 1888, pl. 9; and see Naples 3143 = Reinach, i. 176.

Footnote 1448:

Jatta 1538 = Reinach, i. 526.

Footnote 1449:

Athens 1344 = Dumont-Pottier, i. pl. 14.

Footnote 1450:

Schreiber-Anderson, _Atlas_, pl. 5, 10 = Reinach, ii. 333, 5 (burlesque scene with actor as Taras on dolphin: see p. 160).

Footnote 1451:

B.M. E 447; Louvre F 166; Helbig, 189 = Reinach, i. 268; Reinach, i. 122; Benndorf, _Gr. u. Sic. Vasenb._ 53, 2; Naples 1851 = _Jahrbuch_, 1887, p. 113; _Ath. Mitth._ xxii. (1897), pl. 13: see for the myth, Hdt. viii. 138 and Roscher, _s.v._

Footnote 1452:

Reinach, i. 147, 509; ii. 81, 271.

Footnote 1453:

Munich 849 = Reinach, i. 258.

Footnote 1454:

See pp. 99, 111, 132.

Footnote 1455:

_Wiener Vorl._ A. 10, 3.

Footnote 1456:

_Ibid._ iii. 4: see _Röm. Mitth._ 1894, p. 285.

Footnote 1457:

B.M. F 6, 85, 230; Reinach, i. 492, ii. 295.

Footnote 1458:

B.M. F 158, 278; Naples R.C. 239 (= Reinach, i. 482), 3253 (= Reinach, i. 330 = _Wiener Vorl._ vii. 6b, 1), and 2421 (= Reinach, ii. 278 = Furtwaengler and Reichhold, pls. 26–8); Millin-Reinach, i. 56 (= Bibl. Nat. 427) and 61; Millingen-Reinach, 37.

Footnote 1459:

B.M. E 12; Naples 2613; Louvre F 203; Munich 4 = Reinach, ii. 57; Reinach, ii. 56.

Footnote 1460:

_Wiener Vorl._ 1889, 6, 2; B.M. B 158, 566; Micali, _Storia_, 91.

Footnote 1461:

Inghirami, _Vasi Fitt._ iv. 304 = Thiersch, _Tyrrhen. Amph._ p. 64.

Footnote 1462:

B.M. E 40; Hartwig, _Meistersch._ pl. 2, fig. 2 (Louvre G 35); _ibid._ pl. 22, 2; Reinach, i. 166.

Footnote 1463:

Engelmann-Anderson, _Iliad_, v. 24, vi. 25.

Footnote 1464:

B.M. E 19; Vienna 231 = _Wiener Vorl._ 1890–91, 1, 6.

Footnote 1465:

B.M. B 591; Berlin 2264 = Reinach, i. 508, 4.

Footnote 1466:

_Boston Mus. Report_ for 1899, No. 22: see Hartwig, _Meistersch._ p. 119, note 1.

Footnote 1467:

Louvre A 256 = _Jahrbuch_, 1887, pl. 11.

Footnote 1468:

B.M. E 253, E 295.

Footnote 1469:

B.M. E 573.

Footnote 1470:

See above, p. 102.

Footnote 1471:

See above, p. 111.

Footnote 1472:

François vase; B.M. B 176, F 162, F 277; Reinach, i. 154 (= Naples 2411), 309 (Louvre E 700), 391 (Munich 805); Furtwaengler and Reichhold, pl. 15 (a fine R.F. example).

Footnote 1473:

François vase; B.M. E 473; _J.H.S._ xvii. pl. 6; Munich 846 = Millingen-Reinach, 8; _Mon. Antichi_, ix. pl. 2; Reinach, i. 22, 474, ii. 272.

Footnote 1474:

For Herakles and Pholos see p. 102.

Footnote 1475:

B.M. B 620 (Achilles); Munich 611 = Reinach, i. 419 (Herakles); Reinach, ii. 91 (Achilles); B.M. B 77 = Fig. 98 (parody).

Footnote 1476:

See _Jahrbuch_, 1886, pp. 202–4, Nos. 51–9, 94.

Footnote 1477:

Reinach, ii. 209, 289; Athens 1246: cf. B.M. B 226.

Footnote 1478:

Reinach, i. 58, 452; Helbig, 237 = _Mus. Greg._ ii. 82, 2_b_; Benndorf, _Gr. u. Sic. Vasenb._ 8, 2.

Footnote 1479:

_Arch. Anzeiger_, 1890, p. 2.

Footnote 1480:

B.M. F 550; _Wiener Vorl._ E. pls. 7–8, fig. 3 (cf. p. 88).

Footnote 1481:

B.M. F 370.

Footnote 1482:

See above, p. 112.

Footnote 1483:

François vase; Athens 644; Reinach, i. 332, 429.

Footnote 1484:

Reinach, i. 259.

Footnote 1485:

_E.g._ B.M. B 427, 428, 430, 436, 679, 680: cf. E 180.

Footnote 1486:

Cf. Virgil, _Aen._ iii. 216 (_virgineae vultus_) and 241 (_obscenae volucres_).

Footnote 1487:

See, _J.H.S._ xiii. p. 103 ff.

Footnote 1488:

B.M. B 4, B 16 (?): see Vol. I. p. 344.

Footnote 1489:

See p. 115; B.M. E 302; Reinach, i. 119, 201; and for two Harpies, with name inscribed, in connection with this story, Berlin 1682 = Reinach, i. 441.

Footnote 1490:

Louvre A 478.

Footnote 1491:

B.M. E 440; _J.H.S._ xiii. pl. 1; _Strena Helbigiana_, p. 31.

Footnote 1492:

On Sirens generally, and especially as death-deities, see Weicker, _Der Seelenvogel_ (1902).

Footnote 1493:

Berlin 2157 = _Jahrbuch_, 1886, p. 211; on B.M. E 477 a Siren of the ordinary decorative type appears with allusion to the death of Prokris, perhaps as indicating her departing soul.

Footnote 1494:

B.M. B 651.

Footnote 1495:

Louvre E 667 = _Bull. de Corr. Hell._ 1893, p. 238.

Footnote 1496:

B.M. B 510: cf. Weicker, p. 48.

Footnote 1497:

Weicker, p. 120, fig. 46.

Footnote 1498:

_E.g._ B.M. A 1135; _Cat. of Terracottas_, B 291, 292, 479.

Footnote 1499:

Louvre E 667, 723; Vienna 318; Munich 1077.

Footnote 1500:

Munich 1050.

Footnote 1501:

B.M. B 215; Louvre A 441, E 858; Berlin 1727: cf. Athens 531 and Wilisch, _Altkor. Thonindustrie_, pl. 3, fig. 38.

Footnote 1502:

B.M. B 429.

Footnote 1503:

See above, p. 117; and cf. Bibl. Nat. 278 and Athens 1480 = _Wiener Vorl._ 1889, 9, 8.

Footnote 1504:

B.M. B 125, B 539, etc.

Footnote 1505:

B.M. B 650; Reinach, i. 319; _J.H.S._ xix. p. 235.

Footnote 1506:

Reinach, i. 471.

Footnote 1507:

Naples 2846 = _Festsehr. für Overbeck_, p. 103.

Footnote 1508:

B.M. B 32 and Athens 592 (with Hermes); Naples 3254 = Reinach, i. 327 = _Wiener Vorl._ 1889, 9, 7.

Footnote 1509:

Reinach, i. 54, 258, 480, ii. 236.

Footnote 1510:

B.M. E 434; Reinach, i. 23, 53.

Footnote 1511:

See above, p. 144.

Footnote 1512:

_Ath. Mitth._ 1887, pl. 11.

Footnote 1513:

Reinach, ii. 319.

Footnote 1514:

_Boston Mus. Report_, 1899, p. 64, No. 21 (B.F.).

Footnote 1515:

Reinach, i. 220; and see ii. 314.

Footnote 1516:

_Bourguignon Cat._ 57.

Footnote 1517:

See p. 29 above.

Footnote 1518:

B.M. B 45, B 65, E 11, E 35, Bibl. Nat. 177, Benndorf, _Gr. u. Sic. Vasenb._ 8, 1 (Pegasos); B.M. B 105, B 417, and Louvre A 307 (Chimaera).

Footnote 1519:

B.M. E 170; Reinach, ii. 309.

Footnote 1520:

Bibl. Nat. 449 = Reinach, i. 129.

Footnote 1521:

_Amer. Journ. of Arch._ 1900, pl. 5 (cf. pl. 4).

Footnote 1522:

Benndorf, _Gr. u. Sic. Vasenb._ 12, 2; B.M. B 308 (three Minotaurs).

Footnote 1523:

Bibl. Nat. 1066 = _Gaz. Arch._ 1879, pl. 3: see, _J.H.S._ xi. p. 349.

Footnote 1524:

Reinach, i. 188.

Footnote 1525:

_Ibid._ i. 498.

Footnote 1526:

B.M. F 218.

Footnote 1527:

Athens 961 = _Ath. Mitth._ xvi. pl. 9 (probably taken from a Satyric drama).

Footnote 1528:

Reinach, i. 459.

Footnote 1529:

See above, p. 12.

Footnote 1530:

Munich 468 = _J.H.S._ xix. p. 217 = _Philologus_, 1898, pl. 1.

Footnote 1531:

B.M. B 433; Berlin 1770; Athens 713 = Heydemann, _Gr. Vasenb._ pl. 8, 4; Louvre F 100, 104 (between Sirens): cf. Ar. _Av._ 800.

Footnote 1532:

François vase; Reinach, i. 27, 54, 61, 470, ii. 295; B.M. B 77; Millin-Reinach, i. 63; _Wiener Vorl._ ii. 5, 2; and cf. B.M. G 178 and Jahn, _Arch. Beitr._ pl. 12, 1.

Footnote 1533:

Cf. Naples 2609 (Hipparchos); B.M. E 46, Athens 1162, and Louvre G 103 (Leagros); Athens 1020 = _Jahrbuch_, ii. p. 163 (Glaukon); B.M. E 300 and Oxford 309 (Kleinias); Reinach, i. 513, 6 (Megakles).

Footnote 1534:

B.M. B 80; Berlin 1686 = Rayet and Collignon, pl. 7, and 1882 = Reinach, ii. 122.

Footnote 1535:

See p. 60.

Footnote 1536:

See p. 53; also Reinach, i. 472 and ii. 198, 4 (both Dionysiac).

Footnote 1537:

Oxford 292 (Persephone); Reinach, ii. 321, 4; _ibid._ 122, 2 (= Berlin 2129): see Hartwig, _Meistersch._ p. 48, note; also _Él. Cér._ ii. 108, and Reinach, ii. 286.

Footnote 1538:

_Anzeiger_, 1895, p. 36 (in Berlin).

Footnote 1539:

B.M. B 633.

Footnote 1540:

B.M. E 284 = _Mon. Antichi_, ix. pl. 1.

Footnote 1541:

B.M. B 80, B 585, B 648.

Footnote 1542:

Naples 2858; _Mus. Greg._ ii. 71, 1 _a_.

Footnote 1543:

B.M. B 79; Louvre F 10; Reinach, i. 428; _Mus. Greg._ ii. 71, 1 _a_; Munich 386 = Furtwaengler and Reichhold, pl. 19; and see under Nike, p. 87.

Footnote 1544:

Bologna 275; B.M. B 362.

Footnote 1545:

Berlin 1727 = Reinach, i. 429; Athens 1428 = Heydemann, _Gr. Vasenb._ pl. 11, 3 (sacrifice to Hekate?); Hartwig, _Meistersch._ pl. 3, fig. 2.

Footnote 1546:

B.M. E 455, 456, 494; _Él. Cér._ ii. 105, 108; Millin-Reinach, i. 8; Micali, _Storia_, pl. 97, fig. 2; _Bull. de Corr. Hell._ 1895, p. 100 (Louvre).

Footnote 1547:

B.M. B 3.

Footnote 1548:

B.M. E 455; Athens 1858 = Baumeister, i. p. 211, fig. 165 = Reinach, i. 396.

Footnote 1549:

B.M. E 284; Bologna 286; Reinach, i. 403 = Schreiber-Anderson, 25, 8 (referred to the Thargelia by Reisch, _Gr. Weihgeschenke_, p. 80).

Footnote 1550:

Berlin 1727, 2010.

Footnote 1551:

B.M. E 114, E 291; Bibl. Nat. 94; Reinach, ii. 135.

Footnote 1552:

B.M. E 88; _Mus. Greg._ ii. 78, 2 _b_; and see Stackelberg, pl. 35.

Footnote 1553:

Reinach, ii. 286; _Wiener Vorl._ 1890–91, pl. 7, 2 = _Röm. Mitth._ v. (1890), p. 324; _Mus. Greg._ 71, 1 _b_.

Footnote 1554:

Naples 3358 = Reinach, i. 313 = Schreiber-Anderson, 20, 3: see Miss Harrison’s _Prolegomena to Gk. Religion_, p. 157.

Footnote 1555:

De Witte, _Coll. à l’Hôtel Lambert_, pl. 29.

Footnote 1556:

De Witte, _op. cit._ pl. 22.

Footnote 1557:

_J.H.S._ xix. p. 228 (in Naples).

Footnote 1558:

Naples 2458 = _J.H.S._ xix. p. 227: cf. B.M. B 641.

Footnote 1559:

Athens 695.

Footnote 1560:

_J.H.S._ xx. p. 101.

Footnote 1561:

Karlsruhe 278 = Reinach, i. 271.

Footnote 1562:

Benndorf, _Gr. u. Sic. Vasenb._ pl. 31, 1.

Footnote 1563:

Fig. 17, Vol. I. p. 140 = Munich 51.

Footnote 1564:

B.M. E 494, E 585; _Bull. de Corr. Hell._ 1895, p. 103; Berlin 2213; Naples 1760 (= Millingen-Reinach, 52), and S.A. 647 (= _Él. Cér._ iv. 19); Gerhard, _Akad. Abhandl._ pl. 63, figs. 1, 4, 5; _Él. Cér._ iii. pls. 79, 80. They appear to be especially associated with terminal figures.

Footnote 1565:

Miss Harrison’s comprehensive _Prolegomena to Greek Religion_ (Cambridge Press, 1903) appeared too recently for the writer to be able to make detailed use of it in this section. It must, of course, be borne in mind that many of the interpretations in that work are only conjectural.

Footnote 1566:

Athens 199, 200 = _Jahrbuch_, 1899, p. 201; _ibid._ 214 = Reinach, i. 190 = Baumeister, iii. p. 1943, fig. 2071.

Footnote 1567:

Athens 688 = Reinach, i. 165.

Footnote 1568:

B.M. B 63 = Plate LVIII.; _Forman Sale Cat._ 279 (now in B.M.); Baumeister, i. p. 238, fig. 217 = Benndorf, _Gr. u. Sic. Vasenb._ pl. 1; Athens 688 = Reinach, i. 164.

Footnote 1569:

B.M. D 62 = Plate LV. fig. 1; Athens 1651 = Dumont-Pottier, i. pl. 32; Benndorf, _Gr. u. Sic. Vasenb._ pl. 33. A fine R.F. example in _Monuments Piot_, i. pls. 5–6 (in Louvre).

Footnote 1570:

Bibl. Nat. 353; Micali, _Storia_, pl. 96, figs. 1–2.

Footnote 1571:

Athens 688 = Baumeister, i. p. 306, fig. 321 = Reinach, i. 164; _Anzeiger_, 1893, p. 86 (Berlin). Cf. Fig. 123, p. 71.

Footnote 1572:

_Jahrbuch_, 1891, pl. 4; _J.H.S._ xix. p. 228; Athens 688.

Footnote 1573:

B.M. B 543, D 5 = Plate XL.

Footnote 1574:

B.M. D 65 ff. and Athens 1672–1836 _passim_: cf. B.M. F 93. Plate LV. fig. 2 = B.M. D 70.

Footnote 1575:

B.M. F 93 (Fig. 20, Vol. I. p. 144), 212.

Footnote 1576:

B.M. F 276, 279–85, 352 (Fig. 106, Vol. I. p. 477).

Footnote 1577:

B.M. F 353.

Footnote 1578:

Millin-Reinach, ii. 29.

Footnote 1579:

B.M. D 39, 41, 43–45, 56, 70, F 93–96; Benndorf, _Gr. u. Sic. Vasenb._ pl. 34. See Plate LV. fig. 2 and Fig. 19, Vol. I. p. 143.

Footnote 1580:

B.M. D 54, 65, 67–86; F 212–13, 336; Athens 1692 = _J.H.S._ xix. pl. 2, and 1694 = Benndorf, _op. cit._ pl. 18, 1; _ibid._ pl. 19, 2.

Footnote 1581:

A unique instance of a sculptured _stele_ copied on a white lekythos is _Burlington F.A.C. Cat._ (1903), p. 104, No. 25.

Footnote 1582:

B.M. D 51.

Footnote 1583:

B.M. F 352 = Fig. 106.

Footnote 1584:

B.M. (uncatalogued).

Footnote 1585:

B.M. D 21.

Footnote 1586:

B.M. D 60.

Footnote 1587:

B.M. D 58.

Footnote 1588:

B.M. D 35; Engelmann-Anderson, _Odyssey_, iii. 10.

Footnote 1589:

B.M. D 56 = Fig. 19.

Footnote 1590:

B.M. D 5 = Plate XL.

Footnote 1591:

Athens 1689 = Reinach, i. 512.

Footnote 1592:

See above, p. 69.

Footnote 1593:

See p. 52; also B.M. (uncatalogued).

Footnote 1594:

B.M. D 58–9; Athens 1093 (= Roscher, ii. 2678), 1653–54 (= Dumont-Pottier, i. pls. 27–9); _Jahrbuch_, 1895, pl. 2. Cf. Fig. 123, p. 71.

Footnote 1595:

B.M. D 54; Benndorf, _Gr. u. Sic. V._ pls. 14 and 33. See above, p. 72.

Footnote 1596:

B.M. F 279, 280, 282.

Footnote 1597:

B.M. F 276, 284; Millin-Reinach, ii. 32–33.

Footnote 1598:

B.M. F 281.

Footnote 1599:

B.M. F 276, 279–84, 352 (Fig. 106); Millin-Reinach, ii. 38.

Footnote 1600:

See p. 68.

Footnote 1601:

Louvre E 667 = _Bull. de Corr. Hell._ 1893, p. 238.

Footnote 1602:

_Anzeiger_, 1890, p. 89 (Berlin); but see p. 76, under Asklepios.

Footnote 1603:

B.M. B 80: see for other parodies of processions or sacrifices Athens 1132, 1136, 1138.

Footnote 1604:

B.M. B 509; Berlin 1830 = _J.H.S._ ii. pl. 14, and 1697 (as horses).

Footnote 1605:

_J.H.S._ xiii. pl. 4, and p. 81; B.M. B 77 = Fig. 98: see generally _J.H.S._ xiii. p. 77 ff. and Vol. I. p. 391.

Footnote 1606:

Vienna 321 (cf. Ar. _Ach._ 729 ff.), Hermes with dog got up as a pig.

Footnote 1607:

B.M. F 99; Berlin 3046 = Baumeister, ii. p. 821, fig. 904 (see _Jahrbuch_, i. p. 283).

Footnote 1608:

_Jahrbuch_, i. (1886), p. 260 ff.

Footnote 1609:

See for instance pp. 107, 118, 123.

Footnote 1610:

B.M. F 233: cf. Reinach, i. 114.

Footnote 1611:

Schreiber-Anderson, 5, 10 = Heydemann, p. 307 = Reinach, ii. 332, 5.

Footnote 1612:

B.M. F 543.

Footnote 1613:

B.M. F 189 = Fig. 134.

Footnote 1614:

Naples 3240 = Reinach, i. 114 = Baumeister, i. pl. 5, fig. 422.

Footnote 1615:

B.M. E 65.

Footnote 1616:

See _Philologus_, 1868, pls. 1–4, p. 1 ff.

Footnote 1617:

Jatta 1528 = _Jahrbuch_, 1886, p. 273; B.M. E 790; Naples 2846 = _Festschr. für Overbeck_, p. 103.

Footnote 1618:

B.M. E 467 (Satyric chorus); Reinach, ii. 324, 5; ii. 288.

Footnote 1619:

_Boston Mus. Report_, 1898, No. 50.

Footnote 1620:

Jatta 1402 = Reinach, i. 413.

Footnote 1621:

B.M. F 233, F 289.

Footnote 1622:

_Wiener Vorl._ B. 3, 5 _c_; Millin-Reinach, i. 20.

Footnote 1623:

Vol. I. p. 472: see also _B.M. Cat. of Vases_, iv. p. 10; Vogel, _Scenen Eurip. Tragödien_ (where an exhaustive list is given), and Huddilston, _Gk. Tragedy in the Light of Vase-paintings_, where the subject is also treated in detail.

Footnote 1624:

See Vol. I. p. 389, and Plates XXXIII.-IV.; for a complete series of illustrations, _Mon. dell’ Inst._ x. pls. 47–8 = Reinach, i. 210–15.

Footnote 1625:

B.F.: B.M. B 48, B 64; Berlin 1655, 1805; Bibl. Nat. 252, 354; Reinach, ii. 129. R.F.: Reinach, i. 223 (= _Wiener Vorl._ D. 5), 424 (Berlin 2180), 454, ii. 134 (Berlin 2262), 137 (men with dogs); Hartwig, _Meistersch._ pls. 15–6 = Bibl. Nat. 523.

Footnote 1626:

B.M. B 271, B 295, B 607; E 39, 63 (parade of boxers before judges); Athens 1169 = Benndorf, _Gr. u. Sic. Vasenb._ 31, 2 _a_; Reinach, ii. 292.

Footnote 1627:

B.M. B 191, B 295, B 603; E 94, 95; Bibl. Nat. 522 = Hartwig, _Meistersch._ pl. 15, 2; _Mus. Greg._ ii. 16, 2 _a_; Vienna 332 = _Wiener Vorl._ 1890–91, 1, 4.

Footnote 1628:

B.M. E 78 (very realistic), B 604, B 610; Louvre F 276, 278, 314; Hartwig, _Meistersch._ pl. 64.

Footnote 1629:

_Arch.-epigr. Mitth. aus Oesterr._ 1881, pl. 4.

Footnote 1630:

B.M. B 48, B 134 (= Fig. 135), B 326; Munich 795 = Reinach, i. 422 = Baumeister, i. p. 613, fig. 672; Reinach, i. 433, 1 = Baumeister, i. p. 573, fig. 611; Reinach, i. 272, ii. 128. See on the subject generally _J.H.S._ xxiii. p. 54 ff.

Footnote 1631:

B.M. B 136, E 164; Louvre F 126; Athens 1188 = Reinach, i. 511; Hartwig, _Meistersch._ pl. 21 (Duris, in Boston); De Witte, _Coll. à l’Hôtel Lambert_, pl. 23; _Mus. Greg._ ii. 43, 2 _b_.

Footnote 1632:

B.M. B 380; Louvre F 126, G 37; _Mus. Greg._ ii. 69, 4 _c_, 70, 2 _a_; De Witte, _op. cit._ pl. 24.

Footnote 1633:

B.M. B 48; Reinach, ii. 145, 175, 330; _Mus. Greg._ ii. 70, 1 _a_, 2 _b_; 73, 1 _b_. Athlete exercising with halteres: Louvre G 15; _Forman Sale Cat._ 332.

Footnote 1634:

B.M. B 361. See _J.H.S._ xxiv. p. 70.

Footnote 1635:

B.M. E 164.

Footnote 1636:

B.M. E 63, 113, 164; _Forman Sale Cat._ 358; and see _Bull. de Corr. Hell._ xxiii. p. 164.

Footnote 1637:

Athens 1478; Millin-Reinach, i. 45; Panathenaic amphora in B.M.

Footnote 1638:

B.M. B 137, B 609; Munich 498 = Reinach, i. 215; _Mus. Greg._ ii. 42, 2 _b_; 43, 1 _a_. Starter in foot-race: B.M. E 6, E 101; Reinach, i. 433, 2; Hartwig, _Meistersch._ p. 45, fig. 6; _Jahrbuch_, 1895, pp. 185–88; _J.H.S._ xxiii. p. 268 ff.

Footnote 1639:

B.M. B 133, B 144; Berlin 1655, 1722, 2282; Munich 805; Athens 1546; Reinach, i. 12, 100, 199, ii. 61, 253; and see Hartwig, _Meistersch._ p. 491, note 2.

Footnote 1640:

B.M. B 130–32, B 677; Berlin 1655; Louvre F 216, F 283; Reinach, ii. 68, 70, 125, 133; François vase.

Footnote 1641:

B.M. E 389, F 59; _Tyszkiewicz Coll._ pl. 35; Reinach, ii. 298, 320; Baumeister, i. p. 522.

Footnote 1642:

B.M. B 143; E 6, E 22; B 608; Benndorf, _Gr. u. Sic. Vasenb._ 43, 4 _b_; Reinach, ii. 128, 129 (= Berlin 2307); Munich 476 = _ibid._ ii. 127, and 803 = _Jahrbuch_, 1895, p. 196; Hartwig, _op. cit._ pl. 62, 1. Runner with trainer: _Bourguignon Sale Cat._ 31. See on the subject generally _J.H.S._ xxiii. p. 268 ff., and _Jahrbuch_, 1895, p. 182 ff.

Footnote 1643:

Hartwig, _op. cit._ pl. 1 and pl. 16 (= Bibl. Nat. 523); B.M. E 22; _Burlington Fine Arts Club Cat._ (1903), p. 100, No. 17.

Footnote 1644:

Berlin 2307 (one fig.); Reinach, i. 494 (Louvre); _Jahrbuch_, 1887, p. 99: cf. B.M. B 628.

Footnote 1645:

_Bourguignon Sale Cat._ 49; Berlin 2307 = Reinach, ii. 129; Hartwig, _op. cit._ pl. 16 (Bibl. Nat. 523); _Jahrbuch_, 1895, p. 190; _J.H.S._ xxiii. p. 278.

Footnote 1646:

See _J.H.S._ xxiii. p. 285 (runners with helmet in hand).

Footnote 1647:

_Mus. Greg._ ii. 71, 4 _b_; _Jahrbuch_, 1895, p. 191; Munich 803 and 1240; Hartwig, _op. cit._ pl. 12. See _J.H.S._ _loc. cit._

Footnote 1648:

B.M. B 144; Reinach, ii. 262, 291, 298, 320 (horsemen): cf. B.M. B 628.

Footnote 1649:

Reinach, i. 346 = _Bourguignon Cat._ 17; Louvre G 17, G 36.

Footnote 1650:

See under Nike, p. 88, note 1070.

Footnote 1651:

Berlin 2180 = Reinach, i. 424, and 2314; Karlsruhe 242 (Psiax and Hilinos).

Footnote 1652:

Berlin 2178; Louvre G 38 = Hartwig, _Meistersch._ p. 25; _Arch.-epigr. Mitth._ 1881, pl. 4; Reinach, i. 324.

Footnote 1653:

Petersburg 1611 = Baumeister, i. p. 247, fig. 226.

Footnote 1654:

Munich 895 = Reinach, ii. 106.

Footnote 1655:

Millin-Reinach, i. 47: cf. the athlete extracting a thorn on Berlin 2180 = Reinach, i. 424.

Footnote 1656:

Bibl. Nat. 283 (unexplained subject).

Footnote 1657:

Salzmann, _Nécropole de Camiros_, pl. 57, 2 = Schreiber-Anderson, 24, 2.

Footnote 1658:

B.M. F 232; Naples 2854; Reinach, i. 473; Baumeister, i. p. 585.

Footnote 1659:

Oxford 288; B.M. B 607; Louvre F 109 (with judges): and see p. 88.

Footnote 1660:

B.M. E 83; Louvre G 36; Athens 1156 = Reinach, i. 514; _ibid._ ii. 292 = Baumeister, i. p. 242, fig. 219 (basin inscribed ΔΗΜΟΣΙΑ); Schreiber-Anderson, 21, 9 = Reinach, ii. 275; Hartwig, _Meistersch._ pl. 67, 1, p. 206 (using sponge); Reinach, ii. 134, 275. Youth with bath utensils: Berlin 2314.

Footnote 1661:

B.M. B 271; E 78, 94, 164; Hartwig, _op. cit._ pp. 416–17; _Wiener Vorl._ vi. 9; _B.C.H._ xxiii. p. 158 (trainer marking goal).

Footnote 1662:

See _B.M. Cat. of Vases_, iv. _passim_.

Footnote 1663:

Three types:—(1) Hare seized by birds: Louvre E 701 = Reinach, i. 153; Naples 2458; Athens 618. (2) Hare pursued by dogs: B.M. B 119; Berlin 340, 1753, 1799; Karlsruhe 170; Petersburg 310, 386; Reinach, i. 34; _Bull. de Corr. Hell._ 1893, p. 227. (3) Dogs accompanied by hunters: B.M. B 678, D 60; Berlin 306, and 1727 = Reinach, i. 431; Oxford 189 (Oikopheles); Bibl. Nat. 187; Naples S.A. 200; B.M. A 1050 = Plate XIX. fig. 3; Reinach, ii. 333; _Ant. Denkm._ ii. 44–5.

Footnote 1664:

B.M. B 147 (cover); Helbig, 7; Munich 411 (Amasis); Reinach, ii. 275; Millingen, _Anc. Uned. Mon._ i. 23; _Anzeiger_, 1895, p. 40.

Footnote 1665:

B.M. B 7; Schreiber-Anderson, pl. 80, 3.

Footnote 1666:

_Ant. Denkm._ ii. 44–5.

Footnote 1667:

B.M. B 37 (= Plate XXI.), F 154; Louvre E 696 = Reinach, i. 162; Vienna 217 = Reinach, i. 170; Munich 211 = Fig. 90, Vol. I. p. 316: cf. _Burlington Fine Arts Club Cat._ 1903, p. 115, No. 62, for B.F. jug with man hiding in tree and attacked by boar and lion.

Footnote 1668:

Reinach, ii. 144, 223.

Footnote 1669:

B.M. B 52 = _Rev. Arch._ xviii. (1891), p. 367; Louvre F 26 = _ibid._ p. 369; Millin-Reinach, i. 18.

Footnote 1670:

Millin-Reinach, ii. 11.

Footnote 1671:

Berlin 1900; Reinach, ii. 293.

Footnote 1672:

Louvre F 223.

Footnote 1673:

Munich 583 = _Jahrbuch_, 1890, p. 146 (see p. 129); _Forman Sale Cat._ 285.

Footnote 1674:

_Mélanges Perrot_, p. 252 (in B.M.).

Footnote 1675:

_Boston Mus. Report_, 1899, No. 22; _Mon. Grecs_, 14–16 (1885–88), p. 10.

Footnote 1676:

Hartwig, _Meistersch._ pl. 53; Bibl. Nat. 277 = Reinach, i. 290.

Footnote 1677:

B.M. E 485; Berlin 2357 = Reinach, i. 423; _ibid._ ii. 179.

Footnote 1678:

B.M. E 3 (Hischylos), E 60; Munich 111; _Forman Sale Cat._ 336; Reinach, i. 454, 4 (Pamphaios): see p. 177.

Footnote 1679:

Munich 337 = Reinach, i. 238 = Furtwaengler and Reichhold, pl. 22 (Euphronios); Hartwig, _Meistersch._ pls. 53–4; _Jahrbuch_, 1888, pl. 4 (Onesimos); _Mon. Grecs_, 14–16 (1885–88), pl. 5, and see p. 1 ff.; _Monuments Piot_, i. pls. 5–6 (in Louvre). Cf. also Louvre G 26.

Footnote 1680:

See under Warriors, p. 176.

Footnote 1681:

B.M. F 70, F 306; Berlin 2154: cf. Benndorf, _Gr. u. Sic. Vasenb._ pl. 32, 5.

Footnote 1682:

B.M. B 127; Reinach, ii. 125.

Footnote 1683:

Benndorf, _Gr. u. Sic. Vasenb._ pl. 32, fig. 5.

Footnote 1684:

B.M. B 17; Munich 903: see _J.H.S._ xxiii. pp. 139, 142.

Footnote 1685:

B.M. B 182; Berlin 2417 = Reinach, i. 425 = Baumeister, ii. p. 781, fig. 836; Reinach, ii. 191; Oxford 250.

Footnote 1686:

Reinach, i. 81.

Footnote 1687:

B.M. E 467 (Satyrs); E 339, F 197, F 245; Berlin 2710 = Reinach, i. 425 (Eros); Naples 2872 = Millingen, _Anc. Uned. Mon._ pl. 12 = Reinach, ii. 169 (Eros); Louvre G 36 (ephebos).

Footnote 1688:

Louvre F 90 and F 368 = _Rev. Arch._ xxi. (1893), pl. 5; Helbig, p. 327 = Baumeister, i. p. 622, fig. 695; Reinach, i. 310, 423 (Berlin 2030).

Footnote 1689:

Naples 922 = Schreiber-Anderson, 80, 7.

Footnote 1690:

B.M. E 70, 453–54, 495, F 37, 273, 275; Berlin 2416 and Jatta 1291 = Reinach, i. 337, 178; Baumeister, ii. p. 793, fig. 857; _Archaeologia_, li. pl. 14; Louvre G 30. See also below, p. 181.

Footnote 1691:

_Branteghem Sale Cat._ 167 (here a woman); Hartwig, _Meistersch._ pls. 27, 72, 2.

Footnote 1692:

Louvre G 81; Reinach, i. 420; Hartwig, _op. cit._ pl. 27, 2.

Footnote 1693:

Berlin 2177; _J.H.S._ xviii. p. 130.

Footnote 1694:

B.M. E 205 (?).

Footnote 1695:

B.M. F 123; Louvre F 60; Berlin 2589 (= Harrison, _Mythol. and Monum. of Athens_, p. xliv) and 2394; Millingen, _Anc. Uned. Mon._ pl. 30; _Boston Mus. Report_, 1898, No. 27.

Footnote 1696:

B.M. E 387 (Seileni); Baumeister, iii. p. 1573, fig. 1633 (Eros); Gerhard, _Ant. Bildw._ pl. 53.

Footnote 1697:

Naples 3151 = Reinach, i. 400.

Footnote 1698:

_Anzeiger_, 1890, p. 89 (in Berlin).

Footnote 1699:

See _B.M. Cat. of Vases_, iv. p. 110 (F 223, etc.), and Jahn in _Ber. d. sächs. Gesellsch._ 1854, p. 256.

Footnote 1700:

B.M. E 527, 534–37, 548–53 (see Plate XLII.); Baumeister, ii. p. 779; _Él. Cér._ ii. 89; _Gaz. Arch._ 1878, pl. 7; Stackelberg, pl. 17; Reinach, i. 425: see generally Jahn in _Ber. d. sächs Gesellsch._ 1854, p. 243 ff., pl. 12.

Footnote 1701:

B.M. F 101 = Fig. 15, Vol. I. p. 137; Reinach, i. 294.

Footnote 1702:

Bibl. Nat. 361 = Reinach, ii. 262; _Bourguignon Cat._ 52 (in B.M.); Reinach, i. 207 (hare).

Footnote 1703:

Inghirami, _Vasi Fitt._ iv. 387.

Footnote 1704:

Reinach, i. 294: cf. ii. 137 = Baumeister, i. p. 705, fig. 765, and for women with pets see below, p. 173.

Footnote 1705:

Berlin 2285 = Reinach, i. 196: cf. B.M. E 525 and _Brit. School Annual_, 1898–99, p. 65 (Fig. 177).

Footnote 1706:

Naples 2004 = Reinach, i. 323.

Footnote 1707:

_Ibid._ ii. 333.

Footnote 1708:

Berlin 2322 = Micali, _Storia_, 103, 1.

Footnote 1709:

Hartwig, _Meistersch._ pl. 46.

Footnote 1710:

B.M. E 171–72; Oxford 266; Baumeister, i. p. 554, fig. 591 (flute): cf. _ibid._ iii. p. 1993, fig. 2138 (Iphikles taught the lyre by Linos) and the Duris kylix (Plate XXXIX.).

Footnote 1711:

Reinach, i. 248.

Footnote 1712:

B.M. E 185; Gerhard, _Ant. Bildw._ pl. 66.

Footnote 1713:

See p. 95.

Footnote 1714:

Athens 467 = _Ath. Mitth._ 1892, pl. 10; B.M. E 467, E 804; Furtwaengler and Reichhold, pls. 17–8. Single figure: B.M. F 343.

Footnote 1715:

B.M. E 61; Louvre G 18 (castanets).

Footnote 1716:

_Forman Sale Cat._ 361 (in Boston).

Footnote 1717:

Stackelberg, pl. 22; Reinach, i. 61, 372, 469 (Naples 3010); _Rev. Arch._ xxvi. (1895), p. 221.

Footnote 1718:

_Anzeiger_, 1895, p. 40: cf. _B.M. Cat. of Terracottas_, p. 412.

Footnote 1719:

B.M. B 42, 44; Berlin 1662; and see _J.H.S._ xviii. p. 287.

Footnote 1720:

B.M. E 271; Berlin 1686; Bologna 271 = Reinach, ii. 150; _Él. Cér._ ii. 16; Athens 1019 = _Ath. Mitth._ 1891, pl. 10, 2; _Anzeiger_, 1892, p. 172. Girls playing lyre: _Monuments Piot_, ii. pls. 5–6 (in Louvre).

Footnote 1721:

B.M. E 308; and see Reinach, ii. 187, 3.

Footnote 1722:

B.M. E 270, E 469; Hartwig, _Meistersch._ pls. 65–6.

Footnote 1723:

B.M. B 139, B 141; Louvre G 1 = _Amer. Journ. of Arch._ 1896, p. 9; Petersburg 1603 = Schreiber-Anderson, 7, 14; Vienna 234.

Footnote 1724:

B.M. B 188, E 354; Reinach, ii. 274; Louvre G 103 = _Atlas_, pl. 101 (Euphronios).

Footnote 1725:

B.M. E 460; Bologna 286; Athens 1260 = Dumont-Pottier, i. 16; Helbig, 90 = _Mus. Greg._ ii. 60, 3; Benndorf, _Gr. u. Sic. Vasenb._ 43, 4 _a_.

Footnote 1726:

_Mus. Greg._ ii. 22, 2 _a_.

Footnote 1727:

B.M. E 270.

Footnote 1728:

B.M. E 132.

Footnote 1729:

B.M. B 192, B 299, E 37; Athens 1158 = Baumeister, iii. p. 1984, fig. 2127; _Él. Cér._ ii. 16: see also Hartwig, _Meistersch._ p. 255, note 2.

Footnote 1730:

Berlin 639, 871, 885 = _Ant. Denkm._ i. pl. 8, Nos. 7, 14, 23.

Footnote 1731:

Berlin 608 ff.; 800 93: cf. _op. cit._ pl. 8, Nos. 14 _b_, 17, 18 (= 885, 869, 868); also Nos. 1, 4, 12, 19 _b_, 22, 26 (= Berlin 608, 802, 616, 893, 827, 611). See also Chapter V., Figs. 65, 69.

Footnote 1732:

B.M. B 432; Munich 731 = Fig. 67, Vol. I. p. 213; _Gaz. Arch._ 1880, p. 106.

Footnote 1733:

Figs. 67, 71, Vol. I. pp. 213, 223.

Footnote 1734:

Fig. 70, Vol. I. p. 218.

Footnote 1735:

Fig. 74, Vol. I. p. 228.

Footnote 1736:

Hartwig, _Meistersch._ pl. 17, 1, and see _ibid._ p. 174; Kopenhagen 125; Millingen, _Anc. Uned. Mon._ pl. 37.

Footnote 1737:

Berlin 831 = _Ant. Denkm._ i. pl. 8, fig. 3 _a_. See on the subject _Rev. Arch._ iii. (1904), p. 45 ff.

Footnote 1738:

Berlin 2294 = Baumeister, i. p. 506, fig. 547.

Footnote 1739:

B. M. B 507; Reinach, i. 224 = Baumeister, iii. p. 1582, fig. 1639 (in Boston).

Footnote 1740:

_J.H.S._ xxiv. p. 305; _Branteghem Cat._ 44. See also _Él. Cér._ i. 83.

Footnote 1741:

Kopenhagen 119 = Schreiber-Anderson, 73, 7.

Footnote 1742:

See p. 40: cf. also for a sculptor, p. 16, note 53.

Footnote 1743:

Berlin 1806 = Fig. 136 (Nikosthenes); Louvre F 77 = _ibid._ fig. 13; Froehner, _Musées de France_, pl. 13, 1 (sowing).

Footnote 1744:

B.M. F 147: see p. 73, and Robert, _Arch. Märchen_, pl. 5, p. 198 ff.

Footnote 1745:

Berlin 2274 = _Él. Cér._ ii. 74.

Footnote 1746:

Louvre F 68.

Footnote 1747:

Louvre F 69 = _Wiener Vorl._ 1888, pl. 1, figs. 9–10; _ibid._ pl. 1, figs. 2, 7.

Footnote 1748:

Vienna 335 = Schreiber-Anderson, pl. 64, figs. 1, 3; _ibid._ pl. 64, fig. 6 (in Naples); Hartwig, _Meistersch._ pl. 5; and see under Hermes and Seilenos.

Footnote 1749:

Reinach, ii. 90.

Footnote 1750:

B.M. B 226; Berlin 1855 = Baumeister, ii. p. 1047, fig. 1259.

Footnote 1751:

_Forman Sale Cat._ 323 (now in Boston): cf. _B.M. Cat. of Terracotta_, D 550.

Footnote 1752:

Helbig, 70 = Reinach, i. 106 = Baumeister, ii. p. 1047, figs. 1260–1261; _Boston Mus. Report_, 1899, p. 69, No. 24.

Footnote 1753:

Louvre E 635 = Reinach, i. 151; _Boston Mus. Report_, 1899, p. 70, No. 25.

Footnote 1754:

Berlin 1915 = Reinach, ii. 155.

Footnote 1755:

Froehner, _Musées de France_, pl. 13, 2; _Eranos Vindobonensis_, p. 381 (woman kneading dough).

Footnote 1756:

Millin-Reinach, ii. 61.

Footnote 1757:

Vol. I. p. 342: see also p. 149.

Footnote 1758:

B.M. E 86; Reinach, i. 224 = Baumeister, iii. p. 1587, fig. 1649 (in Boston).

Footnote 1759:

B.M. E 23.

Footnote 1760:

Micali, _Storia_, pl. 97, fig. 3.

Footnote 1761:

B.M. B 339; Louvre F 10, F 56.

Footnote 1762:

B.M. B 160, B 174, B 257; B 485; _J.H.S._ xxiii. pp. 133, 137, 142.

Footnote 1763:

B.M. E 810, D 11 (Plate XLIII.); Berlin 2372 (= _Coll. Sabouroff_, i. pl. 58), 2373 (= Reinach, i. 440); Athens 1224 and 1225 = Heydemann, _Gr. Vasenb._ pl. 10, 1, and Reinach, i. 206; Athens 1588 = $1$2 1897, pl. 10, 2 (preparations for marriage, with fancy names): see generally _Wiener Vorl._ 1888, pl. 8.

Footnote 1764:

Baumeister, i. p. 313, fig. 328.

Footnote 1765:

Millingen-Reinach, 44 (in Louvre); Inghirami, _Vasi Fitt._ iv. 314.

Footnote 1766:

Berlin 2374 = Reinach, i. 128.

Footnote 1767:

Reinach, i. 173; _J.H.S._ xxiii. p. 133.

Footnote 1768:

Athens 693.

Footnote 1769:

Petersburg 151 = Thiersch, _Tyrrhen. Amph._ pl. 5.

Footnote 1770:

Berlin 1841 = Reinach, ii. 44 (B.F.); Athens 1552 = Heydemann, _Gr. Vasenb._ pl. 8, 5; Berlin 2261 = Reinach, i. 440, and 2720 = _Coll. Sabouroff_, i. pl. 64; Reinach, i. 2 (Petersburg 1791), 472 (= Jatta 1526), 477 (= Naples S.A. 316, with fancy names).

Footnote 1771:

B.M. E 225, 773–74, F 308, 310; Schreiber-Anderson, 83, 4.

Footnote 1772:

B.M. B 598, E 87, E 193, E 215, D 13; Athens 1550, 1552, and 1589 = Reinach, i. 517 (note the use of the ἐπίνητρον); Louvre F 224 = _Él. Cér._ iii. 36 B; Stackelberg, 34; Reinach, i. 420, ii. 7, 4: see Hartwig, _Meistersch._ p. 340.

Footnote 1773:

Dumont-Pottier, i. pl. 8 = Schreiber-Anderson, 82, 4.

Footnote 1774:

Baumeister, iii. p. 1711, fig. 1796.

Footnote 1775:

_Boston Mus. Report_, 1900, p. 41, No. 10.

Footnote 1776:

Baumeister, iii. p. 1583, fig. 1641.

Footnote 1777:

_Ibid._ i. p. 609, fig. 668.

Footnote 1778:

B.M. E 18; Louvre G 2; Berlin 2272 = Hartwig, _Meistersch._ p. 89; Reinach, ii. 146, 7.

Footnote 1779:

Baumeister, iii. p. 1919, fig. 2034 = Reinach, ii. 148.

Footnote 1780:

Louvre F 114 = Plate XXX.; B.M. F 101, 207.

Footnote 1781:

Schreiber-Anderson, 82, 12; B.M. F 139, 207, 342.

Footnote 1782:

Schreiber-Anderson, 83, 14.

Footnote 1783:

Berlin 1843 (= Baumeister, i. p. 243, fig. 221), and 2707 (= _Coll. Sabouroff_, i. 62, 2); Jatta 654 = _Gaz. Arch._ 1880, pl. 19; Millin-Reinach, ii. 9 (frontispiece); Reinach, ii. 146, 328, 1; Baumeister, i. p. 242, fig. 220; B.M. D 29, E 90, 201–2; and see generally Hartwig, _op. cit._ p. 599.

Footnote 1784:

Louvre F 197 and F 203 = _Amer. Journ. of Arch._ 1896, p. 3 = Schreiber-Anderson, 57, 5.

Footnote 1785:

B.M. F 311; and see _Él. Cér._ iv. 10–22.

Footnote 1786:

B.M. B 329–38; Louvre F 296; Reinach, ii. 151: cf. B.M. E 159 and Athens 1429 = Heydemann, _Gr. Vasenb._ pl. 9, 2.

Footnote 1787:

B.M. D 6; Munich 142: cf. Berlin 1841 = Reinach, ii. 44.

Footnote 1788:

B.M. E 241, E 721; _Branteghem Sale Cat._ 98–9.

Footnote 1789:

Athens 1550 = Heydemann, _op. cit._ pl. 9, 5.

Footnote 1790:

B.M. E 34.

Footnote 1791:

B.M. E 769.

Footnote 1792:

B.M. E 190.

Footnote 1793:

B.M. E 88.

Footnote 1794:

_Branteghem Cat._ 167.

Footnote 1795:

Naples R.C. 117 = Reinach, i. 490, 22.

Footnote 1796:

Munich 903 = Reinach, ii. 110.

Footnote 1797:

B.M. B 53, B 163, B 409; Berlin 3993 = _Coll. Sabouroff_, i. pl. 51.

Footnote 1798:

Bibl. Nat. 94; Athens 466 = Plate XLVII.

Footnote 1799:

Oxford 320.

Footnote 1800:

B.M. E 396.

Footnote 1801:

_Branteghem Cat._ 163.

Footnote 1802:

Petersburg 875 = Reinach, i. 39: cf. Hartwig, _Meistersch._ pl. 27.

Footnote 1803:

B.M. F 232; Athens 1031 = Heydemann, _Gr. Vasenb._ pl. 9, 3; Reinach, i. 473; _Mus. Borb._ vii. 58; _Mon. Barone_, pls. 3, 9; and see pp. 165, 182.

Footnote 1804:

See p. 169.

Footnote 1805:

See on the subject Winter in _Arch. Zeit._ 1885, p. 187 ff.; and _Mon. Grecs_, 1885–88, p. 25 ff.

Footnote 1806:

B.F.: B.M. B 165, B 657; _J.H.S._ xviii. p. 293; Bibl. Nat. 172 and 203 = Reinach, ii. 95. R.F.: Louvre G 47–8; Bologna 274; Helbig, 167 and 174 (= Reinach, ii. 133); Reinach, ii. 114; Vienna 324 = _Wiener Vorl._ vii. 1 (Duris).

Footnote 1807:

B.F.: B.M. B 147, B 309, B 360; Louvre F 12, F 39, F 53, F 150; Reinach, ii. 124, 131. R.F.: B.M. E 254, E 276, E 448; Louvre G 44; Baumeister, iii. p. 2034, fig. 2207 (Duris). Late: B.M. F 158, F 174; Munich 382 = Furtwaengler and Reichhold, pl. 35.

Footnote 1808:

B.F.: _Ant. Denkm._ ii. 44–5 (Proto-Cor.); B.M. B 75, B 199, B 212, B 400; Athens 623; _Bourguignon Cat._ 14. R.F.: B.M. E 7, E 33, E 43, E 808; _Röm. Mitth._ 1890, p. 332. Late: B.M. F 175, F 215. Horseman and foot-soldier: two uncatalogued in B.M.

Footnote 1809:

See pp. 3, 7, 126.

Footnote 1810:

B.M. B 224, B 243; Athens 1161 = Hartwig, _Meistersch._ p. 87; Reinach, ii. 129, 131, 4, 133.

Footnote 1811:

_J.H.S._ xviii. p. 293; Bibl. Nat. 203 = Reinach, ii. 95.

Footnote 1812:

Munich 374 = Fig. 137; Millin-Reinach, i. 39; and see under Hector, p. 127.

Footnote 1813:

B.M. E 405.

Footnote 1814:

_Anzeiger_, 1892, p. 165: cf. Reinach, ii. 133 and Ar. _Ach._ 574.

Footnote 1815:

Louvre G 5: see Hartwig, _Meistersch._ p. 122, note.

Footnote 1816:

B.M. E 33; Munich 1229; _Forman Sale Cat._ 337 (in Boston); Hartwig, _op. cit._ pl. 14, 1: cf. Berlin 2296 = Reinach, i. 428, and B.M. E 598.

Footnote 1817:

See note 1815; also _Festschrift für O. Benndorf_, p. 66.

Footnote 1818:

B.M. B 303–05; Berlin 1897 = Reinach, ii. 124; _Jahrbuch_, iv. (1889), pl. 10; Louvre F 285, F 345.

Footnote 1819:

Reinach, ii. 198.

Footnote 1820:

See pp. 118, 127.

Footnote 1821:

B.M. B 15, B 206, B 523; Louvre F 9; Reinach, i. 462, 1; ii. 255 = Bibl. Nat. 227; _Burlington Fine Arts Club Cat._ 1888, No. 108 = 1903, No. 21, p. 102 (Andokides).

Footnote 1822:

Athens 618 = Baumeister, iii. p. 1963, fig. 2098.

Footnote 1823:

Reinach, ii. 128; B.M. B 24; Louvre E 609 = Reinach, i. 395 (Chares); and Fig. 88, Vol. I. p. 297.

Footnote 1824:

B.M. E 476: Louvre G 54 = Reinach, ii. 7; Petersburg 1692, 1711 = Reinach, i. 43–4: see B.M. E 65, Louvre F 19, F 70, and Vienna 324 = _Wiener Vorl._ vii. 1 (Duris).

Footnote 1825:

B.M. B 51: see under Nike, p. 88.

Footnote 1826:

Berlin 1718 = Reinach, i. 393; Helbig, ii. p. 301, No. 77 = Reinach, ii. 107 (may be Ajax with body of Achilles).

Footnote 1827:

_J.H.S._ xix. pp. 227–28; and cf. B.M. B 171 (inspection of liver), B 641; Bibl. Nat. 400; Reinach, ii. 131, 1 (hoplite taking oath); Louvre G 46.

Footnote 1828:

Reinach, i. 203 = _Wiener Vorl._ D. 2, 2–3; B.M. B 380; Louvre F 127, G 5: bust of warrior, Louvre F 137.

Footnote 1829:

B.M. B 470, B 618; Louvre F 292, G 25; Engelmann-Anderson, _Od._ xiii. 71: see Hartwig, _Meistersch._ pl. 9, p. 106, note.

Footnote 1830:

Berlin 1879.

Footnote 1831:

Berlin 2304.

Footnote 1832:

Reinach, i. 372.

Footnote 1833:

See _Jahrbuch_, 1901, pl. 3.

Footnote 1834:

B.M. B 658.

Footnote 1835:

B.M. B 149, B 360.

Footnote 1836:

B.M. B 590–91; Louvre G 70; Helbig, 292; Munich 4 = Reinach, ii. 57; _Jahrbuch_, iv. (1889), pl. 4. As shield-device: Vienna 332 (a negro); Reinach, i. 77; Benndorf, _Gr. u. Sic. Vasenb._ pl. 46, 1.

Footnote 1837:

B.M. E 285; Hartwig, _Meistersch._ pl. 18, 1, and see p. 185.

Footnote 1838:

See p. 179, note 1853; also Plate XXXVII. fig. 2, and _Jahrbuch_, 1889, pl. 4.

Footnote 1839:

_Anzeiger_, 1889, p. 93; B.M. E 759; Hartwig, p. 368, note: cf. p. 186.

Footnote 1840:

B.M. B 426; Berlin 2296 = Reinach, i. 428; Helbig, 54; _Mon. Grecs_, 1885–88, p. 11: see also Helbig, _Eine Heerschau des Peisistratos_, and _Les Ἱππεῖς Athéniens_, p. 71 ff.

Footnote 1841:

Reinach, i. 486 = _Boston Cat._ p. 137.

Footnote 1842:

B.M. B 60; Louvre A 526; Plate XVI. (Aristonoös krater); Reinach, i. 190, 4, 328, 6, and 459 (Dipylon).

Footnote 1843:

_J.H.S._ xix. pl. 8; Louvre A 525–532; _Mon. Grecs_, ii. (1882–84), pl. 4, pp. 44–57; and see Chapter VII.

Footnote 1844:

B.M. B 436; Berlin 836; Louvre E 735 and F 123 (= _J.H.S._ 1885, pl. 49); _Forman Sale Cat._ 322; Reinach, ii. 19 = Baumeister, iii. p. 1599, fig. 1662.

Footnote 1845:

B.M. B 436; Berlin 646 ff., 831; Louvre F 145 (?).

Footnote 1846:

B.M. B 679, E 2 (Plate XXXVII.); Bibl. Nat. 322; _Bourguignon Sale Cat._ 14; Louvre F 123, F 145.

Footnote 1847:

Louvre F 62; Vienna 235; Naples R.C. 246; Munich 781 = Reinach, ii. 126; Petersburg 10 and 86; Würzburg 337 = Reinach, ii. 141; _Rev. Arch._ xxxvi. (1900), p. 323; _Wiener Vorl._ 1888, pl. 5, 3.

Footnote 1848:

Athens 969 = Reinach, i. 415.

Footnote 1849:

See above, p. 148.

Footnote 1850:

B.M. B 173, B 280, B 323; F 278.

Footnote 1851:

Cf. B.M. B 184, 207, 243, 246, etc.

Footnote 1852:

See generally Zahn, _Die Barbaren_, and Hartwig, _Meistersch._ _passim_.

Footnote 1853:

B.M. E 6; Louvre F 126, F 388, G 45; _Jahrbuch_, 1889, pl. 4; and see above, p. 177.

Footnote 1854:

B.M. B 184, B 207, B 426; Reinach, i. 376 (?).

Footnote 1855:

_Wiener Vorl._ vi. 5; _Bourguignon Cat._ 14.

Footnote 1856:

B.M. B 590–91.

Footnote 1857:

B.M. E 233; Berlin 2295; Reinach, ii. 84; Hartwig, _Meistersch._ pls. 55–56.

Footnote 1858:

_Ath. Mitth._ 1898, pl. 5.

Footnote 1859:

B.M. E 695.

Footnote 1860:

_Ath. Mitth._ 1892, pl. 1; Oxford 310 = Klein, _Lieblingsinschr._^2 p. 87.

Footnote 1861:

See p. 151.

Footnote 1862:

_Röm. Mitth._ ii. (1887), pl. 9, p. 172; Munich 374 = Fig. 137; Plate XXXVII. fig. 2.

Footnote 1863:

Bibl. Nat. 473 = Reinach, i. 131.

Footnote 1864:

_Boston Mus. Report_, 1900, p. 72.

Footnote 1865:

Hartwig, _Meistersch._ pls. 38–9; and see _ibid._ p. 422.

Footnote 1866:

B.M. E 481–82; and see pp. 80, 143.

Footnote 1867:

Louvre G 26: cf. _Mon. Grecs_, 1885–88, pl. 6, p. 11.

Footnote 1868:

Munich 337 = Klein, _Euphronios_, p. 82; _Mon. Grecs_, 1885–88, pl. 5; and see pp. 166, 177.

Footnote 1869:

B.M. E 301; _J.H.S._ ix. pl. 6; Reinach, i. 63.

Footnote 1870:

B.M. B 673–74; Athens 1088; _Ath. Mitth._ 1889, p. 45: cf. Louvre G 93; another unarmed, G 100. On Vienna 332 a negro trumpeter occurs as a shield-device.

Footnote 1871:

Petersburg 1603.

Footnote 1872:

Benndorf, _Gr. u. Sic. Vasenb._ pl. 42.

Footnote 1873:

Louvre G 100.

Footnote 1874:

B.M. B 106_1.

Footnote 1875:

B.M. F 197, 241–42 (see Plate XLIV.), 297, 301, 525; Reinach, i. 292–93.

Footnote 1876:

B.F.: B.M. B 46, B 382, B 679; Louvre F 2, F 216, F 314; _Gaz. Arch._ 1887, pl. 14, 1. R.F.: B.M. E 38, 49, 68, 70; Munich 272 = Hartwig, _Meistersch._ pl. 15, 1; Helbig, 225 and 227; Reinach, ii. 4. Late: B.M. E 495, F 303; Naples 2202 = Dubois-Maisonneuve, _Introd._ pl. 45, and R.C. 144 = Schreiber-Anderson, 76, 2; _ibid._ pl. 76, 4 = Millingen-Reinach, pl. 8; Millin-Reinach, ii. 58.

Footnote 1877:

See pp. 57, 105.

Footnote 1878:

Bibl. Nat. 94.

Footnote 1879:

B.M. E 351, E 474.

Footnote 1880:

B.M. B 46, 301–2, 382, 679, E 66, E 454.

Footnote 1881:

Louvre G 98; Athens 691 = _Ath. Mitth._ 1889, pls. 13–4 (Xenokles and Kleisophos); _Cab. Pourtalès_, 34; _Mus. Greg._ ii. 81, 1 _a_.

Footnote 1882:

Reinach, ii. 247: see _Jahrbuch_, 1893, p. 180.

Footnote 1883:

Louvre G 25; _Mus. Greg._ ii. 81, 1 _b_; Hartwig, _Meistersch._ pls. 14, 2, 48, and p. 332; _Wiener Vorl._ viii. 5.

Footnote 1884:

See Klein, _Euphronios_,^2 p. 115, for a collected list of examples; also the following notes.

Footnote 1885:

Louvre G 30; B.M. E 70 = Fig. 138, E 161, E 454, E 795; Berlin 4221; Naples 822, 965, 972, 2415, S.A. 281.

Footnote 1886:

It is worth noting that on the best R.F. vases mortals play the game; on the later ones gods and Satyrs. It must have disappeared from social life about the end of the fifth century.

Footnote 1887:

B.M. F 37; Naples 903, S.A. 302, R.C. 144, 145, 2308; Berlin 2416 = Reinach, i. 337; _Archaeologia_, li. pl. 14; and see Vol. I. p. 452 for a curious variant.

Footnote 1888:

B.M. F 50, 175–77; Inghirami, _Vasi Fitt._ ii. 197.

Footnote 1889:

B.M. F 161, F 273, F 275, F 304, F 425; F 579 = Fig. 118 (Eros).

Footnote 1890:

Louvre G 30; _Mus. Greg._ ii. 83, 1_b_, and 85, 2_b_.

Footnote 1891:

Louvre F 216; Reinach, ii. 329, 5: see also _ibid._ ii. 6, 304, 5; _Mus. Greg._ ii. 81, 1_a_; Inghirami, _Vasi Fitt._ pls. 273, 356.

Footnote 1892:

B.M. E 14, 38, 61, 68; Reinach, ii. 4.

Footnote 1893:

See pp. 165, 174.

Footnote 1894:

Athens 1158; and see p. 169.

Footnote 1895:

Petersburg 1670 = Reinach, i. 32 = _Wiener Vorl._ v. 2; Reinach, ii. 290, 2 (κῶμος of women).

Footnote 1896:

B.M. E 61 (Hieron).

Footnote 1897:

B.M. E 71, 474, 484, 489, 506, 767; Reinach, ii. 94, 7; _Mus. Greg._ ii. 84, 2 _a_; Hartwig, _Meistersch._ pl. 11 and p. 41; _Wiener Vorl._ viii. 5 (Brygos in Würzburg).

Footnote 1898:

B.M. E 33, 46, 53, 508; _Forman Sale Cat._ 317; Reinach, ii. 120.

Footnote 1899:

B.M. B 299; and see above, p. 169.

Footnote 1900:

B.M. E 137, E 488; Reinach, ii. 68, 290, 301, 313; _Mus. Greg._ ii. 54, 1 _a_, 2 _a_; 78, 2 _a_; Hartwig, _op. cit._ pl. 36, pp. 333, 335; Inghirami, _Vasi. Fitt._ 198.

Footnote 1901:

B.M. E 54; Hartwig, _op. cit._ pls. 11, 20.

Footnote 1902:

B.M. E 37; Louvre F 129, G 73; Hartwig, _op. cit._ pls. 8, 11; and see Berlin 2265, and _Jahrbuch_, 1891, pl. 5, fig. 2.

Footnote 1903:

See above, p. 57 ff.

Footnote 1904:

Hartwig, _op. cit._ pl. 49.

Footnote 1905:

B.M. B 41; Berlin 2171; Froehner, _Musées de France_, pl. 40, 2.

Footnote 1906:

_B.M. Cat. of Vases_, iv. _passim_; Bibl. Nat. 905 is a good typical example.

Footnote 1907:

See Vol. I. p. 21: cf. Christie, _Disquisitions_, _passim_.

Footnote 1908:

B.M. E 648, 705–9, 778–83 (see Plate XLII.); Athens 1941 = Jahn, _Vasen mit Goldschmuck_, pl. 1.

Footnote 1909:

B.M. E 61; Munich 819 = Millingen-Reinach, 26; Berlin 2279 = Hartwig, _Meistersch._ pl. 25 (very fine); Reinach, i. 207; Helbig, 218 = _ibid._ ii. 146; and see Hartwig, p. 238.

Footnote 1910:

See Klein, _Euphronios_, p. 26, and Hartwig, _Meisterschalen_, _passim_; also Vol. I. p. 426.

Footnote 1911:

Athens 1161 = Hartwig, _op. cit._ p. 87; Hartwig, pl. 27 (from exterior of kylix).

Footnote 1912:

B.M. E 2: cf. E 16, E 27; Louvre F 129 (youth balancing amphora).

Footnote 1913:

Athens 1162 = Hartwig, _op. cit._ p. 87; Hartwig, pl. 19, 2 (in Louvre), and p. 178; Louvre G 17 = _Wiener Vorl._ 1890, pl. 10.

Footnote 1914:

Cambridge 71 = Hartwig, pl. 2, fig. 3.

Footnote 1915:

B.M. E 46; Hartwig, p. 86; and see _Wiener Vorl._ vi. 8.

Footnote 1916:

Louvre G 40.

Footnote 1917:

Louvre G 70, 96.

Footnote 1918:

B.M. E 57.

Footnote 1919:

Hartwig, pl. 70, 1: cf. _Il._ iii. 33.

Footnote 1920:

_J.H.S._ xvii. p. 75 = Fig. 82; _Amer. Journ. of Arch._ 1890, pl. 22, p. 437 ff.; _Arch. Anzeiger_, 1893, p. 9 (vase in Marseilles).

Footnote 1921:

Berlin 2324 = _Wiener Vorl._ 1890–91, pl. 7, 1.

Footnote 1922:

B.M. E 1; Bibl. Nat. 128; _Boston Mus. Report_, 1899, No. 21; _Mus. Greg._ ii. 31, 2; Reinach, ii. 225 (lion and panther fighting).

Footnote 1923:

Gsell, _Fouilles de Vulci_, pl. 9 (in Boston).

Footnote 1924:

B.M. B 382, E 4; Louvre F 84 and F 54 = Fig. 96, Vol. I. p. 381.

Footnote 1925:

Louvre F 125 (ram); Berlin 4042 (bull) and 2266 (horse); Munich 1171 and _Mus. Greg._ ii. 64, 3 _a_ (cock). Also on exterior of B.F. kylikes: cocks and hens, B.M. B 391–92; Louvre F 92, F 380; Bibl. Nat. 317; Reinach, ii. 171. Lion and bull, Louvre F 313. Apes, _Sale Cat. Hôtel Drouot_, May 1903, No. 71. See generally Hartwig, _Meistersch._ p. 565.

Footnote 1926:

Hartwig, _op. cit._ pl. 63, 1.

Footnote 1927:

Bibl. Nat. 175–76.

Footnote 1928:

Munich 468 = _Philologus_, 1898, pl. 1.

Footnote 1929:

Schreiber-Anderson, pl. 80, 3.

Footnote 1930:

Berlin 2517 = _Coll. Sabouroff_, i. pl. 65.

Footnote 1931:

Reinach, i. 96 = Baumeister, iii. p. 1985, fig. 2128. For the inscription on this vase, see Chapter XVII.

Footnote 1932:

See Schreiber-Anderson, pl. 63, 6; _B.M. Cat. of Vases_, iv. p. 19, F 254–68, and references there given; also Vol. I. pp. 194, 487, Plate XLIV.

Footnote 1933:

B.M. B 57, B 58; Louvre E 703 = Reinach, ii. 92; Bibl. Nat. 172.

Footnote 1934:

B.M. B 28, B 31; and see p. 185, note 1925.

Footnote 1935:

Rayet and Collignon, p. 330 = Reinach, i. 503: see p. 273.

Footnote 1936:

R.F. kalpis in Louvre; _Anzeiger_, 1889, p. 93; B.M. E 759: see for this and the following subjects Hartwig, _Meistersch._, p. 368, note; also p. 177 above.

Footnote 1937:

Louvre F 127 (Pamphaios).

Footnote 1938:

Munich 1170.

Footnote 1939:

Munich 1223.

Footnote 1940:

B.M. E 771.

Footnote 1941:

In South Kensington Museum.