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PICTORIAL ATLAS
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ILIAD

AND ODYSSEY
THIRTY-SIX PLATES,

CONTAINING 225 ILLUSTRATIONS FROM WORKS OF ANCIENT ART, IVITH DESCRIPTIVE TEXT, AND AN EPITOME OF THE CONTENTS OF EACH BOOK, FOR THE USE OF SCHOOLS AND STUDENTS OF LITERATURE AND ART.

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bib

'

PREFACE.
HE
present edition
is

about three
original

First, those
fidelity

which reproduce with more or

described
light
;

less

artisans
at
"

may be assumed

to

have

possessed

times as

bulky as the
supplies

scenes

by Homer

secondly,

least

a superficial knowledge of his poems.

reference to the second class of
is

work, and

an epitome
;

those

which throw

on the manners and

thirdly,

With

illus-

of the Iliad and Odyssey

notes

customs of his time

give
further
to.

and,

those which

trations

that

to

say, those

which are given

on

the

dates,

style,

provenance,

and
;

present
suffi-

details

of

the

myths he narrates

to illustrate
I

manners, customs, and antiquities

home

of the selected works of art

and

or alludes
"

cherish the hope that

my method

of showing,

cient references to standard

authorities to
to

make

As

to

the

first

class,

it

may be

taken as a

not single objects or figures, but whole scenes,

will justify
itself.

the

book

useful,

not

only

the

advanced

recognised principle that the artists of antiquity,

It

is,

believe, the general

student, but also to the ordinary reader.

with

few exceptions

(e.g.,

II.,

figs.
'

3,

4,

60

experience of practical
details

teachers, that individual

The commentary,
many
additional

too,

has been enlarged by

Od., figs. 43, 48),

did not aim at

to say, they did

illustrating

impress

the

pupil's

mind

much
to

more
as

remarks on

customs and

art

Homer.
work
to

That

is

not

set

to ac-

readily

when

they are

presented

him

history.

The

titles

of the illustrations no longer

to

reproduce
following

the

scenes

described,

part
"

of a larger whole.

contain

references

the

German works from

but
notes

curately

the words

of the poet.

On
parts,

Some

critics

may

perhaps
the
fully

question
third
class

the

which

they

are

derived,

on

the

the contrary, they freely abbreviated

some

advisability
pictures, to

of introducing
illustrate

of

character of the originals, the places where they

expanded
artistic

others,

and combined the whole

which
were,
so
to

into
say,

more

legends which
I

were found, and

in

some

cases

the

museums

compositions,

Homer

only mentions incidentally.

am, how-

where they are preserved.

new and
the
selection

original creations.

All the same, every

ever, convinced that the opportunity of following

The

principles

on

which

of
are

unprejudiced observer will recognise at a glance

the value of such works of art as a

mythological

questions

further
teachers,

will

be

seized
their
all

illustrations

was made by Dr.

Engelmann

commentary

with pleasure by
pupils
will

many

and that

clearly set forth in his preface.

"

He

says

and an introduction to Homer.

Indeed the know-

show
in

themselves

grateful

for

The

illustrations

which have

been chosen

ledge of the father of poetry was so universally

diffused
in

new

information
choice

this direction.
class,
I

In

making
far

may be

conveniently divided into three groups

antiquity,

that

even

insignificant

my

of this

have striven as

as

is

in

my power
near
as
in

to get those pictures

which
time.

//.,

figs.
5,

6,
6),

80;

The

Palace at

Tiryns,
in

Od

they

illustrate,

but,

being nearer to

it

than

we

come as

possible

to

Homer's

figs.

but such are

very few

number.

vast gulf that are, enable us to bridge over the

separates us from the ancient world.
Finally,

However, even

the cases where later

monu-

Besides,
art
'

many

of these pre-historic 'works of

striking

young ments have of necessity been introduced, One may admit in the folk will profit by it.
fullest

show such a
it

want of

artistic

skill

the third class would

correspond to

that

seems to me, as a teacher, better to

illustrations

the pictures of the legends of the saints and

stories

degree

that

the

antiquities

of

Assyria

make use of
grotesque
later date

which produce a

less

from the Apocrypha which" are suggested

allusions
in

described and Egypt often represent the things

impression, even though

{e.g.,

they are of
fig.

by

incidental

the Bible.

Like the

by
are

Homer

with
in

more

fidelity

(because

they

The

Mule-Cart,
fig.

II.,

107;

pictures of
details

Greek myths, they add a mass of

to

more akin
times,

point of time) than those of

The Lying The

trated
classical

in State,

113)-"

unknown
it

the canonical

version,

and

classical

and

yet

one

may

look
to

with

supplant
Pictorial Atlas
is,

in the

popular imagination.

satisfaction

on every successful
understand

effort
in

make

in

fact,

a Greek
the

illus-

This comparison of Sacred Art and Homeric

also

our
in

boys
which

Homer
boys

the -fashion

Bible,

for

Homer

was

Bible

of

shows more

clearly

the

value of a book

Athenian

understood

him

in

times.

like the present.

The one
and
most

introduces us to the
artistic

the age of Pericles.

"

All
exactly
text,

the

three

classes
in

described

above

may

history

of devotional
to

Christianity,

This

is,

in

fact,

what
for
it

is

done

in the

be

seen quite

clearly

the familiar

Pictorial

the

other

the

characteristic
in

develop-

case

of the Homeric

is

the version
critics,

Bibles of

modern
class

times.
consists of the
illustrations

ments of the Greek genius

of
It
is

Art and Myth.

which was stereotyped by the Alexandrine

The
They

first

gives, in fact, a clue

difficult

not only to ancient

light

much

that

and not modern attempts

of the
original,

at

the reconstruction
in

works of Sacred Art which depict Bible scenes.

are

to

grasp

in

literature

and

that

we

place

the

hands
is,

drawn from
and
it

Italian paintings,

German

art,

but

even throws a

on many modern

of schoolboys.

Indeed, in our eyes,

earliest,
it

Homer

woodcuts,

may

be

even

Byzantine

questions concerning these subjects.

for

The

public

though by

far the

but one of the

in

many

mosaics or pictures from the Catacombs.

the

Like
earlier

which

it

is

intended

is

the

whole body of
interest
in

poets of Greece; and

pupils
will

is

the hope that our

Greek

illustrations

of Homer,

the
is

educated
past.

men who
the

take
it

an

the

afterwards

become acquainted with

life

such works of art are, the greater

the inde-

To
to

student

gives sufficient

refer-

the whole

Greek world of

and thought that

pendence of the Scripture text that they show.

ences
further,

enable
the

him

to

pursue

the

subject

we
"

introduce them to his poems.

The second
which
give

class

consists

of the scenes of

while
will

English reader
in

who knows

Of

course

no

illustrations

ancient Egyptian, Assyrian, or

life

modern Oriental

no Greek

find

the

Epitome and Comintelligible

really

contemporary picture of the heroic age

(cf.

which commentators find so useful.

They

mentary enough to make the pictures

can be omitted

The Warriors from Mycena;,

do not belong to the same period as the text

and

interesting.

W.

C.

F.

ANDERSON.

INDEX.
The figures refer
G.P.
to the illustrations ;

those of the Odyssey are distinguished by being in italics.

The following abbreviations are used

i:

Painting on glass.
Relief on

Mr.
lamp.

L. Rel.=

Roman

Mos.

= =

Engraving
Mosaic.

<

back of mirror.

Ret. Rel.
St.

= =

Sculptured relief in clay or marble.

Statue.

Slle.

Statuette.

V. Rel.

V.P.

Vase-painting.

W.P.

= =

Vase with moulded

Wall-painting.

relief.

Achteans routed by Trojans, V. Rel. 60.

Achilles

Ajax the Locrian, Coin, 66.

BallGirl playing, V.P. 27.

Circe

Alcmson, V.P.

74.

Quarrel with
Playing the

Agamemnon, Mos.
W.P.
49.

9.

lyre,

Embassy

to,

V.P. 50.

Going out

to battle, V.P. 62.

Slays Lycaon, V.P. 92. Slays Hector, V.P. 93.

Drags Hector round Troy, Rel. 94. Sacrifices Trojan youths, V.P. 96. Slays Troilus, V.P. 106.
Receives ransom from Priam, V.P. 108
Rel. 109.
;

Alcmene, V.P. 32. Amazon stringing bow, V.P. 24, 25. Ambuscade, V.P. 7/. Amphiaraus, departure of, V.P. 37. Aphrodite rescues /Eneas, V.P. 29. Apollo And Poseidon build Troy, W.P. 44.
Slays the sons of Niobe, V.P. Apotheosis of Homer, Rel. 2.

The game

Trigon, W.P. 31.

BattleOver a fallen hero, V.P. 64. At the ships, V.P. 68; Gem,
Bed, V.P. 10.
Beggar, V.P. 68.

And Odysseus, W.P. 43 e ; Rel. 48. Bewitching a man, V.P. 44. Threatened by Odysseus, V.P. 44;
Mir. 46.
69.

Offering bowl to Odysseus, V.P. 43.

Circus, scene in
a,

V.P. 74.

Clothes,

women

folding, V.P. 26.

Bellerophon

Curetes fight against Meleager, Rel. 54.

m,
76.

112.

And And
Bow

Prcetus, W.P. 33. Iobates, V.P. 34.

Argus, the dog of Odysseus,

Gem,

Slays the Chimjera, V.P. 36.

Death (Thanatos)

carries off

Sarpedon, V.P.

73.

Ariadne

Diomede
;

body of A., V.P. 14. Slays Meninon, V.P. 21. Contest for arms of, V.P. 37. Adonis killed by a boar, Rel. 81.
Battle over

And And

Theseus, V.P. 84.

Artemis, Mir. 33.
forging the,

How
W.P.

strung,

V.P.

24,

25

Coin,

26

And

Glaucus,

Gem,

37.

V. Rel. 91.

Slays Dolon, V.P. 57.

Slays Rhesus, V.P. 58.
10, 11.

Arms Of Achilles,

78.

Boys shooting, V.P. 103. Briseis taken from Achilles, V.P.

Bronze Archaic work
in, 79.
of, 80.

Dionysus
Flies from Lycurgus,

Adrastus receiving Tydeus, V.P. 27. Aedon slays Itylus, V.P. 82.
/Egis worn by Athena, V.P. 16.

Contest for the, V.P. 57. Artemis

Slays daughters of Niobe, V.P.

W.P.
1.

31.

Enters Olympus, V.P.

m,

112.

Inlaid dagger-blade

/Egisthus
Slain by Orestes, V.P. 2, 3 Rel. 4. Slays Agamemnon, Rel. 23.
;

The Huntress, V.P.

28.

And Ariadne, Mir. 33. Dirce and Antiope, V.P. 51.

" Discobolus," or Quoit-thrower, St. 101.

Ariadne, Mir. 33. Astragalus

And

Calchas and the prodigy

at Aulis, Rel. 14.

/Eneas

Rescued by Aphrodite, V.P.

29.

Fighting against a Greek, V.P. 63. Fighting over body of Patroclus, V.P. 76.

Vase in shape of, 95. Athena Wearing the cegis, V.P.

Calydonian boar-hunt, V.P. 52. Calypso visited by Hermes, W.P. 24.

16.

Dolon surprised and slain, V.P. Door and key, V.P. 88.
Doors, V.P. 89. Draught-players, Stte.
Drill-bow, G.P. 39.
8.

57.

The

Agamemnon And his

birth of, V.P. 30. Moulding the " Wooden Horse," V.P. 32.

Candlestick, W.P. 77. Carpenter with bow-drill, G.P. 39. Cart drawn by mules, V.P. 108.

Draughts, heroes playing, V.P. 7.

heralds, Rel. 8. Quarrels with Achilles, Mos.

And
9.

Ariadne, Mir. 54.

Carving meat, V.P. 51. Castor, V.P. 53.

Centaurs and Lapiths, V.P. 93. Cerberus dragged from Hades, V.P. 48. Chariot race, V.P. 98. Chimfera

Aulis

Eos

Murdered, Rel. 23.

Ajax
Fights ^Eneas, V.P. 65. Defends the ships, V.P. 68 ; Gem, 69. Fights over body of Patroclus, V.P. 76.

The
Axe

prodigy seen

at,

Rel. 14.

Goddess of the dawn, V.P.

Carrying off a boy, Rel. 73. Erichthonius, birth of, Rel. 1 7.
Eris,

67.

An

archaic, 92.

Form
Backgammon, heroes
playing, V.P. 7.

of,

Rel. 35.

V.P. 59.
of,
;

Commits

Slain by Bellerophon, V.P. 36.

Euphorbus, combat over dead body

V.P. 75.
Rel. 80.

suicide, V.P. 38.

Chryses propitiates Apollo, V.P. 12.

Euryclea recognises Odysseus, V.P. 79

Eurydice, the treachery

of,

V.P. 73.

KeyPriestess holding a, V.P. 39.

Girl using a, V.P. 88.

Odysseus
washed, V.P. 79; Rel. 80. Slays the suitors, Rel. 94; V.P. 95;

Selene, the moon-goddess, V.P. 67.

his feet

Has

Ships fighting, V.P. 12. Sirens, V. Rel. 63; V.P. 64; Rel. 63.
Sisyphus, Rel. 62.

Fountain,

woman

at a,

V.P. 87.
Lsestrygonians,

Rel. 96, 97, 98.

the

adventures

among

the,

And

Penelope, W.P. 99.

Paris, Rel. 28.

Spinning, a
Suitors slain

woman, V.P.

20.
;

Ganymede, the rape

of,

V.P. 90, 91.

W.P. 43.
Lapiths righting against Centaurs, V.P. 93.

CEnone and

by Odysseus, Rel. 94

V.P. 93

Gjolbascbi, reliefs from,

sa,b,c;

93, 94-

Orestes slays yEgisthus, Rel. 4.

Rel. 96, 97, 98.

Glaucus and Diomede, Gem, 37.

Leda, V.P. 53.

Gods, assembly of the, V.P. /. Gymnasium, scene in a, V.P. 99.

Lycaon

slain

by Achilles, V.P. 92.

HadesOdysseus descends
Scenes
in,

Lycurgus Pursues Dionysus, W.P. 31. Punishment of, V.P. 32.

Marpessa, Apollo, and Idas, Mir. 53.

Palace at Tiryns, 5, 6. PaUestra, scenes in a, V.P. 30.

Paris

Tabula Iliaca

3.

The

Capitol ine,

Fights against Menelaus, V.P. 23.

Fragment of a, 4. Fragment (Circe), 48.

Tantalus, Rel. 62.
Teiresias

V.P.

W.P. 61. 59; W.P. 60; W.P. 61

to,

And
Patroclus

OEnone, Rel.
of,

28.

The Judgment
Going out

V.P. 105.

and Odysseus, V.P. 49; Mir. 30.

89.

Rel. 62.

Hall in the palace at

T iryns,

6.

Megara, V.P. 32. Melampus, V.P. 72.

to battle, V.P. 72.

Telamon and Hesione, Mos. Telemachus

Harpy, V.P. 83; Rel 84.

Meleager
Fights against the Curetes, Rel. 54.

Battle over

body

of,

V.P. 76.

And
V.P. 96.
.

Penelope, V.P. //.

iS.

HectorTaking
V.P.
farewell,
16,

V.P,

38;
41.

V.P.

45

Trojans sacrificed Penelope

at

tomb

of,

Visits Nestor, V.P. 13.

Statue

of,

55.

Slain by Apollo, Rel. 56.

At the loom, V.P. //.

Mourning, Rel.
71?.

Thamyris and the Muses, V.P. Theseus and Ariadne, V.P. 84.

And Andromache, V.P.

1.

Memnon
Gem,
Menelaus
70.

slain

by Achilles, V.P. 21.

ThetisBrings armour to Achilles, V.P. 86 ; W.P. 87.

against Ajax, V.P. 42.

to ships,
1

V.P. 68;

Fights against Paris, V.P. 23. Fights against Hector, V.P. 75. Carries body of Patroclus, St. 77.

And Odysseus, W.P. 99. Philoctetes bitten by the snake, V.P. 19.
Ploughers, V.P. 82.
Pollux, V.P. 53.

In Hephaestus' forge, W.P. 78.

[ainst

Menelaus, V.P. 75.

Throwing
Tiryns

club, the KaXaCpoi//,

W.P.

102.

Slain
I

I))'

Achilles, V.P. 93.

'ragged round Troy, Rel. 94.

Captures Proteus, V.P. 22.

Mill, section of, 86.

Dragged round tomb of Patroclus, V.P. 104. Hi body ransomed, V.P. 108; Rel. 109.
ti ubs and Hector, V.P. 38. Helen, the rape of, V.P. 21.
1 1

Millstone, 85.

Polyphemus Takes the wine, L. Rel. 3$. Blinded, V.P. 36; W.P. 38.

Palace

at,

3.

Hall of palace at, 6. Treaty between Greeks and Trojans, Rel. 22.
Trigon, a ball game, W.P. 31. Troilus pursued by Achilles, V.P. ro6.

Helios, the sun-god, V.P. 67.

Heracles
Stringing bis bow, Coin, 26.

Mountebanks, V.P. 74. Mourning the dead, V.P. 113. Muses with Thamyris, V.P. 18.
Musician, a wandering, V.P.
9.

And

the ram, V.P. 40.

Rel. 42.

Mocked by Odysseus,

Poseidon and Apollo, W.P. 44. Potter with his wheel, V.P. 85. Priam

Trojan youths sacrificed by Achilles, V.P. 96.

Tydeus

as suppliant, V.P. 27.

Drags Cerberus from Hades, V.P. 48. lesions, Mos. 89

1 I

M.i.i,

v.r. j.\
Iplnlus, V.P. 90.

Nausicaa and Odysseus, V.P. 29. Neoptolemus fetched from Seyms, V.P. 33.

With Hector and Hecuba, V.P. 3S. Ransoming Hector's body, V.P.
Rel. 109.
Slain by Neoptolemus, V.P. 57.
Priestess with

Vintage scenes, inlaid bronze, 83.

108

And
Hermes

Niobe
Children
of, slain,

V.P.

Warrior Archaic statuette, 7. Departing, V.P. 71 c.

70.

V.P. 112.

St.

10.

Bust of statue

of, 1 14.

temple key, V.P. 39.

\ its lalypso, W.P. 24. With Teiresias, Mir. 30.

1

Nymphs

with Hermes, Rel. 70.

Protesilaus, ship of, set fire to,

Gem,

Warriors

Proteus captured by Menelaus, V.P. 22.

On

And

the

Nymphs,

Odysseus
Surprises Dolon, V.P. 57. Takes horses of Rhesus, V.P. 58. On the raft, L. Rel. 25.

Rel.

70

Hesione freed by Heracles, Mos. 89.

Pygmies fight with storks, V.P. 20. Pyre, quenching the funeral, V.P. 92.
Quoit-thrower, the "Discobolus,"
St.

the march, V.P. 6. Arming, V.P. 71 a, I.

Separated by friends, V.P. 43.

101.

Homer
Busl
of, St. 1.

Washing hands, ewer and basin Wedding

Procession, V.P. 81.

for,

100.

Apotheosis

of,

Rel.

And
2.
;

" Horse," "

The Wooden," V.P. 32

Hypnos
of sleep, V.P. 67. Carries ofT Sarpedon, V.P.

W.P. 33.

Nausicaa, V.P. 29. Gives wine to the Cyclops,

Stte.

34

Raft of Odysseus wrecked, L. Rel. 23. Rhesus, the horses of, V.P. 58.
Sacrifice

Of

Peleus, V.P. 88.

(^uxoo-rao-i'a),

God

73.

L. Rel. 33. Blinds the Cyclops, V.P. 36; W.P. 38. Under the ram, V.P. 40; V.P. 41.

Weighing souls
V.P.
15.

V.P. 47.

nes from the, Rel. 61.

Iphirusand Heracles, V.P. 90

Mocking the Cyclops, Rel. 42. Consults Teiresias, V.P. 49; Mir. 30. In Hades, W.P. 61.

Work-basket, V.P. 19. Wrestling, V.P. 100.

To
Of

Athena, V.P. 40.

a pig, V.P. 69.

Zeus
Olympias, head
Birth of
of, on coins, 13. Athena from head of, V.P.

And dog

Argus,

Gem,

76.

Sarpedon's body carried away, V.P. 73. Scylla, V. Rel. 63 Rel. 66.
;

30.

FULL TITLES OF BOOKS REFERRED

Ann.
d.

TO.

Inst.

Annali

dell'

Instituto

Archeologico.

Rome.

'EfanepU

ipxaidhoyucfi

cxoiSofifvij

imo

rijr

iv 'A&)air

dpvn'<Ay""^

Hermann, Das Grdberfcld von Marion. Paul He

Graberfeld von Marion auf Cypern, being the
28""

8vo.

1829-85.
di Ercolano.

eraiplas-

Athens, 1883

(in progress).

4to.

Pro-

Ant. d. Ercolano.Le antichita

7 vols.
^to.

Naples, 1757-92.
Friederichs, Bausteine.Czx\ Friederichs, Bausteine zur Geschichte der griechisch-romischen Plastik.
8vo.
Diisseldorf, 1868.

gramm zum Winckelmannsfeste. Berlin, 1888. 4to. Heydemann (H.J, Griechische Vasenbilder. Berlin, 1870.
Inglurniiii, Gall.

Fol.

Antiquites d'Herculanum, grav. par Th. Piroli et publ. par 6 vols. 41.0. Paris, 1804-6. F. et P. Piranesi.

Omer. Francesco
Monumenti Antichi

Inghirami, Galleria Omerica

esibita per servire al studio
3 vols.

11 1

ike

Denkmaler. Antike Denkmaler, herausgegeben vom

Deutschen Archaologischen
Fol.
Institut.

Friederichs- TVollers,

Kaiserlichen

Berlin,

Bildwerke
erklart.

(in

Gipsabgiisse. Die Gipsabgiisse antiker the Berlin Antiquarium) in historischer Folge

edition of the
8vo.

raccolta di
dell'

Iliade e dell' Odissea.

Florence, 1827-31.

8vo.

1886 (in progress).

new

above " Bausteine" by Paul

Arc/idol. Zeitung Archaologische Zeitung, herausgegeben vom Archaologischen Institut des Deutschen Reiches.
Berlin, 1843-85.
410.

Wolters.

Berlin, 1885.

Froehner, Choix de Vases XV. Frohner, Choix de Vases grecs inedits de la Collection de S. A. I. le prince Napoleon. Paris,
1867.
Fol.

Jahn.Bilderchroniien. Otto Jahn, Griechische Bilderchronikcn. Herausgegeben und beendet von Ad. Michaelis. Bonn, 1874.
4to.

Jahrbuchd. Inst. Jahrbuch des

-

Kaiserlich- Deutschen

Archao-

Baumeistcr, Denkmaler. Denkmaler des klassischen Altertums zur Erlauterung des Lebens der Griechen und Romer in Religion, Kunst und Sittc, herausgegeben von A. Baumeister.

Furtwdngler, La Collection Sabourop?. Monuments de l'art grecque, publ. par A. Furtwangler. Berlin, 1883-7. 2 v0 ' s
Fol.

Munich and Leipzig, 1885-8. 3 vols. 4to. Bcnndorf, Gr. u. sic. Vasenb.O. Benndorf, griechische und
sicilische Vasenbilder.

Also

in

German.

logischen Instituts. Berlin, 1886 (in progress). 8vo. Journal of Hellenic Studies Published by the Society for the Promotion of Hellenic Studies. London, 1880 (in progress).
8vo.

Berlin, 1863.

Fol.

//croon von Gjblbaschi. O, Benndorf and Niemann, Das Heroon von Gjolbaschi-Trysa. Vienna, 1889.

Das

Gardner, Types of Greek Coins.-Per cy Gardner, The Types of Greek Coins. Cambridge, 1883. 4to.
Gazette Arch.Gazette Archeologique, publiee par J. de Witte 410. Paris, 1875 (in progress). et Fr. Lenormant. Gerhard {.). Auserlesene griechische Vasenbilder etruskischen

Journal of PhilologyEdited by W. G. Clark, J. and W. Wright. London, 1868 (in progress).

.

E. B. 8vo.

Mayor,

Blii inner,

Lcbcn und Sitten.W. Bliimner, Leben und Sitten der Griechen in the Series " Das Wissen der Gegenwart." Leipzig and Prague, 1887. 3 vols. 8vo. De monumentis ad Odyssean pertinentibus Capita Selecta Bolis.

Klein, Euphronios.XW Klein, Euphronios, eine Studie zur Geschichtedergriechischen Malerei. 2nd Edition. Vienna,
1886.
8vo.

Fundorts.

Berlin, 1847.

4to.

Etruskische und kampanische Vasenbilder des

Konigl.

Meistcrsignaturen.XV. Klein, Die griechischen vasen

mit Meistersignaturen. 2nd Edition. Vienna, 1887. 8vo. Kulturhist. Bilderatl.Tn. Schreiber and Seemann, KulturPart I. Altertum. Leipzig, 1885. historischer Bilderatlas.
Fol.

Museums

zu Berlin.

Berlin, 1843.

Fol.

Dissertatio inauguralis.

Berlin, 1882.

8vo.
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Brttnn, Ril. d. Urn. ctr.

Etrusche. der
Vol.
I.

Heinrich
1870.

Brunn,
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rilievi delle

Ume

Etruskische Spiegel.

Berlin, 1843-65.

4 vols.

4to.

Rome,

Troischc Misccllcn. Contributed to the Sitzungsberichte Konigl. bayerischen Akademie der Wissenschaften,

Trinkschalen und Gefasse des Konigl. Museums zu Berlin und anderer Sammlungen. Berlin, 1848. Fol. Giorn. di Scavi. Giornale degli Scavi di Pompei. New Series.

Lenormant

Philosophisch-philologische Classe.

Munich,

Naples.

4to. (in progress).

1868.
di

8vo.

Bull.
Bull.

d.

spondenza Archeologica.

Inst. Bulletino degli Annali dell' Instituto Rome, 1829-85. 8vo.

Corri-

Nap.

Bulletino

archeologico Napolctano.
R.

Nuova

serie

public, per

cura del P.

Garrucci e di G. Minervini

Naples, 1853-63.

Campana, Op.

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G. P. Canipana, Antiche opere

Rome,
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in plas-

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Fol.
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Harrison, Mythology and Mon. of Athens. Miss J. E. Ha and Mrs. Verrall, Mythology and Monuments of Ancient Athens. London, 1890. 8vo. Myths. Miss J. E. Harrison, Myths of the Odyssey. London. 8vo. Helbig, Das horn. Epos. W. Helbig, Das homerische Epos, aus den Denkmalem erliiutert. Leipzig, 1884. 8vo.

commentes, par F. Lenormant etj.de Witte. Paris, 1844-61. 4 vols. 4W. der Plastik Liibke, Gesch. d. Plastik.-W Lubke, Geschichte Edition. von den altesten Zeiten bis zur Gegenwart. 3rd
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et de Witte, El. mographiques rassembles

Cer Elite

des monuments cera-

Leipzig, 1880.

2 vols.

8vo.

Luckenbach,

Das Verh., etc.U. Luckenbach, Das verhaltniss epischen der griechischen Vasenbilder zu den Gedichten des Kyklus. Leipzig, 1880. 8vo.

Daremberg

et Saglio, Diet, des

Ant.

Ch. Daremberg

Edm.

Saglio, Dictionnairc des Antiquites Grecques et Romaines.

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4to.

Wandgemalde. W. Helbig, Wandgemalde der vom Vesuv verschiitteten Stadte Campaniens beschrieben. Leipzig, 1868. Text 8vo. and plates fol.

Britain Michaelis, Anc. MarblesAncient Marbles in Great Fennell. described by Adolf Michaelis, translated byC. A. M.

Cambridge,

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8vo.

Millin,

Mon. Mdils.-MMin, A.

L.,

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2 vols.

Paris Hist. Anc. Sculpt--Pierre

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Paris, Histoire dela Sculpture (Eng. trans, edited by Miss Harrison.

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See above, Kulturhist. Bilderatl. Sciuchnardt,ScAliemann'sAusgraa.CsalSch\ichbaxit,Sch'liB-

James, Pemtures antiques et Millings, iW^.-Millingen, Rome,

de diverses collections. incdites de vases grecs, tirees Peintures (Edition by S. Reinach, entitled
,813. Fol.

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Paris, 1802-4.

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London,

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Sellers.

Schliemann's Excavations, trans, by Miss

London,

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8vo.) vases antiques. Paris, 1891. Lucy Mitchell, Mitchell, Hist. Am. Scuipture.-Uta. 1886. <lto. London, Sculpture. of Ancient

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di

Revue Archcologique.Paris, 1844 (in progress). 8vo. herausRobert, Bild und Lied. Philologische Untersuchungen gegeben von A. Kiessling und U. von WillamowitzPart V. Bild und Lied von Carl Robert. Moellendorf.
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Tftst.Monumentj spondenza Archeologica.

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Robert (Carl), Die Antiken Sarkophag-Relie/s.BevWu, 1890.

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Bologna, 1876.

Plate

I.

fflbM&M

,'''/

/'

liiliP

I;

(TflUV.
5a.

Siege of a City.

Relief from a

tomb

at Gjolbascbi, Lycia.

Vienn

Iliad.

Plate

II.

vi

-'''

'

'

in

'

Tabula

Iliaca.

Found

at

B.

n,

Rom,.

(The drawing has been restored in par;s by Feodor).

Plate

III.

12,

Chryses propitiates Apollo.

South Italian Vase-painting. Ruvo.

9.

Quarrel of Achilles and Agamemnon.

Mosaic from Pompeii.

Naples.

Iliad.

Plate V.

20. Battle of the

Pygmies with the storks. B. F. paintin the Francois Vase at Florence.

Iliad.
I'latc-

VI.

iilli

Iliad.

44. Poseidon building the walls of a

town

Pompeian Wall-painting.

R
mg of Arms

HI
w
43-

Combatants separated.

B. F. Vase-painting in Munich.

Plate IX.

52.

The Calydonian Boar-hunt.

B. F. painting on the "Francois"

Vase

at Florenc

Iliad.

Hind.

Plate XI.

Sarcophagus

at Corneto.

53. Marpessa,

Apollo and Idas. Engraving on Etruscan

Iliad.

Plate XII.

7o.

Hector setting

fire

to the Ships.

Engraved gem.
64. Heroes lighting

Plate
Iliad

Xm.

72.

Departure of Pairoclus.

R. F. Vase-painting by Epigenes.

fmm

Vulci in Cabinet

75.

Menelaus and Hector righting over Euphorbus.

de M^dailles,

Paris.

Vase-painting from Camirus, Rhodes, in British Museu:

Iliad.

Plate

XV

78.

Hephaestus forging the arms of Achilles.

Pompeian Wall-painting
St.

Wedding

Processiou.

li.

F. Vase-painting.

Plate

XVI.

Iliad.

Iliad.

Plate XVII.

Rape of Ganymede by the Eagle. Vase-painting of

late styl

96.

The

Sacrifice of the Trojan youths.

South Italian Vase-painting from Canusium,

in

Naples-Museum.

Iliad.

Plate XVIII.

Iliad.

Plate

XIX.

105.

The Judgment

of Paris.

F. Vase-painting

Hermes

resting.
ill

Bronze statue from Ilercula

Naples Museum.

113.

Mourning a dead man. B. F. Vase-painting from Cape Coli

Iliad.

Plate

XX

in.

he slaying of the children of Ntobe.

K. F. Vase-painting from Orvieto, in the Louvre.

THE ILIAD
BOOK
HE
first

I,

book opens with the celebrated

the

One
a

of the Achaians

is

seen sinking under the

lies

fell

too
is

is

in the act of

drawing
This
is

his

sword

in defence, in

but

invocation to
lay

muse

to sing the

disease, while

below his couch

a dead body, which

calmed by Nestor.
for there is

not quite

accord with

of the

wrath

of Achilles,

the

dog
4.

is

devouring (43-52).
Calchas, the seer of the army, has his

Homer,
drawn

no mention of Agamemnon's having

Nestor only intervenes
put his sword

source of infinite woes to the Greeks.

Ka\x<xs.

his

sword, and
already
foil.).

when
the

The
Tabula Iliaca
1.
'

story

then begins, and cannot

the

eyes opened, and perceives that the wrath of the god

is

Achilles

has

back

into

be better told than by describing the scenes on

(figs.

the cause of the plague that devastates the army.

is

sheath (line 247

6.

and

4).

He
(fig.

depicted starting back in terror.

,

'OSuo-creus ti\v iKaTOjx^iqv t<3

Xpucnji's.

8e.o>

aycui; 'A7rdX-

Kyafiipvmv,

Xpvcrr]';,
fig.

"hiroiva
3).

4,

only one

5.

\yafxifi.vii>v,

NcVtoj/o,

'A^tXXeu?, Adrjva.
calls

On
this
is

\tavi,

Here we have once more the Temple

it

figure being

shown on

This depicts Chryses

the tenth

day of the plague Achilles

is

a council

of Apollo, and at the altar before

Chryses receiving

kneeling before

Agamemnon
to

(figure lost),

and begging
in

of war to determine what

council
restore

to

be done.

At

back

his

daughter

Chryseis

(440),

who

has

been

him

to accept the treasure

he has brought
daughter
at

a waggon,
(lines

Calchas declares that

Chryseis and
offer

the only

remedy
to

to

brought by Odysseus, along with swine, sheep, goats,

and to restore
10-21).

him

his

Chryseis
the

hecatomb

the god

and oxen, as a no
is

sacrifice to the god.

Homer makes
and
this

She had been captured

sack

of a

(93-100), to the great vexation of

Agamemnon, who
captive, from

mention of such

variety of victims,

(own, and was assigned to

Agamemnon
is

as his share
her,

ultimately consents, but announces that he intends to

probably due to the imagination

of

the

Roman
and
is

of the spoil.

Agamemnon

enamoured of
father.

and

console himself by taking Briseis, a

Achilles.

fair

sculptor,
7.

who had

the

"

suovetaurilia " in his mind.

refuses to restore her to her

2.

Then

follows

the

scene

on

the

Tabula.

6eTis.

The next
rainbow.

scene

is

Olympus,

"\cpou, 'ActoXXoh'os, S/ni'floos, Xpucr)s

4).

(figs.

The
seat
is

warriors of the council stand behind the double

separated
a

from those which take place on earth by

and
at

Chryses, thus rejected,

is

depicted standing

on which Agamemnon, their commander-in-chief,

kind

of

Zeus
his

is

seated
in

on his throne,
thought,

the altar before the temple of Apollo, praying the

to send

seated at the side of Nestor, the oldest and wisest

his

head leaning on

hand

anxious

god
3.

vengeance on the Achaians

(lines 34-42).

of the Greeks.

To

the right, Achilles has drawn his

while Thetis, kneeling before him, pleads

the

cause

Aoijuos.

The god has heard

the prayer of his

his

sword, and, as he rushes to slay

Agamemnon, has been

of her son, asking vengeance for his wrongs.

priest,

and stands, with quiver hanging from

back,

checked by the goddess Athena,

the hair of his head (193-8,
cf.

who
fig.

has seized him by

9).

showering the arrows of a plague on

the Achaeans.

Agamemnon

I].,

i.

Homer.
in

holding a sceptre

in

one hand and a

roll

in the other.

His

Portrait must
The engraving

the palace of Sanssouci, at Potsdam.

linir

attitude recalls that of Zeus,

and the expression of

is

his head,

Polyhymnia leaning on a pillar, fixing a rapt, ecstatic gaze on the god, Urania pointing to her globe, and Terpsichore
seated with her
lyre.
tier, to

The nose and parte of Ihe

is

mid heard have

been restored.

with

its

long leonine locks and beard,

divinity.

of the ideal type that

taken from a photograph,

nhmaler,
p.

suggests

Behind

his

throne stand two figures, the

In the second

the

left,

Calliope

is

seated, holding
;

up

698.
Ssse,

Universe No. 1628.

(OIKOYMENH), a goddess

wearing the calathus, which

her tablets, as though about to declaim or recite

Clio with a
roll.

and near her

Friedi

'

shows her connection with the

earth,

and Time (XPON02).

Erato with a small lyre and Euterpe with a

next, gazing
is

Any

portrait of

Homer

must, from the nature of the case,

be purely a work of the imagination, for the Greeks did not

The Universe is crowning Homer with a laurel wreath, while Time holds aloft the roll of his works, to bear witness that they are immortal. By the poet's throne kneel his two
children, the Iliad

double

flute

come

upwards towards the summit of

in

the mountain, where Zeus

seen seated

majesty, holding his

sceptre, with his eagle at his feet.

produce
five

portraits, in the ordinary after his

is

sense of the word, until

written.

some

(IAIA2) holding a sword, and the Odyssey

appear on a sloping path

The remaining two Muses which leads down to the third tier
:

hundred years

poems were

(OAY22EIA)
series (another

raising the aplaustre, or

:

end of a

ship's

poop, in
is

Melpomene moving
in majestic

with a rhythmic dance, and Thalia standing

The
is

Imst here given

one of the well-known

her right hand

these attributes personifying the war which

repose just below the throne of Zeus.

The

lyre

in

the British

Museum), and shows us the conception which

formed of the poet's face
Hi
in

the subject of the one,

large part of the other

and the seafaring

life

that

is

such a

which

lies

below Thalia's

feet

belongs to Melpomene.

The
the

thi

.mists of the third century B.C.

lion
is

poem.

interpretation of these four upper tiers

seems to be
Parnassus,

that Apollo

andexpr
life

an old man, and the marks of a troubled

furrows on his brow and his sunken
to

On
the

the footstool (in the original, though not in the figure

and the

Muses have assembled on

with

in

.1;

be seen

the

here given) a frog and a mouse can be dimly traced, an allusion

approval of Zeus, to celebrate the apotheosis of the divine

poet.

As
irered

;i

poel he wears a chaplet

a

round

his head,

which

poem

of

The Battle of Frogs and Mice, which was

the ancients.
is

One figure, however,

has been omitted in

this description,

with

thick

and rugged mass of

hair, suggesting

attributed to

Homer by

as not belonging to

any of the groups depicted.

tier,

This

is

a man,

the heroic force ami simplicity of his character.

too, with its slightly
is

The mouth

In front of the throne

festoons

an

altar,
;

prepared for sacrifice with

altar

who
and

stands to the right of the second

on a dais

in front of

open
tl

lips
is

showing above the shaggy beard,

1,

and

brightly burning fire

and behind the

an

ox,

a large tripod.

He

is

in ordinary

Greek

dress, wears a garland,

is

verj

<

pn

live,
its

the eyi

however, which give the

In
this

greater part of

character to the face.

bust (unlike

Others of the

same

type) they are slightly upturned,

is

and

it

which is remarkable for its hump, a feature imported by the sculptor from Caria, a country near his native Ionia, where we are told such cattle existed.
as victim,

carries a roll.

All this shows that he

a triumphant poet,

who

has

won

the tripod in a public contest,

and now stands on

the dais where he recited, holding the successful

poem
is

in his

a glance to see that the poet

blind.

There are two ministers

feeling

at the altar, a boyish figure with jug

hand.
to

The

natural conclusion

is

that the relief

intended

have, in fine, in this bust an

embodiment of the

and bowl prepared

to offer a libation,

and a graceful

priestess

"I the

men of the hellenistic age, who strove to form a definite ideaol the personality of "the blind old man," compiled versions
life,

who

of his

and disputed the vexed question of his birthplace.

scatters incense in the flame. The boy is called Legend (MY0O2) and the priestess History (I2TOPIA), and their worship of Homer springs from the duty they owe him as the

commemorate his victory. The inscription of the artist

:

is

engraved on a

tessera

below

the throne of Zeus

of Priene,

" Archelaus, the son of Apollonius, a

man

source of

all their

inspiration

and knowledge.

Further on

is

FlO.

2. The Apotheosis of Homer.

1 1

MARBLl hound al

1,1

a\

Am

hi

,,,

iv,, ,

AB0UT I00!a )

a crowd of Arts, Faculties, and Virtues, all paying homage to the poet. Poetry (IIOIH2I2) leads the way, holding aloft the tor, las of inspiration by which the fire of

made (me)" (APXEAA02 AIIOAAONIOY EIIOIH2E IIPII1XEY2). The characters are of the Roman period, and
taken with the style of the work and the extravagant use it, points to its date being about 100 B.C.

this,

of personification in

worship must be

the site ,f Bovillte,

kindled.

on the Appian Road.

Next follow Tragedy

in

(TPAmAIA) and Comedy

raising their

Formerly in the Palazzo Colonna;

now in

(KOMOAIA),
Museum.

their

the British

peculiar dress,

hands

in

Fig.

3. A " Tabula

Iliaca."

and

several farts of the fibres have

been restored.
Nl

adoration to the giver of so many of their themes. Then there is a group of female figures, first of which is a little girl
entitled

Marble tablet
11
I

(fragmentary),
10
IN.

11

AND INSCRIPTIONS,
in the Capitoline
is

"'

History of Ancient Sculpture, p. 668.

I'lastik,
ii.,

Nature

(<J>Y2I2), caressing

one of the

women who

with figures in very low HIGH BY 1 J WIDE.

1

follow

Overbeck, Gesehiehtt der gr.

I
1

and are

Found, in

the 17 Ik century,

entitled Virtue

p.

405.

(APETH), Memory

(MNHMH)
is

near the ancient

site

of Bovil/ce,

Faith

and now

,1

Dl

Ml

1.

IVOl

mi..
Archelai.

(II12TI2), and

Nllj

[6ag

Wisdom (20*IA).
sacrifice

Museum, Rome.

Korteoarn, De Tabula
This work

Above, outside the temple.where the

rises

The drawing given

being offered,
It is

by Feodor,

who has

restored the original

Mount

considerably by

making

Parnassus, the

home
is

the figures clearer.

i.

of the Muses.

divided

his aP oU.eosis temple, indicated by a row of pillars, from which a Ions[curtain hangs, forming the background.
'

an allegorical representation of the greatness of Homer, and in the lowest tier of figures shows
is

into three tiers, the

Jaiin, Bilderchronihen, PI.

lowest showing a

cave

(the

Corycean
the mystic

Grotto), in which

Apollo

Baumeister, Denktnaler,
Schreiber,

p.

;i6,

tig.

seen standing in the dress of a

775.

is

harper (citlmnedus), carrying his lyre. Near centre of the earth (omphalus), and on it
is

him

Kultitrhist. Bildcratl., PI. 93.

is

(OMHPOS)

The

poet

IS

seated on

throne, with

footstool

below

rest his bow and quiver Beside the omphalus a priestess, holding a dish of offerings, waiting on the Outside the cave are three

This is the most complete of a series of ancient tablets which contain scenes taken from the Iliad and other epic poems in

Muses,

low

relief.

Fragments of others are given

in

fig.

4,

and Odyssey,

fig.

48.

They were intended

for use in schools, as

is

shown by

(AOYPH02 Hin02),
slaying the Trojans.

from which the Greeks are issuing and

Fig.

4.

Fragment

of a "

Tabula

Iliaca."

the inscription engraved in large characters

on the band which

On

the steps of the temple

itself,

Ajax

is

Tram a
made)

sketch of a lost ancient original,

found among

the

runs across the top of the basis in the low^er part of the tablet.

seen dragging Cassandra by the hair, while she vainly implores

the help of the goddess.

papers of Emiliano Sartis, and (at the time the drawing was
in the possession of Professor Pellicioni, Bologna.
PI. 2 (b).

This consists of two hexameter

I'Q
<<\e tcu.

lines,

which run

Outside the courtyard are the Greeks

0eo8] vprjw patie rd^iv 'Oprjpov

jrdiTijs

who have been

let in

at the gates, while

down below
altar

is

the

Jahn, Bilderchroniken,
This fragment
belongs

dippa Saeis

ptrpov txys ootyias.

Palace of Priam.
centre of the court
wisdom."

Priam himself, seated on an

(cf.

in the to

" Learn, dear boy, Theodorus's digest of Homer.

Od.,

fig.

56),

is

being slain
is

by Neopto-

a
to

Tabula Iliaca of the same

That from

its

lesson thou

mayst possess the measure

of all

lemus, while Hecuba,

who

sits

beside him,
lie

dragged away

kind as the Capitoline

(fig. 3),

which

it

enables us to supply
it

The

first

three words and part of the

name
his

of
is

Theodorus
the person

by a rough Greek.

On

the ground

the dead bodies of

more than
Books

half of the lost left side, since

to I of the Iliad.

gives scenes from

differs

have been
referred to

lost,

but there can be no doubt that he

xiii.,

Astyanax and one of Priam's daughters.

are two temples,
is

Outside the palace

right,

The arrangement
for

some-

by Strabo,

3 (C. 625),

where

summary and

and

in front of the

one to the was

which

what from that of the Capitoline,

appears in the centre, there are no

though the
frame

city
it,

of Troy

selections are

mentioned

in

connection with those of a certain

prfrtap o

dedicated to Aphrodite
to slay

(IEPON AWOAITH2), Menelaus

however,
saved by the
Before the other temple, which

pillars to

the prose

Apollodorus.
t?;i'

'A7nA\o6'wpos 6

Tus

rex"' a ? <ruyypdij/as ku.1

i(TTl
'

rushes

Helen

(who,

abstract being given at the side of the scenes of each book.

'A7roAAoSwpeior' mpea-tv 7rapayayti>y,

rj

7yrts 7TOT

7roAAa yap
*ai
if

intervention of the goddess).

is

Above the town Thetis (0ETI2)

of Achilles (bk.
xviii.),

appears, bearing the shield

eVe*cpaTei, fia'^ora ok

Ka$'
?)

7//ias c^oi'ra Trp> Kpurtv, Ziv f/Tt

not named, a warrior

is

slaying a

maiden near an
to

altar.
left,

which

differs

from

Homer
it.

in

having a

'ATroAAoSojpaos

aip((Ti<;

Kal

0coOwpeio5.
title

Further

down, just inside the walls

is

the
;

/Eneas

border with the signs of the Zodiac engraved on

This
TLvai),

Tabula

bears

the

" Trojan "

(TPf2IK02,

sc.

(AINHA2)
right,

escaping with his household gods

while to the

From an
Iliad,

inscription at the top

(cf.
fig.

we
3)

learn that, besides the

and

it

contains the events told in the Iliad of

Homer

/Ethra (AI

A)
is

is

led away, supported

)

by her two grand-

the Sack of Troy

and the Odyssey were

(IAIAS

Milesian (AI0IO1I12

KATAOMHPON), the /Bthiopis of Arctinus the KATA APKTINON TON MIAH2ION)

be by Lesches of Pyrrha (IAIAS
;

sons,

Demophon (AH
centre the

and Acamas, who have recognised

Screan gate,

contained on the plate.

and rescued her from the

In the

slaughter.

The
from

scenes from the Iliad are described below under the

the Little Iliad, said to

which

.Eneas
his father

respective books.

2MIKPA AErOMENH KATA AE2XHN TIYPPAION)

the Sack of Troy by

and

(AINHA2)
Anchises Ascanius
weeping.
(

issues, led

by Hermes (EPMH2), carrying

the household gods, the

Stesischorus

(IAIOY IIEP2IS

KATA
pillars

2TH2IXOPON).
(the

It is

arranged architecturally.

Two

ArXI2H2) and (A2KANI02) by

and leading
Fig. 5 a,
b,
c.

hand, while Creusa follows

The

Greeks Fighting before Troy.

one

to the left has

been broken

off)

stand on a basis,

forming a frame for the central picture of the " Sack of Troy."

Outside the city walls are two tombs

Achilles

to the right that of

Reliefs in coarse limestone from the inner walls of a tomb (Heroon) at Gjolbaschi, Lycia.
Discovered in 1841 by Schonborn, and in 1SS1
Vienna, where they are

On

the top, in a sort of frieze, are scenes from the

first

book

of the Iliad, and those from

to the
left,

down both

sides scenes

from the other books,

along with the
remaining.
pillar

to

being

lost (cf. fig. 4)

still

but those to the right

All

the

(AXIAAE02 2HMA), at which Neoptolemus is sacrificing Polyxena (NEOIITOAEM02, LTOAYHENH) in the presence of Odysseus (OAY22EY2) and Calchas (KAAXA2). To the left is the tomb of Hector (EKTOP02 TA*02), and
grouped round
sandra,
it

brought

to

now preserved.
fig.

Other

reliefs

from

the same tomb are given " Od.,"

is

94.

The greater part of the surface

much damaged, but

there has

scenes have inscriptions, which are supplemented by a prose

sit

the captive Trojans, Andromache, Cas-

been no attempt made at restoration.

summary

of the Iliad engraved on the pillars.

These scenes

and Helenus

(ANAPOMAXH
(cf.
fig.

with Astyanax,

KA2-

Schreiber, Kulturhistorischer Bilderatlas,

PI. 37, 1.

are described below, under the books to

which they belong.

2ANAPA, EAEN02), who

Agamemnon's herald

appear twice, once with Thalybius,

8)

Bennuorf, Das Heroon von

Friederichs-Wolters,

Gjolbaschi.

On
(cf.

the basis supporting the pillars are the scenes from the

watching over them, and

to break to

Gipsabgiisse,

Nos. 996, 997.

ii.,

sEthiopis: Achilles slaying Penthesilea, Thersites,

Od.,
fig.

and
tig.

Memnon
15); the

secondly, talking to Odysseus,

who comes

Hecuba

Murray,

A.

S.,

History of Greek Sculpture,

p. 21S.

21); the death of Antilochus

(cf.
fig.

Od.,
14)
;

(EKABH)
left

the fate of Polyxena

(I70AYHENH).
lie

Mitchell, History of Ancient

Sculpture, p. 415.

battle over the

body of Achilles

(cf.

Od.,

the burial of

Below the tombs the Achrean ships

drawn up to the

Achilles; the contest for his aims (Od.,

fig.

57); the madness of

theft

(NAY2TA0MON
is

AXAIfiN), while
a pillar

at

the promontory of

The

sculptures

on the Gjolbaschi Heroon nearly

all

represent

Ajax (Od.,

fig.

58)
;

Neoptolemus slaying Eurypylos; the

the

Sigeum, which
of .'Eneas

marked by

(2EirAI0N), the departure

scenes taken from Greek Mythology, such as the hunting of

the Calydonian Boar
(cf.
fig.

of the Palladium
fig.

wooden horse dragged

Od.,

into

Troy [Od.,

33)

through the treachery of Sinon, and despite the

(cf.
fig.

property

is

(AnOIIAOY2 AINHOY) for the West with his shown (AINHAS AILAIPflN EI2 THNE2IIEPIAN).
leading Ascanius by the

52),

Bellerophon slaying the

off

Chimtera, Castor

and Pollux carrying

the daughters of

prophecies of Cassandra

33).
is

He
a bird's-eye view of

is

seen helping his father to embark with the household

The main
battlements.

part of the central picture

gods

(APXI2H2 KAI TA IEPA),

(cf. fig.

Leucippus, the battles of the Greeks and Amazons and of the Lapiths and Centaurs (cf. Od., fig. 93), and above all the slaying of the suitors by Odysseus (Od.,
fig.

the city of Troy, surrounded by lofty walls with Inside

towers and
of

hand, and followed by the pilot Palinurus,

steering paddle
5 b
;

who

carries a large

94).

This makes

it

we

see,

first,

the

Temple
the

Athena,

Od.,

fig.

64).

lying in the midst of the houses of the town, surrounded

by a

almost certain that the battle scenes on the reliefs here given The are intended to represent incidents in the Trojan War.
artist,

colonnade.

In

the temple court stands

wooden horse

however, does not follow

Homer

closely either here or

in

the slaying of the suitors,

and

all

that can be

done

is

to

woman

bearing a bundle on her head.

Below, outstde the

fie

of point out the general correspondence

with the epic story.

some of the scenes

she rides sideways, escapes walls a woman on horseback, which to the battle which accompanied by a man a peaceful contrast
;

clearer idea of the Homeric 6 enables us to form a intermediate stage between the armour, which represents an to hurl He is striding forwards with his hand upraised two. " shape) held (of the so-called " Boeotian
his spear,

Beginning with 5

b,

we

see the poops of a

number

of sh.ps

rages around.

drawn up

fixed high on the beach with their steering paddles

and shield His armour consists of a well forward to protect his body. " type, a cuirass under which he helmet of the " Corinthian

above the ground.

These

are the

ships of the Greeks, but

Fig.

a single

person visible on board is the crews have landed, and the only On steersman, who sits quietly on the nearest poop.
fighting

6. Warriors on the March. " Fragments of a large vase of the " Mycen/Ean style. Found in a Cyclopean building at Mycena by Dr. Schliemann,
at Athens.
fig.

A line of small holes shirt, and a pair of greaves. greaves shows that round the edge of both the helmet and
wears a short
they were lined in

some way
which
is

or other.
this

It is

somewhat strange
differs

shore the

has

already

begun,

and

the

artist

lias

arranged the combatants in two tiers. the fray, whilst below a bald old is calling on his comrades to

In the upper a trumpeter

and now

that the only point in 213.

fig.

equipment

from that

Schliemann, Mykena,
(translated into English

of the later warriors

284, p. 317

man

is

trying to hold

to join

two comrades

in

back a youthful warrior, who is rushing the battle, only part of which is here
is

Schuchhardt, Schliemann's Ausgrabungen,

by Miss Sellers).
fig.

running
the

all

round

it

below.

the cuirass, which has a projecting rim This seems to be identical with
warrior.

%a

of the

Homeric

represented.

The
in

central point of this battle

fig.

the town which

Baumeister, Denkmaler,
This vase-painting and

2193.
in the

we see besieged
tiers,

5 a.

The

picture

is

divided into two

fig.

80 are the only pictures

to

FlGi

the city walls forming the dividing line, a device which

present work that can claim

be older than the Homeric

B.C.,
is

s. Agamemnon, Talthybius, and Epeius. Marble relief in the archaic style of the seventh
b.c.

enables us to see both the attacking force and the defenders.

Poems.

It

dates from before 1000

at the

and, with the painting

century

crowned with battlements, and strengthened by four towers, and the attack is concentrated on two gates

The

walls are high,

on a vase found

same

time,

quite unique

among

the

Discovered on Samothrace in 1790.

Gouffier Collection,

Formerly in the Choiseul

thousands of Mycenrean potsherds and vases.

There can be
details

and now

in the Louvre.
p. 100.

(pointed arches), which the heavy

to
force,

while their

lighter

armed soldiers are trying armed comrades, stationed on

Inside
are showering stones

no doubt

that

it

gives in

its

way a

true picture of the warrior of

the heroic period, but unfortunately only the

most general

Overbeck, Geschichte dergr. Plastik, i., fig. 3, Friederichs-Wolters, Gipsabgiisse, No. 34.

mounds
the city

outside the walls, are engaging the defenders.

the defenders, to the
left,

can be made out.

The

warriors are all

armed with helmet,

Murray, A.

S.,

History of Greek Sculpture,

p.

p.

130.

and

cuirass, greaves, sandals, shield,

and

spear.

The helmet
(though

has a

Roscher, Mythologie,

97

(fig.);

p.

127S.
p. 129, fig. 171.

other missiles on the enemy, while to the right a captain leads

a

long crest, and,

it

would seem, horns

in front

this

may
arc

Daremberg

et Saglio, Diet, des An/it/,,

detachment of men down the

relieve the gate.
ii
1

fortress

ramp

to

make

a sally

only be part of the crest).

cut out of the lower side.

and

It

is

interesting to note that three of

The shields are circular, with an The cuirasses have a fringe, and
by
straps
is

the

originally [Drawings made when the relief was first discovered show that A rough the right side ended in a horned monster covered with scales.
spiral
is all

are

armed with sickle-shaped swords, the peculiar

shows the king of the

greaves are

bound
the

to the legs

above the knee.

A
a

that remains

now.]

weapon of the Lycians.

more
city seated

difficult

point to determine
spears.

the nature of the object

The

central slab

on

his

The Louvre

relief

is

only a fragment showing us

throne, and leaning

on
lost)

his sceptre.

attached

to
;

Some

authorities

regard

it

as

page holds an umbrella

non
state,

(ArAMEMNON)
have been

seated

among

his council.

AgamemThe other
bears
a

banneret

others as a wallet in which provisions were carried

figures

(painted and
lies

now

over the throne, and at his footstool

in the fashion
sits

lost,

and he alone remains on

his chair of

adopted by the Romans.

all

tame panther, beside which

to the right the

youth to guard

it.

attended by Talthybius (0AAOYI3IO2),

staff,

who

It is
little

worth noticing that

lip

the figures wear pointed beards,

herald's
Lastly, there
is

queen appears, also on a throne, and

and by Epeius (EltE

),

the inventor and

but have their upper

figure
to

shaven.
all

a female

with an umbrella held over her by a maid.

To

the

left

of the

builder of the "

wooden horse

" (cf. Od., figs. 32-3).

relief,

the

left,

behind

the

warriors, clad in a long

is,

throne stands a warrior fully armed,

prayer, while a priest beside
be, to the

who
ram

raises his

hand
it

in

garment.

As the manner

of

women

The
makes

archaic character of the

seen in the awkward

she bewails their

him

slays a

as sacrifice,
slab,

may
to

drapery and the long, strangely dressed hair of the figures,

it

god whose temple appears on the next

vi.,

a scene

departure, beating her head with her hand.

interesting as
definite

one of the very

earliest

sculptures

which

recalls Iliad, bk.

256, where Hector gets

then, be

Hecuba

which represent
Fig.
7.

Homeric

characters.

sacrifice

to

Athena.
is

If this,

Hector and the king

An

Archaic Warrior.
in

Priam, the queen

most probably not Hecuba, but Helen,

iii.

who
the
fig.

in

the Ttiyoo-Koma of bk.

joins the king in surveying

Lastly, the slab

Greek host from the walls of Troy.

5 c

on

shows another episode of the

from the
is

Bronze statuette about 600 B.C. Found at Dodona ; in

Baumeister,
fig.

the

archaic Greek style

Antiquarium.

01

Fig.

9.

The

Quarrel
(line

between
190).

Agamemnon and

Achilles
the Berlin
1.

siege, the inhabitants

escaping
fighting

city

in

despair

(cf.

bk. xxiv., 3S3).

The

Archaol. Zeitung, 1S82, PI.

not yet over,

for

the battlements are lined with

2191.

Gr/eco-Roman mosaic (considerably damaged). From Pompeii; in the Naples Museum. The figure is taken from a rough drawing.

warriors, but

we

sec a

man

with an ass laden with provisions

This archaic statuette shows the equipment of the Greek

warrior of the seventh century B.C.,

Agamemnon, who
than in the figure,

in
is

the original has a beard and

left

is

older

descending the incline of the fortress ramp, followed by a

and by comparison with

seated on a throne to the

of the

picture.

He
is

wears a royal diadem and holds a sceptre.

His
he

back, stands an old man, in

the friend of Achilles
(cf. fig.

whom we must
50).

recognise Phcenix,

the sun.
spears.

Talthybius carries a herald's

Briseis
is

staff,

and Diomede two

veil,

attitude
is

rather puzzling,

and

at first sight suggests that

clad in a long

shift, a

mantle, and a

drawing a sword to ward

off the attack of Achilles.

The

Further

off the

original,

however, shows no distinct traces of a sword, and the

holds seems rather to be a
roll.

as their master's

myrmidons of Achilles appear in full armour body-guard, while in the background to the
from which Patroclus

which she

raises coyly to her face,

and Agamemnon wears

dressed.
at

cloak (chlamys) over his cuirass.

is

Yet another noticeable point

is

object

lie

Besides, he wears the

his loins,

right the tent, or rather hut, of Achilles,

the

way

in

which Diomede's hair

in

It is

worn
of

hitnation, a

garment of peace, wrapped round

and

in

has fetched Briseis, appears in view.

long,
his

and coiled up

sort of

chignon

the back

any case could not manage to draw a sword without the aid of
his left hand.

head.

The gesture and

the

movement
Achilles

of the head are,

Fig. 11.

however, those of an angry man.

is

on the other side

is

Briseis

Taken away

(line 320).

drawing his sword and rushing forward, but

checked by
(fig. 3).

Athena,

who

holds him by the hair, as in the Tabula

Red-figured painting on a drinking-cup (cotyle) bv the Athenian potter Hieron, of the early fifth century b.c.
(his

Fig. 12.

Chryses
is

Propitiates Apollo

(line 430).

Red-figured painting on a South Italian vase.

In
the

The fragment of another

(No. 9104) gives a

Naples mosaic from

figures

Pompeii

signature appears under the handle).

Ike

/alia Collection at Suva.

taken

replica of the

of Achilles and

Formerly in
Paris.

Campana

Collection

now

in Ike Louvre,

The figure

from an

original drawing.

Athena excellently executed and

well

preserved.

Archiiol. Zeitung, 1S72, p. 43.

The
Fio. to.

reverse is given fig. 50,

vi.,

Baumeister, Denkmaler,

p.

720.
d.

Briseis

A/on. d. Inst.,

19.

Taken from Achilles

3 FT.
II
IN.

Luckenbach, Das
Kyklos,
p.

Vcrhdltniss

gr.

I'.

Filler

Ep.

(line 320).

Ann.
I

d. Inst.,

1858, pp. 352-73.

p.

522.

POMPEIAN WALL-PAINTING,
HIGH.

WIDE BY 4
Naples

FT.

IN.

Klein, Meistersignaturen,

170,

No.

17.

Baumeister, Denkmaler,
the

p. 721, fig.

776.

In the centre of the picture

is

the

Temple of

Apollo, within
that are his
at the altar,

From
to

" Casa

del pacta "

in

Ike

Museum

Wiener

Vorlegeblatter, Series C, 6.

which

is

a statue of the god, with the laurel

and doe

(No. 9105).
1.

attributes.
ii.,

In front of the temple Chryses stands

Barbonico,

PI. 58.
p.

This
721,
fig.

picture

has a landscape

background
the

suggested in

making with
in readiness.
altar,

the help of a youthful servant of the altar pre-

Baumeister, Denkmaler,

722.

primitive style.

To

the

right

lies

open country, symstands the tent of

the
royal throne

parations for the sacrifice of a bull, which two stout

men

hold

Heldig, Wandgematdc, No. 1309.

bolised by a single tree, while to the

left

Chryseis, attended by a maid, stands near the

Daremberg

Saglio, Diet, dts Antiq., p. 28.

Agamemnon, which
(for
lost,

is

suggested to us by
cf.
fig.

and

raising her right

hand devoutly
Behind her

joins with her father

is

the camp-stool shape,

8).
is

Agamemnon

himself

in supplication to the god.

a priestess,

who

The upper

corner to the

left

lias

been completely
is

and
that

(Ar

ME5MO

),

in full

armour,

leading, or rather drag-

carries a tray of offerings

on her head, and bears a jug of

god.

the whole of the lower part of the picture

so

damaged

ging, Briseis into the tent, followed

by his herald Talthybius

wine

for the libation to the

is

scarcely anything definite (excepl the legs "f Patroclus

skirt of Briseis)

and the

(0AA0YBIO2) and
It is

his warrior friend

is

can be made out.

is

The drawing from which

plain that

Hieron

not, like
;

Diomede (AIOMEAE2). the Pompeian artist, careful

As

frequently the case with vases of this style, none of the

other figures in the picture have any direct connection with the
subject, which
is is

the figure
(1) the

is

taken

very inaccurate.

Among

other mistakes,

to follow

Homer accurately
is

for
(1.

though
324,
cf.

Agamemnon
Homeric

threatened
so.
all,

all

the stranger since

figure to the

extreme

left

should wear a wide-awake

a helmet

to take Briseis

away himself

356), he did not do

story at

altogether absent, not even appearing

hat (pelasus), like

(2) there

the herald next him, and not

Again,

Diomede

not mentioned in the

cerned spectators.

Only four
Minerva
(?)

of

we find that Odysseus among these unconthem can be identified

left,

should be no looped drapery round the top of the

and has simply been inserted by the

foremost Greeks.

artist as

being one of the

Hermes

talking to

on the

and Aphrodite,

building in the background; and (3) there should not be a ball

Such

differences, however, only bring out

attended by Eros, on the

right.

on the top of Achilles' sceptre or spear.

the originality of the painter,

is

who wished

to

compose a

picture

The

youthful hero

Patroclus
(1.

(to

the right)
Briseis

leading the

representing
tent, rather

Agamemnon

leading Briseis in triumph into his

weeping
Achilles,

and

unwilling
is

34S)

forward

towards

than to

illustrate the story as told

fifth

who

seated on a throne, and with a gesture of

(1.

many
It

other vase-paintings of the

by Homer. In century we shall have

Fig. 13.

The

Zeus Olympias of Phidias

(line

528).

command

bids Patroclus

337) hand the maiden over to

Talthybius and Eurybates,

occasion to notice a similar freedom.

is

Two
especially
shirts

coins of Elis

of the time of Hadrian (117

Agamemnon's two

heralds,

who

worth

while noting

the

costumes,

those

138

A.D.).

stand to the right of the throne.

In the picture only one of

of Talthybius
girt tightly

and Diomede.

Both wear short

this a small

(xnw),

(a)
(b)

Head on

a coin at Florence.

the two wears the wide-awake hat {pelasus)

and

carries the staff

is

at the waist,

and over

cloak (c/ilamys),

Seated statue on a coin in Paris.

idea of the coins.
i.,

(caduceus, or Kippvxctov) of his office, but this

fault,

the restorer's

clasped at the throat with a brooch.

for in the original picture the

second was dressed in the

at

have high leggings or socks,

As being wayfarers, they apparently of some soft material,

tightly strapped to their legs.
felt

The figures do not give a very accurate

Overbeck,
note 18.

Geschichte

d.

gr.

Plastik,

fig.

48,

p.

467,

same way.

Both stand troubled ana -mbarrassed

(1.

their
its

worn under

their sandals

and

painful errand

331).

Behind the throne, leaning on

They

also

wear wide-brimmed

hats to protect

them from

Gardner, Types of Greek

Coins, PI. xv., 19.

There was a

tradition in antiquity that

it

was these

lines of

Hadrian give
great
selves

in the style of their period reproductions of the

influence that

we must

trace the use of long, thick, leonine

Homer which
Many

inspired Phidias

when

creating his masterpiece,

statue

or

its

head.

The

figures

explain the

for

them-

locks in the later statues of the great male divinities, Poseidon,

Plato,

the statue of Zeus at Olympia.

varieties of coins struck in Elis

the

way

in

which

Phidias embodied

Homeric
is

and Asclepius,

as well as

Zeus himself.

during the reign of

description of the ambrosial locks,

and show

that

it

to his

BOOK
EUS,
ii

II

mindful of his promise to Thetis,

a

One

of the arguments

by which Odysseus persuaded the

stands the priest, wearing a garland and raising his

in adoration,

left

hand

ml

dream

to

Agamemnon
so
for the

to

Achaean host to continue the war was an appeal to the

they had witnessed at Aulis.

omen

while in his right he holds the cup (phiak) from

libation.

him to

war, and

by miswrong

During a sacrifice there a snake

Calchas,

which he has poured the

stand

On

each side of the

flesh

altar

had been seen

tree,

to crawl from beneath the altar, climb a plane

nestlings.

two naked youths, who hold pieces of

1.

wrapped

fortune to punish

him

and devour a sparrow and her eight

in fat over the flames (cf.

426), not to consume, but merely

;

done Achilles.

the seer, had interpreted this to

mean

that after nine years'

to

cook

it

for eating

(1.

429

cf.

Od.,

fig.

17).

To

the

left,

Agamemnon's
followers

first

step

is

to test

the loyalty of his

war they would take Troy in the tenth year.

musician plays a double

in

flute,

an essential part of the ceremony 40

;

by announcing to the assembly of the people

The Lansdowne
resting

relief

shows a man (the head has been

in

post-Homeric times

(cf. fig.

Od., 69), while, to the right,

for the feast that
is

that he has thoughts of raising the siege

and returning
this

restored as Homer's) seated

deep meditation,

his

head
stick.

three worshippers look on

follow.

and wait

to

on

home.
assemblj

his left hand,

is

So glad were

and

his right
at
its

hand

resting

on a

the people

at

that

the

To

the

side

a
is

tree,

and

summit a

nest, towards

was broken up, and instant preparations for

which a serpent

climbing, while the mother strives to cover

departure would have been made, had not Odysseus,

her young with her wings, and

helplessly, as
It
is

two other birds

sit

perched

Fig.

16. Athena with the

.ffigis (line 446).

warned by Athena,
threats,

rallied

the

host
to

by taunts and
the

though unable to escape the danger.

Part of
the

a black-figured painting

on an Attic wineb.c.

and

brought

them

back

place

of
is

possible that this

may be Calchas meditating on

for the griffin

jar (amphora) of the sixth century

assembly.
I

Then,
fig.

omen, but scarcely probable,

after
4, bk.

chastising
ii.,

beneath his seat

the

contemptible

not likely to be given

like

him

as an attribute.
grave-relief,

The

sculpture

From Villa ; in the Museum Lenormant et de Wilte,

PI. 8.

at Rouen.
Elite des

Man. Ceramo.gr.,

i.,

I"

rsites (cf.

8e/)o-irs),

who urged them

Nestor, in

seems much more

an ordinary

which would

to

depart, he succeeded,

with the aid of

account for the presence of the serpent.

In any case, the

is

Baumeister, Denkmaler,

p. 22, fig. 173. p.

persuading the host to continue the war.

Thereupon them

motive of a bird climbing a tree to attack a nest

so

common
definite

Daremberg et
The
with a
figure

Saglio, Did. des Antuj.,

102,

fig.

142.

nemnon,
to

seizing

the opportunity, called on

on

Roman
in

marble candelabra and

altars that

it

scarcely calls

prepare

for

battle.
(fig.

They assented

for a

eagerly, and,

mythological explanation, unless there

is

some

here given represents Athena conquering

the

scene

which

it

after sacrificing
full

takes

its

place,

and

15) and feasting, a

this is not so here.

came

giant Enceladus.

She

is

fully

forth

dressed as a woman, and armed

spear.

in
Fir..

array.

Then
peoples,

helmet, the

a;gis,

and a

follows

The form
in

of xgis
art. It

long

catalogue

of the

ships,

15. A Sacrifice

(line 411).

given

is

the typical and traditional

one

Greek

the

and the

leaders of

Agamemnon's

army.

The book

closes with the counter-preparations

Red-figured painting on an Attic vase of the fifth century b.c.

Schreiber, Kulturhistorhcher Bilderatlas,
PI. 13, 8.

consists of a skin completely covered with scales

and fringed

with serpents (ftWot,

1.

448),

and was worn

as

armour across

of the Trojans.

Heydemann, HalUischts Winckelmannsf. Program,

I'ir..

18S0.

14.The Prodigy at Aulis

(line 308).
I

'"IN UNSDOWNJ
Ththtado/th
Jahn, Bildcrchroniken,
Michaklis, .;,/,,

This depicts a

the breast (cf. figs. 42, 86, It could, however, 93; Od., fig. 1). be used as a shield to cover the left arm when advancing to strike an enemy. There is no reason to doubt that the Homeric aegis was of this kind, for the fact that the scales

sacrifice several centuries later

than Homer's
with the older

I!

ONDON.
atortA

time, but there are

ritual (for

many

features in
cf. figs.

it

common

PI.

;,

,.

the centre

Marbbs

Gnal

Brjjah: p 43?

in

12, 40 ; Od., 16, 17, 60). In is the altar, and on it a fire of split wood (1. 425), which the chine of the ox is burning. In front of the altar

other pictures,

were of metal would explain why it is said to be of bronze. In any case, it is the defensive armour of a god, and made by
Hephajstus
;

so that, even .hough

in

it

were

all

of metal,

it

might

be as

flexible as the leather

human
it

breastplates.
like

From
most of

the anthropological point of view

would seem,

the attributes of the gods, to be a survival from primitive times,

Fig.

18.

Thamyris
THE

and the Muses

(line 595).

Formerly in the Campana Collection

Foris.

nou

at the Louvre,

before the use of the large shield had

become common.

Red-figured painting on an Attic oil-jar

PARTS, SUCH AS
pkctrOtl,

(lecy/hus)

ARE GILDED.

A/on.

d. Inst., vi., PI. S.

Fir,.

17.

The
b.c.

Birth of Erichthonius

(line

547).

In

the Jaffa collection at

Ruvo.
hi., PI. 9.

Terra-cotta relief in the Attic stvle of the fifth

Romische Mittheilitngen,

Ann. d. Inst., 1857, p. 21 1-9. Baumeister, Denkmakr, p. 1325,

fig.

fig.

1479.

century

Baumeister, Denkmakr,
at Athens ;

p.

1727,

1809.

Found in a grave

nmv

in the Berlin

Antiquarium.

Michaei.is, Thamyris

11.

Sappho, Leipzig, 1865.

Philoctetes, a celebrated archer,

Archiiol. Zeititng, 1872, PI. 63, p. 51.

had been bitten by

their
set in
island,

snake
to

Harrison, Mythology and Hon. of Alliens, Baumeister, Denkmakr, p. 491, fig. 536.
Friederichs-Wolters,
Gipsa/igiissc,

p. xxvii., fig. 2.

Homer, when
Nestor came,
to

telling

of the

places

whence the

forces

of

while the Greeks were at Troy.

Lemnos on

outward voyage

mentions the story of Thamyris, who dared

So noisome was the gangrene that

the Greeks
left

from the

No. 120. was

identified
this

contend with the Muses in song, but was vanquished by

bite, that

him behind on the

filling

where

for

them,

maimed, and deprived of

has

his

power

as singer

and

ten long years he wandered alone,

cries of pain.

the desert with his

The

story
is

of

Erichthonius

(who

with
is

musician.

In the tenth year an oracle declared that Troy

at

Ercchtheus)

a peculiarly Attic

one, and

passage

The

vase-painter

depicted
),

rather

different

scene.

could not be taken without the aid of his bow, and then
last

generally regarded as the interpolation of an Athenian editor.

Thamyris (AMYPI
harper, his brows

in the rich

garments of a Thracian

Odysseus and Neoptolemus

(cf.

Od.,

fig.

55) went and

is

He
in

was born of the

earth, with

Hephaestus as father, but

crowned with
hill.

laurel, sits

on the side of

brought him away from the

island.

(This episode

the

some mystic way Athena was regarded as his mother, and when he came from the earth received him to be nurtured as
her foster-son.

pleasant flowery
lyre,

He
The

has just

ceased playing on his

lyres,

subject of Sophocles' Philoctetes.)

and one of three Muses, who have

to

has just struck

up
head and shoulders of the
rising

in reply

him.

contest,

however, seems to be a

The vase-painting shows us the (XPY2 ), to whom the Greeks

statue of the goddess Chryse

(all

wearing

festal garlands)

The

Berlin relief shows us the

friendly one, for another of the a

great earth-goddess

above the surface of the ground,

garland,

Muses stands beside him with while Aphrodite and two love-gods gaze on, imApollo, with his
in
(cf.
fig.

have been offering a

sacrifice

on the rude
sacrifice,

altar

which Jason

had

built

in earlier days.

The

however, has been

the

holding up the baby Erichthonius in her arms.

out his hands towards Athena,
him.
laid

He

stretches

parting a sentimental interest to the scene.

laurel

interrupted
altar,

by a snake, which, crawling from beneath

who

steps forward to receive

regis

bough

12),

is

also present,

and

one of the

has bitten Philoctetes

in

($IAOKTETE2), who

lies

on the

She wears her helmet, but has doffed her

and

figures to the right of

Thamyris we may perhaps recognise

ground writhing round with

agony.

One
(cf.
fig.

of the servants of the altar

sacrificial

her spear aside, becoming for the nonce a peaceful and

the love-lorn poetess Sappho (2A<I>

listening to a

little

love-

goes to his aid, while another with a

flesh

spit

wrapped
in
terror.

gentle goddess.

god,
is

who
is

points towards the beautiful harper.

idyllic

Altogether the
if

and

fat

15)

starts

aside

On

the other side of the relief

Cecrops, half man, half

scene

and imaginative, and, even

suggested by

serpent, holding a laurel branch in his left hand,

and placing

Homer,

fails

to illustrate his version of the story.

the forefinger of his right

hand

to his lips, as

though enjoining
Cecrops was the
Fig.

The Greek leaders who are present look on in dismay, Agamemnon (with the sceptre) gazing on the serpent, and Diomede (AIOME and another raising their hands in )
gestures of surprise.

holy silence in the presence of the goddess.

Even the

idol

is

horrified,

and

as well

mythical King of Attica, and

Aglaurus,

it

was to his three daughters,

19. Philoctetes Bitten by the Snake

(line 721).

as she can raises her hands.

Herse, and Pandrosos, that Athena intrusted the

infant Erichthonius to

be nurtured.

Red-figured painting on an Attic vase (stamnus) of THE EARLY FIFTH CENTURY B.C.

BOOK
FTER
the muster of their forces, the
of storks as

III.

they
(fig.

fly

to

wage war on

their

enemies

his

chariot.

Hector,

however, by

taunts

persuaded

two armies came out to meet

one

the Pygmies

20).
Paris,

him

to offer to fight

Menelaus single-handed, and to

another in battle array, the Trojans

Foremost among the Trojans was

forth the bravest of the
fly

who

called

decide the issue of the war by his victory or death.

advancing

with

loud
to

cries,

which

Greeks to

fight him,

only to

Menelaus agrees
that a formal

to

the

proposal,

on

the

condition

Homer compares

the chattering

ignominiously when he saw Menelaus descend from

treaty

be

made between

the Greeks

and

Trojans,

and

ratified

by Priam

himself.

An
the

believing that,

when

these birds leave

Europe

at the

approach

wearing sandals, but armed with a shield and two spears.

armistice
sacrifices

was thereupon proclaimed,

were
being

and

whilst

of cold weather, they go to prey on the Pygmies.

As he goes on

his

way he looks round

at Paris (here called

The myth was mounts the

but nowhere has
it

a favourite one in Greek and

Roman

art,

by

his

other name,

AAEX2ANAP0S,

written

backwards),

prepared, Priam

walls

of

Troy, accompanied

by Helen,

who

points

been represented with more detail or with more humour than on the " Francois " vase. We see Pygmies,

who, armed with a helmet and brace of spears, leads the half-unwilling Helen from her home, his hand upon her
wrist (xp' rai xapTrui).

out to him the Greek leaders

(the

by name.
the

This episode
Tabula,
fig.

TUXoarKO-rrla)

is

shown on

4,

where Helen and Priam

(nPIAMOS)

are seen looking

(cf. fig.

mounted on goats and armed with slings, charging to rescue the body of a fallen comrade or seize that of a dead stork while, in other parts of the battlefield, clubs and hooked sticks
are the weapons used.

She (HEAENE)

is

dressed like a bride,

little

with a veil drawn over her shoulder,

and a

love-god

hovers before her, while Aphrodite

the
last

(A$ OAITH)
The goddess

herself puts
is

over the battlements above the Scaean gate

5).
left

hand corner of

fig.

Then Priam descended

(fig.

to the plain, ratified the treaty

city,

making

for the eyes

The best group of all is that in the lower 20, a stork, attacked by two Pygmies, of one of them, who seems quite dumb-

touches to her head-dress.

followed

by Persuasion (LTEI
a

),

her constant attendant, in the form of

woman

fully dressed,

and holding up a flower

closed by a boy,

in a dainty

22),

and returned to the

Menclaus.
first

leaving

Paris

to

foundered

at the attack.

fashion.

The scene

is
fill

who seems

to

be

fight

with

In

the

duel

which

followed
failed

Paris
hit

was the

to

hurl his

spear, but

to

Pygmies were also a favourite subject with Roman wallpainters, and many of the frescoes of Pompeii show them
battling

introduced solely to
handle.

up the vacant space underneath the

Just in front of

Menclaus,
corselet,

who

replied

by a thrust which pierced

it

with

hippopotami,

crocodiles,

and other monsters

fact that

ErPA4>2EN).

him is the artist's signature (MAKPON The composition does not differ in any respect
his

of the River Nile.

his

This was due to the

taking
their

ancient
of

from the received story, for /Eneas was one of the foremost

and completely disabled, though

However,

did
writers

agreed

in

country,

or

the

shores

companions of Paris on

voyage to Greece

(fig.

28),

and

not
his

wound him.

when

Menelaus raised
the blade was

Homer's
a

Oceanus, as lying near the sources of the Nile,

Aphrodite naturally appears as the cause of the abduction,

sword and struck at

Paris' helmet,

conveniently vague and distant locality.

travellers

Oddly enough,
in

accompanied by Persuasion, the agent

about.

she used to bring

it

shivered,

and he had nothing wherewith to slay him.

seized

recent
this

have vied
for

with

one another
discovered

proving

Yet

he

the

crest

of

the

helmet,

and

was

belief correct,

Schweinfurth

the

Akka
Fig.
22.

niggers,

who might

well

be regarded as the prototypes of the

ii.,

dragging Paris to the Greek camp, when Aphrodite

suddenly appeared, broke the helmet strap, and carried
off Paris
in

Treaty
(line

between the Greeks and Trojans

Pygmies (Schweinfurth, Reisen in Afrika,

Stanley discovered
forest of Central
this
is
still

p. 131),

had not
great

275).

more diminutive
(cf.

folk

in

the

a mist back

to

Troy, where she placed

Africa

Stanley's

Darkest Africa).

As
only

In

Part of a relief on a Roman Sarcophagus. the Museum, Madrid.

is

him
on

in

his

own bed-chamber.
fig.

This

is

well

shown

fairly

near the sources of the Nile, the existence of

for granted
;

[This

only the

left

half of the fragmentary relief.]

PI.

the
is

Tabula,

(A<I>POAITE MENEAAOS).
vain striving
off

Homer's Pygmies may be taken

and

it

Archdol. Zeitung, 1869,

13.

Paris

represented

remains to be shown that they give battle to the storks, to

to free

in

himself,
justify

him completely.

as
is

Menclaus drags him

by the helmet.

To
(line 46).

the right of the picture

for

Agamemnon

stands, holding a
left

Aphrodite
Fig.

bowl (<t>id\i)=patera)

the libation in his

hand, and
to witness

seen rushing up to break the strap, while, at the

time,
23).

2r. The Rape of Helen

on
a

raising a

sword

aloft in his right to call

on the gods

same
(fig-

she

casts

her

mantle

over

her protege

Red-figured painting

vase

(scyphus)

cv

the

his

solemn oath

(line 268).

Just behind

him

is

the figure of

The book
and
Paris.

closes with a

love scene

between Helen

Athenian totter Makron. Found at Suessulla.

In the
collection

a Trojan wearing a

Phrygian cap, the sole fragment that

remains of the part of the relief which depicted Priam and

his

of Baron

Spinelli at Acerra.

men.
to

Arc/idol. Zeiliing, 1882, p. 3.

Fig,
'''

Next
p.

Agamemnon, on
by

the

left,

Odysseus

(cf.

Od.,

fig.

34)

20. Battle of the Pygmies with the Storks

1 FIGURED
E
1

(line 5

Gazette Annie/., 1880, Pis. 7 and 8,

1.

57.

is

easily recognised

his traditional

costume.

He

too holds
left

Baumeister, Denkmakr,
Klein, Meistersignaturen,

fig.

709.

a bowl for the libation in his right hand, while his

clasps his spear.

hand

UNTING

ROM

111

CEL] 3R

Ml h

"

FRAN-

COIS" vass {amphora),

mi work of the potters Klitias

in the

p.

172 (No. 24).

At the
further

feet of

Odysseus

is

the victim for

WD

Robert, Bild und

Hector taunts

Lied, p. 54.

the sacrifice,
all

and

on stand the leaders of the Greeks,

contrast

nos.
in full at C/iiusi,

armour.

The

and
figs.

between these
is

Museum

at I the

!'>

'!<<

52,84, and

U from

Paris,

when he

flies at

the sight of Menelaus,

Agamemnon
clad in a
it

should be noted.

He
air

older,

same

vase.

with the effeminate beauty which enabled

him

to carry off

more magnificent

cuirass than they,

figures and and bearded, is and wears over

According to

Homer
river

the

Oceanus, the great

world.

Pygmies dwell by the streams of which in his geography encircles the

He

connects them with the migration of the storks,

the wife of his warlike host from Sparta. The vase-painting shows Paris leading Helen from her home. First comes -Eneas (AINEA ) in travelling dress, with shirt girded tight

a mantle, which gives him the

mantle, however,
is

of a

Roman

Imperator.
is

The

probably a sign that he

engaged

in sacrifice,

a fact which also accounts for his being bare-

about his

loins,

a small cloak and a wide-awake hat, and

headed.

Fig. 23.

Single Combat between Menelaus and Paris

(line 340).
{eylix)

2ANAP02,
Paris
flies
is

cf.

fig.

21), with a

drawn sword,
round

at

full

speed.

on the Tabula

Lliaca,

fig.

4,

and

is

an excellent instance of

before him, glancing

in terror as
it

he goes.

the independence

of literary tradition
fifth

shown by the
In
is

great

Red-figured painting on a drinking-cup

The
In
reverse is given fig. 42.

by the
e.c.

He

too

armed with helmet,

cuirass (over

a cloak), and
still

masters of the early

in

century

b.c.

fact,

the only point

Athenian potter Duris, of the early fifth century

the Louvre, Paris.

shield,

and, so far

from being disarmed, has

got

his

which the picture agrees with

artist
still

Homer

the flight of Paris.

spear.

This the

has

made even more

disgraceful than the poet,

In front of Paris stands the goddess Artemis with

3.
(cf.,
7.

(APTEMI2),
dismay
another
side

for Paris

retains his spear,

all.

which means that he has not

is

Froehner, Choix
Wiener

des Vases Grecs, PI. Series

vi., PI.

bow and

quiver, raising her

fig.

hand
the

in a gesture of

tried to fight at

Then he

saved by Aphrodite seizing

}'<>rlcgcb!attcr,

however, Od.,

55).

On
strike.

opposite

the hand of Menelaus, instead of loosing the strap of Paris'

Brunn,

Troisehe Miscellen,

hi., p.

201.

goddess appears, who has seized Menelaus' hand to check

the blow he
21).
is

helmet and snatching him

off in a mist.

Lastly, the

goddess

Robert, Bild und Lied,

p. 98.

prepared to
except
left

There
flower

is

nothing to
she

dis-

Artemis appears on the scene, without any warrant

at
all.

in literature

Klein, Meis/ersigtiaturen,
In the centre Menelaus
cuirass (over
it

p.

160 (No.

tinguish
daintily

her,
in her

perhaps

which

holds

The

artist,

however, wanted a female figure to balance

hand, but there can be no doubt that

Aphrodite, and so has introduced the goddess of archery, the

only warlike art
in

(MENELE02), armed
is

with helmet,

this is

Aphrodite.
painting
is

which Paris excelled

(cf.

fig.

46

Od.,

a cloak), and shield,

chasing Paris

(AAEX-

The

a striking contrast

to the scene depicted

fig-

14).

BOOK
FTER
the ignominious defeat of their

IV.

The
book

Tabula,

fig.

4,

summarises the contents of the

(

bow

as a

weapon of
most

war,

and

partly,

no doubt,

to the fact that

champion, the Trojans were on the

point of giving up Helen
in

as the

wounding of Menelaus

AON),

the the

the archers

familiar to the Athenians

were the Scythian

accordthe

breaking of the treaty (crvyKv

marshalling of the host by

ance

with

the

treaty,

when

SIN OPKfiN), and Agamemnon (EninnA

it

bowmen who
Fig. 25.

acted as police in their city.

Amazon

stringing a

Bow

(line 105).

goddess Hera intervened.

She be-

ArAMEMNON).
darus
in

The

scenes

gives

show

(1)

Pan-

Red-figured painting on the inside of a drinking-cup

(eylix).

sought Zeus not to allow the war to come to an end

until the hated city of

(nANAAPOS)

shooting his bow, while Athena,

(a
;

Troy had been destroyed.

He
(figs.

the form of a

woman

man

in

Homer), stands

at

Museo Gregoriano,

ii.,

PI. 74.
fig.

accordingly sent Athena

down

to

the Trojan camp,

the

his

elbow to direct his aim

(2)

Menelaus
it

(MENEAAOS)
be only to

This bow, like that in

24,

seems to be of horn.

Owing

where

she

suggested

to

Pandarus

archer

striding forwards to strike him, or

may

to their comparatively short length,

difficult to string,

such bows are extremely

to their cost.

24-6) that he should treacherously shoot at Menelaus,

attack the Trojans

and

lastly (3)

Machaon (MAXAfiN)
from

as the suitors of Penelope found

and thus break the

in

truce.

The arrow
diverted
at

struck Menelaus

kneeling

on

the ground

to

extract the arrow

The
both

stringing was usually effected by a dexterous

legs,

movement of
figs.

the thigh, having been of

by Athena from
Pandarus aimed.

Menelaus' thigh.

through which the

left

bow was

passed, as in

24, 26,

and
the joint the
cuirass

which

Od., 91, the

hand bending the notched end

to receive

the loop of the string.

Fig.

Machaon, the surgeon, drew out the arrow, and dressed

the

24.

Amazon

stringing a

Bow

(line 105).

wound

with

soothing

drugs.

Meanwhile,

the

Red-figured vase-painting.

Fig. 26.

Heracles

stringing his
Baotian

Bow

(line

105).

Trojans were marching out to

battle, while

Agamemnon
men.
fiercely,

Daremberg et
In Greek

Saglio, Diet, des Ant.,

Design on a Theban coin.

fig.

472.

The

reverse bears the

shield,

which was

the national

went through
battle then

his

host,

marshalling his

The
art,

badge of the Thebaus.

archers are, except in the case of gods like
like

began once more, and raged

:

for

Schreiber, Kullurhist.
Heracles

Bilderatl., PI. 38, 6.

Apollo and heroes

gods were fighting on both sides

Heracles

(fig.

Apollo and Ares

26), represented as either

Scythians (Od.,

fig.

91) or Amazons.

This

is

due

partly to the
for the

with the Trojans, and Athena with the Greeks.

is

almost always represented with a short, curved

contempt which Greek warriors of every period had

bow

of horn, while Apollo and Artemis generally appear, in

vase-painting of the best period, with

111, 112; Od.,
figs.

18, 28, 55).

with his club laid aside,

the

bows of wood (cf. figs. 23, The Theban coin shows him stringing the bow in the same way as

Roberts, Introd.

to

Greek Epigraphy,

p.

208 (194).

as

suppliants

near one of the pillars that support the roof.

Saglio, Diet, des Ant., p. 82, fig. 122. Roscher, Lexicon der Mythologie, art. " Adrastos."

Daremberg et

Adrastus himself

(AAPE2T02)

reclines

on a couch

feasting,

with a three-legged table in front of him.

sight of the

He

has just caught

that

Amazon

in fig. 24.

For another picture of Heracles as an

suppliants,

archer, see

fig.

46.

Tydeus and Eteocles came on the same night as refugees to the house of Adrastus, King of Argos, and as suppliants were
received into his house by him.

welcoming them.

and his Near the two suppliants stand

gestures

show

he

is

the
is

two

daughters of Adrastus, while at the foot of the couch

the old

woman who
fled to

acts as their

duenna, appropriately depicted as

Tydeus had
Fn;.
27.

slain a

man, and

escape the vengeance

somewhat
the couch the

fat.
is

The

strange owl which stands at the head of

filling

Tydeus
11..
1 1 1

as

Suppliant

in

the

House of

of the dead man's kinsfolk, while Eteocles

exile

had been driven

into

merely a device of the painter for

there.

up

Adrastus
Mi
. I

(line 376).

by his father CEdipus.

He
lion.

recognised in their coming

empty space

the fulfilment of an oracle, which

1.

had bidden him wed

his

The promise
Thefias), in

of Adrastus to the two heroes led afterwards to

PAINTING ON
.

CHALCIDIAN VASE OF THE

two daughters to a boar and a

Some

say that the badges

the Expedition of the Seven against

Thebes

(Sefitem contra

SIXTH CENTURY

B.l

on
Copenhagen Museum.
(cf.

their shields
fig.

were a

lion (cf. figs. 21, 36, 76, 108)

and a boar

which

all

concerned,

down
in

to Adrastus

himself,

/'mm

Niila

in (he

62),

others that they fought with one another like a

in the

perished.
fig-

For another episode

this expedition, see

Od.,

The shape
in fig- 59-

and

the figures

on the reverse of

this vase

are given

lion

and boar, and others again that they were clad

73-

skins of these animals.

PI.

However
take

ArchaoL Ztitung, 1866,

1;
.1

206,
19.

give

them

his daughters to

may be, he promised to home as their wives. The

this

The
slain
xvi.,

Adrastus,

King of Argos, here mentioned must not be

(//., ii.,

confounded with the Greek

828

cf.

xi.,

328)

who was
37
;

Dcnkmaler,
p.

fig.

vase-painting shows us the hall of Adrastus' palace, in which

by Diomede, or the two Trojans of that name

694).

(//., vi.,

Klein, Euphronios,

65

(6).

Eteocles (called

0MAX02

[?])

and Tydeus (TVAEY2) crouch

BOOK
HE
A > Jjf* % BS*1
;
,

V.

prowess
;

of
cf.

Diomede
Tabula,

(Aio/xtjSovs
fig.

the undaunted

Diomede

(336), and fled with tears and

is

mounting a

chariot.

The
in

figure of
is

Aphrodite has
throwing over
Further

apurrtia
a/no-Teuei
battle

4,
in

'Ei,

sobs from the battle.

rescue, transported

Apollo thereupon came to the

disappeared, but the mantle which she

p.lv

AiOjuijSijs)

the

.Eneas to the citadel of Troy, and

her son can

still

be traced
foot, is

the drawing.

which

ensued

takes

up

the

cured him of his wound.

to return

Then he

called

on Mars

on Diomede, on
is

whole of
field

this book.

He

advancing to meet Ares, who

entered the

to

battle,

and soon turned the fortune of

entering the battle in a chariot.

under the protection of Athena, who had perretire,

the day, driving

back the Greeks so vigorously that

to
their
aid.

suaded Ares to
Trojans.

and wrought havoc among the

Hera

and

Athena came

At

length
Fig.

He was wounded in the shoulder by an arrow of Pandarus (95), but this only roused him to
greater valour
;

Diomede, with the aid of Athena, wounded even Ares

himself,

28. Paris and CEnone

(line 62).

and drove him back howling to Olympus.

this

Marble relief of the Hellenistic

Intended for mural decoration.

period.

and he

finally

slew Pandarus,

who had
came

Content with
the battle,

achievement, the goddesses also

to the Palace of Zeus.

left

mounted the chariot of .Eneas (290), and, hurling a

huge stone,
all

In

the Villa Ludovisi,

Rome.
j.

and returned

but killed .Eneas himself as he

Arclidol. Zeit., 1880, PI, 13,

In

Book

(v.)

the

Tabula,

fig.

4,

gives only two

to rescue his friend's

Aphrodite, however, suddenly appeared, and, drawing her mantle over the
fallen
(fig-

body (305).

scenes, the rescue of .Eneas,

and the wounding of Ares.

Schreieer, Hellenistische Relief-Bilder, No. Baumeister, Denkmaler, fig. 1360.

23.

hero,
29), but

strove

to

convey

him
in

from
the

the

field

In the former Diomede (AIOMHAH2) is seen, urged on by Athena, striding over the dead body of Pandarus

Homer
Phereclus,

here

tells

of the death, at the hands of

built the fleet that

Diomede, of

was wounded herself

hand by

(nANAAPOS)

who had

in

pursuit of .Eneas

(AINHA2), who

bore Paris to Greece

on the

ill-fated

voyage when he carried

off

Helen.

The

story of this voyage,

which was the beginning of

all

helplessly groping for the

ground (309), show that he

is

fainting.

Athena (A0ENAIA) appears

her father's brain
iegis,
;

as a tiny

figure leaping

from

the evils of the Trojan War, captivated the imagination of the

Aphrodite (A*POAITH2), her eyes starting with

terror,

and her

she

is

fully

dressed,
(cf.

and armed with the

r6).

Greeks, especially those of the Hellenistic age,

given a

when

it

was

mantle flapping in her haste, has descended from Olympus

helmet,

shield,

and spear
is

fig.

Hephaestus

new and

sentimental interest by being coupled with

and raised the

fallen

hero to carry him

is

away.

Diomede

(HE*AI2T02, backwards)
flying with gestures of result

represented, not standing beside

left side),

the desertion of the

Paris, with

Nymph

CEnone.

The

relief

shows us
fig.

(AIOMHAH2), however, nothing dismayed,

striding forwards

Zeus, but at the extreme end of the scene (on the

Phrygian cap and shepherd's

staff (cf.

103),
lies

with drawn sword (330) to attack the goddess.

Behind him,

amazement and

terror

from the possible

seated on a rock beneath a tree, watching his ship, which

at

her back turned to the spectator, stands Athena

(A0HN ),

of his blow.

Just in front of the throne,

where we

anchor under a precipitous rock just opposite.

is

the ship

gaily

The poop of decked with a shield and the more frolicsome

in
its

leaning quietly on her spear, and with a side-glance watching

the

should expect Hephaestus, stands Eileithya (HIAEI0VA), the

combat

that she has caused.

feeling of the painting
is

goddess of childbirth, welcoming the new-born deity.

excellent
;

Behind
club.

Bacchic emblems of the thyrsus and tambourine, the oars are

out,

The dramatic
lessness

the helpof

her

we

see Heracles in his lion-skin,

and armed with a

for

and the steering paddle

place, all ready for instant

of -'Eneas, the terror of Aphrodite, the onrush

His connection with Athena was a very close one,

she

it it

was was

departure.

Near Paris stands CEnone, leaning mournfully on a

this,

Diomede

(note his helmet), and the malicious unconcern of

who aided him

in all his labours (cf.

fig.

48),

and

rock (the restorer has not noticed

and

left

her without a

Athena, form a masterpiece in silhouette design.

doubtless to suggest this that the artist has placed

him among

support), pointing mournfully to the ship, with forebodings of

the gods of Olympus, disregarding the fact that he only reached

it

the evils which will

come through

Paris' departure.

She was

long after by the help of Athena herself.

full

Beside Heracles

a nymph, the daughter of the river-god Cebren, and, according

to

stands Ares, the god of war, in

Fig.

armour.

On

the other side,

an old legend,
still

was

had become the wife of Paris when he a simple shepherd (cf. fig. 105), and had not been
CEnone's sorrows have
in-

behind the throne, Apollo (AIIOAON, backwards) appears in

30. The Birth of Athena

(line 875).

the

dress of a harper, singing, to the music of the lyre, a

recognised as King Priam's son.

spired

Black-figured painting on an Attic vase of the sixth

among them Ovid, who makes her one of his love-lorn heroines, and in our own times Lord Tennyson, who has called a poem by her name. In the relief the
poets,

many

century
In

b.c.

Next to him are Hera welcome to the new-born deity. (HEPA), crowned with a diadem, and Poseidon, armed with
his trident.

the British

Museum.
44.

Above Hera's head

fill

flies

a bird, which the artist

has added to

the blank space in the design.

buildings of

Troy appear

in the far distance

on a conventional
Spada,
P-

Mon.
43 2

d. Inst., hi., PI.

The
at
its
its

vase

is

an excellent specimen of black-figured painting

little

ridge at the top of the picture.

relief in the Palazzo

Harrison, Miss
>

J. E.,

Mythology and Monuments of Athens,

best,

but unfortunately the engraving gives

idea of

Rome,

is

an exact replica of

this,

the Ludovisi one, except in

fig.

38.

appearance.
All the outlines are given by lines scratched

the architecture of this distant view of Troy.

on the black

Ares' return to Olympus, howling with pain at the

inflicted

wound

of the silhouette, but

some

as, for instance,

the faces of the

by Diomede,

is

described by
is

Homer

with a quiet

women

(cf.

fig.

humour.
Fig.

Not the

least witty part

the taunt he casts at

is

with white paint.

are filled in 45) and the shirts of the Other parts, marked with dark lines on the

men

29. Aphrodite strives to rescue .ffineas

(line 312).

Zeus, that the daughter he brought into the world

deity that does not pay

the only

engraving, are covered with a reddish purple paint.

heed

to his

commands.
is

From an
considerably
is

antiquarian point of view, the archaic costumes are

Red-figured painting on fragments of an Attic vase of the fifth century b.c.

The
in the

story of the birth of

Athena

first

told in literature

very interesting,

the way
is

in

which the long hair of the

noteworthy.

men
The

Homeric

Hymn

to the goddess, a

poem

dressed, the curious apron that Hephaestus wears,

and the

From Camirus.
Journal of Philology,
vii.

older than the

(r876), B., p. 2 r5.
5
1

vase-painting here given.

Athena was con-

patterns

on the

dresses, being especially

ceived in the brain of Zeus, and

when

the time for her birth

throne of Zeus

also interesting, being decorated below, as

Luckeneach,

loc. (it., p.

7.

came, and his head was

to strike
it

in travail pain,

he besought Hephaestus

many famous thrones were, with a group of statuary, and above

with a horse's head.

with his axe.

the

No

sooner had Hephaestus dealt

all

the

blow, in

presence of

the assembled gods, than

The

birth

of Athena has

special

interest

for

English

The

vase-painter has followed

Homer

fairly closely.

Athena leaped

forth into the world fully armed.

students, as being the subject of the sculptures on the East

.Eneas (AINEA5) has sunk to the ground half-kneeling,

The

painting

shows Zeus seated on

his

throne, in rich

Pediment of the Parthenon, now

in the British

Museum.

For

wounded
in

in the groin (line 305)

by a spear, not a stone, as

left

Homer

garments, holding the thunderbolt in his right and the sceptre

in his left hand.

the latest account of these, Miss Harrison's Mythology

and

(302); and his half-closed eye (310), and

hand

Hephaestus has just struck the blow, and

Monuments

should be consulted.

BOOK
FTER
the departure of the gods, the

VI.
The
right
is

of her and his

little

son Astyanax (390-496;

is

figs.

3S,

painting illustrates the

first

part of this story.

To

the

battle

continued

to

rage,

and
on

the

41, 46).

This episode
in

the most touching and

in

the
to

the Palace of Lycurgus, from which Dionysus with his

is

thyrsus

flying

towards

the

sea,

where Thetis, the

Mrenads

sea-

Trojans gradually retired

Troy

most famous

Homer, and

strong

contrast

goddess, rising from the waves, holds out her arms to welcome

before the onset of the Greek heroes.

the scene which follows.

Hector, turning

away from
in the

him.

Behind Dionysus one of

his frenzied

(called

Hclenus
Hector to return to the
the aged
city,

the

seer

then

advised

Andromache, meets

Paris

coming

to the battle

nurses by

Homer)

is

seen in an excited attitude.

all,

Lycurgus

and send Hecuba and

light-hearted pride of his youth and beauty,

and with

himself does not appear at

Iogist, quite

and

this

has led some archrco-

women

of

Troy
in

in

solemn procession to the

a heavy heart rebukes

him
4,

for his levity.

wrongly, to

interpret

the

scene as Diana and

Temple of Athena

the citadel, there to present her

in

The
the

Tabula,
as
"

fig.

summarises

Gortinia hastening to rescue Britomartis.

the

contents

of

with the fairest garment that was

(the pephs),

Priam's palace
entreat

book

The

conversation
(?)

with
"

Andromache,
S'6/iiXia
Fig. 32.

and

to

vow

a sacrifice

and

her

and he drags Paris into battle

7rpos AvSpo/j.dxrji' kcu

(Zrjra-

The

Punishment
a

to be gracious to the Trojans. In

Udpiv

e's

X"-P iv

& KL

['])

Red-figured painting on

of Lycurgus. South Italian

vase.

Hector's

absence

the

famous

episode

of

the

The
hensive:

scenes
(1)

it

gives,

however, are

more comprein

From Ruvo.
Mon.
d. Inst., v., 23.
d. Inst.,

change of arms between Glaucus and Diomede took place (figs. 4 and 3;). They had met one another
in

Diomede (AIOMHAH2) stands

Paris issues from

an

Ann.

easy attitude, leaning on his spear, talking to Glaucus

1850, p. 330-47.

the fray, but suddenly recognised

that they were

TrarpoJtos),

(rAAT
of

(2)

the Seaman gate

the battle,

The legend

of Lycurgus

in

classical

ancestral guest-friends (line 215,

times

differed conIt

^Cwo%

and

Troy

(3)

Hector

departs

for

while

siderably from the

Homeric account given above.

was

embraced one another, and as a pledge of good-will exchanged their armour, Glaucus giving his gold armour, worth the price of a hundred oxen, for the brazen armour of Diomede,
worth but
nine (235).

so instead of fighting

Andromache
his

(ANAPOMAXH)
(4)
idol

holds up Astyanax for

with madness, not blinding, that he was punished, and the

embrace

Hecuba, followed by two women, holds

of Athena
(TpcoaSe[s]-

up the peplos before the

Trj

form his madness took was to slay his own son and wife with an axe, thinking that he was cutting down the vine which Dionysus had introduced.
Euripides, in his play the Baccha,
puts this tragedy into dramatic form, ending with the crowning

A07/Va

1T7r[\0J']).

Meanwhile Hecuba,

horror of the death of Lycurgus at the hands of his mother

at

Hector's request, had taken

Fig.

the fairest embroidered robe from the palace treasury, and gone to the Temple of Athena, where the priestess

31. Dionysus flying before Lycurgus

Agave, who, in Bacchic frenzy, knows not what she does.

(line 135).

Theano

(fig.

39) laid
all

it

on the knees of the goddess

vain, to

Wall-painting discovered in 1869 at Pompeii, in a HOUSE IN THE "VlCOLO DEL PanaTTERE."

Archiiol. Zeitung, 1S69, PI. 21,
i.

The vase-painting shows us Lycurgus, in the dress of a Thracian, slaying his wife with an axe, while Dionysus, in the
form of a beautiful young man, stands by and seems to mildly
reprove him.

entreating her, but

in

be favourable to the

On
slain.

the side are a

Trojans.

Scogliano, A., Le Pitture Murali Campane,

I

man and woman

(wearing a

p. 40,

No. 165.

Thracian costume), carrying

Then Hector
dalliance in

visited

Paris,

roused

him

from

his

Baumeister, DenkmSUr, p. S36. >arlmberg et Saglio, Did. des Antiq., 608.

Bull. d. Inst., 1868, p. 198
;

Lycurgus has
or old

dead body of the son Behind Dionysus stands the padagogus,

off the

man who had

Helen's bower, and

acted as attendant and tutor to the dead

made him arm and

1869, p. 13.

come out

to the battle.

After this he went to his

Diomede
that
to
it

asks Glaucus

A"'

nacl,c
'

but

<

liJ

to the city walls, to

own house to seek his wife not find her, for she had gone
fight

who he

is,

with the polite remark

is

useless trying to fight with gods, as Lycurgus found

watch the fortunes of the

from a lofty tower.

He met

her at the

and there before the gate took a most pathetic farewell

Sc^an gate

his cost when he smote the nurses of Dionysus with an ox-goad, and drove the god himself to plunge into the sea and take refuge in the bosom of Thetis. In punishment for this Zeus sent blindness on Lycurgus, and

Above Lycurgus, descending from heaven in a radiant circle of light, is the goddess of madness (Movio, cf. Od., fig. 52), hurling her javelin at Lycurgus. She has taken the form of a fury, is dressed in a short skirt, with bands across her breast, like a huntress, and
has a cluster of snakes coiling round her left arm (cf. Od., fi To the right below her is an altar prepared for g- 59)sacrifice, with a fire brightly burning and a water-jug for purification not far off.

boy, gazing on the scene with horror.

brought him to a bad

end.

Above

this the

god Apollo

is

seated with

his lyre, while

on either side of him,

in

a manner familiar

in

of Prcetus, handed him the

fatal tablets.

After reading them,

as in the last figure,

and

its

goat's

head
fire at
:

is

turned upwards

vases of this class, are grouped other deities as spectators of

Iobates

commanded him

to

slay

the

monster called

the

towards the hero, doubtless to spew

are the gods

him.

At the sides

the scene

below
(?)

Hermes
left.

to

the

right,

and Ares

(?)

and

Chiraaera, intending thus to bring death

upon him.
just

who

protected the hero

Poseidon, with his cloak

Aphrodite

to the

The
(line r68).

painting shows us Bellerophon,

who has

dismounted

(chlamys) and trident, standing on the right, and Athena,

armed

from Pegasus, standing before Iobates

Fig.

in his travelling dress

with regis

(cf.

fig.

16),

helmet, shield (with a lion as badge),

left.

33. Bellerophon given the Letter

No.

(cloak,

wide-awake

hat,

high boots, and spear), and gazing with

letter.

and

spear, sitting

on the

Wall-painting discovered at Pompeii in 1868.

Still in situ,

anxious expectation whilst the king reads the

clad in a rich Phrygian dress
(cf.
fig.

Iobates,

Reg.

ix., Is. 2,

16.
i.,

96) and seated on his

Fig.
37.

Ginriiale d. Scavi Pomp., N.S.,

p.

155

PI. 7, 2.
p.

throne with a sceptre,

152.

is

reading from the letter with a gesture

king's

Glaucus
(line 235).

and Diomede exchange Armour

Bull.

</.

Inst, 1869,
d.

p.

238; 1871,

p.

20; 1873,
346.

of intense surprise.

Behind the throne stands the

FlORELLI, Siavi
Id. Descr.

Pomp.,
p.

p. 138, n.

daughter (Philonce or Cassandra), with one hand raised in

horror.
p. 92,

An

intaglio

gem

at Florence.

romf.,

383.

Placing a finger to her

lips,

she shows her sympathy

in his danger.

Over beck,

Gall. her. Bild-.o., PI. 16, 6.

ii.,

Scogliano, Le Pitture Murali Campane,

Glaucus, in telling

No. 521.

with the hero and promises to aid

him

Gori, AIus. Florent. Genuine,

29,

1.

Inghirami, Gall. Omer.,

i.,

85.
p.

Diomede

his genealogy, gives at length

the story of the adventures of his grandfather Bellerophon.

Fig.

35. The Chimera on

a

Roscher, Lexicon der Mythologie,

(line 180).

1678

(fig.).

Bellerophon, a beautiful

youth, had

kindled the desires of

of
Prcetus,

Painting

terra-cotta

plate

in

the

archaic

Antca

(later

called

Sthenebcca),

wife

King of

Argos, and

when he would
to

not consent to her advances, was

Rhodian Found

style.
at

battle.

The gem depicts two warriors embracing on the field of One has laid aside his shield and spear, which may
is

Camirus,

Rhodes,

and

in

the

Louvre,

Paris.

be intended to suggest that he

for the

about to
little

strip off his

armour

denounced by her
Potiphar's wife.

her husband, just as Joseph was by

Salzmann, Nccropole

de Camiros, PI. 40.

exchange, since there can be

doubt that the two

Proetus, to take

vengeance on the hero, gave

him a

letter to

bear to his father-in-law,

who
in

warriors arc Glaucus and

Diomede.

dwelt in Lycia.
it

The Chimaera
in front, a

is

described by

Homer

as a

monster

" a lion

The

tablet

was one folded double, and

baleful characters,

Prcetus

had

snake behind, and a goat in the middle, breathing

(7rpocr0

written

many

fraught with destruction to

forth
Sc

an awful blast of blazing fire"

/xcVfn;

XeW, omOcv
Fig. 38.
p.evos

Bellerophon.

SpuKW,

Hector, Hecuba,

and Priam

(line 242).

Se

v/yxcupa,

Savor

aTrom'uov&a. Trvpos

The Pompeian wall-painting shows parture. The scene is the palace of

us

Bellcrophon's de-

aiSo/xci'oio),

description
lion's

which

the

vase-painter

has

em-

Prcetus,

and the hero

bodied by taking a

body and

legs as the basis of the

Red-figured painting on an Attic vase. In the Vatican Collection, Rome.

stands in his clonk (chlamvs), with a spear, ready to

mount

his

monster, grafting a goat's neck and head into his back, and
transforming his
tail

Gerhard,
Overbeck,

Auserlesene gr. Vascnlnhier,

iii.,

PI.

188.

winged steed Pegasus, whose head and fore-quarters are seen

through the door.
tablets

into a serpent.

The

fish

in the lower
fill

Gall. her. Bildw., PI. 16, 16; p. 398.

loc. cit., p.

He

is
is

in the act

of receiving the baleful

in the original),

part of the design,

all

and the

rosettes

and squares which

Luckenbach,

552.

from Prcetus (he

bearded

in kingly style on a throne, holding his sceptre.

who sits The trea-

the vacant spaces, have, of course, no connection with the

story of the Chimsera.

The

vase-painter shows

us

Hector,

fully

armed

for

battle

In n.us

queen Sthenebcca (Homer's Antea) appears above

Fig. 36.

(with helmet, short shirt, cuirass, cloak, greaves, shield, and

the back of the throne gazing on her victim departing to his

doom.
It

Bellerophon
d. Inst.,

spear), pouring out a libation

from a cup which his mother, from a pitcher of wine which

slays the Chimaera

(line 183).
{crater).

Hecuba (EKABH), has

filled

should

be

noted that

Homer makes no mention

jriSijo-as;
cf.

of

Pegasus, merely saying that Bellerophon trusted in the marvellous works of the
line 398).

Red-figured painting on an Attic mixing-bowl Found at Ruvo, and in the Jatta Collection there.
Ann.
Tav.
d'agg.,

she holds in her hand (258).

Hecuba

is

very youthful in

appearance, but her husband, Priam (IIPIAM02),

who

stands

gods (Otm> Tepdurm

bk.

iv.,

D,

p. 23.

behind Hector,

is

well stricken in years.

He

has a diadem

In the later form of the legend and in

art

the hero

on
Bellerophon
(a
is

his

brow,

is

clad in a long

embroidered

shirt,

over which
lost
in

and

his

winged steed arc quite inseparable.

seen high up
his

in the air

mounted on Pegasus

he wears a mantle, and leans on his

staff as

though

mark branded on

hind-quarters),

who

soars

aloft

boding
" Hector
It
is

thoughts.
is

Near Hector's

head

is

an inscription,

Fir..

34 Iobates

reads the Letter

(line 176).

above the Chimrera.

The combat
left

has

not yet begun, for

beautiful "

(KAA02 EKTOP).

Red-figured vase-painting of a late Attic style.

Wiener Vorkgtblatier, Series
S, PI. 9, 1.

the hero holds his spear in his eyes with his right,
(It
is

hand, and, shading his

in

plain that this scene does not illustrate this passage

gazing anxiously at the monster below.

that the painting
is

must be remembered
Athena.)

on the curved

Homer, for Priam was not present at the meeting of Hecuba and her son, and Hector refused to offer a libation
to

Bellerophon reached Lycia, and after nine days' entertain-

surface of the vase, otherwise

Bellerophon would seem to

is

Zeus (267).

Still

there can be

little

doubt that the passage

in

ment by Iobates (Homer does not give

his

name), father-in-law

be looking

at

The Chimajra

of the same shape

the sixth

book suggested the subject

to the artist,

who worked

it

out

in his

own way by taking

shows

the stock scene of a warrior's de-

Fig.

40. Sacrifice to Athena

(line 301).

branches.
in

Finally,

the procession closes with a rural cart,

parture,

and putting names

to the
this

two

figures.

The names
be a

Black-figured vase-painting of an archaic style.

In
the British

which four worshippers are seated, drawn by mules.

are, in fact, all that

part of the picture to

Museum.
PI.
1,

special episode, for the artist has not

to

even taken the trouble

(for

Fig.
4.

41. Hector and Andromache

(line 394).

make Hecuba
cf.

look old or to dress her as a queen

71 c

the type,

figs.

and
fill

72).

Priam was then added as

at the side, just as
this,

Journal of Hellenic Studies, i., PI. 7. Iwan Muller, Handbuch der Sacralallertiimer, Harrison, Mythology and Monuments, fig. 30.

Red-figured painting on an Attic wine-jar (amphora). From Vulci ; in the British Museum.
Journal of Hellenic
Studies,
ix.,

PI. 7.

a convenient figure to
in

up the space

another vase-painting, almost identical with

we

find

Overbeck,

Gall. her. Bildw., p. 404.

Hector given a henchman as his companion.

Flo.

39.

Priestess
(line 298).
I

Hecuba and the Trojan women did not offer a sacrifice to Athena when they brought her the offering of the embroidered peplos, but they made a vow that in more prosperous days
of a

The

vase-painter has separated

husband and

wife,

and put

one on each side of the vase.

Hector stands

in heroic nudity,

with

the

Key

Temple

they would sacrifice ten oxen at her shrine.

this

sacrifice

of

armed only with helmet, shield (serpent

as badge),

and

spear,

kind

is

shown by the
is

vase-painting.

M'll

ROM A RED-FIGURED VASE-PAINTING OF A LATE

the
vii.,

To

the right

the temple of the goddess, indicated by a

is

and clad only with a small cloak (ch/amys). Andromache wears a long shift, girded at the waist and covered with a
mantle.

STYLE.

single pillar.

In front of this
it

a statue of Athena Promachus,

in

Her

hair

is

wrapped
left,

tightly

up

in

a kind of cap.
to

From South Italy ; at Men. d, lust., vi. and

Ann.
(1.

Hermitage,
PI. 71, 2.

St. Petersburg.

and beside

the sacred serpent which dwelt

her most

She turns her

on that

face to the

as

though speaking

some one
his

ancient temple on the Acropolis.

The
is

altar is

roughly built

side, while

the

little

boy she
right.

carries holds out

Inst.,

1862, pp. 266-74.

of stone, of an unusual shape, with a sort of step on the top

(cf.

hands towards some one to the

Od.,

fig.
is

16),

on which a raven

perched.

The

fire

on

The
on.

chief problem in

reconstructing

the picture
is

is

to

Unlike our keys, which revolve in wards, most ancient keys,

espei
i.illy

the altar

burning brightly, and a priestess approaches, bearing

in a basket the sacred barleymeal.

discover which side of

Andromache Hector
it

supposed to be
that

those of large

size,

were simply

levers, the

end of end

on her head

Behind her
altar,

Her
take

gesture

makes

practically certain

she

is

which

fitted

certain holes in the bolt of the door.

To open
its

comes

solemn procession, headed by a servant of the

is

speaking to him, so that the attitude of the child, who,

we

the <l""i the key was

pushed through the key-hole, and

who
Od.,

with another

leading the ox that

is

to

be the victim.
fig.

may
for

it,

is

stretching out
(cf.

its

arms

to

the nurse,
4), is

whom

inserted into the holes in the bolt,

which was then gradually

Next comes a man playing on the double

fig.

flute (cf.

15,

and

the painter has omitted

Tabula

Iliaca,

fig.

accounted

shoved back

(cf.

Od.,

fig.

88).

69), followed by

men

bearing garlands, pitchers, and

by

its

fright at Hector's

waving crest (466).

BOOK
KCTOR
Greeks

VII.

had

returned

to

the

battle

a truce.

This done, the Greeks proceed to

fortify their

and the two heroes talking

another

in

friendship

with

one

with such renewed strength that the

naval

camp by

the sea with a rampart and moat, to

and

exchanging weapons

('AA\r/\ois

6VXa
are

determined
to fight

to

choose

the great indignation of Poseidon, who, as builder of

SojpovvTai).
is

Who

the other figures in this

tier

champion

him single-handed.

Troy

(fig.

44), looked on
fig.

them

as impious rivals.

not clear.

The
the battle

lot

fell

on Ajax, but though he

(fig.

The
follows:

Tabula,

4,

summarises
single

the

book

as

fought on more than even terms with Hector

41),

"Ajax

fights
"
(

in

combat with Hector,

Fig. 42.

was undecided when night came on and

to

and night stops them

Ht<x'

AiWEicropt jxovvojxd^n
it

Ajax and Hector engaged in

(line 244).

Single

Combat

brought

it

an end.

The two

heroes, however, parted

Kal fCf dvTovs SiaAvu); and illustrates

that are difficult to interpret, though
clear:

with scenes

with an exchange of gifts in token of their admiration

of each other's prowess.

two are quite

Ajax (AIA2)
fallen

fighting with Hector

(cf.

On

(EKTOP),
fig.

Red-figured painting on a drinking-cup (cylix) dy the Athenian potter Uuris, of the fifth century b.c
In
the Louvre.

the next day both sides bury their dead under

who has

on one knee

line

271, and

42),

The

reverse offig. 23.

Frohner, Choix de Vases LUCKENBACH, lOC Ct't., p. 5

Grecs, PI. 4.
I

Fig. 43.

Two

Warriors separated by their Friends

Fig.

44.

Poseidon

and Apollo presiding over the

7. vi.,

(line 276).

building of a

Town

(line 452).

Wiener Vorlegehlatter, Series

PI. 7.

Black-figured painting on an Attic wine-jar (amphora)

OF THE SIXTH CENTURY
B.C.

Wall-painting in the "Casa del Sirico" at Pompeii.

Giornak
d. Scavi.,

Homer
at

tells

us that the two heroes

twice,

first

hurled their lances

Formerly in the Candelori

Collection,

and now

at Munich.

1862, PI. 5.
Lied, p. 46.

one

another

Ajax wounding Hector in the neck,

In this second
fell

Archiiol. Zeitung, 1854, PI. 67.

Robert, Bild und

and

then threw each a stone at the other.

Robert, Bild und

Lied, p. 217.

encounter Hector was struck in the knee, and

to

the

ground

but supporting himself with

feet.

his

shield, aided

by This vase-painting has

(Klein

Apollo (271), he soon regained his

The

heroes were on

been taken

by some authorities

In this passage Poseidon claims for himself and Apollo the

the point of beginning with the battle anew,

hand

to

hand

among them)

to illustrate the separation of

at

Hector and

renown of having

built the walls of Troy.

In bk.

xxi.,

446,

with swords, when the heralds intervened and stopped them

for the night.

Ajax by the heralds

there
is

the approach
itself to

of

nightfall.

At

first

when

recalling the year

which he and Apollo spent

of Troy,

in the

nothing in the picture

disprove

this,

except

service of

Laomedon, King

he says that

it

was he

The
fight,

vase-painting shows the second

and
In

third stages of the

the cloth which hangs from the wall in the background,

and

and gives Ajax the

is

victory.

the

centre

Hector

shows that the scene

painting, indeed,
is

is

not in the open battle-field.

The

(HEKAOP)
break his

seen falling with eyes half-closed, but striving to

one of a

series of representations of the

who built the walls, of Mount Ida. The Pompeian

rendering of this

while Apollo tended the oxen in the glades

painter
incident.

has

given

somewhat

idyllic
sits

fall

by his

shield.

Behind him Apollo (AIIOAAON)

hastening to help
shield,

quarrel between Ajax and Odysseus over the arms of Achilles

(cf.

Poseidon, with his trident,

with his quiver and

bow

is

him

to his feet.

Od.,

fig.

57),

and

corresponds so exactly with the type of

its

on a block of hewn stone beneath a half-finished column,

while
facing

Hector

is

armed only with helmet,

kopis), the artist's

and sword

(of the

the rest that no doubt about

subject

is

possible.

him

stands
(cf.

Apollo
fig.

with

quiver

and

bow,

kind called the

that

intention being to suggest

The two

heroes are represented armed with helmet, loinsubstitute for the later shirt), cuirass,
is

holding a laurel branch

Apollo's

12)

and leaning on

his lyre.

he has hurled

his spear,
last

but failed to

wound

Ajax, and so

cloth (an archaic

and
to

back

is

turned to us, but he speaks to Poseidon,

as

has had recourse to his

weapon, the sword.

Ajax (AIA2),

greaves (the holes through which the lining

sewn on should
and struggle

and

it

would seem

though they were

is

talking

of the
in

on the other hand,

greaves,
shield,

is fully

armed

in short shirt, cuirass, helmet,

be noted).
an old
shirts

They have

just

drawn

their swords,

building of a

huge stone wall which

going on

the

and

sword, has already

wounded Hector,
still

rush at one another, but are held back each by two friends,

background.

and

is

advancing to slay him with the spear which he

man and

a young.

The

old

men

are dressed in long

trait

This part of the picture

is

dim, but the workmen can

retains.
shift

Behind him appears Athena (A0EAIA), dressed

regis,

in

and mantles, the dress of peace, a

identification

which alone

be seen laying and dressing the stones, and hoisting with

the aid of a crane the blocks which have been dragged to

and mantle, and armed with

helmet, and spear.

would make the

of the painting with a battle

in true heroic to

She rushes forward, and with excited gesture encourages her Homer does not mention Athena, favourite to slay his enemy.
but the vase-painter required
a
figure

scene very doubtful.

The young men appear

which they wear seem

the

spot

by

oxen (these oxen are regarded by Professor

as

nudity, but the wreaths

show

that

Engelmann

an

allusion

to

Apollo's

having

served
altar

to

balance

that

of

they are engaged at either a feast or sacrifice, probably both.

Laomedon
by the new

as

cow-herd).
it

In the middle distance an

Apollo

(cf.

Artemis

in

fig.

23),

and so has added her

to give

The

warriors also

have wreaths, presumably of victory, on

with offerings laid upon

city.

suggests the worship of the gods

symmetry

to the design.

their helmets.

BOOK
N
the next day Zeus called an assembly

VIII.
battle raged
fiercely
field,

As
fates
(fig.

the

day went on, and the

and he

solely because

one of

his horses

had been

of the gods, and forbade any of them

to take part in the fighting
side.

towards midday, Zeus took a balance, and weighed the

of
the contending
forces

wounded by an arrow

of Paris' (lines So-91).

Diomede,

on either

against

one

another

however, took him into his chariot and rescued him.

He

then rode in his chariot to

47), the Greeks finally sinking in the scales.

There-

The Greeks then

scended to
aid,

rallied,

and Hera and Athena de-

Mount
Trojans,

Ida, to

watch the Greeks and

45, 46).

upon he thundered and sent confusion on the doomed

host, so that

only to be recalled by Zeus, reprove

who

sent
at

who were aiming

for the fray (figs.

Nestor alone of the leaders was

left in

the

down

Iris

to

them.

The

battle

closed

nightfall,

when the Trojans

left

as victors on the field

the flesh of the ladies

is left

is

painted white, though that of the

men

similar scene in the Iliad (bk. xxii., 210),

where the

fate of

bivouacked there for the night.

has lost
of the
its

The

Tabula,

fig.

black.

Hector

is

decided
art,

in this

way.

This may be gathered, not

4,

only from
Fig. 46.

but from literature, for yEschylus himself wrote

summary
Nestor

of this book, but gives as one

Hector's

Departure

(line

55).

scenes

(N ESTOP)

falling

from

his

Black-figured

painting

on an

archaic

vase

with

drama on the subject. The Louvre vase shows Hermes (dressed

holding
his

in shirt

and

cloak,

chariot, hotly

pursued by Hector fEKTOPj, a not very

of
I'aris

Chalcidian inscriptions.

and
iv., PI.

caduceus)

weighing the two

heroes,

who
in the

accurate

rendering

Homer

(lines

80-91).

The

Gerhard,

Auserlesene Vasenbilder,
p.
(5).

322.

appear as two tiny figures in the pans of the balance,

presence of Zeus,

other scene shows

(flAl'IS)

fighting,

not as an

Baumeister, Denkmiiler,
Klein, Euphronios,
p.

724,

fig.

778.

who

stands

by,

fully

clothed,

holding a

archer, but as a foot-soldier, with a Greek,

whose name

65

thunderbolt in one hand and a long knotted staff in the other.

LUCKENBACH,
has been
lost.

p. 543.

On

the other side a

woman, who must be mother

Zeus by

of one of the

Overbeck,
[Like
fig.

Gall. her. Bildw., 403, 23.

is

warriors, appears entreating

lively gestures to favour

45, this

a genre picture, without any allusion to a special

her son.
Thetis
;

On
cf.

most of the other vases both mothers (Eos and

fig.

FlO. .15. Hector's

b
1

Departure
on

(line 55).

Od.,

21) are represented.

l;urkd

painting

an

archaic

vase with
ful

To

the right

we have Cebriones (KEBPIQNE2)

as a youth-

Corinthian inscriptions.
Formerly in the Camfana Collection at Rome.

groom, seated on horseback with a switch, holding Hector's

horse, while his master

The reverse has a picture 0/ youths racing on horseback.

of

(EKTOP), armed for battle, takes leave Andromache (ANAPOMAXE), who appears as a matron
Further on, Paris, in
Perseus) winged whose attention, however, has
her, gazing

Fig. 48.

Cerberus

dragged from Hades

(line 366).

Black-figured painting on an Attic water-pot (hydria)

of the sixth century B.C. Gerhard, Auserlesene gr. Vasenbilder,

Mon.
Ann.
l:>.i

d. Inst.,
d. Inst.,
1 1
1

1855, PI. 20.

with her mantle drawn over her head.

1855, p. 67.

the dress of an archer, and wearing (like

p.

ii.,

PI. 131.

\m

r,

Iknkmaler,

724.

boots, takes farewell of Helen,

Baumeister, Denkmiiler,

p. 663,

fig.

730.

Robert,

l'<

ill

und
IflC.

Lied, p. 23 (note 21), 250.

Cl't.,

been diverted by a
steadily

man who advances behind

some youths on horseback

Roscher, Lexicon der Mythologie,

p.

2205.

LUCKF.NMACII,

p.

543.

backwards

at

(not

shown
Athena, talking with Hera of the favour Zeus has shown the
Trojans, says that her father
is

Brunn,
Conzh,

Troische Miscelkn, p. 75.

Vorlegtblatter, Scries
iii.,

here)
1.

who

follow Cebriones.

It

should be remembered that to represent warriors as riding,

is,

ungrateful to forget

how she

not using a chariot,

as far as

Homer

is

concerned, an

The
Od.,

aided Heracles in the labours which Eurystheus had imposed

oldei Greek

vase-painters are

extremely fond of de(cf.

anachronism,
battle.

for

in

his

time

horses were never ridden in

upon him, and has consented

Achilles.

to listen to Thetis,

and avenge

plcting the departure

fig.

of

heroes for war

figs.

62,

71

c;

such scenes are represented without any Bpecial reference to any particular departure of the hero in
73), but as a rule

Fig.

47. Weighing of the Souls of Combatants

(Vtuxoo-Tao-ia),

The
exploit

labour of Heracles which she quotes as her greatest

is

his descent to

question.

the case with the Corinthian vase given here to illustrate Hector leaving Troy for the last time.
is

This

Hades, whence he dragged Cerberus

the entrance gate to
of this Heracles, clad

(line

70).

up

to the light of the world above.

left

left the picture Priam (HPIAMOS, backwards) and Hecuba (BKABA) appear taking leave of Hector (EKTOP). Hectoi is fully armed with helmet, loin-cloth, cuirass, shield,

To

the

of

Red-figured painting on the fragments of an Attic vase of the fifth century b.c.
Formerly in the
Louvre.
collection

In the vase-painting we see to the

Hades, indicated by a single

in a lion-skin (with a shirt

pillar.

Out
it),

of the

Due

de Luynes,

now

in the

under

and armed with a bow,

and

spear,

and

quiver,
restored.
d. Inst., d. Inst.,
ii.,

is

being embraced by his mother.

Behind him

Much
Mon.
Ann.

Stand

two ladies, Aino, or Ainos (AINO[5] and Kianis ), (KIANIS), who are gazing on Hector's chariot, in which his

in
PI.

dragging Cerberus by a rope from his post the portico (two only of Cerberus' three heads are shown),
club,
is

and

10

b.

to the great

pp. 264, 294.

p. 143.

charioteer,

Cebriones

(KEBPIONES),

The
artist

road outside the gate

represents
hat,

stands

waiting.
is

The
called

Robert, Bild und Lied,

dismay of Persephone, who gesticulates her protest. is overgrown with trees, which the

chariot
"

is

drawn by four horses, one

of

whom

by a

single shrub.

Raven

Overbeck,

Hermes, however (with

boots,

"

(KOPAB).

On

the other side of the horses

Gall. her. Bildw., PI. 22, 9; p. 527, 65.

loc. cit.,

wide-awake

we

or petasus, winged

see

Luckenbach,
This vase

a warrior called

p.

Hippomachus

617

(h).

(UinnOMAXOS)

waiting to guide the hero through the dark

talking to
is

and chlamys), is maze to the spot

two
a

ladii s, Behind the chariot is another warrior, followed by horseman (AAI*ONOS), leading another horse.called Xanthus (HANSOS), and accompanied by a warrior walking at the
,

where Athena stands,

fully

one of a large

armed, waiting for him with a

is

series,

which represent Zeus

chariot

drawn by four horses.

of

deciding the issue of the battle between

over the dead body of Antilochus

Memnon and

Achilles

The costume

Hermes

worth noticing, especially the

""

* \

side,

Finally,

Polyxcna

(HOAYSENA) and

Cassandra

E E3
It is

X Al'A) close the scene to the right. worth noting that in this, as in

(cf. Od., figs. 15, 21). This weighing of the souls, or *vYoo-Tao-uz, was an episode in the sEthiopis of Arctinus of Miletus (cf. Tabula Iliaca, fig.

archaic pig-tail in which he wears his hair,

and the boots with

the wing-like flaps in front, so different from the later forms of his

most black-figure paintings,

3),

shoes

(cf. fig.

no).

and had a much greater hold on the popular mind than the

For another painting of Heracles dragging

fig.

Cerberus from Hades, see Od.,

59.

BOOK
HE reverses which
at
his

IX.
Patroclus leans on the back
is

army had

suffered
led

which he plays with a plectrum.

of the throne and
listens.

Fig. 51.

Carving

Meat

(line 209).

the

hands of the Trojans

His sole costume

art,

the chlamys

(which, at this period of

was the characteristic dress of

his left arm.

Agamemnon to summon
and
to

the chieftains
retreat

heroes),

and he

carries a

sword under

To

Black-figured painting from an archaic vase. From Care ; in the Campana Collection at the Louvre.
Other
scenes from the
d.

the

propose

hurried

same vase are given,

33.

right of the picture

two

girls

are seen seated

on a large block

Od.,figs.

58 and 90.

Mon.

Inst,

vi., PI.

home.
prevailed upon

Diomede and

Nestor, however,

of stone, against which the sword and shield of Achilles lean.

Daremberg et

Saglio, Diet, des Ant.,

p.

T270,

fig.

him

to give

up such a disgraceful plan

Still, all
;

One

1690.

of these

is

reading,

and perhaps

also singing, from a sheet

and to continue the war.

felt

that nothing

of paper, while the other beats time with her finger.

In the
It

background

is

draped curtain, showing that the tent of

could be done without Achilles

and

so, at

the banquet
Achilles
is

was the custom

in

Homeric times

for the host to slay the

the scene of the picture.

which followed, they persuaded

Agamemnon
if

to send

animals, carve the meat himself, and apportion the parts that

were
Od.,

for the
iii.,

gods or the several guests

xiv.,

(cf.

//., xxiv.,

621-6;

to the hero offering to restore Briseis, with seven other

448

425), his squire helping by holding the joints,

for Achilles.

maids, and
his

many

other presents,

he would give up
Phcenix, Ajax,

Fig. 50.

The

Embassy

to Achilles

(line 225).

as in

Automedon did
(cf.

In the banquets of the suitors

(SaiTpoi)

wrath and

fight

for the Greeks.

and Odysseus, with two

to

heralds, were accordingly sent

Red-figured painting on a cup (cotyle) by the celebrated Athenian potter Hieron, of the fifth century b.c.
In
tin Louvre.

the Palace of Odysseus, two servants

Od.,
xvii.,

did the

carving

the

tent of Achilles, where

they found him, and

331; xv., 140), but this was doubtless on account of the absence of the master of the house.

The
Patroclus

by

his

side,
(fig.

singing heroic ballads to the

49).

reverse is given in fig.

d. Inst., vi., PI. ig.

n.
fig.

The
(cf.

vase-painting shows us one of the side scenes at a feast

fig.

Mon.

Od.,

90).

A bearded man with a large knife stands before

lie

music of the lyre

courteously,

He
a

received
for

them most
enter-

Baumeister, Denkmiiler,

776.

a table, on which
stretches out

portions of meat already carved, and

and

prepared

feast

their

Klein, Meistersignaturen,

p.

170 (17).

his left

hand

to take a leg

brought him by a

tainment.

During the

feast Odysseus,

who was

the

Robert, Bild und

Wiener

Lied, p. 95.

youth.

Behind the carver stands a

side
is

large mixing-bowl (crater),

is

spokesman, broached the business for which they had

come, but Achilles refused to hear of terms, and an-

VorlegebUitter, Series C, PI. 6.

on the
carving
roasted,

of which

a wine-jug

balanced.

When
off

the

completed, the portions

will

be carried

and

and then distributed by the host

to their precedence.

to his guests, with

nounced

his intention

of sailing

home on
he

the morrow.

Achilles

AAEY2)

sits in his

tent (indicated

by the sword

Even
to

his old

friend

Phoenix,

whom
last

had pressed
him, and
with the

and cap hanging on the

naive

wall), closely

wrapt

in his cloak,

due regard

remain with him, was unable to move

to depart
stir
till

way of expressing
is

his sulky

resentment against

AgamemBefore
traveller

Odysseus and Ajax had at

non which

found

in the vase-paintings of this type.

Fig. 52.

The

Calydonian Boar-hunt

(line 533).

him stands Odysseus (OAVTEV)

in the

costume of a

message that Achilles would not

slain the Greeks,
in

Hector had

Black-figured painting on the celebrated Francois

vase at Florence.

(short shirt girded high, small cloak, or chlamys, wide-awake

hat,

and came to attack the Myrmidons

which has been improperly restored, two spears, and a

Klein, Meistersignaturen,

p. 32.

their tent.

sword), leaning on his spears, and pleading the cause of the

Greeks with an eloquent gesture.

Fig. 49.

Achilles

playing the Lyre

(line 186).

Wall-painting,

high, by 2 ft. 3J in. wide. In the " Casa de Capitelli Colorati," Pompeii.
2 ft. i in.

Phoenix (<pOIN

Behind him stands Ajax (AIA2), while on the other side is seen behind Achilles. Both the latter
)

The Calydonian

boar was a huge monster sent by Artemis

to ravage the country of CEneus,

are in the ordinary

Greek dress of

shirt

and mantle, and lean

of Achilles,

on one occasion he had

to

failed or forgotten

King of Calydon, because when sacrificing

Museo Borbonico,

xiii.,

PI. 37.

on long knotted
is

staves.

The extreme youth

who
is

honour her alone of the gods.

The boar
in the

devastated the

Helbig, Wandcgcmalde, No. 1315.

Achilles, a strong

beardless, whereas the others have long thick

beards,

crops,

and even uprooted

down.

trees,

and was

end only

slain
cities

strongly brought out.

when Meleager gathered

which Achilles
sits

warriors

and dogs from many

to

and beautiful youth,

is

seated on a throne

The

rich inlaying of the chair on

and

its

and hunted

it

in the centre of the picture, singing to the

sound of a

lyre,

embroidered cushion are worth notice.

Later Greek tradition

gave

names

the

heroes

whom

Meleager

summoned

to the hunt, almost

making an epic of
one
in art,

it,

According

to

Homer, Meleager had wedded

off his

Cleopatra, the

Found

in

1838 at Santa Marinella

now

in

the

Berlin

with a muster-roll only second to Homer's.

daughter of Idas and Marpessa.

Idas was the strongest of

Antiquarium.

The myth consequently became

is

a favourite

and

men, and when Apollo had carried

betrothed bride he

often found

on vase-paintings; the most famous (next to

dared to draw his bow against the god.

the present

one) being that of Archikles and Glaukytes at

later

The myth was one

"Chest of Cypselus
" at

of those represented on the famous

Mon. d. Inst.,m., PI. 58. Ann. d. Inst., 1843, P- 2 37Baumeister, Denkmiiler, p. 915,

fig.

909.

Munich.
with

In

times

it

was the subject of the sculptures

Tegea.
5) in
reliefs.

Corinth (seventh century

B.C.).

On

it

Verzeichniss der Ant. Skitlpturen (Berlin),

No. 215.

which Scopas adorned one of the pediments of the

at
It also

Idas was depicted leading Marpessa,

who

followed

him willingly,

Temple of Athena Alea

reliefs

appears on
times,

the
is

from the Temple of Apollo.

from Gjolbaschi

(cf. fig.

Roman

and

to

The Etruscan
between Idas

mirror

shows Marpessa (Marmis) standing

be seen on several sarcophagus

In the painting

(Ite)

and Apollo (Apulu), both of

There
is

whom

Meleager was

in

Greek, and later

in

Roman

art,

the type of

are

from the Francois vase, the boar appears in

bristles with
is

armed with bows.

there any hint of

nothing to suggest their enmity

is

the ideal hunter, and

many Roman

replicas (Pliny,

N. H., 34,
that

the centre.

He
in

the arrows which

the

hunters

except their gestures, which are those of lively debate, nor

91) of what must have been a celebrated

are to be found in

Greek statue of him

of these
is

have planted

him, and

worried by a dog (MAP<J>aa2) that

how

it

ended.

scholiast

on the passage
to

museums.

The

best

known

has jumped on his back, and snaps at his ears.

is

Yet the

battle

of

Homer

tells

us that Zeus sent

Hermes down

in the Vatican, but in point of

beauty

it is

end the
that in the Berlin

not nearly so fine as

not

all

on one

side, for the

boar tramples beneath his feet

battle

by giving Marpessa her choice of the combatants.

She
statue,

Museum

given here.

Unlike the Vatican

the dead hunter Ancreus (here called

feet lies a

ANTAI02),

at

whose
Front

chose Idas.

which has a
is

fluttering cloak

wrapped round one arm, the

hero
in
is

dog ((JI'MKNOS) ripped open by

his tusk.

figure

completely nude.

The

a well-built,

manly
15,

and

rear the hunters are hurrying

bows and arrows.

up with spears and javelins, Conspicuous among these are Peleus

Fig.

54. The Battle with the Curetes

youth
(line 597).

(cf.

a description of a painting,
fits

Philostratus, ch.

which exactly
for the

(I1ELEV2), and Meleager (MELEArPOS), who receive the

boar on the point of their spears
is

(cf. fig.

55).

Behind them
dog Methepon.

the huntress Atalanta

(ATALATE)

with her woman's pep/us

girded high, and at her side Melanion with his

Relief on the lid of a Roman sarcophagus. Walled into an open loggia at the Vatican, Rome. Ann. d. Inst, 1863, PI. A. B. 5, p. 104. Baumeister, Denkmiiler, p. 919.

him), and stands just on the point of starting

hunt with the boar-spear leaning on his left shoulder. The form of the spear, with the large projections below the
blade,
is

worth noting, as being that invariably used in classical

times for boar-hunting, and surviving in

day.

Germany at

the present

Near them kneels an archer, Euthymachos, and behind him Thorax and Antandros and the hound Labros, followed
'

The war between

was the
claimed
it

the Curetes

and the /Etolians of Calydon

boar
(fig.

by Aristandros and Arpylea.

result of the slaying of the as theirs.

;

52), for the Curetes

all

On
In

the olher side the

So long
but

as
in

hound Corax

Meleager fought

went well
left

(with Corinthian koppa)

with the -Etolians

when

eized the boar from behind, while the hunters

pique with his mother he

Polydeukes

Fig.

the
until

field,

and Kastor (Castor), Akastos and Asmetus, Simon and Antimachos, Kunortes and Pausileon, follow with spears
(Pollux)

the Curetes were irresistible,

and sacked the

city,

Meleager yielded

to the prayers of his wife

and drove

In

56. Meleager slain by Apollo. Relief on a Roman sarcophagus. the Naples Museum.
1,

them back.

and
the

javelins.

Kimerios and Toxamis shoot their bows, and

The sarcophagus
fire to

Arehiiol. Zeitung, 187

hounds Elertes and Ebolos rush on the quarry. The version here, though at least as old
B.C., is

the

as the seventh
that of

the city

entury

manifestly

much more developed than

at
all,

relief shows on the left the Curetes setting and on the right Meleager sallying forth from gate and slaying them. In the centre, between the
city,
is

PI. 54, 2

Baumeister, Denhndler,

p. 919.

Homer, who

two groups,
Dr.
all

gives

no hint

that Peleus, Castor, or Pollux

took
in

part in the hunt,

and never mentions Atalanta

is

Engelmann
the trouble.

though

a female figure in the garb of a huntress, which takes to be the goddess Artemis, the cause of
It

Homer does

not

tell

how Meleager met

his end, but

merely

the later versions she

the most important person concerned.

seems, however, more probable that

it

is

Manj
artist's

cf the

invention,

The

skins

names on the vase-painting are, however, the ami have no mythological warrant. worn by the heroes arc interesting as a survival
is

of

the primitive hunter's dress, which

more

Atalanta, the beautiful huntress, who, according to the later version of the story, had been awarded the boar's head and skin by Meleager, to the great annoyance of the Curetes, who made this the pretext for war.

says that the Erinnys heard the prayer of his mother Althcea that he might die (line 571). Hesiod, however (according to Pausanias, x., 31, 3), in the Eoae, makes Apollo

familiar to us

when
Fig.

worn by Heracles
FlO. 53

(cf. fig.

48).

-Marpessa, Apollo, and Idas

Spiegel,
i.,

55. Meleager

(line 543).

(line 560).

An Etruscan mirror.
Gerhard, Sir.
Roschi
r,

PI. So.
ii.,

/,

won

der MyihologU ("Idas"), vol.

Marble statue a little over life-size. Roman copy of a Greek original, in the style of the Empire. Head, right arm, part of leg, plinth, and dog re102

p.

stored by Wolff.

Phrynichus. I he Naples sarcophagus follows the older version, and depicts Apollo (wearing a short cloak or chlamys, and having his hair tied in an archaic knot) drawing his bow at Meleager, who drops his sword, and, stricken to death, falls backwards

life of Meleager depend on the mysterious torch the fates had given his mother. This is the form of the legend familiar to us, and ,t ,s said to have been first mentioned by

him in the battle with the Curetes. however, this version was forgotten, and the
slay

In

later times,

made

to

BOOK
HIS book
the
is

X.
other vase-paintings, notably one by Euphronios. the background
of the picture
is

known
and

as the AoXwi/eia,

skin mantle and a cap of marten-skin, on a tamarisk

tree
(fig.

The

tree in

capture

slaying of

Dolon

57).

Then both heroes went on

to the tent of

the tamarisk

(pvpUr))

on

which Odysseus hung Dolon's

spoils (line 466).

being the central incident.

Rhesus, slew the king and twelve of his followers as they

slept
(fig.

The
cil

narrative begins with the coun-

58),

took the king's horses, and, mounting

of war which

Agamemnon, unable
of the
night.

them, rode back to the Trojan

camp

Fig. 58. in safety.

The

Horses

of

Rhesus

(line 482).

to sleep for anxiety,

had with the help of Menelaus

the

Red-figured painting on a South Italian vase.

Wiener
Fio. 57.
Vorlegebldtter, Series C, PI. 32.

called

together

in

middle

The

proposition of Nestor, that a spy should be sent to the

Dolon
the

(line 370).

Two
lie

scenes are given in the picture.

(1)

In the upper part

their feet buried
(cf.

Trojan camp, was eagerly taken up by Diomede,

chose as a companion Odysseus.

who

Red-figured painting on an Attic vase of the beginning OF THE FIFTH CENTURY

Formerly in
St. Petersburg.
B.C.

the Thracians fast asleep on a

wooded

hill,

The two

heroes then
shield,

in the grass.

They

are

all

clad in their national costume

Campana

Collection ;

now

in the Hermitage,

armed themselves, Diomede taking a sword and

Od.,

fig.

59)

of embroidered trousers and vest with tight

is is

sleeves,

over which a blouse or shirt

star appears),

worn.

The
is

king,

Odysseus a sword, bow, and quiver, and both putting on

skin caps.

The picture

is

repeated on the other side of the vase.

Rhesus (over whose head a

distinguished from

Thus equipped they

cries of

set out in the darkness,

Ann.

d. Inst.,

1875, Tav. d'agg., Q.

p. 143.

1, p.

299.

the others by the cockscomb with which his tiara

adorned.

encouraged by the

a night-heron, which Athena

fell

Klein, Euphronios,

On
459.

the right

Diomede in

high boots and

girt to his
left

felt

cap (pilidion),
the
hill

had sent as an omen.

Dolon, a Trojan of

Roscher, Lexicon,
Before long they
in

p.

1195 (Dolon).
p.

with

and with only a small cloak

has beheaded,

waist

mounts
(in

Baumeister, Denkmaler,

mean appearance, whom Hector

with a drawn sword, while on the

lies

a Thracian,

whom

he

had sent

to

spy out the Achaean camp.

He

dead, and one of his comrades

flies in terror.

fled

at

In

the

centre

Dolon

is

depicted clad in short shirt and

(line 334).

(2)

In the lower part of the picture Odysseus

is

chlamys and

their approach, but

was overtaken, surrendered without

wolf-skin,
is

and armed with a bow and quiver

in full flight, closely

He

pilidion)

leading two prancing steeds away from the

camp
is

struggle,

and

told

them the whereabouts of the

;

running

pursued by two warriors, who,

through marshy ground.

He

has his sword drawn, and

looks round to beckon

different

detachments of the Trojans

to

giving especial

coming up on both

sides

of him,
in

make escape

impossible.

hurriedly following Diomede,

to the left

who

him

prominence

the

fact

that

Rhesus,

King of the
far

Both heroes are dressed

short cloak (chlamys), and

a wide-awake hat (petasus) and

spear.

towards the ships.

character
flying

Thracians, an ally newly arrived, lay

the
rest.

encamped

armed each with a

This

from

equipment

After extracting this information,

Diomede

Homer, who makes them wear skin caps, and arms Odysseus with sword and bow, and Diomede
is

at variance with

The decorative Diomede and the

the

of the

design

is

noteworthy;

Thracian balance one another, and

two horses are grouped symmetrically on each side of

slew the treacherous spy, and hung his spoils, a wolf-

with sword, shield, and spear.

It is,

however, found on several

Odysseus.

BOOK XL
N
the day following, Eris, the goddess
retiring

when

grievously
rallied

wounded

(fig.

60).

At

his

Ajax

to rescue

him

(fig.

61).

Menelaus took him

in

of strife

(fig.

59),

by the command of
battle, in

departure

Hector

the Trojans
the

to such

good

his chariot, for

he was wounded, and Ajax held the

(fig.

Zeus, stirred up a mighty

purpose that

they routed

Greeks and wounded

tide of battle.

Trojans

in

play

60).

After this Paris wounded

which
feats

Agamemnon
of arms,

performed great
the Trojans,

Diomede, who strove to turn the

this

After

Machaon and
in

Euripylus.

The

former,

as

he

fled

driving

Odysseus alone remained

to face the foe, but

call

even

the chariot of Nestor,

attracted

the

attention

of

with Hector himself, back to the city walls, and only

he was surrounded and driven to

on Menelaus and

Achilles,

who

sent Patroclus to inquire

how

the battle

was going.

returned Patroclus, on hearing from Nestor,

Yio.

61. Scenes from

Iliad,

Book XI.

to beseech Achilles to allow

him

to

go into battle wear-

Relief on an Etruscan sarcophagus.

strike terror into the ing Achilles' armour, and thus

Found at Corneto
Jahrbuch des

(the ancient Tarquinii)

i.

i875-

Trojans.

Inst.,

(1886),

p.

205.

armour (bearded, as (AXIA ), in full loinand wearing a cuirass over an embroidered armed with shield and spear), cloth, helmet, and greaves, and Nestor (NE2TOP), who appears as an is clasping the hand of which is a wreath), a close-cut old man with thin grey hair (on Behind staff. a long mantle and carrying a

On

the

left

Achilles

in all early art,

beard, wearing

Fro.

59. Eris

(line 73).

Mon. Ann.
archaic Chalcidian

d. Inst., xi., PI. 5d. Inst.,

Achilles a four-horsed chariot

243.

is

waiting.

Phoenix (*OINIH,

1883, PI.

v., p.

backwards) stands in
Antilochus
(cf.

it

Black-figured painting on the

vase on which flg. 2^
is

Od.,

holding the reins, and Nestor's son, m untin S is ed fuV fig.

15),

painted.

(ANTIAOXOS).
Three pairs of combatants are represented in the relief, the Trojans being distinguished by their Phrygian caps from the
Greeks, two of

At the
is

side

of the

chariot

is

the winged

ArchSol Zeitung, 1886,

PI. 206, 2. p. 18, fig. 20.

figure of Iris (IPI2, backwards),

who

holds in her right hand

Baumeister, Denkmaler,

the herald's staff which

her badge as messenger of the gods.

whom

wear breastplates.
left,
is

Professor

Brunn

interprets this scene as Achilles pledging

In

the goddess of

strife,

appears here (as on several other

The

first

Greek, beginning at the

sailor's conical

Odysseus, easily

archaic paintings) as a monster with a Gorgon's

head and four

though the

recognised by his

cap of

felt.

He

against himself to accompany Nestor and join the expedition

is

evidently

wings on her shoulders.

She
is

is

clad in a long garment, has

flying,

wings on her
artist's

feet,

and

supposed to be

swiftly.

technique only allows him to represent her running The sphinx at each side is purely decorative, and has

on the defensive (460), and the next Greek warrior, be Ajax, is striving to get to him, and fighting hard to pass a naked Trojan youth, who hurls a large stone as his last weapon. Next
to

who must

Troy.

In this case we must suppose that the artist means chariot imply that Nestor and Achilles will mount a second and depart with Phoenix and Antilochus. This would solve
to

Ajax

is

man

with a Greek wide-awake hat, blowing a

the difficulty that there

is

no connection with the goddess.

shell to rally his side.

This

is

probably Teucer.

Then comes
by a spear

shown

is

already

occupied.

no chariot for Achilles, as the one Luckenbach's theory that the

painting represents the departure of Achilles

and Antilochus

a Greek (6) grievously

wounded

in the left thigh

which has pierced and broken

FiO,

off at

both

sides.

He

on some unrecorded expedition

fails to

explain this point.

totters,

60. The Flight of the Achaeans.

figures in moulded relief,

supporting himself with both hands on his spear, and seems to

make no attempt
him
(7).

to

defend himself from the Trojan who faces

is

Black-glazed vase with

pr0i1a1ilv

Further to the right Patroclus (8)

seen putting
Fig.

of the hellenistic period.

Tanagra
;

on his

cuirass, while

an attendant brings him his sword and

63. j*Eneas in Single Combat with an Achaean.

Found
5o lcB

at

in the Polytechnikon, Athens.

greaves.

'KtftjjiitjUi

'ApxtuoXlKT/,

1887,

7ri'f.

5, 2.

On

the whole, the picture agrees better with

reliefs
;

Homer

than

Winctolmannsfest J'rogramm, 1890, p. 21.

Black-figured painting on an archaic Corinthian unguent flask (aryballus) of the seventh century B.C.

most Etruscan
that Euripylus

the only important discrepancies being

was wounded with an arrow, not a spear

is

Found at
(lines
is

Cervetri(the ancient Care)

now in the Art Museum,

On

the

left

is

seen the rampart of the Achaean camp,

5835), that Teucer

not mentioned, and that Patroclus

Vienna.

lirisilinr,

witli

palisades

(XAPAE AXAIfiN),
full

towards which
first

bearded warrior well advanced in years.

There can however

on a
relief

Ann.

d. Inst.,

1886, Tav. d'agg., Q, p. 275.

loc. cit., p.

three chariots are galloping at

speed.

In the

chariot

be scarcely any doubt that

it

is

Patroclus, for
is

on

Luckenbach,

536.

bearded

warrior

stands

looking

backwards,

apparently

one of the sides of the sarcophagus he

bearded.

again represented as

towards a

man on

foot,

who

runs beside the second chariot.

This

is

probably Menelaus driving away wounded, but shouting

Two

warriors, dressed in closely fitting shirts

shield, are hurling

and armed with one another,

wait on

to the other heroes to

make
alone

a stand.

In the second chariot

inscribed,
;

helmet and
Fig. 62.

their spears at

are

two

figures,

both with

names
is

but of these

Odysseus
his

(OAY5SEY2)

legible

so that this represents

Achilles

while their attendants,

mounted on horseback,

each

going out to

War

(line 781).

side.

One

of the heroes has the

name /Eneas
is,

inscribed in
is

rescue by Menelaus, line 487 (the inscription, however, looks

like

archaic Corinthian letters, but otherwise there

nothing to

mure

Agamemnon).
(lines

The

warrior in the third chariot

Red-figured painting on a drinking-cup

potters Euxitheos and Oltos.
Formerly in the

(cylix)

bv the

is

show the scene

and

to

be Homeric.
to

It

in fact,

merely a decora-

Hector, with his charioteer Cebriones whipping on the horses

in

tive picture of a

combat

which a

name

has been attached,

hot
it

pursuit
at

521-43).

He

raises

his

spear

to

Canino

Collection,

now

in

the

Berlin

it

is

worth noting that the custom of going to war on

is

hurl the

Odysseus and Menelaus.

It is

not easy to

name

Antiquarium.

horseback
D,
PI. 2.

post-Homeric.

warrioi

who
is

runs beside the

second chariot, but Proidentifying

Wiener

Vorlegebldtter, Series
loc. cit.,
i.,

After the

manner of archaic
filled

art, all

the vacant spaces in the

stars,

fessor

Robert
it is

probably right

in

him with Ajax.

Luckenbach,
Overbeck,

62.
p. 135.
xviii., 2, p.

design are

with birds, palmettes, lotus buds, or

the
figures

Homer,
even
in

true, tells

us he retired slowly, but the Greek potters,

Klein, Meistersignaturen,

which have no connection whatever with

428.

they

the later periods, are proverbially inaccurate.

Gall. her. Bildiu.,

surround.

Fig. 64.

Battle

over a Fallen Hero.

Welcker, Antike Denkmaler,

Longperier, Mus. Napoleon,

PI. xv.
iii.,

badge upon
scene
this
is

his shield),

who

are aided

by an archer.

The

Black-figured painting on a Corinthian vase of the seventh century b.c.

The part representing
the suicide of

PI. 67.

one of the ordinary type of battle scenes, but in

the figures

case the fact that

on the
the

right

represent

Ajax

is

given Od.,fig. 58.

Diomede and Odysseus

gazing

at

transfixed

body of
over the

Mon.

d. Inst., vi., PI. 33.

warrior of gigantic proportions

is

defending the body of a

Ajax would suggest that

this particular

combat

is

Schneider, Der

troische Sagenkreis, p. 166.

fallen friend against

two foemen (one of

whom

has a cock as

dead body of Achilles

(cf.

Od.,

fig.

14).

BOOKS
M
the fighting which follows the Trojans
Fig.

XII., XIII.,

AND

XIV.
guished himself greatly
in the fighting,

65. Single Combat between yEneas and Ajax.

of the sixth century
in
Greece,
b.c.

but nearly always in

under Hector, favoured by Zeus, succeeded

in

Black-figured painting on a Corinthian drinking-cup

(cylix)

conjunction with his namesake.

In classical times he was worshipped by the Opuntian Locri

in

breaking down the wall that

defended the Greek camp, and were

Found
Athens.

and formerly

private possession at

on the point of storming the ships

themselves,

Ann.

d. Inst.,

1862, Tav. d'agg., B.

IOC. tit.,

when Poseidon came

to their aid

and enabled

LUCKENBACH,

p. 536.

and so appears on their coins as a nude armed with helmet, shield, and sword rushing forward on the foe. Between his legs his name is inscribed, while behind him and above his shield is the legend " Of the
as their ancestral hero,

warrior

the two Ajaces and other heroes to repel the enemy.

Opuntians" (OrONTON).

It is

worth noting that the shield

The Tabula
(Book

Iliaca,

fig.

3,

gives several of the single

The
horses.

warriors, like those in

fig.

63, face

each other with up-

is

ornamented inside with the

figure of a griffin.

combats which took place

XIII.).
in

in
is

the melee that succeeded

lifted spear,

while their attendants wait on them, holding their

Of

course the coin does not give a portrait of the

Homeric

hero in any sense of the word, and we must picture him as

to the right has the

Meriones

shown

seizing

Acamas

The hero

name tineas, and

left is

his squire

clothed in a cuirass of quilted linen (\wo6ibpr],

II.,

ii.,

529),

(Adamas

Homer) by

the hair to cut off his head, a

that of Hippocles, while the warrior to the

his squire being also called
for

Ajax (AIFA2),

with loin-cloth and greaves,

warrior.

if

we wish

to

imagine the epic

version quite different from that in the text (line 567).

Ajax (being intended, no doubt,

66).

Idomeneus rushes to slay the wounded Othrioneus,

Ajax the Locrian.

the extreme right

Cf.
is

fig.

Fig. 67.

whom

Asius

is

trying to drag from the battle (quite

foil.),

On
but
is

Hypnos (lulling Ariadne

(Tarquinii).

to sleep),

(line 290). (cylix)

a naked man,

who

kneels in terror,

probably intended in the exaggeration of archaic art to

unlike line

363

and .(Eneas

is in

hot pursuit of

be

flying with all speed.

He

is

called

Dolon
in

Red-figured painting on an Attic drinking-cup OF THE FIFTH CENTURY B.C.

(cf. fig.

57).

Aphareus

(line 541).

The names, however, which

characters,

are

archaic

Corinthian

Found near Corneto

Mon.
Ann.
d. Inst.,

The
of the

scenes from
battle.

Book XIV. (H) continue the story Ajax the Locrian (AIAS AOKPOS)
(cf.

are

inserted rather as an
it is

ornament

to the battle

d. Inst., xi., PI. 20.

scene than to show that

it is

an

illustration of

Homer, and so

1880, pp. 150-8.

p. 124.

raises his

sword to cut down Archelochus

useless to inquire

line

what

is

the precise incident represented.

Baumeister, Denkmaler,
Ariadne
fast asleep,
lies

463,
on a rock under the shadow of a spreading vine

where he comes to rescue Satnius, who seems to be

represented on the original marble, though the artist

while

has omitted him

in the

drawing).

Further on Ajax,

Fig. 66.

Ajax

Hypnos hovers over her head holding out

it.

the Locrian

(line 442).

garland to encircle

At the
after the

foot of the

couch Theseus
left

is

seen

encouraged

by Poseidon, and

Obverse of a coin of the Opuntian Locri.

In
the Cabinet des Medailles, Paris.
vol.
i.,

bare-footed lifting his sandal (the laces are in his

hand) as

Hector, protected

by

he quietly
p.

slips

away

god Hermes, who beckons him

Apollo, are hurrying through the battlefield, but there

is

Roscher, Lexicon der Mythologie,

138. 197.

to depart.
tical

Hypnos
here.

is

winged and youthful, and almost idenin fact,

are,

no hint that the scene

refers to

any

definite incident

Daremberg et

Saglio, Diet, des Aniiq.,

p. 173, fig.

with Eros, with

whom,

in the Iliad.

The

closing incident of the book,

the
Ajax, the son of Oileus, King of the Locrians, and the leader
of the Locrians in the expedition against Troy,
called
is

confused him

There

however, so

lulling

of Zeus to sleep on
(fig.
is

Mount Ida by the god

by the Tabula.

instances of representations of this type, where

some commentators have many other Endymion and

true the

Hypnos
Achaeans,

67),

and the consequent repulse of the

all

generally

others are visited in their sleep, that there can be no doubt

Ajax the Less, on account of the greater fame of Ajax,

(cf.

about the identification here, though elsewhere

it

is

not given at

son of Telamon

Od.,

figs.

57, 58).

He, however,

distin-

god appears considerably

older,

e.g.,

in

fig.

73.

BOOK
EUS, on awaking from
the
his
sleep,

XV.
does
in

saw
of

torch.
for

This

last

scene

not

correspond

to

Fig.

69. The Battle at the Ships aids Ajax (line 718).

(line

442)

Teucer

Achaeans,

with

the

aid

Homer,
this,

Helenus appears

Book

XII., but not in

in

Poseidon, driving the Trojans before

and /Eneas and Paris (341) are mentioned

Engraved gem.
In
the Collection at Florence.

them, and sent

down

Iris

and Apollo
Poseidon to

quite a different incident of the fight.

Overbeck,

Gall. her. Bildxv., xvii., 9, p. 424.

p. 729.

his

the one to

command

Baumeister, Denkmaler,

depart, the other to heal

Hector of
Fig.

wound, which he did with such success that the

once

68. The Battle at the Ships

xvi.,

(lines

420,

718;

cf.

Trojans

more reached the

ships,

and

actually

125).

As in the scene on the Tabula summary of the book), Ajax stands

Teucer,
Trojans.

(fig.

3,

see above in

the

in the

curved poop of the

ship holding out his mighty shield, a very giant

threatened that he would burn the ship of Protesilaus.

Red-figured painting on an Attic vase.

In the Old Pinakothek, Munich.

who

kneels

beside

compared with him showering arrows on the

The main
(fig.

incidents of this

"

Battle at the Ships

(fig.

There are

several replicas of this gem.

68) are given by the Tabula

is

3) under O.

To
bow
poop

Gerhard,

Auserlesene Vasenbilder,

iii.,

197.

the right of which

the ship

(EIIINAT2IMAXH), from
his shield

the deck
his

Baumeister, Denkmaler,

p. 727, fig. 783.

Ajax with
(fig.

and Teucer with

Fig.

70. Hector setting Fire to the Ship of Protesilaus

(line

are fighting

69).

Hector

(EKTOP)
(fig.

is

at the

On

the

left

of the picture

is

the curved poop of Protesilaus'

at bay, hurling a

718).

ship, beside

which Ajax stands

spear (this has

Engraved gem.
Overbeck,
Gall. her. Bildw., PI. xvii., 8, p. 423.
Outer.,
ii.,

of the

ship,

hurling a torch

70), while behind

been rubbed
rushing on.

off in the vase-painting) at the

Trojans

who

are

him

is

a Trojan

who

stoops to pick up a stone, and at

Caletor,

At

his feet lies

an Achaean (Cytherius
to the death

? cf.

431),

Inghirami, Gall.

137.
p.

his feet the

slain
(line

lifeless

body of

whom Ajax had

the
left

struggling to rise, but

wounded

by Hector, who

Roscher, Lexicon der Mytlwlogie,

Hector here,
as in the

1921.

419).

On

the

high ground to

leads the Trojan attack,

accompanied by a warrior carrying a

is

/Eneas

advances to the

fray

holding out his shield

in

blazing torch.
419),

Behind them

a Trojan warrior (Caletor?

to

cf.

Tabula

(fig.

3),

appears at the poop

it

(wrongly restored as a bow), with Helenus

shooting his bow.
to the

advance

who

is

wounded, but seems

be cheering on a warrior,

of the ship bearing the torch himself, instead of having

carried by a comrade, as in
fig.

Below them Clitus

is

seen sinking

earth (line 445), and

Paris runs forward

with

who advances to support Hector, armed with shield and sword. The scene is closed by Paris, in the dress of an archer, aiming a bow towards the ship.

68.
it

He has lowered it, evidently

and leans back-

with the intention of hurling

into the ship,

wards to get the necessary impetus.

BOOK
HE
story

XVI.
(fig.

now

returns

to

Patroclus,
(bk. xi.),

and

Patroclus

arms himself
in

71).
friend
fire

He

appears

The Tabula
arming
leaning
;

(fig.

3),

under

IT,

shows

first

Patroclus

who,

after

saving
to

Machaon

on the scene

the guise of his

just at the

then Achilles seated on a throne dejectedly,

his

came back
and with
to

the tent of Achilles,

moment when
sinking
great

the ship has caught

fatigue.

and Ajax

is

head

upon

his

hand, and
(in

Phcenix and
original

tears

begged to be allowed

from

He

routed

the Trojans

with

Diomede standing
figures

before

him

the

the

lead the

Myrmidons against the

on
the

slaughter, slaying

Sarpedon, whose dead body

(fig.

have neither helmets nor short tunics, but these

restorer).

Trojans.

Achilles

consents

condition
the

that

was borne away by Sleep and Death was himself

slain

73), but

have been added by the

This scene
it
:

is

not

he

is

to

do

nothing

more

than

save

camp,

by Hector.

to be found in the Iliad as

we have

it is

probably

a reminiscence of

some passage

in

a later poet, and

his cuirass,
afupl
S'

is

throwing his sword over his shoulder

ufjioio-Lv

(line

135,

Nestor and Amphilochus, he reminds us that

it

was owing to
(xi.,

doubtless represents Achilles waiting anxiously to hear

the fate of Patroclus.

ap

/?oActo t<os apyvpoyXov),

and then the

is

Nestor's eloquence that Patroclus went into battle

to

804)
fated

The

rest of the picture is

taken

picture closes with two

his pig-tail tighter.

more youths, one of whom

shows a
fully

tying

meet

his

doom, the news of which Antilochus was

to bear to Achilles.

up by the combat between

(730-

Hector and

Patroclus

The

picture in the centre

armed warrior on

the point of departure, receiving a farewell cup of wine from

a lady (the
Fig.
71.

artist's

signature

is

inscribed above,

AOPI2

Fig. 73.

Sarpedon's
Death

Body borne away by Sleep and

Warriors

ErPA*2EN).

(line 454).

arming
(c),

(a

and

b),

and

Warrior
It
is

remarkable how closely the order of arming follows

description, the only difference being that the

departing

(line 130).

the

Homeric

Red-figured painting on a drinking-cup (cylix) by the Attic potter Pamphaios, of the end of the sixth century
B.C.

Red-figured paintings on a drinking-cup (cylix) by the Athenian potter Duris, of the early fifth century b.c.
In the Oesterreichisches Museum, Vienna,

epic hero took his shield before putting

135),

on

his

helmet

(line

doubtless because the shield was worn in those early

From

Vulci ; in the British

Museum.
D, 94
PI. 3.

times by a strap (rtXa/i^) round the body, and not merely

attached to the arm
(cf.
fig.

Wiener

Vorlegebldtter, Series
p.
fig.

80).

It is

worth noting that

all

Klein, Meistersignaturen,
Eufhronios,
p.

(20).
p. 272.

Schreiber, Kulturhist.

Bilderatl., PI. 35, 1-5.

p.

the warriors in the painting have long hair, like the

Homeric
Another

274,

on

Klein, Meistersignaturen,

157 (14).

Achaeans and the Spartans of later times,

2207.

but unlike the

short.

Robert, Bild und Lied,

T/ianatos, p.
9.

p.

110.

Baumeister, Denkmdler,
Wiener
Vorlegebla/ter,

p.

2034,
1.

fig.

Athenians of the
interesting detail

fifth

century,

who wore

it

vii., PI.

is

the use of pads to protect the instep from

Luckenbach,
Overbeck,

loc. cit., p.

619.

the rubbing of the metal greave,

shown on the warrior

cf.

Gall. her. Bildw., xxii., 14, p. 533, 75.

Although the vase-painting shows us warriors

of the sixth century
reference to the
B.C.

in the

armour
direct

(<-).

These, however, can scarcely be identified with Homer's

(line 132), for

at in

the earliest,

and has no

eVi<r<ti/)ia

they are in no sense clasps.

Two

daemons,

in the

form of youthful warriors with wings,

Myrmidons

Homer,

it

gives a

good idea of
indicated

are raising the dead

clasping
Fig.

the

manner

in

which the greaves, helmet, and shield were put

In (a) the scene
is

body of a giant from the ground, the one him round the breast, the other seizing his legs. The
is

on

at all periods.

a palace

hall,

72. Patroclus going out to Battle

dead
(line

man
the

quite

nude, and

has

been

spoiled

by his

219).

by the single

pillar

on the
is

right.

An

aged king, with sceptre

conqueror.

and flowing garments,

Near the

speaking to one of the warriors.

holding the shield and sword of a
his

pillar is a lady,

Red-figured painting on a drinking-cup (cantharus) by the Attic potter Epigenes, of the fifth century b.c.

On
the

left

the goddess Iris (without wings,

cf. fig.

62), easily

recognisable by her herald's staff (mppmctoi'), hurriedly delivers

youthful warrior,

who

stands before her polishing

spear.

Found
Ann.

at Vulci ; in the Cabinet des Midailles, Paris.

commands

of Zeus to the two daemons

while on the right

is

Next comes a youth fastening

on
his left shoulder,

his shirt (x"'<ui') with a

brooch

d. Inst.,

1850, Tax. d'agg.,

J.

the mother of the corpse, with dishevelled hair,

seen beating

and
it

at the

same time hitching

Beside

it

up so

Klein, Meistersignaturen,
I.UCKENBACH, Wiener
lOC.
Ct't.,

p. 187.

her breast and stretching out her hand in lamentation.

that

he

may
is

gird

more

conveniently.

him

p.

553.
ix.

The

painting represents Death and Sleep {Hypnos,

cf. fig.

67)

warrior

binding his long hair into a convenient knot with

Vorlegebldtter, Series B, PI.

bearing away a warrior to burial, for the

name Hypnos

is in-

a riband, and farther on a bearded

man (who
his

has already put

scribed on one of a series of similar vase-paintings.

There

has,

on

his cuirass,

and holds

a helmet

and spear

in his

hands)

is

Thetis (0ETI2) stands on the right holding a cup and winejug,

however, been
is

much

controversy as to whether the dead

(cf.

man

conversing with a comrade,

the sheath to test
it.

who draws

sword

in

and out of

from which she has just given a parting drink

battle.

to Patroclus,

Sarpedon or

Memnon

Od.,

fig.

21),

but the weight of

Last comes a warrior holding a helmet,

who

who turns to listen The same scene

well

to the king.
is

stands by her, fully armed for Amphilochus (AM*IAOX02), attired in

(like

On

the

authority seems to be in favour of the former.

left

cloak,

wide-awake
is

It

should be noted that the hair of the figure at the head of

is

hat,

continued

in

(/>).

On
who

the

left

are two

and high boots

turning

an Athenian

cij/3os,

or knight),
father,

the corpse
just

black, while that of his

comrade

is

light

brown.

youths conversing, and next to them a warrior with his shirt

girded and a helmet on his head,
to

stoops to

fit

greave

his

leg.

It

was necessary

to put

on the greaves
stiff

away from Nestor (NE22TOP), his Patroclus. Between Thetis and Patroclus the inscribed (EIIirENE2 ELTOE2E).
This scene occurs nowhere
vention of the
in his
artist,

The former
to

is

accordingly Death, the latter his brother Sleep.

join
is

potter's

name

Fig.

74.

Scene

in a

Circus

(line

745).

before the cuirass or breastplate, for the latter was so

the
(cf.

that
it

warrior
line

could

not

bend low enough when wearing

Trtpi

in Homer, and is purely an inwho has worked up the Homeric story

Black-figured painting on an archaic Attic vase.

From Camirus,

Fhodes.
Bilderatl., PI. 24, 2.

130, mfjtuSas p.ev jrpun-a

is

Kvi'ip.ynv W-qKev).

The
(line

own

fashion.

Thus, by taking the familiar farewell

(cf. //., figs.

Schreiber, Kulturhist.

next figure
133),

just clasping the cuirass

round
flaps,

his

body

group of a warrior and a lady

giving the latter the

38 and 71

c),

and
In the battle with the Trojans, Patroclus smote Cebriones,
Hector's charioteer, with a stone in the brow, so that he
fell

and

it is

worth noting the shoulder

which have not

name

of Thetis, he suggests the friendwhile,

yet been

tied

down.

Farther on another warrior, armed in

ship of Achilles

and Patroclus;

by the addition of

the infinite helplessly from the chariot, to

slayer,

amusement of
his skill

his

shields, is

who mocked him with compliments on

painting in
fig.

as a

other.

He

to the performing a martial dance, jumping from one on account of the lack is represented as very small

"Indeed

he

tumbles

well"

(KAA02TOIKYBI2TEITOI=
is

koXu; rot m/JurrdToi).

On

the right a youth

seen climbing

of space.
tumbler.

Below, between the horses'

legs,

is

another figure

up a pole (with a
this is
is

slanting support at

one

Side),

but whether
it

The

74,

which
in

the I'anathenaic

Games
in

on a vase given as prize at Athens, shows how accomplished

is

Greek acrobats were

are in
full

the sixth century B.C.

Two

horses

made small and placed in this strange position for want the sand of the of space) who is busily engaged in smoothing in a modern ring with a pick, just as the grooms do with rakes
(also
circus.

another performance or part of the jockey's display

evidently professional, and
in

impossible to determine.

The whole performance

festly

is

mani

gallop in the ring, guided

at

by

a single rider,

who

Behind the horses

is

man

playing on a double flute

looks

round

board, has

an acrobat who, with the aid of a springwith two leaped on the back of his horse, and,

in front of the spectators,

who

are seated on tiers of benches to

at

must be regarded as taking place one of the Public Games. Even

were known

a circus rather than

in

Homer's time pro604-5).

the

left.

They

are applauding loudly,

and one of them shouts,

fessional tumblers

(cf. //., xviii.,

BOOK
FTER
in

XVII.
Body of Euphorbus
(line 82).

slaying Patroclus, Hector

went

Fig.

75. Combat over the

Fig. 76.

Combat over the Body of Patroclus

Vorlegebldtter, Series
p.

(line 123).

pursuit of

Audomedon,

Achilles'

Painting on an archaic flatter (pina.r) in the Rhodian

STYLE OF THE SEVENTH CENTURY
B.C.

Red-figured painting by Oltos and Euxitheos.

The
reverse offig. 62.

charioteer.

fierce

battle
in

then

Wiener

D,
135

PI. 2.
(1).

ensued over the dead body,

which

From Camirus, Rhodes ;

Baumeister, Denkmdler,

in the British
p. 730, fig.

Museum.

Klein, Meistersignaturen,

Mcnclaus slew Euphorbus, but was

unable to
resist

784.

Luckenbach,
Overbeck,

loc.

cit.,

p.

540. 4 2 7-

the

onslaught of

Hector,

who had
Ajax
in

Salzmann, Nkropole de Camiros,

PI. 53.

PI. xviii., 3, p.

given up his pursuit and returned to strip the armour

of Achilles from the corpse of Patroclus
(fig.

LUCKENBACH,

lOC.

Ct't.,

p.

538.

Smith, Diet, of Antiq.

(ed. 1891), art. " Vas," p. 924.

75).

Kirchhoff, Studien
Roberts, Introd.
to

z.

Gesch. d. gr. Alph., p. 48.

p. 158.

In the centre the dead body of Patroclus (IIATPOKAOS) lies on the ground stripped of Achilles' armour.

then came to the rescue

his turn to retreat
;

(fig.

76),

and Hector had

Greek Epigraphy,

On

the right /Eneas

(AINEA

),

with a lion as his badge,

of

but though he returned to the fray

and Hippasus (HIIIA202), with the badge

an

eagle,

and brought the bravest of the Trojans with him, the

Acha-ans succeeded
which
Mcnclaus, at
in in

advance to meet Ajax (AIA2) and Diomede (AIOMEAE2).

All four are fully armed, the Trojans being distinguished from

defending the body of Patroclus,

aided

Hector (name in early Doric characters) and Menelaus

the Greeks by wearing a loin-cloth in place of a shirt beneath

last,

by the two Ajaces,

(fig.

(name

do.)

are engaged in single

do.).

combat over the body of

the cuirass.

Like

fig.

75, the

scene

is

not to be found in

succeeded

bearing to the ships

(fig.

jy).
in his

Euphorbus (name
and have

All three are

armed

in archaic style
(//., fig.

The Tabula
chariot

3)

shows

us,

under P, Hector
the

with loin-cloth and breastplate with projecting rim

richly decorated shields,

7),

Hector's bearing a flying

attacking Ajax,
(line

who
;

stands over

fallen

Homer, Ajax and /Eneas (line 344) being the only heroes among the four who fought over Patroclus. Hippasus would seem to be a mistake for Hippasides, a comrade of /Eneas,

bird as badge.

All three helmets are of the shape

known

as

body of Patroclus
corpse,

130)

then Menelaus lifting the

the
line

who was
to

slain in the fight (line 348)

while Diomede, according

376),

the Attic.

Homer, had been wounded

(xi.,

and was unable

to

and afterwards, with

it

help

of Meriones,

The

original

vase

is

all

covered with rosettes and other

take the field on this day.

Fig. 77.

placing

in

his

chariot

(cf.

717), the horses of

ornaments, which the copyist has here omitted.

which are held by two men (probably Automedon and Alcimedon). Both these latter scenes are at variance
with Homer,
his shoulders

The combat
Iliad at
all,

thus depicted

is

not mentioned definitely in the

artists,

Menelaus with the Dead Body of Patroclus

(line 648).

but, after the

manner of archaic
(line 108), are

Menelaus,

who makes Menelaus

(cf. fig.

who

slew Euphorbus (line 60), and Hector, whose approach

raise the

body on

drove him from the body

face to face.

represented as actually

Marble group of the Hellenistic period. Found in Rome near the Mausoleum of Augustus ; now
court of the Pitti Palace at Florence.

in

77).

Restored in

many places.
i.,

of that
PI. 156, p. 225.

name.

The specimen

here given

is

not the original

his shoulder, for the

muscles of the arms do not show a moveto suggest this.

is

Lubke,

Gesch. d. Plastik,

" Pasquino," but

one better preserved, now

in the Pitti Palace.

ment strong
been some

or

sudden enough

There has
intended
for

Friederichs-Wolters,

Gipsabgiisse,

No. 1397-S.
551.

Menelaus
build,
lifeless

is

here represented as a bearded warrior of heroic

little

doubt whether the warrior

Overbeck,

Gall. her. Bildw.,

fig.

xxiii., 5, p.

armed only with helmet and sword.

body of
his friend in his arm, and, as
is

He

holds the

Menelaus
"

or

Ajax.
is

The

fact that

the head in the original

Baumeister, Denkmaler,

785, p. 731.

he sees the foe burden

Pasquino" group

of a less vigorous character than the Floas

(on

whom

his eyes are fixed) approaching,

letting his

rentine,

and shows the mouth

though uttering a cry of

terror,

This group exists in several replicas, and

as the "Pasquino," because the

is

generally

known

sink gently to the earth, so that he

again.

may begin
body

the battle once

seems

to

point to Menelaus rather than the sturdier Ajax,

most famous of these replicas

This seems to be a truer interpretation than the conis

though

for

such a conception no

real basis

can be found in

was found near the shop of the celebrated lampooning cobbler

ventional one that the hero

raising the

to cast

it

across

Homer's

narrative.

BOOK
'CHILLES
but,

XVIII,
;

had

all

the while been a

and a maid weep loudly near him

with an attendant Nereid
all

next, Thetis
tears

(6ETIS)

prehistoric sites in Etruria

in

and other
light

parts of Italy, as well as

prey to the gloomiest

forebodings,
the
grief

in

on her way to
of

Southern Austria, throw

shield.

on the description of the

when Antilochus brought

his

Hephaestus

and,

Homeric
lastly,

the
in

forging

the

shield

One
friezes,

news of Patroclus' death,

(OnAOnOIA, H<I>AlSTOS)
Fig. 78.

of the most characteristic features of such designs

is

the smithy.

the division of the decorated surface into a

in

number of

parallel

knew no bounds, and he groaned

the

so

loudly that even his mother Thetis, in the depths of

sea,

The

which the
present

figures appear either in

relief, for

Forging of Achilles' Armour

processions or

(line 615).

groups.

The

instance, has three such friezes,

;

heard

it.

She came with

it

all

her

Nereids

to console him, but found

Wall-painting in the Casadi Sirico Pompeii, high by 3 ft. 1 1 in. wide.

3 ft. 4 in.

the upper having a long procession of men, horses, and chariots

impossible to shake his

the middle showing a pair of boxers contending for a helmet

as prize,

resolve to slay Hector,

seal
his

though he knew that

From an
it

would
in

original drawing.

and a

sacrificial

scene

while the lowest

is

decorated

own

Helbig, Wandgemiilde, No. 1316.

Bulletino
d.

by a procession of animals.

fate.

His armour was, however,

the

Inst. 1879, p. 54.

The
shield.

Phoenician bronze cups which have been

hands of the Trojans, and she succeeded

to wait
till

in getting

him
This picture represents Hephaestus in the garb of a smith, showing Thetis the arms which he has just finished. The
breastplate, greaves, sword,
forge, but the

Palestrina throw even

more

light

found at on the description of the

its

the following day,

when she would bring

An

excellent

reconstruction of
in

design from the

him new arms and weapons fashioned by Hephaestus

himself.

data thus gathered

may be found

Mr. Murray's History of

and helmet

lie

After her departure the body of Patroclus

to the tent of Achilles,

scattered about the

Greek Sculpture.

god has placed the shield upon an

It
is

was brought
out
in state,

where

it

was

laid

to admire.

anvil for Thetis covered with the figures of the heavenly

and mourned throughout the night by the whole

army.

constellations
io-T<L<t>avwai),

Fig. 80.

(cf.

line 485, iv Se

ra reipea

Bronze Dagger inlaid with

in

Gold and

Silver.

irdyra,

rd t ovpavoi

hero and

the
offered

Meanwhile

Hephsestus,

and a winged

figure with a stick points out each

sits lost in

Found by Schliemann
Acropolis of Mycenae.

the fourth grave on the

who had
went to

no resistance to the coaxing of Thetis,

detail to the goddess,

who

admiration.

his

magic smithy and wrought wondrous armour

Fig. 79.

for the hero (fig. 78).

The book

closes with a descrip-

Archaic Bronzework. Hammered and chased relief on the bronze

in Carinthia.
PI. 23.

Milchhofer, Anfange der Kunst,

casing

fig.

64.
fig.

Schuchhardt, Schliemann s Ausgrabungen, translation by Miss Sellers, p. 229, fig. 227).

Baumeister, Denkmaler,
p. 986,
fig.

227

(Eng.

tion of the marvellous designs with

which he decorated

of a prehistoric bucket.

1190.

the shield

(figs.

79-85).
(fig. 3),

Found at Watsch
:

Mitchell, History of Ancient

Sculpture, p. 152,

The Tabula
Achilles

under S, gives three scenes

first,

Revue Archeologique, 1883,

(AXIAAETS)

seated at the foot of the couch

Schliemann discovered

in

The technique

the shaft graves at

Mycenae a
at

on which Patroclus

of early bronze works of art

is

lies,

while a youth (Automedon)

so similar,

number of bronze dagger-blades.

the

When

they were cleaned

that the vessels of

beaten bronze which have been found on

museum

in

Athens,

it

was discovered that they were

inlaid with designs

in

gold
in
fig.

and

silver

of different
is

colours.

The
torches.

bride and bridegroom advance in a chariot

drawn by

Fig. 84.

Theseus
d.

and Ariadne on Naxos

from the same
vase.

(line 590).

Thus on the dagger

80 a lion-hunt

represented,
of the lions

four horses, at the side of which a

woman

walks waving two

Black-figured painting on the Francois vase.

II., figs.

five hunters are in pursuit of three lions.

are in
full flight,

Two

In front of her marches Dionysus, with an ivy wreath

in his arms.

52, SS, 106, are

hut the third

is

at bay,

and has struck down

him.
All the

on his head and a huge horn of wine

Facing

M011.

Inst,

iv.,

Pis. 56, 57.

p.

the foremost hunter.

al

Three of

his

comrades are hurling spears

the horses, and apparently meeting the procession, part of the

figure of

Harrison, Mythology and Mon.,

exxviii., figs. 31,

.;.'.

the beast, while a fourth shoots a

bow

at

Hermes

(with winged boots)

is

visible, so that

the

men
huge
r:f.

are attired in

the

loin-cloth

which

was the primitive

bridal pair are probably a

god and goddess.

bridegroom, there
shield.

garment of the Greeks, and four of them are protected by

shields, fastened like those in 71
)

Except
is little

for the torches carried to light the

This vase represents Theseus, Ariadne, and the

Athenian

Homer by

a strap

(rcKaiiioi',

to illustrate

Homer's description of the

youths and maidens, celebrating their deliverance from the

fig.

passing round the

body.

These shields are of

is

Minotaur and escape from Crete by a dance

Fig. 82.

after landing

silver

like the loin-cloths,

lions.

while the men's flesh

gold, as are
pieces,

also the

Each

figure,

however,
of hair,

Ploughers
111

Naxos.
(line 541).
(<t//.v)
i

The

left

of the picture shows us a youth

on (<AIAIM02)

is

of several
are

leaping ashore from the ship (here omitted), and with a

maiden

and thus the different details

tinguished from one another.

etc.,

clearly dis-

Black-figured painting on a drinking-cup

:

bv

(HHIOAAMEIA)

hastening to join the long rows of dancers,

man

potter nlkosthenes, of the sixth cen urv

Homer's description of the use of coloured metal on the

shield shows

B.C.

who have clasped hands, youth and maid alternately, and follow Theseus (0E2EV2). He, lyre in hand, approaches
'

beyond a doubt

that the decoration

(line

was precisely

Pound

at Vulei,

and in

the Berlin
11.

Antiquarium.
i, 1.

Ariadne
receiving

(APIA E) and
him
graciously,
in

her duenna

(P0*02).

She

is

of this character.

Thus

the vineyard

561) was of gold,

silver,

Gerhard, Trinkschalen
BAl Mustek, Dcnkimiler,

Gefasse, PI.

and the vase-painter wishes us

to

the grapes of dark metal,

and the vine-props of

while

Klein, Meistersignaturen,

p.

69 (71).
I2.

understand that
circle

another

moment

the young folk will form a

lyre,

there was besides a trench of icvaros (blue glass paste)

and

p. 11, fig.

and dance

to the

music of Theseus'

for

he on

this

fence of Kaacrirtpo^.

occasion takes the place of the 0e!os doiSds (line 604).

discoveries

The
of the

More
the

recently

further

have shown

that

the

designs on the dagger-blades are by no

Three ploughers are represented, driving each a yoke of oxen

with a long goad. with

differences from

Homer

lie

chiefly

in

the

clothing

means the

bust that

Mycemean age produced.

were

The two cups

bee-hive

In the lower part of the picture

is

is

man

youths,

who wear
It is

short cloaks

and are unarmed, instead of

the

of beaten gold
at

which

found
reliefs

basket,

who
are
is

either

sowing or scattering manure.

having glistening shirts of linen and being armed with

sword.

in

the

grave

Vafio,

near

Amyclte, have

Two
who

other

of a bull-hunt, which in vigour of style

men

engaged

in breaking the clods with long

worth noting that the maids wear the Homeric

and excellence
Greel
works of

of draughtsmanship arc unsurpassed by any

art

sticks, while

a third

seen stroking one of the herd of deer

jrtVAos fastened at the shoulders with a brooch.

before
llirnf 9

graze in the background.

the great
;

These, like the

fill

tortoise, the

period
des

(cf.

"Ee^ep'u

\V v .mV 7 ik;,.
Inst,
trans.,

1889,

Jahrbuch

grasshopper, and the lizards, serve to

in the design.

up the empty spaces

Fig.

deutschen Arch.

Hand

v., p.

104; Schuchhardt, Schlitmanris Excavations,

Sellers).
dis-

85. The Potter's Wheel

painting
e.
;

(line 600).

Appendix by Miss

During the past year (1891) an equally important covery was made of a relief in beaten silver, which

Fig.

83. Vintage Scenes

Black-figured
(line 561).

on

an archaic Corinthian

terra-cotta plaq1

was
from

The uronze
Found
in

ends, inlaid with silver,

sofa.

among
W

which ornamented

the objects found by

Schliemann
It

Found near Corinth

Ann.
d. Inst.,

in the f.oirore.
2 p.

in

the grave

(iv.)

the head of a roman

Rome, and

which the dagger-blade came.

sel,

formed part of a small

1882, PI. U,

182.

and

is

ornamented with
hilly

in the Capitoline

Museum
6.

there.

a battle scene, depicting a city

standing on

ground. Outside the walls warriors with shield and spear, archers and slingers, are repelling a foe, while the battlements above them are crowded with women
tearing their hair

wooded

Kulturhist. Bilderatl., PI. 10, Nos. 5 and

Bullctino

d.

Comm. Arch. Municipale,

The
"

invention

of the

potter's

wheel was known to the

1874, p. 22.

Greeks long before the age of Homer, for the vases of the

Mycenrcan

"

period show

full

familiarity with

its

use.

It is,

and beating

their breasts

('E^tpis

'Apv.,

In

Homer's description the vines are trained on

poles,

but

in fact,

only in the very lowest of the prehistoric strata that

This, of course,

1891,
i"

This shows that siege scenes were known an long before the Iliad was composed (cf line
II-,,
.-,

p,

,,).

in the relief

here given they are supported by trees, as has been

earthenware fashioned by the hand prevails.

509).

the custom in Italy from time immemorial.

left, in

To

the right

and

does not imply that such

in later times.

handmade
it

pottery was

unknown
at all

the highest parts of the

reliefs,

we

see the gathering of

On

the contrary,

was manufactured

Fio.
1,1

St. Wedding Procession

'"
I

(line 492).

the grapes into baskets (line 568), which are carried off to the
vat

periods, especially for certain ritual uses.

and there trampled under

is

foot.

"
11

I 1

UNI

In (a) the vessel into which

Ml

ON

AN ARCHAIC VASE

The

oldest potter's wheel was merely a heavy disk like that

01

nil

EARL1

the expressed juice ran

clearly

i\i

,1

NTURY

shown.

In

(li)

we
fire.

see an

in the vase-painting,

B.C.
I

which was mounted

it

like a small table

on

G) RHard,

Am

unruly labourer being chastised, and a

iv.,

statue

of Dionysus,

a single leg, so that

aseniilder,

could spin round easily when set in

PI.

112.

before which stands an altar with a brightly burning

motion by the

potter's left

hand

(in later

times

it

was driven

by a

treadle).

With

his right

hand he was then able

to

mould

the aid of a bent stick.

On

the floor of the shop

lies

a large

An

excellent
is

account by Mr. be found

Cecil Smith of the ancient

the clay thrown

figure

on the wheel into any desired form.

The

lump of

clay,

and two vases already baked are hanging from

potter's art

to

in Smith's

Dictionary of Antiquities

shows him giving the clay a more precise shape with

pegs on the

wall.

under "

Fictile."

BOOK
T
the

XIX.
now
in the British

dawn

of the

next day Thetis

Found at Camirus

in

Rhodes

Museum.

The

figure of the

Nereid struggling to restrain her sobs

in its

is

came

to the tent of Achilles, bringing

Mon.
Ann.

d. Inst., xi., PI. 8. d. Inst.,

noteworthy as unique

way.
it

the newly

made arms

(figs.

86, 87).

1S79, p. 237.
p. 732.

Mr. Murray has suggested that

might be laughter that

is

overcoming her

at the sight of

Thereupon the hero

called

an as-

Baumeister, Denkmaler,

such a big boy fondled by his

mother, but this seems improbable.

sembly of the Achaeans, announced

that he

Robert, Bild und Lied,

p. 141.

had foregone

his wrath,

and demanded instant

renewal of the fighting.

In reply
insults,

Agamemnon made
tent,

In the centre of the upper tier of the picture Achilles

his

sits,

Fig.

87.

Thetis
(line 3).

bringing the

Armour
ix.,
Is.

to Achilles

amends

for his

former

and restored Briseis to

head wrapped

in his

mantle

(cf. fig.

50),

bowed down with

followed by a
spear,

grief.

her lord, with

after a short

many

His mother has thrown her arms round his neck, and

gifts.

Then, returning to the

Wall-painting in Pompeii, Reg.

5,

No.

2.

is

tenderly kissing

him on the brow.

She

is

From an

original drawing.

space of lamentation for Patroclus, he put

his chariot, drove out

Nereid,

who

bears the newly

made helmet and

in full
staff,

and

is

on the new arms, and, mounting

to battle.

Scogliano, Le pitturc murali Campane, No. 577.

Notizie d, Scavi.
d.

accompanied by the goddess Athena

armour.

Ant., 1878, p. 42.

p. 51.

Behind Achilles

is

Phceni.x leaning on a

and another
placed her

Bull. d. Inst., 1879,

The

Tabula

(fig.

3)

shows
for

us,

under T, Achilles
In the
first

Nereid (who, unable to restrain her sobs,

has

arming and setting out

the hero

hand upon her mouth) holding

the battle.
dancing
a block.
(?)
girl.

a shield, with the

is

badge of a
Thetis on her way over the sea bearing the arms of Achilles

In the background
tier

a helmet resting on

(AXIAAETS)

is

fastening one of his greaves,

The

lower

shows three Nereids and a youth becarry

was a favourite subject with

artists

of the Hellenistic

and

while

his

mother, attended

by a Nereid, stands by
lies

side an altar.

They each

some piece of armour, the one

;

Grasco-Roman

periods.

The goddess and

her Nereids were

admiring.
feet,

His breastplate

on the ground at his

to the right a sword, shield,

and spear

the next, the youth, a

represented borne by Tritons and other sea-monsters, and ac-

another Nereid holds his shield (ASniS), and

is

spear

the third a cuirass

and the fourth a scabbard.

The

companied by

little

love-gods hovering above them.

youth

is

Phoenix (<i>OINIE)

Automedon, and,

like his master, has his

head covered

In the Pompeian wall-painting Thetis reclines on the back of a youthful Triton,

in

readiness

with

the helmet.
is

as a sign of grief.

who

bears her over the sea, in which a

In the second scene Achilles

the chariot by the side of
reins.

(AXIAAETS)
is

mounting

The

painting only corresponds with

Homer

in

the most

dolphin

is

seen disporting himself.

She

carries the

helmet

in

Automedon, who holds the

a female
figure,

general way.

There

is,

for instance,

no mention of the Nereids,

would be imall

her right hand, the spear and shield have been intrusted to
the Triton,

Just in front of the horses

of Athena, or of Automedon.
for

These, however, are introduced

it

and the greaves are with

difficulty

supported by

who seems

to be stroking them, but her gesture merely

is

purely

artistic

reasons

the Nereids because

two

little

Cupids,

who

fly

above the goddess.

in

implies that she

speaking.

It

is

most

possible to represent Thetis herself as carrying

the arms,

For other representations of the same subject

Baumeister, Denkmaler,
schift
p. 732,

Greek art, see

likely

that

Athena

to suggest the fighting that

the artist intended this for Thetis, suggesting perhaps

was to

follow,

and Autobe
the

and Heydemann, Gratulations-

by her presence the prophecy of

in

Achilles' fate, which

(line

medon The
altar

as a

foil

to the Nereids.
tiers

der Univers. Halle fitr das Archdol. Inst, in Horn, 1879.

scenes in the two

must not be supposed

time.

to

Homer

is

uttered

by one of the horses

404).

taking place at exactly the

same

In the lower

tier

shows that the Nereids are being received

;

in the court-

Fig.

Fig.

86. Thetis brings the Armour to Achilles

yard of the tent

(line 3).

while in the upper the presence of Phoenix,

88. The Procession of Gods at the Peleus and Thetis (line 390).

Wedding
(cf. fig.

of

the block on which the helmet rests,

and the

chair

Red-figured painting on an Attic vase of the fifth

on which

Black-figured painting on the Francois vase

84).

Achilles

sits,

all

show

that

it

is

indoors.

century

This difference

Mon.

d. Inst., iv., Pis. 56, 57.

loc. cit., p.

b.c.

accounts for the doubling of the arms, which appear twice.

Luckenbach,

589.

Overeeck,

Gall. her. Bildw., PI.

ii.,

ix.,

p. 198, 47-

divided in two.

To

the right of the lower half, Thetis (0ETI2)

who
wife),

follow

in long procession

Hestia, Chariclo (Cheiron's

Wiener Vorlegeblatter,

i.

can be seen through the half-open door of a palace built in the

fig.

kmaler, p. 1790,

form of a temple.

She wears the

it

bridal veil,

and

as the guests

approach shyly raises

altar in
I

to cover her face.

Outside,

by the

Dionysus, the Seasons, Zeus and Hera in their chariot, Artemis, the with the Muses, Ares and Aphrodite, Apollo and Graces, Athena (wrongly restored) and Nike, the Fates, Hermes

the courtyard, Peleus

(ITELEV2) stands
Cheiron (XIPON)

to receive a
is

and Maia, Nereus and Doris, Oceanus and Tethys (only the
head
of
their

hi

ipear of Achilles

was made

from the ash

staff,

which

long procession of his friends.

arrival,

the

first

horse

visible),

and,

lastly
ass,

(in

lower

tier),

Chi iron brought from

his

wedding with
to

Mount Pelion, as a present The earliest version of Thetis.

the gods

to Peleus
this

on

and clasps the hand of the bridegroom above the

later art, his forelegs are

altar.

Hephaestus riding side-saddle on his

with a sea-monster

wedding
in

Unlike the Centaurs of

human, and

(whose

tail

alone remains) going in front.

of the two potters are inscribed: (1) over the

feast,

which

all

came

with

gifts,
still

is

that

known

he wears a

shirt.

Across his shoulder he has the ashen stick

hares hanging from

The names
front of the

antiquity by the epic

poem

of the Cypria,

preserved to us

from Pelion
it,

(II>)AiaSa /xe\!nv), with three

altar, " Clytias painted

first

me

"

by the paintings on the shoulder of the Francois vase.

picture runs
all

The
here

which he has brought as

his present.

chariot, "

Ergotimus made

(KAPHAS MErPA*SEN) (2) in me " (EPrOTIMOS

;

round,

but for convenience has been

By

his side

is Iris

(IPI2),

who comes

as herald of the gods,

ME1IOIE2EN).

BOOK
N
the
battle

XX.
Ann.
d. Inst.,

which ensued the gods,

rescued Hesione, daughter of Laomedon, who, like Andro-

1876, Tav. d'agg., C,

p.

2.

by permission of Zeus, came down

from Olympus and fought for their
favourites

meda, had been bound

452 an expedition of
(cf. vii.,
;

to a rock as prey for a

monster of the

Baumeister, Dcnkmaler,
Fig. 91.

5S1.

sea

xxi., 442).

He came

the second time, with

six ships, to take

vengeance on Laomedon

on

The
d. hist.,

Rape

of

Ganymede

(line 234).
(?)

either

side.

Thus

it

for

having refused the promised guerdon.

this

came about
been
sent by

that /Eneas,

who had

chosen companion on

expedition,

Telamon was his and it was to him that

Red-figured vase-painting of the fourth

B.C.

century

Apollo

to aid

Hector,

was saved by

Hesione was given as

wife.

Ann.
one hand and a

1876, Tav. d'agg., C,

1.

Poseidon, while Hector himself escaped in a cloud cast over him by Apollo.

In the mosaic Heracles (who wears his lion-skin over his

head and shoulders, and

carries his club in

is

Homer

tells

us that the gods carried off

Ganymede

to

be

The Tabula
(IIOSlAfiN)

(fig.

3),

under T, shows us Poseidon

bow and arrows

with a dart.

in the other)

turning away, having just slain

cup-bearer to Zeus on account of his beauty, but in the later

urging ^Eneas to fly, next Achilles rushing with drawn sword on a Trojan archer (perhaps Polydorus, cf. 407), then Hector (?) retreating, and,

the monster, whose head appears from the water below pierced

and better-known forms of the legend

it is

was Zeus

himself

On

the other side of the picture,

Telamon

(with

who bore him away from

by the vase-painting
in fig.

earth.

This

the version given

chlamys, spear, and sword) helps Hesione to descend from the

90,

which represents Ganymede

rocky wall, to which she had been fastened by two manacles.

as a graceful youth trundling a

hoop and holding a cock

(a

lastly, a single

combat and a warrior slaying

his

enemy

She
her

is

dressed as a bride, for she had been betrothed sym-

favourite present to boys), trying to escape

from Zeus, who

(this

is

a purely conjectural restoration).

bolically to death,
feet.

and her jewels are

in a casket that lies at

follows calling

him

to stop.
still

The
on

artist

has followed a form of the legend which

The
it

other vase-painting shows a

eagle of Zeus
to
its

later version, in

which

differs

from that which

this

Hellanicus
in

gave

(quoted

by the
Ac-

is

the

Fio.
''

89. Hesione freed by Heracles

IN

scholiast
(line 145).

passage)

explanation of

Homer.

bears

him

who seizes the master. Ganymede

wearing
a
at

beautiful youth
is

and
with

represented
of

THE Grsco-Roman STYLE.

Allani, Rome.

cording to the older version, Heracles entered the mouth of

the monster,
its

effeminate
anklet,

long

hair,

chain

beads, necklet,

In

the

Ilia

made

his

way down
it

to its belly,
slain.

and hewed

at

and a

cloak.

His surprise

being pounced on by the

From

a photograph.
r,

vitals for three

days until

was

eagle

is

suggested by the

strigil, oil-flask,

and

ball

which he

Rosi hi

has dropped on the grass.

Ltxiton
d.

Mythologie, p. 2248.
Fie. 90.

Ba\ mi ister, Dcnkmaler, p. 663.

The

Rape

of

Ganymede

This representation of the legend

(line 234).
(eraler)

is

probably to be traced

to the

famous statue by Leochares, a sculptor of the fourth

u.c.

Herai

les

came twice
against

to Troy.

The

first
it

time was on his

expedition

Red-figured vase-painting on an Attic vase THE FIFTH CENTURY B.C.

Formerly in tlu Campana
Collection.

of

century

In any case the type

is

one which recurs very

art,

the

Amazons, and

frequently in Hellenistic

and Grreco-Roman

and

is

often

was then that he

mentioned

in

Roman

literature.

BOOK
i

XXI.
in terror into the
a^0orf/>as
'

CHILLES made
river

great

havoc

among
into the
all

(<J>PTrE2) pursued by Achilles flying

city gates.

6 5

'{'Ctro Xf'/>f Trcrdffffas

<5i>

*AxiX\et}s hi ipvfc&itzvos i0os

the Trojans, driving

many

Titye Kara. kXtjiSo Trap aiix^a, rrav oi

hi eiffta

Scamander, where he slew

save twelve

whom

Fig. 92.

The

55i>>s 4<0i)(lI5-Il8).

Death

of

Lycaon

(line 117).

he took alive to be
Red-figukeii painting an an Attic vase of the fifth

victims for the funeral of Patroclus

(cf. fig.

96).

He

refused to spare the

(fig.

life

of Lycaon,

century b.c. From Vulri ;

The wound

artist,

too,

shows the rush of blood welling from the

locality

(119),

and suggests the

Achilles.

by the figure of a

in the

Munich

Collection.
4-

Phrygian, who, clasping his hands in despair, writhes on the

one of Priam's sons

so

92), and continued to slaughter

many Trojans
field,

that the river-god

Scamander himself
river

Gerhard, Trinksclialen und Ge/asse, C, Overbeck, Gall. her. Bildw., xvii., 3.

Archiiol. Zeitung, 1878, p. 31.

ground behind
Trojan youths

This

may

perhaps be one of the

the

whom
fully

Achilles took alive as victims for

96).

took the

and with the help of the

in

Simois

shade of Patroclus
another warrior

(fig.

To

the

right

of the

picture,

would have drowned the hero

his

waves had not

armed

turns round, as he hastens past, to

Poseidon and other gods come to his rescue.

Achilles once

Then

Professor Robert's interpretation of this painting, as representing the slaying of Lycaon,

is, if

look

at the scene.
difficulties that

not quite certain, at least

The

may be
is

suggested against this interpreta-

more drove the Trojans

(fig.

into Troy.
in

highly probable.
:

tion are that Achilles

is

bearded, and that the Phrygians are

Achilles, however,
is

The Tabula
first,

3) epitomises

<I>

three scenes

warrior,

who

nude

(as

heroes were generally represented),

shield,

much more
(cf.
//., figs.
is

like

Amazons than men.

Od.,

Achilles slaying

Lycaon

(line

114) on the banks

is

and only armed with greaves, helmet,

and sword,

is

frequently represented with a

62, 93, 104;

beard on early vase-paintings

fig.

of the Scamander

(SKAMANAPOS
of the

inscribed below
;

plunging his sword into the throat of a youth,

supplication,

who
for

kneels in

15),

and the
the

style of this

and with

uplifted

hands vainly struggles against

he
tells

picture

not

free

enough
to the

to

exclude

possibility
at
fig.

of
is

merely as an
Poseidon

indication

locality)

secondly,
his slayer.

This exactly corresponds with Homer,

us

this older type.

sufficient

As

Amazons, a glance
effeminate

96

(nOSlAON)

pulling Achilles
;

(AXIAAETS)

that

Lycaon stretched out both hands, and received

word-thrust in the neck,

his coiip de
:

to

out of the waters of the river

and, thirdly, the Trojans

grace by a

at the collar-bone

show

that

the

young Trojans are

indistinguishable from them.

OO K
I

XXII.
then despoiled
it,

ECTOR
fly

alone of the Trojans did not

the
walls,

unfair

way

(fig.

93).

The Achaean hero many

insults

proaches

round

the

wall,

(2)

Achilles

pulling

the

within the

and,

in

spite

the dead body, heaped

on
it

tied

it

by

helmet from Hector's

driving
his

lifeless

head, and

(3)

Achilles

of

entreaties

of his

father

and

the heels to his chariot, and dragged

to the ships.

chariot

to the

ships

with

Hector's body

mother, awaited the onset of Achilles,

Meanwhile the Trojans, men and women, who had

been
watching the
wail, that

trailing behind.

only to be overcome with terror at

the sight of his enemy, and
last

battle

from

the

walls,

raised

to

flee

before

him

at the thrice

mighty

reached the ears of Andromache as

Fig.

moment.

He

ran, strengthened

by Apollo,

she sat awaiting the return of Hector.

to the walls,

93. The Death of Hector

(line 306).
(cy/i.x)

She hurried
Red-figured painting on an Attic drinking-cup
of the sixth century
B.C.

round the walls of Troy, Achilles following hard upon

him, but at length was goaded by the reproaches of

and the book

closes dramatically with her

lamentations.

Athena
he was

to await his
slain,

In the Museo Gregoriano, Vatican, Rome.

foe.

In the battle that ensued

in a

The Tabula
the

(fig.

3) shows (1) Hector standing at

Achilles

Athena having aided Achilles

most

gate

awaiting

(AXIAAETS), who

ap-

Gerhard, Auserlesene gr. Museo Gregoriano, ii., PL

Vasenbilder,
74,
1.

iii.,

PI. 202, 5.

LUCKENBACH,
ilk,

Inc. tit.,

p. 515.
p. 735.

Both heroes are nude

greaves.

(cf. fig.

92), but

Hector alone wears Hector without

(line

There
Troy.

is

an exact replica

in the

Musee de Cluny,

Paris.

In

this relief there are

two chariots galloping under the walls of

drags the body of Hector along, and
first
is

Denkmakr,

The
OVERBECK,
(Jail. Iter.

painting follows

Homer

in representing

The second

that

Bildw.,

p.

451, IOI.
his
spear,

and

as

drawing, not brandishing

slays

311)

his

of Achilles, while the

suggests his invitation to the Acha:ans

(line 381).

sword.
the

Achilles

him with a spear

is

as in

Homer, but

to go with him in triumph round the walls

place

he aims

at

the

eye,

not the neck (line 324).

The
She

gate of the city

is

open, and in

it

stands Andromache,

Hectoi

is

vainly endeavouring to

draw

his

sword from the

the onrush of

There are four other vase-paintings which represent the scene

in the

forgetful of all else, with hair dishevelled

and garments
at

rent.

scabhard, and sinks to the earth borne

Achilles,

down by
aegis,

same manner, with but small

variations.

has

just

seen

the

body, and,

horror-stricken

the

who
left

pierces his eye with a spear.

sight, is tottering

back fainting into the arms of the Trojans

does not agree with Homer,
artist,

On

the

Athena,

fully

armed with

helmet, shield
Fig. 94.

(the greater part

rubbed away), and spear, stands to protect

Hector
:

who
dragged round Troy
(line 391).

stand in the gate.

it

This rendering, though

is

Achilles

while Apollo (armed with

is

bow and

arrow), recognising

Relief on glazed

Roman terra-cotta
Lord Strangford's
2.

tile.

dramatic and a natural one for the

sentation

to

whom

the repre-

his defeat,
his

seen on the right deserting Hector,

and

raising

From Syracuse

in

Collection.

of

Andromache on

the

city

walls

would present

hand with a gesture of dismay.

Archiiol. Zeitung, 1864, PI. 181,

considerable difficulty.

BOOK
N
returning
to
his
tent,

XXIII
is

Achilles

in

which Achilles

(AX1AAETS)
cf.

laying an offering (a
;

Artificial

"astragali" of metal, bone, ivory, or crystal were

antiquity,

honoured

Patroclus

by driving the by giving

lock of hair or a libation,

lines 141, 2 18)

o>v),

(2)

"

The

common
prettily

in

and

fig.

95 shows a vase of this shape,

jar.
It is

chariots round the bier, and

Funeral

Games

"

(EniTA4>i02 Ar

represented by

but of considerable size and only meant for use as a

a funeral feast to the Acha.>ans.

The

ornamented with

figures of

dancing
is

girls.

descrip-

two racing
Fig.

chariots.

tion of

games played with the astragali

given in Smith's

shade of Patroclus, however, unsatisfied

with these tributes, appeared to the hero during

95. An Astragalus or Knucklebone

in

Dictionary of Antiquities, under "Tali."

(line 88).

the night in a vision

and demanded a proper

a

funeral.

Red-figured Attic vase

the shape of

sheep's
Fig.

Next day, accordingly,

with
its

huge pyre was

it,

built,

the body

knucklebone.

armour placed on
(fig.

From sEgina;

in the British

Museum.

96. Sacrifice of the Trojan Youths at the Pyre of Patroclus (line 175).
painting

the twelve Trojan youths

all

Schreibek, Kulturhist.

were sacrificed

Bilderatl., PI. 20, 7.

Red-figured

on

large

South

Italian

9G), and
all

burnt together.
it

The
The
doTpayuA.01 of the Greeks

pyre continued burning

till

the night, and

was not

and "Tali" of the Romans

in the ankles of

Amphora. Found at
Man.
Ann.

Canusiinn,

and now

in the

Naples Museum.

the next morning that the ashes were slaked with

(fig.

were the small bones which form the joint

sheep and other cloven-footed animals.

d. Inst., ix., Pis. 32, 33.

d. Inst.,

wine

,,;),

and the bones of Patroclus picked out

an urn, over which a barrow was piled

They were much used

187

1,

pp. 166-95.
p.

and placed
up.

in

both as playthings for children and as substitutes for dice.

It

Baumeister, Denkmaler,

737.

Then

was

in

the funeral

a dispute over them, as playthings, that Patroclus

LUCKENBACH,

loc. tit., p.

527.

games

in

honour of the dead

slew the son of

Amphidamas, and indeed,

to

judge from a

began near the barrow, Achilles giving prizes for horseracing

(fig.

celebrated marble group of one boy biting another's arm, such

quarrels were pretty frequent.
pieces,

The
centre.
at

picture

is

divided into three

tiers.

In the middle

tier

9 S), boxing

(fig.

99), wrestling

(fig.

100),

The game was

many

played with
all

five

the pyre of Patroclus

(I1ATPOKAOY TA*05)
and
shield.

stands in the

foot-racing,

quoit-throwing
103).
(fig.

(figs.

101

and

102), and

and consisted

essentially in throwing

them

together

On

it

lie

two breastplates and a helmet, and below

This
is

archery

(fig.

up
3) summarises

in the air

and catching

as

as possible

on the back of

the

side are the greaves, sword,

(xviii.,

the

The Tabula
1

one's hand.

This simple operation, however, was

difficult

with two scenes

complicated and

"The burning of Patroclus" (KATSIS I1ATPOKAO),

by combining with

it

made more number of

armour of Hector

334

cf. xxii.,

368), which Achilles had

vowed
that
is

to offer to his friend, with

an additional coat of mail

a step
in front

bodily movements.

perhaps Patroclus' own.

On

of the pyre

whose Achilles has seized a Trojan youth (in Phrygian dress), slayhands are bound behind his back, and.is in the act of
ing him.
sit

on the flames.

After the

fire

was quenched the ashes and

in

fell

into

disuse after Orsippus

(Pausanias,

i.,

44),

who was
it

bones were collected and placed

an urn

for burial.

Olympic
I.

victor in 01. 15 (720 B.C.),

had run without

(cf.

C.

On

the

left

of the pyre three other Trojan captives

G. 1050).

awaiting their doom.

On
the

the right a fully

generals of the

armed
host,

warrior,

Fig.

98. A Chariot Race

The
(line

vase-painting here given represents a lesson in the

for youths,

gym-

287).

who must be one of Agamemnon, is pouring

patera).
Achilles

probably

nasium

and not a public

contest.

The

7raiSoTpi'/?j;9,

a libation out of a bowl (phiale

= Latin
it

Black-figured painting on an archaic Corinthian vase.

or trainer,

who
for

is

distinguished from his pupils by wearing a

At

his feet

is

a pitcher.

According to Homer,

was

From CanThe

in the Berlin Antiquarium.

mantle,
split

is

instructing two youths, chastising

them with
is

a long

who

offered the libation (line 218), but the painter

reverse is given Oct., fig. 73.

d. Inst., x., PI. d. Inst.,

cane

each foul blow.

at

On

his right

a youth with

doubtless did not wish to repeat his figure in the

early art,

manner of

and so substituted another

this figure are

Mon. Ann.

4 and

5.

jumping weights, looking on

the match with great excitement.

leader.

1874, pp. 82-110.

loC. elf., p.

On
and

the

left

stands another youth with a tape, apparently measur-

Behind

two women, one with her head covered

girl

LUCKENBACH,

496.
p.

ing the length of his jump.

for

For a similar scene see Od.,

fig.

30,
art.

with her mantle,

presumably the mistress of the

who The
of

Baumeister, Denkmaler,

1202.

boxing generally Smith's Diet, of Antiquities,

follows, holding her fan

and bearing a basket of

for

offerings for

" Pugilatus."

the dead

and the customary riband

there
is

adorning a tomb.

The Homeric
used
in war,

heroes

raced in the same chariots as they

for
it

lady

is

probably Thetis.
tier

each drawn by two horses,

was

at a later

Fig.

100.

Wrestling
Attic

(line 701).

In the lowest

are also

two maidens, one

period that the light racing chariots with teams of four were
introduced.

Red-figured

vase-painting

of

end of

sixth

whom, perhaps
the other
It is
is

Briseis,

in

an attitude of melancholy, while

The

artists

generally represent the chariots as

pouring water from a pitcher ihydria) into a basin.

is

four-horsed, even in scenes from

Homer

or early legend.

not clear whether this

lustral water, or

intended to be

The
Pelias
;

Berlin vase-painting depicts the race at the funeral of

it

century B.C. Gerhard, Trinkschalen u. Gefasse, PI. 20. Blumner, Leben u. Si/ten der Griechen, ii.,

fig.

drink for the horses of Achilles' chariot, which stands near,

driven by

39.

shows a confused crowd of horses racing

at full

speed
Like the boxers, the wrestlers

Automedon, who turns round

to speak to a youthful
lifeless

towards the goal, where the tripods that are to be the prizes
stand.
in

warrior (Antilochus?) seated near.

The

body of Hector,

Homeric times wore a

loin-

covered with bleeding wounds and bruises, hangs from the

Each of the competitors has

Corinthian characters
Castor
(Kaoros),
:

his

name

inscribed above in

cloth,

which was afterwards discarded.

The

vase-painter accord-

back of the chariot.

On

the

left

of this scene another Trojan captive stands in

is

Euphemus ('Ei^a/jos) leading, then Admetus fAS/iaro), Alastor ('AXaorop),

and Hippasus
the
three
("Iimo-os).
:

ingly depicts

two pairs

in a

gymnasium

as quite nude.

Those
on

in the centre are trying to get the grip, while of the pair

mournful dejection beneath a tree on which a shield

hanging.

Amphiaraus

('Afitjiidpcos),

In front,

the right, one has succeeded in raising his opponent from the

In the upper

tier

the tent of Achilles rises in the centre,

beyond

the

tripods,

sit

aged judges
(<Pepes).
is

Acastus

ground, but

is

unable to throw him.

The
oil.
is

cloak of one of the

and beneath

its

roof two old

men are
left

seen conversing, probably

("Akotos), Argeus ("Apyw),

and Pheres

It

should be

wrestlers hangs from a peg

on the

wall, while

on the ground
the
left

Nestor and Phcenix.

versation,
poles.

On

the

are two

Myrmidons

in

con-

noted that the space above the judges

taken up by one

below there
the

is

a two-handled jar of

On

stands

and a maiden who leans against one of the tent

the right Athena and
that

of the handles, which springs from the circle which appears

in

?ratSoT/)ij8i;s

holding a

staff.

He

a strangely effeminate

On

Pan

listen to

Hermes, whose

the drawing above the smallest tripod.

raised

hand shows

he

is

speaking.
of

For a detailed description of the race

Patroclus,

at the funeral

games
art.

young man, with an embroidered mantle, who smells a flower like a lady, and might at first sight be mistaken for one.

In the background are an ox-skull and a festoon of beaded

ribbon.

see

Smith's

Dictionary

of Antiquities,

These are
is

sacrificial offerings,

and may possibly suggest

" Hippodromus."

that the scene

borrowed from the

Fig.

101.

The
826).

"

Discobolus," or Quoit-thrower

(line

stage.

Fig. 99.

Scene in
Vulci.

Gymnasium, Boxers

(line 653).
(cylix).

Marble
original by

statue;

Roman copy of a celebrated

fifth cen-

Fig.

97. Quenching the Funeral Pyre

Red-figured painting on an Attic drinking-cup

(line 250).

Myron

of Eleuther*, of the

From

Red-figured painting on a South Italian vase.

Build, anli. Napoletano,
iii.,

tury
Bilderati., PI. 23, 4.

B.C.

Schreiber, Kulturhist.

In the Palazzo Massimi, Rome.

PI. 14.

Roulez, Mimoires de rAcad. de Bruxelles, 1843.

323.
" Funus," p. 887.

Baumeister, Denkmaler,

p.

307,

fig.

Gerhard,

Auserlesenc Vasen/iilder,
p.

iv.,

271.

Seemann, Kunsthist. Bilderbogen, Ergang., PI. 9, 3. Friederichs-Wolters, Gipsabgiisse, No. 451 (remarks
Overbeck,
Geschichte
d. gr. Plastik, p.

on).

Smith, Dictionary of Antiquities,

art.

Baumeister, Denkmaler,

612,

fig.

671.

213,
1.

fig.

51.

Baumeister, Denkmaler,
Several vase-paintings
just as

p. 1002, fig. 121

show the quenching of a funeral pyre

it.

In boxing after the Greek fashion, the hands were protected

97 maidens, who are pouring water from their pitchers (hydritc)

Homer

describes

In

fig.

this is

done by two

by leather straps

(line 6S4),

which also made the blows much

which the Homeric boxers wore

This statue

is

the best of a series of replicas of Myron's

it

more

severe.

The

loin-cloth

celebrated statue, because

alone gives the true pose of the

head.

With the aid of a passage

in

Lucian which describes

Now
Mon. Ann.

destroyed by exposure.
d. Inst.,
ii.,

shown

in

fig.

102.

The shepherd who

holds

it

is

Argus on

the quoit-thrower's action, the complicated balance of the statue

PI.

59,

6.

becomes hand
right

intelligible.

The

athlete held the quoit,

which was

d. Inst., x.,

253-60, 328-30.

watch over Io (the sprouting horns on her head suggest her subsequent transformation into a cow). To the right Hermes,

a metal plate, and not, as in

until the

modern

times, a ring, in his left

it

Helbig, Wandgemalde, No. 136.

who
fig.

moment
his

of throwing,

when he passed
his
all

to his

Baumeister, Dcnkmiiler,

p.

752,

802.

(Ktipmaov=cadiiceus),
object being to
lull

has been sent by Zeus, leans easily on his herald's staff and presents Argus with a Pan's pipe, his

hand

and sharply swaying the whole of

it,

body backimpetus

Museo Borbonico,

viii.,

25.

him

to sleep

and then

to slay him.

wards with
iary for

head following, gained

the

one great swing forwards with the quoit, jumping

his hand.

in the air as

it left

To

get the right

arm back

as far

Homer
funeral
as a

says that Polypoites threw the

as far

lump of

iron at the

Fig.

103.

Shooting

Arrows

at a

Mark

(line 850).

as possible
right leg

it

was necessary to support the whole body on the

left
is

games

beyond the marks of the other competitors

his

during the swing backward, and leave the

free

herdsman can throw

cudgel.
all

Throwing

sticks are

Red-figured painting on a vase of a late style. /// the Naples Museum.

Schreiber, Kulturhist. Bilderatl., PL So,
7.

come forward when jumping. The former attitude unlike that which some players assume at golf. The
to

not

quoits

among known

the most primitive weapons

to

the world over, being

even the degraded savages of Australia.

in

They

Daremberg et

Saglio, Diet, des Ant,

ii.,

p.

390,

fig.

480.

thrown were usually some

five or six
hit a

pounds

in weight,

and the

were used

Egypt

for fowling,

and

in

Greece were carried by

Museo Borbonico,

41.

aim of the player was not to

v..
i

given mark, but to throw the

Theocritus' shepherds,
just as

who

killed hares with their Xayuifiokov

cattle

lii

as far as possible, the

game resembling the weight-putting

athletics in this respect.

commonly

as

Homer's herdsmen brought unruly

and hammer-throwing of modern

to submission with the KaXav/iuij/.

The

Italian

shepherds also
it

used a throwing stick of the shape called the pedum, so that

Fig.
102.

just as the

The

became
KaXavpo^r, or

the standing attribute of pastoral deities

and

of the
as a

Shepherd's Throwing Club

Fauns.

That

it

was on occasion
is

as formidable a

weapon

The boys in this painting are shooting at a cock tied to a pillar, Homeric heroes shot at a dove bound to a mast. Each of them wears his quiver on his left side. Two are in the act of aiming, and we may take it that they have just
artist

(line 845).

modern blackthorn

plain from legends like that of the death

discharged the two arrows which the

in the
air.

has depicted as

still

,1

PAINTING IN THE CaSA d'Io ED

Argo AT HERCULA-

of Electryon by mischance at the hands of Amphitryon.

The

third

boy
;

is

stringing his
figs.

bow

in the usual

NBUM,

The throwing

club

is

always bent, and

its

usual shape

is

well

way

(cf. //., figs.

24 and 52

Od.,

91 and 95).

BOOK
CHILLES, whose
I

XXIV.
The hero was
so touched
his
tent,

thirst

for

vengeance
sacrifice,

solitary

meal

(fig.

108).

indicated
his
feet

by

pillars

and

hangings,

with

was unsated by the funeral

dragged
Hector's

by the age and

receive the

grief of
(fig.

Priam that he consented to

next morning gave

Priam
is

at

and Phoenix beside him.

inspiring

Hermes
his
tent,

corpse

round

the

ransom

109), and

also

present In
artist

Priam and supporting

does
this

barrow of Patroclus
(fig.

for several

days

him the
in

corpse, washed, decently anointed,

and wrapped

entreaties.

Homer he
has

not

enter the

104).

At

length, on the twelfth

costly

robes taken

from

the

ransom.
the

He

also

but
his
is

the

chosen

way

of

suggesting
of Hector
to

day, Apollo,
tion,

who had

preserved the body from corrup-

granted an eleven
then Priam,
set

days'

truce

for

burial,

and

share in the business.

reverently
raised

(2)

The body
which
their

appealed to the gods to suffer such insolence no

Thetis was accordingly

who had been

the

entertained right royally,

of

by

three

Myrmidons

be

longer.

summoned by
to give

Zeus,

out,

and with

guidance

Hermes passed
lines.

placed
are

on the

waggon, from
treasures

comrades

that she might persuade Achilles

to the Trojans for burial.

up Hector
Iris

once more unnoticed through the Achaean

The
out

removing the

that

form

the

ransom

At

the

same time

was

Trojans flocked to meet him at the gates, with lamentation

in

(EKTfiP KAI
Fig.

ATTPA EKTOPOS).
Tomb
of Patro-

sent to inspire
son's

Priam to go himself and ransom his

(fig.
1 1

for

the dead.

Then the body was

(fig.
1 1

laid

body.

Guided by Hermes

o),

the old
107),

state in

the palace courtyard

3),

and, after

104. Hector dragged round the

clus
(line 14).

king, bringing

much

treasure on a mule-cart

(fig.

the customary mourning, burnt

upon a gigantic pyre

passed the slumbering sentinels and reached the tent of Achilles, and found him at table, having just finished a

and honoured by a funeral banquet.

The Tabula

Black-figured painting on an Attic vase (amphora) of THE SIXTH CENTURY B.C.

Achilles seated
in

(fig.

3)

shows

(1)

Formerly in the Canino

Collection.

Gerhard, Aiiser/esette gr. Vasenbilder, iii., PI. Overbeck, Gall. her. Bildw., xix., 8., p. 457.
Musce Etrusque, No. 527.
Baumeister, Detikmaler,
Schneider, Der
3'. 3 2
-

199.

of Peleus

(cf.

fig.

88) formed

no

part of this early version,

until

implies that he was a warrior, whereas in most later

literature,

Greek

and indeed was not incorporated

the Alexandrine age.

and

in art,

he was represented

as Priam's youngest
is

The
p. 735.

vase-painting belongs to the early part of the fourth

B.C.,

son, slain by Achilles in early youth.

His death

a favourite
styles,

century

and gives the older

attire seated

version. side of

It

shows us Paris
Ida, with

scene on vase-paintings of the archaic and early Attic

is

and

troische Sagenkreis, pp.

28 (h and note),

in rich

Phrygian

on the

Mount

nowhere so well depicted

as

on the Francois

vase.

Troilus

two spears, tending

loc. at., p.

his herds,

which are here symbolised by the

that lies in the grass beside him.

had gone out from Troy

his sister Polyxena, lay in

to water his horses,

accompanied by

Luckenbach,

500

(h).
p.

head and shoulders of an ox

1923.

who

carried a pitcher.

Achilles, however,

Roscher, Lexicon der Mythologie,

The god Hermes

as a

stands on the hillside in his travelling dress

ambush

at the fountain, surprised the youthful hero, pur-

of short cloak, high boots, and wide-awake hat, and gives Paris

sued and slew him.

Fig.

106 shows us Troilus (TP0IAO2)

in full flight,

On

the

right the

tomb of Patroclus appears

conical

Zeus' commission to decide between the goddesses.

are

The

three

on horseback, with a horse galloping beside,

Polyxena

and

tumulus or barrow, with the mysterious serpent of the dead

crawling on
its

grouped round the

full

pair, awaiting the

judgment.

Athena
little

Achilles (only his leg visible) just on the point of overtaking him.
(

side,
it

and the shade of Patroclus (ITTPOKAOS)

form of a tiny warrior
(cf.
//., fig.

stands in

armour

(cf. fig.

16) just

below them, while a

is

EN)
and runs

has thrown her pitcher

towards the
city.

(HYAPIA) on
Just in front

hovering above
Od.,
fig.

in the

47

higher up Aphrodite in queenly attire

seated, speaking (note

the ground,

in terror

60.)

her gesture) to a
stands before the tomb, stooping

little

love-god

who

flies

towards her with a

of her

is

Antenor (ANTENOP), who

gesticulates, wildly calling

Achilles

(AXIAEY2)

down

garland.

Hera stands

to the right, distinguished, like Aphrodite,

for aid,

and near him, seated on a stone (0AKO2) outside the

is

to taunt the
feet half

dead body of Hector (HEKTOP), which

lies at his

by her diadem and sceptre.

picture of the vase,
all

These

five figures

form the main

city gate,

Priam (IIPIAM02) himself,

striving feebly to raise

is

hanging from the chariot.

Automedon

(bearded, like

the others being painted either under

himself with his sceptre.

The

city

gate

half open,

and

Achilles) stands in the chariot, holding the reins of the four

horses.

the handles or on the reverse side.

vase-paintings,
it is
it is

He

wears the long shirt which was the characteristic

very difficult to

As is usually the case name these spectators.

in

Hector

(HEKTOP) and

Polites

(IIOAITES)

in full

armour are

If

sallying forth to the rescue.

garb of charioteers, and has a shield slung across his back.

necessary to do so,
lifts

we may

see in the lady to the right,

On the other side of the picture

her (in
herald's
shirt,
staff)

the goddess Athena

(AENA)

Beside the horses

is

a winged diemon, above

;

whom

the

name

who

her veil in a dainty fashion, QEnone, the

(cf. fig.

(KONI202) is inscribed Odysseus (OA TEV), followed by

Konisos

while to the right, in front, a dog,

is

love Paris discarded

28),
left
is

and
are

in

going out to battle

Zeus.

The

figures

on the

still

nymph whose the man behind her more puzzling, for we

stands encouraging Achilles, while

skin jacket,

Hermes (HEPME

beside

and wide-awake

hat, carrying the

points towards the chase, as though declaring

it.

fully

armed.

He

turns his head, however, to look at Achilles.

have under the handle what

almost a repetition of Paris, and Dr. Engelmann indeed regards

the will of Zeus concerning

Behind Hermes

in .the original

The scene
fall

occurs
classes,
full

on

series

of

vase-paintings,

which

behind him another

lady.

(not given here) stand Thetis

and her

sister

Rhodia, and farther

into

two

one representing the chariot of Achilles

it

the former figure as Paris, and

makes the goddess who

faces

on, closing the picture, was the fountain at which Achilles had

galloping at

speed, the other showing

at rest, as here.

him, and

whom

he seems

to

beckon towards him, Aphrodite.

surprised Troilus.
that of a temple,

The

fountain

is

covered with a portico like

it

Neither type quite coincides with

instance, there can be little

Homer.

In

fig.

104,
figure

for
is

This

splits

the picture into two scenes,

class,

doubt that the winged

in vases of this

and

an
is

unparalleled thing

which reminds one of the legend that

that

is

open to the further objection

was
slain

at

the shrine of Apollo Thymbraeus

act of sacrilege

Troilus

was

intended for

Iris

(the

name

inscribed probably belongs to one

that

it

involves the assumption that

Hera

either omitted or

an

which brought on Achilles the

lasting

of the horses), introduced to suggest the message sent by Zeus

to Thetis (line 78).

represented as quite a secondary personage.

enmity of the god.

Odysseus, on the other hand, appears as

The grouping
shrubs,

of the figures on the hillside, the quail, the

bull, are characteristic features

the representative of the Achaean host, being perhaps chosen

and the

worth noting.

Fig. 107.

Cart drawn by Mules

(line 266).

because of the part he played later on in saving Achilles'

own

body from the Trojans

(cf.

Od.,

fig.

14).
ig.

Part of a black-figured painting on an archaic In the British Museum.

106. The Death of Troilus
(line 257).

vase.

Another part of

the painting is

shown

in fig. 40,

where

Fig. 105.

The

references will be found.

Judgment

of Paris
in

(line 29).

Red-figured vase-painting
Attic period.
RSmische Mitteilungen,
ii.

the style of the best

1.

Black-figured painting on the Francois vase. Figs. 52, 84, and 88 are from the same vase.

In Homeric Greece the horse was only used for drawing the
war-chariots,

Mon.
(1887), Pis. n-12,

d.

Inst,

iv.,

Pis. 54, 55.

1.

and

carts

and waggons were drawn by mules.

The

Overeeck,

Gall. her. Bildw., xv.,

pp. 225, 228

cart

shown

in fig.

107 has only two wheels, whereas that of

Klein, Euphronios,
This passage
is

(1).

Idasus in which Priam went to Achilles had four (line 324).

the only one in

Paris.

Homer

referring to the

Luckenbach,

loc.

cit
p. 38.

famous Judgment of
ancients

The myth was known

to the

Roscher, Lexicon der Mythologie,

Fig.

108.

Priam
(line 47).

ransoming the Body of Hector

by the Cypria, an epic poem attributed

at as early

a time as that of Herodotus to

Iris flinging

Homer

himself.

The

story of

Priam speaks of Troilus, one of the bravest of

"

who had
As the

his joy in horses," as

Red-figured painting on a large Attic vase.

the golden apple

among

the guests at the wedding

his sons.

scholiast remarks, this

Found at

Cervetri ; in the Vienna

Museum.

Mon.
Ann.
:

d. Inst., viii., 27. d. Inst.,

Fig.

109.

Priam
the

ransoming Hector's Body

(line 471).

1866, pp. 241-70.

Relief on back of a
791
p.

Roman

sarcophagus.
in the

moment Hermes will raise himself and soar away once more on one of the many errands of Zeus, to help Priam
another
perhaps, or
fig.
it

rER,

Denkmaier,

p. 737, fig

Found on
(d).

Monte del Grano, Rome; now

Museo

may be

to release

Odysseus from Calypso

(cf.

Od.,

Der troische Sa^enkreis, Robert, Bild und Lied, p. 18.

Si

iim

11.

ik,

33

Capitolino there.

24).

This sarcophagus contained the celebrated Portland vase.

L-UCKENBACH,

Inc.

at., p.

508.
p.

Conze, Wiener
1926.
1.
i.,

Vorkgebliitter, Series B, PI. 8, 5.

p. 35, PI. XV., 25
c.

Fig.

in. The

slaying of the Children of Niobe

(line

Ro
1

ii

111

!< <eicon

der Mythologie,

Robert, Die Antiken Sarkophag-reliefs,

602).

./1

Wiener VorkgeMStter,

PI. 3,

Overbeck,
on the walls of

Gall. her. Bildw., PI. xx.,

ii.,

p. 477.

Red-figured painting on an Attic mixing-bowl

of the fifth centurv
B.C.

(crater)

Roscher, Lexicon der Mythologie,

p. 1926.

The scene

is

laid in the tent of Achilles,

which his helmet, shield, sword, and cloak are hanging.

hero himself reclines
inlaid couch,
(this
is

The
richly

an anachronism) on a

Achilles

is

seated on the right, turning his head away in

(line

Found at Orvieto in 1880/ Mon. d. Inst., xi., PI. 40.

Ann.
d. Inst.,

nozv in the Louvre, Paris.

covered with a mattress and rug, and provided

In
front of the

shame and amaze

kiss the

478) as old Priam kneels

at his feet to

1882, p. 273.

with two pillows.

table,

couch

is

a three-legged

hand

that slew his son (479).

lost),

Even

the god

Hermes

Bulletino, 1881, p. 276.

on which arc placed long

strips of roasted meat.

At

(his caduceus

has been

standing beside Achilles, shares this

Journal of Hellenic

Studies, x. (1889), p. 117.

the head of the couch stands a youth with a dipper or ladle

(cyathus) in

feeling
face.

of embarrassment, and raises his

one hand, and a wine-strainer

(I'/D/uk)

in

the other.

Near Priam Automedon stands

fully

hand to cover his armed in Achilles'

unharnesses the

Achilles persuades Priam to take food by saying that even

This
duty

is
it

the

boyish cup-bearer (another anachronism) whose

to ladle the

chariot, ready to dismount, while a servant

Niobe did not

forget to eat,

though her twelve children,

six

was

wine from the mixing-bow! into the

horses.

On

the

left

two Trojans and a Greek are taking

sons and six daughters, had died in her palace,

slain

the youths
with

drinking-cups.

the treasure (coat

is

of mail, precious vessels, etc.) that forms

by Apollo, the maidens by Artemis,

in their rage

At the foot of the couch I'riam by two

in.

seen approaching, followed

the ransom from the mule-cart (amjit;) of Idreus.

Niobe, because she compared herself with their mother Leto,

n bearing

metal vessels, and two youths

who

carry

and said

that the

goddess had only brought forth two children,

on their shoulders. The Trojan king an old man (wearing long garments, a diadem, and shoes), and supports himself on a crutch-headed staff as he advances to
is

bales of goodly raiment

whereas she had borne twelve.

Fig.

no.

Hermes

The
resting
(line

story of

Niobe was the subject of one of Pheidias'

at

334).

reliefs

on the throne of Zeus

favourite subject in art,

Olympia.
is

Afterwards
in

it

make
in his

his appeal.

Achilles has caught sight of him, and, pausing

meal, has turned his head away, raising at the

lips.

same time

Bronze statue of Gr*co-Roman workmanship. Found in 1758 at Herculaneum ; now in the Naples Museum.
The upper part of t/ie foreliead is restored, giving the temples and ears a somewhat peculiar appearance.

became a
times
fig.

and

best

known

modern
(cf.

by the

series of statues at the Uffizi in

Florence

his

dagger to his
in a

He

is

thinking of vengeance, a feeling

the corpse of Hector, which
sides beneath the
at variance with

114).

suggested
lies
mii

ghastly

manner by
This

The
pine

scene of the vase-painting

is

wooded

(the solitary

with hands
ln.
is
Ii

bound and bleeding

rei lines.

couch

Lubke, Geschichte

d. bildenden Kiinste, fig. 170.

tree

symbolises a forest) mountain-side.

Artemis and

A. hilles

is

Homer,

but

easily explained

by the

artistic contrast

afforded by the

Friederichs, Bausteine, No. 844. Baumeister, Denkmaier, fig. 738,

Apollo stand on a ridge, and pour a shower of arrows on the

p.

678.

unfortunate children of Niobe.

Two

lie

below them already

to

juxtaposition of victim and conqueror.

is also the explanation of the introduction of the four servants carrying

Artistic necessity

Roscher, Lexicon der Mythologie,

[There
is

p. 2419.

dead, a third

flies to

the

left,

endeavouring
is

pluck an arrow

an excellent reproduction

in

treasure, for in the Iliad I'riam

bronze of this statue in the collection

from his side as he goes, while a fourth

falling pierced in the

goes to the tent alone.

of casts at the South Kensington

Museum.]

back by an arrow from the bow of Artemis.

were only four

The
to

artist,

of

The
with

picture

on the reverse of the vase shows the chieftains

(cf.

course, does not wish us to believe that the children of

Niobe
Trojan

whom

Achilles took counsel

line

651,

oc'tc

,uoi

iiA

/3ou\ /JoiAnW. irapiju^o.)

is

The god
rests

is

in another part of the tent, which indicated by a pillar, and by the helmet, spear, shields, and

represented quite nude in the bloom of youth,

rock, resting

in

number, but was content

design
(cf.

take just as

seated on a

from his

flight.

Even though he

many
in the

as

suited his
fig.

the

number

of the

swords suspended from the wall in the background. |'I the heroes are seated and would seem to be
at
tent,

on

earth, his

pose

is

Three
in the
still

buoyant, his feet scarce touch the

victims in

96).

In any case there was great discrepancy

ground, and the

artist

home

has admirably succeeded in conveying

while two of the remaining three are visitors,

their
all

who

wear

wide-awake hats (petasi).

carry sticks, though only one of
for support,

They

them seems old

is

used in flying than in no mere modern conjecture is shown by the rosette with which the straps of the wings are
standing.

the impression that

they are more

numbers given by different writers, Hesiod speaking of twice ten, and other poets of twice seven.

That

this

is

clasped
for

Fig.

enough to require them

to the sole of the foot, a place

112. The slaying of the Children of Niobe

602).

(line

but this

merely an

where no sandals intended

anachronism on the part of the painter, follow the Athenian fashion of his own

walking could possibly be clasped.

himself,
lies

who makes them

The

god, in

fact,

supports

and

times.

carelessly

that but lightly, with his right arm, while his left thrown across his knee. One feels that in

Red-figured painting on an Attic drinking-cup

Berichte
d.

(cylix).

Baumeister, Denkmiiler,

Sachsischen Ges. d. Wiss., 1875, pl 3a p. 1029.

-

and

Here the
dropped
his

picture

is

divided into two scenes.

That on the

lower shows Apollo

lyre

(ALTOAAON) aiming
is

at a youth,

who
back

has
at

Found near Cape Kolias in Attica ; now in Athens. Benndorf, Gr. u. Sicilische Vasen, PI. 1.
Schreiber, Kulturhist. Bilderatl.
PI. 95, 6.
fig.

on the

father's side

(0E0I2 l=r,jOW] IIP02 IIATP),

and another
little

the cousin

on the mother's
example.

side,

sister,

all

follow her
is

and

flying

in

terror, glancing

At the

foot

of the bed,
little

near his father,

the

his pursuer.
flying like

Between the god and his victim is a maiden her sister, who is on the other side of the palm, and

Baumeister, Denkmliler,

p. 238,

217.

youngest brother, a very

general lamentation.

boy,

who

also joins

in

the

hastens away with gestures of horror.

In the upper picture Artemis

(APT

is

aiming at a
left.

It

was the custom among the Greeks,

after

washing and
inside the

maiden, while two youths run to the right and the

anointing a dead man, to lay

him out on a bed

Such a lying
all

The
are two
in

artist

has skilfully arranged the figures, so that there

in to

house clothed

in his best

garments.

in state

was

Fig. 114.

Head

of Niobe

(line 602).

women and two men

mere additions

each scene.

Two, however,
design
;

called the 7rpo0ns,

tives to

and

it

was the custom of

the near relaat

each are

complete the

the

assemble and mourn aloud, giving way,

any rate

in

original

groups being Apollo slaying a youth on one side,

the older times, to the most extravagant outward manifestations of grief.

and Artemis a maiden on the other.

Bust of the marble statue of Nioee belonging to the celebrated group of Niobe and her children. Found in 1583 near the Lateran, Rome, and now in the Uffizi
Palace, Florence.

The
is

artist

doubtless intends us to assume that the gods are

that the

In

fig.

113

we have

a scene of this kind.

hall,

On

the
is

left,

near

invisible,

and

amazed

terror of the children of

Niobe

one of the

pillars

of the

stand three

men

(one

a brother,

The

nose,

parts of both

lips,

and part of the

chin are restored.

due

in part to their

not knowing whence the arrows come.

AAEA4>02), who form a

(IIATEP) of the dead

choir,

and

raise their

hands and utter

Friederichs-Wolters,

Gipsabgiisse,

No. 1251.

a rhythmic wail (OIMIOI),

Fig. 113.

following

the lead of the father

are

Family

mourning a Man lying

in

State

man.

The women
at the

gathered
cf.

" Niobe

all

tears "

was the favourite

illustration of grief in
is

(line 664).

round the bed, the mother (METEP)

724, Kaprj /iera xpo"tv
r^ovcra).

head (712;

the ancient world, and this statue, which

original of the fourth century B.C.,
is

a copy of an Attic

She

tears her hair,

and the

justly considered

one of

Black-figured painting on an archaic Attic terracotta plaque (pinax) of the early sixth century.

youngest

sister

(AAEA<pE), who stands below

her, the grand-

the noblest

embodiments of heroic mourning

from antiquity.

that has

come

mother (0ETE=T^f?>;), who bends over the

pillow, the cousin

down

to us

The Odyssey.

Plate

I.

The Odyssey.
Plate
II

8.

a.

Draught-play.
Terracotta,

4.

The Murder

s.

of Aegisthus.

Relief from Ariccia.

b.

The Draught-board.

group from Athens.

The Odyssey.

Plate HI.

Dg Nestor.

Red-figured Vise-painting.

on Athenian lecythtu.

The Odyssey.
Plate IV

The Odyssey.

Plate V.

29.

Odysseus and Nausicaa.

R. F. Vase-painting. Fr. Vulci, in Munich Collection.

27. Girl playing Ball.

R. F. Vase-painting.

32.

Athene modelling a horse. R. F. Vase-painting

in

Berlin

Mu

33-

The wooden Horse brought

in Troy.

Wall-painting from Pompeii.

The Odyssey.

;,6.

The Minding of Polyphemus.

Archaic Vase-painting from Caere. Mus. Etr. Capit.

Rome.
37.

The Blinding of Polyphemus.

B.

F. Vase-painting in

Naples

Mu

The Odyssey.

Plate VII.

40. Odysseus under the ram. B. F. Vasepainting in Museum, Athens.

42. Departure of Odysseus.

Relief on Etruscan urn in

Museum. Leydei

house on the Esquilina

Hill,

R,

The Odyssey.

Elpenor. Engraving on
i

Btnucu

mirror,

from

...

,,

pjj_

The- Odyssey.

Plate IX.

49.

The

shad

r_

F Vasc

Antiope and Dirce.

R. F. Vase-painting from l'ala2zuolo

in

Berlin ADtiqua

The Odyssey.
Plate

53,

Leda and the Dioscuri.

B.

1'.

Vase-painting from Caere,

in

Mus. Gregoriano, Rome.

56.

The Taking of Troy and Death of friam.

R. F. Vase-painting,

in

Bologna

The Odvssev.

60. a. b.

c.

Hades.

Etruscan Wall-paintings

fr.

Cornets.

Plate XII.

The Odyssey.

The Odyssey.

Plait- XIII.

76.

The Dog Argus.

in

Gen
Penelope mourning. Terra-cotta
relief.

Berl.

Antiquarium.
67- Sun,

Moon and Dawn.

R. F. Vase-painting in Berlin Antiquarium.

75.

Eos carrying

off a boy. Terra-cotta relief

from Caere

in Berlin.

Plate

XIV

The Odyssey.

"-j

he

<

)dyssey.

The

slaying of the suitor,

Relief from Sarcophagus

o,

,>.

md

.,,;..
in the

the Herrmtage St. Petersburg.

Re ef

SUver
Petersburg
93. Centaurs

Vase from the Crimea

Hermitage.

St.

and

Lapitlis,

The Odyss ey.

Plate

XVr.

^2^M
94. a. b. c.

The

slaying of the Suitors.

Reliefs from a

tomb

at Gjolbaschi,

now

at Vit

slaying of the Suitors. R. F. Vase-painting in Berlin Antiqi

99. Odysseus

and Penelope. Pompeian. Wall-painting.

THE ODYSSEY.
BOOK
HE
ODYSSEY
is

I.

the story of the wan-

Zeus, as

befits

the father

of the gods, opens

the

was moodily watching the

suitors,

caught sight of the

(fig.

derings of Odysseus, king of Ithaca,

council with words of rebuke to

men

for their folly in

stranger, led her into the great hall

6),

and there

on his way home after the taking of

Troy, and of the vengeance which he

laying

the blame

of the

misfortunes

they bring
is

on

entertained her with

suitors

much
sat

hospitality.

Presently the

themselves at the door of the gods.

He

thinking of

came

in too,

and

down

in

rows on the chairs

wreaked
beset his wife Penelope

on

the

suitors

who

had

/Egisthus, who, despite the warning of the gods through

and high
wine.

seats, to

partake of a supper of bread and

when he was away.

Hermes

their messenger, took to himself Clytemnestra,

When

this

was over they

(fig. 9).

called

on Phemius, the

His wanderings lasted ten long years, but the story

only begins
in

the wife of

Agamemnon, and
was himself
2-4).

slew her lord, and

in

the

lyre-player, for music

Meanwhile Athena has

call

the tenth year, just six weeks before

fulness of time

slain

by Orestes, Agamem-

been advising Telemachus to

an assembly of the

he

at last returned

and slew the

however,

suitors.

non's son

(figs.

Achaean heroes, and to bid the suitors go home and

opportunity to remind Zeus of
leave Penelope
also to
set sail free

The

adventures,

which he went through

Athena

seizes

the

to

choose a husband.

He was
visit

during the former years are told by himself to King

Odysseus, a god-fearing man,

Alcinous

in

bks.

ix.-xii.,

which are a treasure-house

cannibal ogres, of weird

home
of

ten long years, and

is

who has been kept from now detained in the island

Zeus
replies

for the

mainland, and there to

Nestor at Pylus and Menelaus at Sparta to ask news

of his
father.

of hairbreadth escapes from

tales of the

Ogygia by the nymph Calypso.

Poseidon

that

The goddess then took

farewell

of

world below, of seas unknown to man, and

it is

who
him,

is

to blame,

and adds that the time

Telemachus, and departed, flying upward.

minstrel

Phemius the

of enchanted islands.

has

come

for

in

deference to the other gods

who
be

was now singing the

lay of the pitiful return

The

plot

of

the

poem

turns

on

the

wrath

of

pity Odysseus, to lay aside his wrath

and

let

him return

of the Acha:ans from Troy, and as he sang, Penelope

Poseidon,

who was angered

his

with Odysseus for having

(bk.
ix.).

home.

Athena accordingly asks that

Hermes

hearing the

music came
(fig.

down
She

the stairs

from

the

blinded

son
a

Polyphemus
powerful

Odysseus,
the

sent to Calypso to bid her set Odysseus free.

Meanto

women's chambers
doorpost of the hall

5),

and stood to
fell

listen

by the

however,

has

protector

in

goddess
in

while she arms herself and descends from

Ithaca,

Olympus

(fig. 5).

a-weeping, thinking

Athena,
search
helps

who
of

not only

sends his son Telemachus

(bks.
i.-iv.,

where she
(figs.

alights in the courtyard of Odysseus'

6),

of the long-delayed return of Odysseus, and besought the

news of him

xv.,

xvi.),

but

palace
ruler

and

and takes the form of Mentes, the

bard to choose some other lay.

Telemachus, however,
suitors,
in

him

at each juncture.

of the
;

Taphians.

strange

sight

meets her
(fig.

persuaded her to go back, spoke boldly to the

rebuking them, and then went to his chamber
court,

The
(fig.
i

first
),

book opens with a council of the gods

the palace of Zeus at Olympus, at which

eyes

before the doors of the great hall

(figs.

6)

are

the
i

in
is

the suitors, playing draughts

7 and

8),

and feasting

where he

slept wrapt in a fleece of wool

(fig.

o),

Poseidon

not present.

on abundance of wine and

flesh.

Telemachus, who

meditating on the morrow's journey.

Fir:,

i.

Assembly
of

of the Gods and the Entrance Dionysus into Olympus (line 26).

She neck. with a carved back ending in a swan's head and in her holds a branch with leaves and fruit (or flowers?)
right

Egisthus, his father's murderer,

is

told

more

fully in the later

books of the Odyssey.

BY

Ol.TOS

[CURED PAINTING ON THE OUTSIDE OF A VASE (cySx) AND EUXITHEOS, ATHENIAN POTTERS OF THE
B.C.

and a flower

in

her

left

hand.

Behind her

is

Aphrodite,

wearing her hair

in a curious

headdress, and holding a dove

BEGINNING OF THE FIFTH CENTURY

Found

at

'orneto,

and

in the

Museum

there.

Side by side sits Ares in her left hand and a (lower in her right. at with helmet and spear, gazing backwards like Aphrodite The procession is depicted on the approaching procession.
the other side of the vase.
act of

The Homeric version is essentially different from that best known to us by the plays of /Eschylus, Sophocles, and Euripides, and does not agree altogether with the scene on the early fifth-century vase-paintings, which seem to give an
intermediate form of the story, later than

Homer and

older
:

Mon.
Ann.

d. Inst., x., tav.

d. Inst.,

23 and 24.

In the centre
chariot.

is

Dionysus

in the

than the Attic dramatists.

Homer's

story runs as follows

1875, PP- 221-53p.

i.,

mounting a four-horsed
large vine-branch
his attribute,
is

He

holds the reins

in

Orestes was the youngest child of Agamemnon, and quite an

infant

Klein, Meistersignaturen,

136.
xrii., fig.

and a
2400.
carries

in

his

right

hand, and

his

left

when

his father left for

Troy

(cf. //., ix.,

142).
(cf.

Thus
Od.,

at

Baumeister, Denkmaler,

the

drinking-cup (cantharus).

At the
;

the time of the return and murder of his father

iii.,

The figures are arranged thus:

1
j

M
'

side of the horses

a satyr with snub-nose, playing the lyre

195-312, and

fig.

23) he was only ten years old.

Homer
year

does

and
rial,

in front a

maenad advances with

left
is

a thyrsus in her right

not

tell

how

the child was saved from death at the hands of

that
in

Hebe, Hi rme

Athena, Zeus, Ganymede, Hestia, Aphrodite, Ares.

Satyr with

hand, while in the

doe.

she carries by

its

hind leg a struggling

/Egisthus, but merely says

the

eighth

of the

{b)
llute.

M.-enad, Satyr With lyre, Dionysus in chariot,

On

her arm

a coiling, hissing snake.

follows, with

Behind the
skin wrapped
left

usurper's reign he returned from Athens

and slew

his father's

chariot another

maenad
lion

panther

murderer (Od.,

iii.,

306).

The same
is

passage speaks of the

round her neck and shoulders, holding a thyrsus in her

In the archaic art of the seventh
iIh

burial of his mother, but there

nothing to show whether

is

and

sixth centuries B.C.

large

hand and carrying a

satyr playing

on her

right.

She

is

followed by a

she

fell

by her own hand or not, and there

no reason

to

gods appear

in

many works
in

of art assembled in

on a double-flute.
is

suppose that
the
the

Homer knew
it

the

later version

which turns on
the
curse
of

groups to
represented

take pari

some ceremony.
solemn procession

At

first

they were
in

One

of the most noteworthy things about the scene

murder of Clytemnestra by Orestes, and

brought upon him.

forming
as in the

and marching

absence of such a large number of the greater gods, Hera,

Apollo, Artemis, Poseidon, and Hephaestus,

blood-guiltiness that

due order,

scene of the "Marriage of Peleus" on

(//., fig. 88),

and the presence

is

The vase-painting from Bologna shows /Egisthus seated on

a throne,

the celebrated Francois vase

but in later art they

of Hestia and

Hebe

in their place.

This, however,

explained

suggesting,
which he
is

in this simple way, the usurpation and

appear seated.
is

The

vase-painting of Oltos (whose signature

by the occasion being the welcome of Dionysus to Olympus,

for

murder

for

paying the penalty.

feet against Orestes,

He

is

struggling

inscribed

beneath

the

throne

of Hestia)
It

is

one of the

Hera could
rival.

scarcely

be present

to receive the

son of a

violently with

hands and

who

has seized
right

earliest

instances of this
in

new

type.

shows,

however, the

hated
takes

Hestia, the goddess of the hearth, accordingly

him by

the hair with

his left

hand, while with his

he

gods

the traditional forms of archaic an.

in

her place.

The

other gods

seem

to

be selected as

plunges a dagger
(ko.to.

into

his
left

throat,

above

the

collar

bone
called

and gives

very

good idea of the manner

spoken of

which the

belonging, so to say, to the inner family circle of Zeus, being

all his

KXrfiBa).

To

the

woman, whom we
(fig.

find

older Greek artists depicted them.

children.
calls for notice is the

Clytemnestra on
fact that four

the

Vienna vase

The scene
but
III

3),

rushes forward
other
side

is

not the council

of the

in

the

Odyssey,

Another point which

the gods,

of

swinging an axe to strike Orestes.

the throne
is

On

the

of

represents certain

gods assembled to welcome a

god,

Honysus, to Olympus.
is

in a dainty way,.as

Hebe, Hermes, Hestia, and Aphrodite, hold a flower though smelling it. This is not an attribute,
artists,

another woman,
(fig.

Vienna vase

In the centre Zeus

l>

seated holding the thunderbolt in his

3),

named Chrysothemis on the and Electra on a Berlin vase, who in

warn Orestes.

but merely a favourite device of the archaic Greek

11

hand, while with his right he holds out a cup, into which
1

who

great agitation shouts to

He
is

turns his head to

employed

it

lus

up bearei

lanymede
sits

to give a certain daintiness to their female figures.

see the danger which threatens him, but

at the

same moment
This

is

about to pour wine.

in

It is rare to regis,

see a male god, like

Behind him

Hermes, holding one.

Athena,
//.,

saved by a youth behind Clytemnestra,

who

has seized her

her traditional attire of

helm, and spear

(cf.

fig.

16);

she looks round towards

Fig.

arm and

laid

hold of the axe and stayed the blow.

the
figure

Hermes, who
and has
neck.
.1

is

dressed

in a

cloak (chlamys) and winged boots,

2. The Murder of jEgisthus

painting
B.C.

(line 30).
(celebe)

youth corresponds to

called

Talthybius on the

In

wide awake hal (fetasus) hanging at the back of his his left hand he holds a flower, and in his right
staff,

Red-figured

on

an Attic vase
and

Vienna vase of
herald, the

(fig. 3),

but seems too young to be Agamemnon's

in

THE FIFTH CENTURY

Found

man who

one version of the

story

had saved
accordingly

doubtli ss held a herald's

which has been rubbed away

artist

in

in the Cerlosa at Bologna,

and brought up Orestes.

in the

Museum

Some

archaeologists

there.

process of time.
placed Ik.
left

Side by side with him, though the behind,

,

has

recognise in him Pylades, the faithful companion and friend

of Orestes.

Zannoni, Scavi

slightlj
,

sits

Hebe, holding a (lower

,

detla Certosa, tav. 79, 3.

in her

hand and

Robert, Bild und

Lied, p. 150

(E on

list).

hei

right

s ,, c haJ
is

tumed

her head round to see the procession which from the other side.

The figures are arranged thus

Pylades
(.?),

approaching
Clytemnestra, Orestes, /Egisthus, Electra.

The dramatic trait of the mother in the act of slaying own son, whom she has not recognised, in defence of paramour who had murdered his father, is peculiar to
vase-paintings.
It is
is

her
the
the

To

the right

of Zeus

is

the

goddess Hestia on a throne

The

story of Orestes

and the vengeance which he took on

hinted at by /Eschylus (Chatham, 882),

to literature.

but otherwise

unknown

Fig.

3.

The Murder

of /Egisthus

(line

30).
(felice)

his short

sword to give a coup de grace,

but, finding himself

by a second " propylseum.''

cf. 77., vi.,

This was the courtyard (av\r

Red-figured paintings on an Attic vase

BEGINNING OF THE FIFTH CENTURY
B.C.

of the

checked, turns round to Clytemnestra,

who has

placed her right

is

316) of the palace proper, whereas the outer court-

hand on

his

shoulder.

Behind /Egisthus

Electra,

who

yard was for the whole citadel.

In

this
cf.

second court stands

Od., xxii., 335, 442,

stands on tiptoe, with uplifted arms in terrified excitement

while to the
in alarm.
left

the stone altar of Zeus Herkeios (lpios,

Found
1/
-

at Orvieto,

now
tav.

in Vienna.
15.
fig.

a lady

is

seen raising her hand to her breast

another

./.

Inst,

viii.,

By her
She
is

side

is

woman

with upraised arms

and 459), and round it ran colonnades (alOovo-ai) forming a cloister. The pavement of this court (avXij) is of concrete,
carefully laid

imsti.r, Denkmdler,

131

1,

p.

n 14.
(fig.)

in terror.

probably one of the servants of the palace.

down and decorated

court
fig. 6).

with patterns.
hall

ROBERT, Bild und Lied,

The
(rt)

p.

149

(a.)

and 154

From
(/icyapoi-,

this

one entered the great

of the

men
of

scene is

arranged thus

Fig. 5.

see

To

the side of this hall were a

number

Palace on the Acropolis of Tiryns.

rooms, but only in the case of one can the use to which they

Tallhybius holding Ijack Clytemnestra.

(4)

Chrysothemis, Orestes, /Egisthus.

Excavated by Schliemann in 1SS4.

were put to be determined.

of which
is

This

is

a bath-room, the floor

ft.

Schliemann, Tiryns,

PI.

n.
Ausgrabungen
(Eng.
trans,

formed of a single slab of stone (10

all

by 12

ft.),

The same
Vienna
vase,

scene divided into two groups

is

shown by the

Schuchhardt,
by Miss

Schliemann 's

made

with a slope, so that

the water ran out at one point,

through a stone pipe into the main drain.

where

it

is

treated

in

more vigorous and

in the breast,

Sellers), PI. 4.
PI. 75.
art.

quainter way.

Baumeister, Denkmaler,
here represented already

On
"

the other side of the great hall

off

is

the dwelling of the

It,
it

/Egisthus
falling

is

wounded

Smith, Diet, of Antiquities,

Domus,"

fig.

on

women, completely shut

p.

from that of the men.

a
large hall,

too,

655.

has a court (avXr;

),

and

and round

are

from the throne as he receives a second stab from

apartments,

in

which we may recognise the aXa/*os and the

Orestes' sword.
is

He

struggles faintly with one arm, his

his leg kicks

eye

Schliemann's

excavations

at

Tiryns have thrown

flood

ijcrai'pos

of

Homer.

upturned and half-closed, and

of death.
fig.

spasmodically

of light on the structure and plan of the palaces of

kings.

Homeric
however,
Fig.
6.

in the last throes

The

palace on the Acropolis of Tiryns

its

is,

Orestes, as in
his sister

1,

looks round, startled by the cries of

no longer the only monument of

have been traced
at

kind, for similar buildings

Ilios),

Chrysothemis,
at

who

stands behind him with uplifted

Mycense, Hissarlik (Schliemann's

The
at

hands gazing

her mother.

and Arisba
largest,

in Lesbos.

However,

it still

remains not only the

Great Tiryns

Hall (Miyapov) of the

(line 103).

Palace

On
in

the other side of the vase Clytemnestra rushes forward

but the best preserved.

It is

undoubtedly much more

Schliemann, Tiryns,

p.

237,

fig.

113.
p. iji, fig. 102.

the act of raising the axe, while Talthybius seizes her

arm
felt

magnificent than the palace of Odysseus, the homely king of

a group of small islands, seems
notwithstanding,
to have been, but
it

Schuchhardt, Schliemann's Ausgrabungen,

and holds the axe.

He

wears the short

cloak and the

is

gives,

hat of a herald, and, as befits an aged man,

bearded.

better

explanation

of

Homer

than

the

other simpler palaces.

Fig.

4. The Murder of /Egisthus

in

The
(line 30).
is

Acropolis of Tiryns rises out of the plain of Argos, and

height.
It

the chief

The Megaron or great hall of room in the Homeric

i.,

the men's
palace.
;

apartments was

It

was

in

it

that

no great

was, however, a strong fortress, for

built of

it

strangers were received (Od.,

125

iv.,

15, etc.)

and

that the

Marble relief
Found at
and now
.

archaic Greek style.

was surrounded by walls of immense thickness,

such

heroes met to feast and carouse.

The room

in the palace

bin,: towards the end of the eighteenth century,

huge blocks of stone

to

that they

were supposed by the ancients

excavated by Schliemann

at

Tiryns gives the typical form of

in the

Despuig

Museum

at

Palma
II.

in Majorca.

have been the work of giants, and were called " Cyclopean."
citadel thus
:

such a
It

hall.

The
.Irchaologische /.eitung, 1849,

formed

is

divided into three parts at different

;

was entered from the court by an open portico of two

(the
cU'tJouo-a)

W-

Baumeister, Denkmaler,

p.

ma,

levels
fig.
i.,

the

upper

citadel, containing the king's palace

citadels,

the

columns

and an inner vestibule

(the 7rpo'Spo/ios),

1309.
160,
fig.

Overbeck, Geschichted.gr.
Gall.
Iter.

middle and lower

31.

where the attendants and soldiers

Plastik,

had

their quarters,

amid

stables

and other

offices.

which was connected with the portico by three doors, and with the hall itself by a single doorway without doors. In the middle
of the hall was a hearth (the
i<rx<ipa,

Bi/dw.,

xxviii., 8,4).

696.

The figures are arranged thus

Entrance was gained by a road on a gentle slope which

ran between the outer or main wall of the citadel and the inner
wall round the upper citadel

Od.,x\., 123), which served

both

for sacrifice

and cooking; and round the hearth were

Woman

wailing, Lady, Clytemnestra, Orestes, /Egisthus, Electra.

and

palace.

Half-way up

this

the four pillars which supported the roof.

There was

in all

road was a gate, which was closed by doors and bars, and

probability a hole in the roof over the hearth, to allow the

The
in the

archaic relief from Alicia shows a slightly later scene

farther

on the entrance

to the

upper citadel was guarded by

smoke

to escape

and the

light to enter.

Indeed, except the

murder.

The
at

throne has been

is

left

out,

and /Egisthus

a double gateway, " Propyteum," with a

side of the doors.

roomy

portico

on each
and

wide door of the vestibule there seems to have been no other

provision
for

has sunk to the earth and

while

half erect, endeavouring to rise,

Beyond

this lay a courtyard, off

which were
;

lighting.

The

floor

of the hall was

of lime

he clutches

the entrails, which

Orestes,

protrude from the

rooms
from

for the

use of the soldiers

who guarded

the gate

concrete, decorated with

of incised lines.

patterns of squares formed

by rows

wound

in his breast.

who

is

bearded, advances with

this

courtyard opened another court, which was entered

Pig.

Heroes Playing

Backgammon

(line 107).

Fig.

8. Draught-players
TERRA-COTTA GROUP.

(line 107).

bard of the Phreacians (Od.,

Minstrels like Phemius in Ithaca, and Demodocus, the blind viii.), enlivened the feasts of the
lays.

Black-figured painting on a vase {amphora) by the Athenian potter Exekias, ok the end of the sixth
11

heroes with their music and their

From

Athens, in the Plot Collection.

PI. 80, 4.

ITURY

B.C.

Jn

the

MusiO Gregoriano,
Inst.,
tav. 22.

in the Vatican,

Rome.
PI. 36, 8.

Schreiber, Kulturhistorischer Bilderatlas,

Archiiologische Ztitung, 1S63, PI. 173.

Like seers, physicians, and builders, they were Siyuovpyoi, or craftsmen who were brought from abroad, from strange towns

and
37410.

lands, for the sake of their

welcome

services (Od.,

xvii.,

383).

Schreiber, Kulturhistorischer Bilderatlas,

Mon.

Baumeister, Denkmaler,
iii.,

p.

354,
ii.,

fig-

Some, however, were attached to great

families, like the bard

,/.

ii.,

USD, Auserltsent Vasenbilder,

p.

206.

Blumner, Leben und

Sitten,

52,

fig.

who was
for

faithful to the trust

Agamemnon

placed in him, and

her absent lord a long time kept Clytemnestra true to

iii.,

BAUMEISTER, Dcnkmaler,

684,

fig.

744.

Ku
(
1

(Od.,

265).
fig.

in,

Mcistersignaturen, p. 39 (4).
ant. Lebens, 10, 10.

Panofka, Bilder

variety of draughts or chequers

was very favourite among

The
of the

vase-painting in
fifth

9 depicts the wandering minstrel

mini
of

Gall. her. Bildw., xiv., 4, p. 310.

Games
in a

skill

and chance played on a board, ruled either

in parallel lines,

and may possibly have existed The above terra-cotta group as early as the Homeric age. idea of what it (fig. 8, a) enables us to form a fairly close
the Greeks of classical times,

century, sunk from his high estate, wandering to

his dog, and the music of his double-flute, accompanied by back. carrying his lyre slung on his staff behind his

chequer pattern of squares or

were very

was

like.

popular
in this

among

the Greeks at

all

periods.

They are mentioned

to

Two
to

players, a

young man and a

which

girl,

are seated opposite

passage by

Homer, and, according

an old

tradition,

one another, with a draught-board and

were invented by 1'alamedes to while away the hours which

knees.

A
is

third figure,

is

a caricature of an old

men upon their man or

The picture should not be taken as giving an accurate idea regards his dress, of the lyre-player's appearance, especially as he wore as a professional attire long flowing garments,
for

such as we see on Orpheus in

fig.

59.

hung

heavily on the hands of the Greeks before Troy.

How-

woman,
Fig. in the

looking on, and taking part in

some dispute about

ever, panics of the

1 1

same kind were played

it

in

Egypt long before

the state of the game.

in'

1'

time,

and

is

probable that the origin of the game,

further back.
his

8 b

shows the pieces lying on the board much as

;

in

in

Greece,
tell

lies

much
fig.

We

have nothing,

modern game

but unluckily the

artist

has placed the

Fig.

10. Bed

(line 437).
(lecytkus)

however, to

us

what kind of game

7,

heroes played; but

men
it

at

haphazard, without any relation to the squares, and so

it

Painting on a white Attic oil-flask

fifth century
B.C.

of the

Exekias, the painter of

represents Ajax and Achilles

is

impossible to form any idea of the rules by which

was

playing a variety of

backgammon.

The two
to the

heroes are seated

played.

The

article

"Duodecim
far

Scripta," in Smith's Dictionary

Noiv at Athens.
Schreiber, Kulturhist. Bilderatlas,
PI. 86, 1.

mi square stone suis, with a block between them, on which the

of Antiquities, ed.
varieties of the

1890, gives an
as they

account of the different

board

is

placed.

AcliilK

s,

who

sits

right (in a helmet,

game, as

can be recovered from

loin-cloth, cuirass, greaves,

and a

richly
left

embroidered cloak or
hand,
cries,

classical writers.

Stackelberg, Graber

d.

Hellenen,

PI. 38.

chlamys), holding two spears in his

" Four,"

the throw he has just made,

and

is

moving

his piece.

Ajax,
Fig.

on the other side

chlamys), cries "

(in loin-cloth, cuirass,

greaves,

and cloak or

Three," and makes a counter-move.

hero
is

9. A Wandering Musician

This vase-painting, from an Attic funeral

(line 153).

oil-flask, represents

a dead

man

lying, as

it

were, in sleep in his bed.

If

we can

Behind

each

shield of Bieotian shape, that of

.1

Red-figured painting from an Attic vase of the fifth

Achilles decorated with a satyr's head,

that of

snake, and a panther,

it,

century

b.c.

replaced imagine the ribands which hang from the ceiling picture of by Telemachus's clothes (cf. line 439) we have a

Ajax with

his

helmet resting on

and ornamented

Schreiber, Kulturhistorischer Bilderatlas,

PI.

65,4.

Telemachus

as

an Athenian painter might have drawn him.

lies

with a Gorgon's head and two snakes.

curious
point
is

small and very

PANOFKA, Bilder

ant. Lebens, PI. 4, 3.

The young man

p.

wrapped
which

with in a blanket (often fleeces),

is

noteworthy

both

the

heroes have their

Daremberg et

Saglio, Diet, des Antiquitcs,

12 14,

fig.

his

head on a
it.

pillow,

stuffed with wool,

and has

thighs tattooed.

56

7-

cover over

BOOK
N
the next day Telemachus called toFig.
11.

II

Penelope
(line 93).

at the

Loom, with Telemachus

winged human

figure,

cross,

and a

star,

while

the

side

gether an assembly of the people, at

seams have an elaborate border of meanders and

stripes.

which he took his

elders

father's

seat, the

giving

place

to

him.

The

Red-figured painting on an Attic vase of the fifth century b.c.

On-the top cross-bar of the loom are a row of pegs, and

what seem
accurate

to

be spindles.

The

drawing, however,

is

not

meeting was opened by the old

/Egyptus,
with

man

From
The
fig- 79-

Chiusi,

now

enough

to enable us to determine accurately.

how

in the Berlin Aniiguarium.

either these or the lower crossbars were

worked.
but

few words

of good

will

towards

reverse

shows the " Recognition of Odysseus," given below,

painting belongs to

the

fifth

century
is

B.C.,

The vasewe have no

from that
upright, not

Telemachus, who thereupon arose, and appealed to the

people to see that the suitors no longer wasted his
substance.

reason to suppose that this loom

d. Inst., ix., PI. 4, 21. d. Inst.,

at all different
it

Man.
Ann.
Antinous, the spokesman
is

of

Homeric

times.

Like

all

classical looms,

is

1872, pp. 187-216.

p.

horizontal as in
fig.

modern

times,

and was worked standing by

forwards each time the

of the suitors,

Baumeister, Denkmiiler,

20S5,

2332.
75,
1.

a weaver
shuttle
Technologie,
is

who walked backwards and

replied that Penelope

to

blame

for

having deceived
foil).

Schreieer, Kulturhirt. Bilderatlas, PL

was passed through the woof.

scene here represented does not occur in Homer, but

the

suitors

by her famous web (87

She had
i-.

Blumner, Leben und

53-

Sitten,

i.,

p. 171, fig. 81.

The

been wooed seven long years before she consented to

give up hope of Odysseus, and to marry another
;

manifestly intended to illustrate the second book, the artist

but

Smith, Diet, of Antiquities,

article

"Tela."

allowing himself the liberty of inventing a scene in which

Telemachus before departing gazes

even then she pleaded that she must
first finish

in

sorrow

at his

mother

the robe

without taking a formal farewell.

which she was weaving as a shroud

for

Laertes, the

father of Odysseus, against the time of his death.

suitors consented,

The

To
and

the right of the picture Penelope

sits

in a pose

which

almost exactly corresponds with that of a famous series of statues

reliefs

and

for three

long years she deceived

all

representing her.

(These are given in the Antike

them,

weaving by day and unravelling by night

Fig.

12.

Ships.
Care,

Sea-fight

(line 387).

Denhnaler of the German

Plates 31
fig.

Arcliiiologisches Institut,
reliefs

Heft 3 (1883),

that she

had woven.

In the fourth year, just at the

and

32,

one of the

being shown below in

Painting on an archaic mixing-bowl

(crater)

by the
B.C.

time the
traitor,

poem

opens, one of her serving maids proved

in

78

cf.

Friederichs-Wolters, Gipsabgiisse, No. 211, where the

is

potter Aristonophos, of the seventh century

and the suitors found her

it,

the act of unthe

bibliography of the subject

sorrowful
;

fully

given.)

Her

attitude

is it

From
The

now

in the

Museo Etrusco

Capltollno,

Rome.

ravelling

and

made her

she has drawn her veil over her head, and rests

reverse
(Jig.

shows
36).

the

" Blinding of Polyphemus "

and

is

perforce finish
that

web.
will

meditatively

upon her hand.

Telemachus,
is

given below

Antinous accordingly declares

the

suitors

Before her stands a youth, whose name,

inscribed on the original vase-painting.
(liimation),

Mon.
Ann.

d. Inst., ix., PI. 4. d. Inst.,

not go until Penelope makes her

further debate,

final

choice.

After

He

is

clad in a mantle
chest free,

1869, pp. 157-72p. 27.

p.

and the appearance of an omen boding

suitors,

which leaves

his right

arm and

and

Klein, Mcistersiguatiiren,

death

to

the
in

the

assembly

broke
to the

carries

up,
sea,

and

two spears

in his left

hand.

The weapons

indicate that

Baumeister, Denhnaler,

1956,

fig.

2087.

Telemachus

he

is

despair went

down
to

about to take his departure, and he gazes sadly on his

for

and

Schreiber, Kunsthist. Bilderatlas,

PI. 46, 2.

mourning mother,
journey.

prayed to Athena.
of Mentor;
(fig.
1

he has been forbidden

to tell her of his

She appeared
to

him

in

the form

promised

provide

him with a ship

for

In the background

is

the loom, a large upright framework,

The

only information that

is

Homer
found
(e.g.,

gives as to the shape

2), for

he had not asked the assembly

one

with five bars running across.

;

Round one
by
little

of these
the

is

wound

of the ships of his time

gives them.
eAurtrai)

in

the epithets which he

a/*<i-

and bade him go home and get provisions

voyage.
Pylus.

for

the
for

the web, from which the threads that form

to the ground, kept in place

woof hang

Some
and

of these

opOoxpatpai, Kopwv&es

The book

closes

with

whorls or pear-shaped

seem

to imply that both their bows and poops were that at each

his

departure

weights.

The

piece of cloth last woven, which hangs below

built

alike,

end they had hooked beaks

of a Greek ship
is

the

roll,

shows a richly-woven pattern of winged horses, a

curved like horns.

The

oldest picture

:>

an Egyptian

relief

at

Medinet Habou, which

re-

presents a sea-fight between the Egyptians under

Rameses

III.

The prows and poops as already quite distinct in structure. century or two vase-painting of Aristonophos given here is a
later,

(1200(ireek

166

B.C., a

date which

is

very nearly that of the early

but shows practically the same

if

type of ship.

Both

In fighting with one another. helmets, shields, and spears, which has no mast, a most unusual the vessel to the left, beneath the deck, but in the oarsmen can be seen
feature,

pottery discovered by Mr. Petrie in the

Fayoum), and
Mediterranean,
illustration
p.

the vessels are represented as

out of water.

some of
Butcbei

the

white skinned

peoples

of

the

high curved poop to enable them to

They have a be dragged up on the

that

to

the right,

which has a mast, the rowers are not

visible.

probably the Greeks of Asia Minor (see the

in

and

Lang's translation of the Odyssey,

414,

and

Baumeister's
pictures
is

Denkmaler,

p.

1595,

fig.

1657).

The

earliest

by large shore and to ride out a rough sea, and are steered The prow of the vessel to the left, and oars in the stern. to impossibly of that to the right, is decorated, according
ram. memorial custom, with an eye, and ends in a beak or with Both vessels have a deck, on which are warriors armed

that the stars and rosettes scattered It should be noted do with the scene, and about the picture have nothing to space, an invariable custom are merely to fill up the empty The zigzag lines, on the other hand, early potters.

with the

on Greek pottery are on the Dipylon ware, which

as old as the ninth century,

at

least

but these

show the

below the ships are a

faint indication

of the waves.

BOOK
N
the next

III.

day Tclcmachus and

his

the court

(cf.

fig.

5).

At

early

dawn on

the next day

crew landed at Pylus, and found the

people
sacrificing

a heifer with gilded horns was slain, and a burnt offer-

as bowed down with age, and his right hand rests on his staff the young he speaks in welcome (note the two fingers raised) to

man.

maiden,

who

is

probably intended to be Polycaste,

to

Poseidon

and

ing sacrificed

to

Athena.
forth

Telemachus then,
and partook
this
in

after

behind the old Nestor's youngest daughter (line 464), stands

Nestor, with his sons in

S=2I

their midst.

bath

(cf. fig.

5),

came

the

feast

man, arrayed
a bracelet,

in

an embroidered gown, shoes, a sword,

a necklace.
either for

a girdle,

Athena,

in

the

form

of

Mentor,
in-

following the sacrifice.

Nestor's son Peisistratus

When
left in

was over he and

and

advanced and was kindly greeted by Nestor, who

vited

a chariot, which Nestor

till

with cakes on

it,

hand a dish the entertainment of Telemachus She

carries in her

them

to join in the sacrifice

and

feast

(fig.

13).
in

provided, on his

way

to

Menelaus, and journeyed lodged

for

he

or as a sacrificial offering.

On

hearing

who Telemachus
Nestor
;

is,

and of

his

quest

reached

Phera:,

where he

the night with

Fig. 14.

The Battle over the Bodyof Achilles

(line 109).

search of Odysseus,

tells

him of the troubles

Achilles
(fig.
1

Diodes.

of the Greeks before Troy

Antilochus, his
all

how
in

4)

and
Fig.
13.

own

son,

fell

battle, arid

how amid
of the

Telemachus visiting
B.C.

Part of a black-figured painting on an archaic vase {amphora) of the Chalcidian style, of the early
Nestor
(line 31).

PART OF THE SIXTH CENTURY.

their

troubles

Odysseus

was the

wisest

Red-figured painting on South Italian vase of third

From
Hope
Mon.

Vulci; formerly in the Pembroke Collection,

now

in

tin-

heroes.

Then he spoke of

the grievous return from

(cf.
fig.

or fourth century

Collection at Deepdene.
d. Inst.,
1,

Troy, of the death of

Agamemnon
(cf. figs.

23),

and

In Berlin Antiquarium.

PI. 51.
1,

the vengeance of Orestes

2-4),

and ended by and

enquire

Revue Archiologique, r845,

PI. 40.

Overbeck,

Gatlerie her. Bildzv., PI, 23,

PI. 1, fig. 10.

and

p.

540.

advising
if

him

to

journey

to

Menelaus

Luckenbach,

Vasenb. d. Episclien Kyklus, p. 552.

Baumeister, Denkmaler,

Archiiologische Zeitung, 1S53, p. 106.

on

his travels
at

he had heard anything of Odysseus,

time he
invited

Schreiber, Kulturhist. Bilderatlas,

PI. 34, 5.

Roscher, Lexicon,

d.

Mythologie,
fig.

p.

50

(fig.).

while
the

the
in

same
his

him

to

spend
after

The

artist

of the Berlin vase has depicted the arrival

in

of

Helbig,

Das

horn. Epos.,
p.

66.

night

palace.

Thereupon Athena,

Telemachus

the style of the South Italian painting of the

Klein, Euphronios,

65

(I.).
z.

commending Telemachus
awe
[6,

to Nestor's care, took the

form

third or fourth century B.C.

Luckenbach, D.
in

V. gr.

Vasenbilder

ep.

Kyklus,

p.

622.

of a sea-eagle, and departed, filling Nestor with such

that
17).

Telemachus
waist,

is

a youth

a short shirt girded round the

a shield,

Schneider, Der Epische Sagenkreis,

Roberts, Introd.
to

p.

151.
p.

he vowed a sacrifice
It

armed with two spears and

left

to

the

goddess

and carrying
an old man,

his a

Greek Epigraphy,

207 (189).

(figs.

conical felt cap in his

hand.

Nestor

is

in

was then evening, and they

in

retired to rest,
of

long embroidered shirt and ample mantle wrapped round his

The

death of Achilles

is

not described in any part of the

Telemachus sleeping

room round the colonnade

body and over

his head, with soft

shoes on his

feet.

He

is

Odyssey, but the battle which raged over his dead

body

is

mentioned twice
at sea,

by Odysseus, who,

in the stress of the storm

Antilochus, son of Nestor, was slain

by Memnon, son of
is

cloth

and has short

wished that he had died before Troy among the Achaeans

v.,

hair) driving a heifer,

the goddess

Eos

which he holds
which she holds

in

(bk.

v.,

187),

and

his

death
is

shown on an
supposed by

by a rope tied

who

to her off fore-leg.

fought over Achilles (bk.

in

308/0//.),

and by the shade of

Etruscan urn.

The

present vase-painting
it,

In front of the altar a

in

also

woman

Agamemnon

Hades, who

tells

the shade of Achilles

till

how

some

in rich attire stretches branches,

it,

archaeologists to depict

though the inscriptions make

both hands, over

the heroes fought over

him the whole day,

Achilles, fallen

Zeus stayed
is

this doubtful.

(they are iKrqpm KXdSoi).

them by a tempest

(bk. xxiv., 37 foil.)

This battle

shown
with

Two
and

warriors,

armed with helmet,

shirt

showing thereby that she is a suppliant Behind the altar is the figure of
a rich garment,
if

cuirass, greaves, sword,

the goddess
shield,

Athena

on the Pembroke vase.

in

on the ground,

lies

shield,

and wearing a

closed eyes, pierced by two arrows, one in the side, the other
in the heel.

to attack

one another.

At

their feet

and a short cloak, are rushing lies between them a

armed with helm and

thrust (the attitude of

and

raising her spear as

to

Athena
Fig.

irpo/jLaxos).

Glaucus, one of the Trojan heroes, has thrown a

off,

dead man bearded and naked.

shields are the
inscriptions
in

Above and below

the warriors'

noose round his ankle to drag him

but

is

himself struck
is

" Achilles " and

" Hector,"

but

17. Sacrifice

down by
it

the spear of Ajax,

who

rushes forward and

thrusting

there

is

no mention

Homer

(line 455).

of any battle between

them

into his side, having already driven another spear through

over a dead man.

Besides, the reverse of the vase represents

Fragment of a red-figured Attic vase of the fifth

century
b.c.

Glaucus's neck.
at

Behind Glaucus kneels

Paris,

aiming his bow

Eos bearing away the body of Memnon, which has suggested,

to those

Ajax

but in vain, for the arrows and spears of the Trojans

who

From Tamilian, Iwan Muller,

In the centre
in

in British

find a difficulty in this, that the

Museum.
ix., PI.
1.

combatants here
that

are unable to pierce his shield,

and rebound from

it.

are Achilles

On

the vase there are

many
is

other figures besides the four

man
is

is

Memnon (cf. Antilochus, over whom

and
and
this

fig.

21),

and
with

Journal of Hellenic

the dead

Studies, vol.

they fought.

The dead man

the
all

Haiidlmch. Sacralaltertiimer

PI. 1.

i.

here given.

Behind Ajax

the goddess

Athena encouraging

bearded,
;

scarcely

accords

youth of
the figures

him, and making him more than a match for the two Trojan
warriors,

Antilochus

but in vase-paintings of this period

(e.g.,

is

a column,

on which

is

an idol of Athena

Glaucus.

Aeneas and another, who advance to the aid of Besides these there are two more Trojans, one
spear,

are bearded
fatal

Achilles

and

Memnon

in

fig.

21).

the archaic style.

built,

more
to

objection,

and one

that really
is

makes the reference

has been
the the
fire

wounded, the other hurling a

and Sthenelus binding

Antilochus almost impossible,

in

the fact that the vase-painters,

In front of this an altar of unhewn stone a neat heap of faggots in a bright blaze. In can be seen parts of the victim burning, while over

up the wounded

finger of

Diomede.
is

naming the heroes

in a

fire

battle scene, did not trouble to Iliad,

fig.

two youths (one youth

invisible)

hold

rolls

of flesh

The armour
works of
below
it,

of the heroes

well worth notice, especially the

follow

Homer

accurately

and

fat (to a-n-Xiyxya)

(e.g., cf.

on the end of double

is

75).

spits (cf. line 460).

cuirass of Ajax, with the strange projecting rim seen in archaic

art (cf. //.,
in
fig.

Close to the altar

little

a sacred tree, from which a

number
chaplet

of

7),

and the

loin-cloth or

apron worn
Fig.

votive tablets of painted terracotta are hanging.

left,

the place of the short shirt of later times.

16. Sacrifice to Athena

Further
is

(line 440).

to

the

a bearded
to

man
right

wearing a
the

sacrificial

Fig.

15. The Death of Antilochus

Black-figured painting on archaic vase of the sixth century B.C.

(line

standing,

while

the

goddess Athena appears

rn).

armed with helmet

(note the crest supported by a sphinx, as

Black-figured painting on an archaic Attic Vase. Millingen, Ancient unedited Man., i., PI. 4.
Overbeck, Galkrie
her. Bildw., p. 515, 36.

Gerhard,

Etr. u. Campan. Vasen,

i.,

PI.

2.

in the Parthenos of Phidias), a:gis,

and

spear.

She
;

is

in the

attitude of a spectator, gazing calmly at the sacrifice

but there

Two men
altar

can be
wearing
fillets

little

doubt that the

sacrifice

is

and long

being offered to her,

is

hair

Luckenbach, D.

Verh. gr. Vaseni. :u ./. Kyklus, p. 539.

advance towards an
wears a loin-

and the

artist

of cut stone, accompanied by a

man (who

intends us to suppose that she

invisible to

the worshippers.

BOOK
ELEMACHUS
in

IV
The
who
strangers are hospitably received by Menelaus

and

Peisistratus arrive

of Achilles

(fig.

iS),

and that of Megapentes, son of

Sparta on the next day, and drive

palace of

Menelaus by a

slave.
in

to the
find

tells

Menelaus.

They

The
(the

them how he gained the great wealth of gold

in his

feast

was given
cf. fig. 6),

the great hall of the palace

him giving a

they see around them

feast to celebrate a

travels through

Phoenicia,

double marriage

that of Hermione,

vho was being sent off as a bride to Neoptolemus, son

and the guests were entertained by two acrobats, who tumbled to the music of the lyre
(cf. //., fig.

Megaron,

Cyprus, and Egypt.

He

then speaks of his sorrow for

the loss of Odysseus, and Telemachus bursts into tears.

74).

Just at this

moment Helen

enters the great hall, with

her maids,

who
(fig.

carry her golden distaff charged with

20),

grief,

cannot be comforted until Athena sends her a

in

that

both heroes have

is

felt

caps,

showing that they are on a

journey, and there

purple wool

and her work-basket of

silver set

vision

her sleep.
sacred palm-tree.

a second tripod for offerings near the

on wheels

(fig.

19).

On

catching sight of Telemachus

Fir,.

she recognises at once his great likeness to Odysseus,

18. The Murder of Neoptolemos by Orestes

(line 5).

Fig. 19.

Work-basket
B.C.
ill

(line 125).

and reveals to Menelaus, though he too was wondering

at
his
grief,

Red-figured painting on an Attic vase of the early

fifth century
(large

who he

is.

Peisistratus

then declared

Red-figured painting on a South Italian vase

amphora) of the third or fourth century
b.c.

himself,

and both were welcomed heartily by Menelaus

After they had taken food Helen
tells

Found

Attica.

Hevdemann,

Griech. Vasenlulder, PI.

9, 5.

and Helen.

the

Found

at

Ruvo

in Apulia,

now

in the
I. fig.

Caputi

Collection.

Schreiber, Kulturh.

Bilderatl., PI. 75, 9.

story of Odysseus entering

in the disguise

Troy

to spy out the

town

Annali

d. Inst.,

1868, Tav. d'agg,

p.

of a beggar. the

Menelaus gives a further

of

Baumeister, Denkmaler,

1009,

1215.

The work-basket used by Greek

invariably of the shape

ladies

when spinning
one narrow

is

instance

of

prudence

Odysseus
in

when

the

Vogel, Sanen Euripid. Tragodien,

p. 36.

shown

in this painting,

at

Achrean

chiefs

were concealed
betrayed

the

wooden horse
but
for

the bottom, wide at the top, and practically identical with our

and

would

have

themselves

him

Neoptolemus,

"son of Achilles,

had been brought up during

(//., xix.,

" waste-paper " baskets.

The

lady seems to

be engaged

in

the Trojan war in the island of Scyrus

after his father's

326),
(cf.

whence
fig.

wrapping wool out of the basket round her

from which she
(arpaKros).
will presently
is

distaff (^XaKanj),

(cf. figs.

32, 33).
Peisistratus
retire

death he was fetched by Odysseus

foil.)

55

spin

it

with the aid of a spindle

It

Then Telemachus and

rooms,
in

to

their
5),

and

Od.,

xi.,

506

At the taking of Troy he was one of

altar of

This

shown
at

in her left hand.

consists of a
fast,

the colonnade round the courtyard

(cf. fig.

the chief figures,

56).

and slew Priam on the

Zeus

(cf. fig.

short stem, with a

hook

the top to hold the thread

and
fly-

where
(cf.

luxurious
10), while

beds

had

been

laid

for

them
the

After the war he returned with the

Myrmidons

to his

ending below

in a
it

weight called the whorl, which acts as a

spinning round.
to find the basket used for
;

father's throne,
fig.

and wedded Hermione, daughter of Menelaus.

marriage that brought about his death
at the

wheel and keeps

It is

Menelaus and
in

his wife sleep in

It

was

this

somewhat unusual
it

unspun

inmost part of the house,

(cf. fig.

the women's apartments

hands of Orestes, to
story
is

whom Hermione had been betrothed. The

Homer, but forms
part

wool, for
in

usually held only the spun thread

as in the passage
;

5).

not given by

of the plot of

Homer

(line 134, nj/iaros duKi^Tolo fitjivajLaiov)

off the spindle.

after

it

had

Next day
troubles

Telemachus unbosoms
suitors,

himself of
of
his

his

the

Andromache of Euripides, which agrees

in the

main with
asked

been taken

with

and

asks

news
:

scenes in the vase-painting.

father.

In this version Neoptolemus had

to Apollo for having

For baskets
(1890), article

in antiquity see

Smith's Diet,

of Antiquities

gone to Delphi

to

make atonement

"Calathus,"

p.
p.

330; and
897.

for the distaff

and

Menelaus

replies

by a long story

how when man

landof the

satisfaction for his father's death.

Orestes lay in wait for his

altar.

spindle the article " Fusus,"

locked in Egypt he captured Proteus, the old

sea
(fig.

enemy

at the shrine, and slew

artist

him on the

22),

and learned from him of the murder of

(fig.

The

has depicted the temple of Apollo at Delphi in

Fig. 20.

Woman

Spinning

(line 131).

Agamemnon
Calypso
in

23),

and the detention of Odysseus by

the background, with the oracular tripod, the

Omphalus (Delphi
its

the island of Ogygia.

He

ends by inviting

was believed to be the central point of the earth, and called

" navel," or

Red-figured painting on an Attic vase. Panofka, Bilder ant. Lebens, PI. 19, 2.
Schreieer, Kulturh.
Bilderatl., PI. 75, 5.

Telemachus to stay with him eleven or twelve days, but

Omphalus, and

this is

symbolised

in

Greek

art

by the curious oval object covered with ribands and beads

in the

Telemachus pleads that

I'ylus,

his

companions await him

in

middle of foreground), and the palm-tree

in front, all

The method
(fig.

of spinning with the spindle described above

and that he must depart.

They go

in to feast,

characteristic

marks of the

place.
in the side,

19)
left

is

clearly

shown

in this painting.

The

lady held in
it,

and then suddenly the story of Telemachus' adventures

breaks
off,

Neoptolemus has been wounded

refuge on the altar.

and has taken

as the blood

her

hand the

distaff with the

wool wrapped round

and

not to begin again until the thirteenth book.

shifts

He

half kneels

on

it,

and

The scene
had really

gushes from his wound

to

tries to

defend himself

Ithaca,

and the astonishment

with a mantle
in
is

with her right hand gradually drew a small portion out to form
the thread.

At the same time she gave

it

a twist, which the

(chlamys) wrapped round his

his right

left

arm and a drawn sword

and dismay of the suitors on learning that Telemachus

set

from Orestes, who rushes from behind the Omphalus

Meanwhile
a

impetus of the spindle below continued, until it was closely spun thread. She continued this process until the thread had

out

is

described.
slain,

In their fright they

to attack him.

companion of Orestes

about to
sits

become
pulled

so long that

the spindle touched the ground, then

it

determine that he must be

and devise a plan of

in

cast a

spear at him from behind.

In the background

the

new-made thread through the hook, wrapped

until the

waylaying him on his homeward voyage

strait.

a narrow
to find

Penelope learns of the

plot, is

amazed

Apollo (arrayed in cloak and carrying a bow, while a shield lies beside him) calmly gazing on the fight. On the other side
is

round the spindle, and repeated the spinning

the distaff was exhausted.

wool

in

the priestess of the temple carrying the key

raising her right

that

Telemachus

(cf. //.,

fig.

is

from home, and, distraught with

39),

The appearance
it is

of the spindle without thread wrapped round

and

hand

in alarm.

It

should also be noted

shown

in fig. in.

jr Ifi

2I

Combat between Achilles and Memnon

(line 188).

The

painting gives a spirited picture of the two heroes (the

Brunn,

Rilievi d. urne etr,

i.,

PI. 74, 2.

Red-figured painting on the neck of an Attic vase

(crater)

of the fifth century

at Cine,

they wear no body armour except a helmet shows them to be heroes) rushing on one another, Achilles with the Behind each hero is His spear, Memnon with a sword.
fact that

Baumeister, Denkmaler,

p. 21, fig. 22.

The
in Od.,

story
i.,

of the
;

murder of Agamemnon given here and

from that
in Od.,
xi.,

b.c.

mother, following his fortunes with intense exciterhent, Thetis

35

hi.,

198, 308, differs

421, in

Found

now

in the British

Museum.
1.

cheering on the conqueror, and

Eos crying alarm

to

the

laying

all

the blame on >Egisthus

and none on Clytemnestra.

an early date, and
like

Gerhard,

Auserlesene gr. Vasenb., PI. 204,

p.

conquered.
617.
523).

The

latter version,

however, in which Clytemnestra takes part

at

Baumeister, Denimaler,

920,

fig.
2.

993.
ep.

in the murder,
p.
(p.

became the accepted one

form
at the

Luckeneach, Das
Overbeck, Galkrie

V. gr.

Vasenb.

Kyklus,

Fig. 22.

Proteus.
xiii.,

received

its final

hands of the dramatists, who,

her.

Bi/Jw.,

xix., 4, p.

No. 60

/Eschylus,

made her
at table

the chief actor.

story.

With
In

this

goes a change
is

Red-figured vase-painting on South Italian vase.

In the Naples Museum.

Roscher, Lexicon der Mythologie,

1271

(fig.).

in the circumstances of the

Homer Agamemnon

murdered
PI. 58.

(ms /3oCs rai i^irg), while in the classical

Museo Borbonico,
In the jEthiopis
(cf. //., fig. 3, where the battle of Achilles shown on the bottom row but one of the

and

Memnon

The

old

man

of the sea

is

here represented as a

man down
which the

version Clytemnestra throws a robe over him in his bath, and, as he struggles in its folds, slays him with an axe. This scene does not occur on any extant Greek works of art,

is

Tabula Iliaca),
Penthesilea,

we

are told

that

after the

death of Hector,

to the waist, but with fishes' tails,

ending in crabs' claws, and

the

but

is

shown on Etruscan
it

urns, as in

fig.

23.

queen of the Amazons, came with her troops to the help of Priam, but before long was conquered and slain by Achilles. Thereupon, Memnon came as a forlorn hope to
Troy.
(cf.
fig.

sea-dogs instead of legs.

This

is

manner

in

In

we

see, in the centre,

Agamemnon,

his head, shoulders,

Greek

artist

suggests the manifold shapes into which he could

change himself.
beard,
is is

Rays issue from his head, which, like his

as befits a sea-god.

He

was the son of Eos, the goddess of the dawn

rough and dishevelled

and arms covered with a cloth, struggling helplessly as he half-kneels on an altar, to which he has fled for refuge. To the left .'Kgisthus "comes forward, seizes him with his left

75),

and Tithonus, the

brother

of Priam,

whom

He
round

defending himself with a club, and a cloak wrapped

attacks of

hand by the head, and

the murderous blow.

in his right holds a

drawn sword,

to deal

Eos, enamoured with his beauty, had carried off and wedded.

his arm, against the

Menelaus (armed with

Memnon, with his army of Ethiopians, was a more formidable enemy than Penthesilea. He pressed the Achseans hard, and
Nestor was
the
life

conical helmet, shirt, cuirass,

his

and shield and sword), and one of

felt

crew

(in

chlamys and " wide-awake "

shield).

hat or petasus,

To the right Clytemnestra, hurrying through an open door, swings a footstool with both hands above her head, aiming it
at

all

but slain by him, only escaping at the cost of

(cf.
fig.

armed with sword and

her husband.

of Antilochus
foe.

15),

who sprang between him

of
Fig. 23.

Behind

her, hiding at the

back of the door,

is

is

a terrified ser-

and the

Antilochus had gone into battle in place

Patroclus,

and Achilles, angered once more as he had been

fight.

The Murder of Agamemnon

the

vant, while
(line 23).

on the other

side

a winged goddess, in the garb

its
is

of a huntress, and holding a sword drawn from

is

sheath.

She

by Patroclus' death, went out to

single

He met Memnon
to save her son.

in

Relief on an Etruscan funeral urn.

Formerly in
Fan's.

an Etruscan Fury

(cf. figs.

42, 96, 97),

and

present either

combat, and slew him

will of

for

Eos had not been able

to

Museo Gaddi,

Florence ;

now

in the Louvre,

and to as the deity of death or to witness a deed of blood,

change the

Zeus, and persuade

him

mark the

guilty

as her prey.

BOOK
HE
is

V.

fifth

book,

like

the

first,

opens

island

of

Ogygia.

Zeus

thereupon consents
the former council

to
(i.,
1

the
4),

difficulty

persuades her to promise obedience to Zeus.

with a council of the gods.

still

Poseidon
with
the

proposal she had

made
to

at

He
and
It

departs,

and Calypso provides Odysseus with an

absent,

feasting

and

sends

Hermes

command Calypso

to

allow

axe and adze.

built

With

these he worked for three days,

Ethiopians,

and Athena once

more

Odysseus
flies

to depart.

Hermes

puts on his golden sandals,

himself a

rude

boat,

the

famous

" raft."

reminds Zeus that Odysseus has not

yet been released by Calypso, and
lies

over the sea, and finds the

(1.

nymph weaving

in a

was,

however, a good-sized boat, a careful piece

bul-

pining in the

delightful cave

57

foil.,

fig.

24),

and not without

of carpentry, partly decked, with gunwales and

warks

(1.

247

foil).
it

He

fitted this

boat with a mast

A HOUSE, OPPOSITE THE

2 FT. 10 IN.

'

Pantheon,"

ft. 8 in.

wide, by

mands

of Zeus,

with

a certain

elegant

want of haste or
at

and rudder, rigged

and brought
it

with cloth provided by Calypso,

to the beach on rollers. as provisions skins of
sail.

HIGH.
PI. 32.

seriousness.

The nymph seems

is

equally

her ease, and

the feeling of the whole

20.
14.

that of a graceful decorative design

down
in

On

the

next day he took

wine and

Museo Borbonico, i., Heleig, WandgemdUe,

rather than of a dramatic picture.

water and a sack of corn, and set

When
his

Archaologiuhe Zeilung, 1867, p.

he

had been out seventeen days, Poseidon, on

way
In the centre, forming the background of the picture,
pillar rising
is

Fig.
a

25. The Raft of Odysseus wrecked

(line 313/0//.).

back from the Ethiopians, caught sight of him from

the heights of the mountains of the Solymi, sent

Relief on a Roman terra-cotta lamp in the Munich

down

from a rock, with a strangely ornamented capital

Antiquarium.
Annalid.
Inst., 1876,

a storm, and wrecked the

timbers, and

raft.

Odysseus clung to the

(like

those erected in honour of Artemis).

is

At the bottom of

Tav. d'agg., R.
p.

1.

was

in

a sore plight until Leucothea, a

the pillar

the figure of a rustic deity.

Baumeister, Denkmaler,

1037.

To

the right Hermes, wearing a cloak (ch/amys)

and winged

sea-nymph, took pity on him and gave him her magic

veil.

wide-awake hat (petasus), stands in an easy attitude, holding

his herald's staff (mjpvxaov

Binding

this

round him, he

swam

for

two days
cast

= caduceus).
is

The
a

relief

shows the

raft

tossed on the crest of a wave, and

and two nights before seeing land.

the sea

He was

by

He
left,

has not got winged shoes, his feet being bare.

among

the breakers

but,

by the aid of Athena,

leaning her right elbow on a pillar,

is

To the goddess. The

is

exposed to the

blasts of
left.

two wind-gods, whose heads appear

has snapped where the yard-

above and to the

The mast
is

passed through them into calm water, and

the

made

upper part of her body

for
loosely

uncovered
veil

she wears a mantle

coquettishly

arm

crosses

it,

and

falling.

On

the deck

sits
(cf.

Odysseus,
1.

wrapped round her waist, a

which she

raising his right

hand

in a gesture

of speech

299),
is

mouth of a
bushes,

river.

There he landed, crept under

raising, a

diadem, a necklace, and sandals.

The

drapery and

while he strives with the other to hold the rudder.

in

He

clad
his

some

made

a bed of leaves,

and

fell

asleep,

the attitude of the figure are those peculiar to

this

Venus

but
it

a fisherman's shirt (exomis) and

(cf.

cap (pilidion

= pilleus),

worn out by

his troubles.

does not make Professor Michaelis's identification of

it

traditional dress
raft is not, like
raft

figs.

34, 35, 47, 48, 65, 79, 80).

The

with Calypso impossible, for

is

not unusual to find

in this

nymphs

the Homeric, a carefully built boat, but a true

and other minor goddesses represented

I

way

in Graaco-

of planks tightly lashed together.

surface of the relief
is

1..

Hermes
1

visiting

Calypso

(line js/oll).

Roman

art.

If

we

interpret the scene

pillar

on

this supposition,

we

The

not well preserved, and

it

is

U'.u
<>l

PAINTING FROM POMPEII, FOUND TO

INI

StRADA

HI '1.1

THE NORTH SIDE AUGUSTALI, ON THE OUTER WALL OF

have a rustic shrine with a

dedicated to Artemis, instead

giving Calypso the

possible that there were two

that their heads

more wind-gods

represented, but

of the cave by the sea, and

Hermes

com-

have been

lost.

BOOK
HE
in

VI,

scene then changes to the city of

l'h.uacians, a

maids.
left

They drove
asleep,

to

the river, on

whose banks we
in
its

him.

The

girls

caught sight of him, and

all

fled in terror,

the

people

who

dwell

Odysseus

and washed the clothes

linen
(fig.

so wild was his appearance,

except Nausicaa, who

apart

Schcria, having been driven from

water.

Then they spread the

26) out to dry,

stood
pity,

her ground.

He

stood

and begged
oil

for

their

former

home by

the Cyclopes.

bathed, and took their

cast

midday meal, and afterwards

and she gave him food and drink,

to bathe

Athena goes

to the palace there,

and

away
(fig.

their

wimples, and began to play a

game

with,

and

clothes.

Then, refreshed, he went with

city,

appears to Nausicaa, the daughter of Alcinous, king of the Phaeacians, in the form of her favourite maid. She

of ball

27), keeping

time to the words of a song.

Nausicaa and the maids back to the

her,

parting with
city,

As they played one

ball,

of the maids failed to catch the

however, at the grove of Athena, outside the

persuades her to a washing, and next day Nausicaa

starts out

and

it fell

into the river,

whereupon they shrieked

to prevent gossip or scandal.

from the

city,

driving a

waggon drawn

by-

and woke Odysseus, who lay near them.

He

crept

mules, containing the linen, and accompanied

by her

out from the bushes, with only a leafy branch to cover

Fig. 26.

Women

folding Clothes

(line

26).

conjurers, keeps

both

in

the air at the

same

time.

She

is

Fig. 29.

Odysseus
Vulci ; in the

and Nausicaa

(line

127).

Red-figured painting on an Attic vase (stamnus) of

represented indoors and seated on a chair;

while a young
is

THE FIFTH CENTURY

man
were

leans on his staff and watches her.

his

He
is

visitor,

Red-figured painting on an Attic amphora of the early part of fifth century B.C.

B.C.

and has

mantle closely wrapped round him, as though he

From

Vulci ; formerly in the

Campanari
iv.,

Collection.

From

Old Pinakothek at Munich.

iii.,

still

in the street.

Between the two

a pet goose, a

Gerhard,

Auserlesene Vasenbilder,

301.

bird that in classical times took the place of the domestic cat.

Gerhard,

Auserlesene gr. Vasenbilder,

218.

Schreiber, Kulturhist. Bilderatlas,

PI. 82, 1.

In Homeric times whole flocks of geese were allowed into

the house,

Blumner, Leben und

Sitten,
p.

i.,

fig.

84.
fig-

and Penelope had

(xix.,

as

many

as

twenty of them,
at the magnifi-

Baumeister, Denkmdler, p. 1037. Bolte, De mon. ad Odysseam pertin.,

p. 37,

B.
756.

Baumeister, Denkmdler,

1919,

2034.

whom

she fed herself

536-7),

and even

Overbeck,

Gallcric her. Bildw., PI. 31,

3, p.

cent palace of Menelaus there were

(bk. xv.,

geese in the courtyard

Panofka, Bilder

ant. Lebens, PI. 18, 5 (only part).

160 foil.).
is

This vase-painting shows us a scene indoors,

apartments, as
is

in the

women's

There

an excellent account of

ball
ii.,

games

in Smith's

To

the

left

Odysseus stands on a rock, having

In
the

left

the

hinted

by the mirror and garments which

Dictionary of Antiquities, ed. 1891, vol.

the goose as a pet, see
Bes/ia, p. 701.

under "Pila."

For

shelter of the trees, quite naked, but holding in his right

hand

hang from pegs

in the

background.

Two women
lying,

are engaged
is

Daremberg

et Saglio,

Diet, des Ant.

a brand to screen himself.

other

hand he holds

in folding clothes, after

chair,

washing them.

Between them

on which more clothes are

(#cu/iia/*o's),

and

to

the

right

another bough, but in a way that suggests the gesture of a Before suppliant rather than of one covering his nakedness.
him, but in the background, and supposed to be invisible, is the goddess Athena, his protectress, wearing the Eegis, and

a chest
clothes.

in

which they are about to pack the

were unknown in antiquity,

It

is

worth noting that cupboards, chests of drawers,

Fig.
2S.

and

similar articles of furniture

Artemis,

the Huntress

(line

102-9).

and

that only long chests of the kind here

shown were used

though
idea

for storing clothes.

In

this respect the vase-painting,

later,

Red-figured painting on Attic vase of the early part

of the fifth century
Gazette Arch., 1885,
B.C.

armed with helm and spear. In front of her are two maidens the one to the right running away in great terror, the other walking away, but yet through inspiration of the goddess
;

painted

some
times.

four

centuries

gives

a good

of

turning round with a gesture of surprise

to

see

the hero.
is

Homeric

PI. 32.

This

is

Nausicaa, and like her attendant maid she

dressed

in a shift {chiton), girt high

Fig. 27.

Girl

playing Ball

The comparison
(line

of a beautiful
in

woman
37,

with

the

goddess
in
all

and wearing Both have over her shoulders a small shawl (himalion). rank. their diadems on their heads to show
up round the
waist,

100).

Artemis

is

frequent

Homer.
gift

Nausicaa here,

Helen
are

Behind Odysseus
girls

is

a tree, and on

it

the clothes which the

Red-figured painting on an Attic vase of the fifth century B.C.

bk.

iv.,

122,

and Penelope
her.

in xvii.,

and

xix., 54,

have been washing are hung

to dry.

On

the other side

compared with
was stature
lies
(cf.

The
and

of beauty that she bestowed

of the vase are three maids engaged in washing clothes.

The
and
with
the

From

Nolo, ; in the British

Inst.,

Museum.
J.

bk. xx., 71),

and the point of the comparison

her form.

one to the right stands

is

in the water with a

feet,

rock in

front,
it

Anna/id.

1841, Tav. d'agg.,

in

the

tallness

litheness of
earliest

The

vase-

treading on the linen with her

and wringing

Baumeister, Denkmdler,

p. 248, fig. 229.

painting

shows one of the

representations

of the
later

her hands.

She has her

shift

tucked up high,
in a cap.

like all

goddess as a huntress.
types, she
is

Unlike the more familiar but

other figures, and wears her hair

figures are represented talking to

The

other two

clad in a long shift (chiton),

and a short mantle

her arm bare

one another while wringing

closely than

This description of the game of

ball

played by Nausicaa

fastened on her right shoulder and

while

leaving

and folding the

clothes.

and her maids

is

the earliest in Greek literature.

They

tossed

on her head
in front.

is

a cap or net, with a metal band or

is

The

artist

has followed

Homer much more

is

the ball from one to the other in time to the words of a song,
just as girls in the islands of the

diadem
quarry,

She

striding

rapidly

in

pursuit

of her

usual in vase-painting, the only variation he has

introduced

South Pacific do nowadays.

and

is

in the act of

drawing an arrow from the quiver.

The
two

vase-painting shows quite a different game, played with

balls

By her

side runs a doe, one of her attributes in her character

and being the presence of Athena as an invisible spectator, suppliant the twigs of olive branches which Odysseus as a
wears in his matted
hair.

by a single

girl,

who,

in

the

style

familiar to

of huntress.

BOOK
DYSSEUS,
and,
after

VII
in

waiting

outside

the

At

that

moment
him

the

mist

which Athena

had

(cf.

fig.

6).

Alcinous the king welcomed him as a

walls for a while,

came

to the city,

wrapped

melted

away, and he became

visible.

guest, promising

him

hospitality

and a

safe

convoy home.

under

the

guidance and

pro-

He
the

prayed the queen to aid him

to return home, and

tection

of Athena,

who made him

King

then, after the

custom of suppliants, took his seat by

the
centre

Then Odysseus was given meat and drink, bathed and clothed in new raiment, and, wearied by his toils, slept
in

invisible, entered the palace of

hearth

in

of the hall

in

the

ashes

the colonnade of the palace.

Alcinous, and

fell

at

the knees of Arete, the queen.

BOOK

VIII

it

in

half.

In the upper part, to the

;

left,

is

another quoit-

Halius and Laodamas began their performance by throwing

a ball one to the other, and catching
in the air.
it

Fig.

33.

The
Naples

Wooden Horse

dragged into

Troy

thrower (discobolus) preparing to throw

and

in the
its

background

with a

jump while
toss the ball

(line 500).

a pick lying on the ground, and a discus in

case hanging

Then

they went on
in

to

dance and

Wall-painting from Pompeii.

In
the

from a peg.

In front of him

is

a youth holding a staff or

from hand to hand

friends.

measured time to the clapping of

of " Trigon," which
is

their

Museum
iii.,

(No. 9010).

spear and resting, and behind in the background another pair

The Roman game

represented

Ant.

d.

Ereolano,

PI. 40.

of jumping weights (halteres).

just

To

the right are two wrestlers

in the wall-painting,

was somewhat of

this latter kind.

Three

Helbig, Wandgemiilde, No. 1326.

about to close with one another.

cap, fitting closely over his hair.

One
In

of these

wears

youths stand, tossing six balls from one to the other under
the directions

felt

the background

of a

bearded instructor (pilicrepus), who

is

Homer's mention of
Troy
with
the
is

the bringing of the

is

are two staves,

strigiiis)

and above them a

(lecythus),

flesh-scraper (stlengis, Lat.

for

teaching them and keeping the score of their failures to catch

the balls.

so brief that

it

rather to Virgil than to

wooden horse into him that we

234-49).

and

oil-flask

and a sponge
is

bathing.

turn for the story.

The Pompeian
walls

wall-painting agrees well

ii.,

The

space between these and the pillar

occupied by one

Another interpretation makes the young

merely a spectator, and the bearded

man

to the

left

the
left

story as told in the -Eneid (bk.

To

of the handles of the vase.

man

one of the party See Smith's

we see the

of Troy, and

the

wooden horse
Children dance

On

the other side, to the

left,

a bearded

man
is

with a staff
it

playing

the game, not

ii.,

merely an instructor.
" Pila," p. 425.

entering through the newly-made breach, dragged along on

rollers

in his left

hand, and

in

his right

an object which

is

difficult

Dictionary, vol.

art.

by the Trojans, both

men and women.

to identify

probably

a piece of string.

He
for

doubtless one

before the monster, and worshippers with branches in their

of the trainers
athletics,

(iraihoTjtifiaL),

who

instructed

the

youths

in

hands accompany
way.

it

to the

Temple of Athena, whither

bearing
torches
is

also
its

taking part in

them himself;

he,

too,

wears a
Fig.
32.

a long procession of

women

wending

close-fitting cap.

In front of

him

is

a youth with

jumping weights, who cannot

jump, as some of the
probably using the weights
in

Athena modelling a
Antiqu

Horse

in

Clay

(line 493).

To
rises

the right of the picture

is

a sacred grove, out of which In the grove

is

be

in

the act of alighting after his

writers maintain, but
is

Red-figured painting on an Attic vase.

In
the Berlin
d. Inst.,

a lofty column surmounted by a vase.

German

shrine,

and before

it

a statue of Athena on a high pedestal.

as dumb-bells, a

common
as

practice

the wrestling schools.

A woman
Ann.
1880, Tav. d'agg., K.
p. 741.
art.

kneels below, and with outstretched hands prays to

In the background near

him

are staves, a pick, flesh-scraper,

side.

the goddess.

This must be Cassandra, who alone foresaw

In the grove

sponge, and

oil-flask,

on the other

Before him, in

Baumeister, Denkmakr,
Smith,
p. 854.

the ruin which was coming on the Trojans.

"Fictile,"

the centre of the picture, stands a bearded a walking-staff,

man, leaning on

Diet,

of Antiquities (ed. 1891),

are two other figures,

an

old

man
can

seated

in

an attitude of
a
priest

and holding a jumping weight.

He,

too,

is

profound
approaches

melancholy,
Cassandra.

probably

Priam,

and
be

who
as

an instructor
a spear,

(7rai8o7yji/3>)s).

To

the right

is

a youth hurling
in
its

This

hardly

regarded

and

in

the background near

him a quoit

case

Laocoon.

and two

staves are seen, while behind

is

him and under the other

It

High above the

was with the help of Athena
(line

rest of the

scene

is

the citadel

hill,

with

handle of the vase

This vase
"
is

a pick. inside with

it

493 of

Virgil,

v.,

towers and battlements.

On

the slope a

inscribed on the
Panaitios,

the well-known
is

ii.,

15,

divina Palladis arte) that Epeius

(lttttos

made

the celebrated
lttttos).

waves a torch.

This

is

doubtless Helen,

woman who is

stands and
giving the

love-name

"

which shows that

the work of

wooden horse

bovpartos, or in Attic Greek, 8017x0s

Greeks
(cf.

at

Tenedos a

signal that their stratagem has

succeeded

tin

school to which the great master Euphronius

if

and Duris

The
She

vase-painting represents

her alone in the workshop of

Virgil, .En., vi.,

518
el

belonged,

not actually from the brush of the former.

Epeius,
is

whose carpenter's

tools

hang on the wall behind.

clay,

busy modelling a horse in

nose.

and

is

just finishing

Ingentem

Flammam ipsa tenebat summa Danaos ex arce vocabat

is

"

").

Fig. j

i.

Lesson

in the

Game
baths

of Trigon
of

off the
(line 372).

The

horse stands on a basis, and, except for

is

The
dim

original picture

of very careless workmanship and very

the off hind-leg, which

only half modelled,

is

complete.

in parts, so that the figure in the text, apart

from being This

the

Wall-painting
Esquilini

from

the

Titus

on the

large

lump of

clay lies in front of the basis.

is

The

artist

reversed,

gives
is

but a

faint

idea

of

its

appearance.
fact

Hill, Rome, of the second centukv a.d.

ant. Leiens, PI. 10,
p.
1.

evidently intends us to gather that Athena

forming in clay

sketchiness

perhaps accounted for by the

this art

thai

Panofka, Bilder

a pattern, which Epeius will afterwards copy in wood.

interpretation
p.
is

This
39),

scene
lately

is

by night, a point which makes

and a
as

replica

Baumeister, Denkmakr,

248,

fig.

230.
ii.,

made

certain by the
wall.

bow,

drill

(cf. fig.

discovered quite

unique in ancient

the

only

Smith, Did. of Antiquities (1891),

vol.

425.

and saw, which hang on the

attempts to represent torchlight.

BOOK
DYSSEUS
at

IX.

length reveals his

tell

name

it

again, imprisoning the Achaeans.

Left thus alone,

allowed

the

rams

to

go

out,

carefully

feeling

their

and proceeds to

the story of his

Odysseus devised a plan of revenge, and taking the

Cyclops' huge trunk of olive wood, cut off a fathom's
length, sharpened
it

backs, but failing to discover the Achaeans tied below,

ten years' wanderings.

and only having

that the finest as

his suspicions
left

aroused by the
last,

fact
first,

After the
first

fall

of Troy, he sailed

to a point,

and hid

it

in the

dung

ram

the cave

instead of

to the land of the

Cicones and

that lay scattered in the cave.

in the

The Cyclops

returned

was

his

wont
to

(figs.

40, 41).

Odysseus, thus set

their crews,
resist

free,

sacked their city Ismarus, then

made

straight for

home

evening, and once

more

seized two of the sailors

forth holding

went down
waited
in

the ships
;

and

who had

only to be driven out of his course by contrary winds,

for his supper.

Then Odysseus stepped

filled

anxiety

but, unable to

taunting the
for

which carried him

to

the
in

land

of the

lotus-eaters.

out an ivory bowl

with wine

(figs.

34 and
will

35),
for
tell

Cyclops, nearly

fell

a victim to

him once more,

all

Thence he

sailed on,

and

the darkness of a misty,

in

which the Cyclops drank with

more, promising a
his
gift in

relish
if

and asked

the crags which the giant threw into the sea

but

moonless night entered a land-locked harbour

country of the Cyclopes, savages

the

return

Odysseus
filled,

drove the ship on the shore.

Even

after this escape

who were without

name.

Three times the cup was

it.

and each
told

he hurled taunts once, and brought down on himself

the curse of the Cyclops,

even the elements of law or

civilisation.

time the Cyclops drained

that

Then Odysseus

him

who prayed
his

to

his

father

Leaving the harbour, they rowed on to a huge cave

near
the
sea.

Noman was

his

name, and the Cyclops answered

Poseidon

to

take vengeance on

Odysseus, a

prayer

Odysseus

landed,

and

with

twelve

that as his gift he

would eat

Noman

last of his fellows.

which was the cause of most of

(see bks.
i.

future troubles

picked comrades entered boldly, carrying with him a

skin of wine and
a

Thereupon, overcome with wine, he

sleep,

fell

into a

drunken

and

iii.).

wallet of corn.

They found
lambs and

the
kids,

and Odysseus and

the ashes of the
to

his

comrades made the stake

Just at the

cave

full

of baskets
fire,

of cheese and

hot
it

in

fire.

moment
bored

that
it

kindled a

prepared a supper, and waited for the

was about

burst into a blaze, they raised

it

all

Fig. 34.

Odysseus with the

in
d. Inst.,

Bowl

of

Wine

(line 345).

return of the owner.

He was
his
flocks,
fire.

a huge ogre, and soon

together,
(figs.

thrust

into

his

eye,

and

it

out

Statuette
Annali

the Museo Chiaramonti, Vatican, Rome.

1863, PI. O,
2.

came

driving

home
for his

and carrying a bundle

been

36-9).

The Cyclops woke with

help.
in

terrible cry,

of dry

wood

After the rams had

and,

maddened with
for

the agony, shouted

to the other

Baumeister, Denkmdler,
and 125
1.

pp.

1035

and

1038,

figs.

1249

separated from the ewes and she-goats, he closed the

Cyclopes
ailed

They ran up and asked what

reply

door of the cave with an enormous stone, sat

to milk his flock,

down

him,

and

he exclaimed,
all

"
;

Noman

is

and to curdle the milk

fire,

for cheese.

slaying

me by

guile,
fit

nor at

by force

"

and they,

Odysseus
shirt with

is

here shown in his traditional costume, a short

free (exomis), a cloak
felt

This done he kindled a

and

for the first

time saw

concluding that a

of madness had

come upon him,

left

one shoulder
(ch/amys),

pinned
{tilleus).

at the

the Achaeans, and in spite of their entreaties seized two,

went away without more ado.

The

Cyclops,

thus

shoulder
attitude,

and a conical

cap

His
raised
size

dashed out their brains, and ate them piecemeal, washing

down
fell

alone in his pain, groped with his hands, and, lifting the

with the bowl raised up high, and his head

his horrid

meal with milk.

Surfeited, the

monster

huge stone, waited at the door to catch

escaping.

with eyes gazing upwards, at once suggests the immense of the ogre, to

his prisoners

asleep,

and Odysseus and

whom,
is

as the gesture of his right

hand shows,

his

comrades spent the

Odysseus, however, devised a plan of escape,

his

he

is

speaking.
figure

night in

fear

and mourning.

Next day Polyphemus

flocks,

by tying

comrades to the rams of the

kindled the

fire

anew, milked his

Achaeans.

and once more

man being

carried

flock, one by three bound together by withes.

The same

shown

in several replicas,

none of which,
(cf.

however, reach such a high level of

artistic excellence

ate two of the

Then, after the meal, he

his flocks out, but closed

He

tied

himself beneath
ram.

the

belly

removed the stone and drove

of the Cyclops'

Overbeck, Galkrie
of the Odyssey,

her.

Bildwerke, 3

Miss Harrison, Myths

also

favourite

The

Cyclops,

when the dawn came

p. 20).

The

subject

is

shown on

several

gems.

p IG

jj.

Odysseus
(line 345)-

giving the

Bowl

to the Cyclops

the head of Polyphemus

is

a curious oblong piece of wicker-

thrusting into his eye the pointed trunk of an

olive

tree, to

work, mounted on a pole stuck in the ground.

This would

which branches are

recesses

still

attached.

Behind the ogre,

gaze with
interest

in the

Relief on a

Roman terra-cotta

lamp.

seem
this

to

be an attempt to represent the cheese-baskets which

speaks of
is

of the

cave,

the sheep

on the
on

Bought at Navies by Prof. Brunt:, of Munich.

Homer
while

(line 219, rapa-ol

artist's

ij.Iv

rvpuv

fipiQov).

Above
made,"

sufferings of their

master, while a goat grazes peacefully

Ann.

d.

Inst, 1863, Tav. d'agg., O. 3,

p.

430.

object
all

the

signature,

" Aristonophos
filling

the crag above.

over the picture are circles

up the vacant

spaces,

a device very common on archaic

The

pottery.

The Cyclops

is

seated on a rock, and holds with his

left

Fig. 39.

Carpenter Drilling with a Bow-drill

in gold.
in the

(line 384).

hand one of the companions of Odysseus,

for his ghastly supper.

whom

he has
shirt

slain

Odysseus, clad in the

and cap
it

Fig.

37.

Blinding of Polyphemus
Attic

Figure from an early Christian glass vessel with

(line 382).

ornaments
vase
(anochce)

described above, reaches the bowl of wine to him, holding both his hands.

in

Black-figured painting on an
OF THE SIXTH CENTURY In
the
B.C.

The

difference in size

between Odysseus and

Found

Catacombs at Rome.
Bilderatl., PI. 74,
p.
7.

Polyphemus
this is

is

not nearly so great as

fill

we should

expect, but
left

Naples Museum.

Schreiber, Kulturhist

due

to the artist's desire to

in the

whole of the
it,

Gazette Archeol, r887,

PL
53

Baumeister, Denkmdler,
r.

1820,

fig. v.,

rgi2.
PI. xi., 1.

side of the design.

Where

the composition allows

is

as in

Abhandlunge?i

d. Sticks.

Ges.,

Band

Schneider,
Bolte,
loc.

loc.
cit.,

cit.,

p.

(f).

the case of the dead Achaean, the ogre

as the

several times as big

p.

8 (e).

man.
point that calls for remark
is

The use
the eye of the Cyclops,
literary

of the drill (rpmravov)

is

of the highest antiquity,

it

and
was

One

was as well known in Homeric times as

is

now.

It

which seems to be of quite an ordinary shape, whereas

tradition has represented

The
is

painting shows two distinct scenes

to the left a sailor

girt

driven round either by the use of a strap twisted round the

him
it

as one-eyed.
is

This

is,

however, Etruscan
case,

in short shirt stirring

and wide-awake hat

fire

(petasus),

and

with a sword,

handle of the

drill,

the rule in Greek

art that

art,

and

only in
is

Roman and
may be

up a

with the pole, while to the right two

men

round

it

in the

or by the string of a small bow twisted same way, thus forming the " bow-drill." It is
as the

he appears with one

or, as

sometimes the

similarly clad are plunging the blazing pole into the eye of the
giant,
tions.

three eyes.

How

hideous the result was

fig.

seen in the

Etruscan painting in
et Saglio,

38

(for the authorities, cf.

Daremberg

whom the artist has tried to depict in his true He lies back half sitting on a rock beneath the
is

worked by simply drawing the bow backwards,

the picture
is

man

in

proporspread-

doing, and forwards, and

is

still

used by most

metal-workers.

Diet de Ant.,

p. 1695).

ing branches of a tree, his eye

rests

closed in slumber, a club

For

drills in

antiquity see Smith's Dictionary of Antiquities

on

his left arm, while his right

hand

is

laid

upon

his

knee
(ed. 1890-1), art.

"Terebra."

in

an easy attitude.

Fig. 36.

The

Blinding of Polyphemus

(line 382).

The presence
assume that the

of a tree
artist

(cf. figs.

40, 41) leads one at

first

to

Painting onan archaic vase by the potter Aristonophos.

has ventured to differ from

Homer and
Fig. 40.

From
The

Care, in the Museo Etrusco Capitolino, Rome.

place the scene in the

open

air instead

of the cave, but the

Odysseus
Museum

under the

Ram

(line 431).

reverse is

shown on fig.

12.

practice of vase-painters of this date scarcely bears this out.

Black-figured painting on an Attic vase

(cenoclue)

of

Mon.

d. Inst., ix., PI. 4.

Such branches are employed merely to

53
(a).

fill

up space, and have,

the sixth century

In
the

B.C.

Schneider, Der

troische Sagenkreis, p.

as a rule, nothing to

do with the subject depicted.

at Athens.
8,
2.

Bolte, Mon. ad Od.

pertin., p.

2.

Hydemann,
p. 22, fig. io/>.
fig.

Griech. Vasen., PI.

loc. cit, p.

Miss Harrison, Myths of the Odyssey,

Baumeister, Denkmdkr,

p.

1038,

2087.

Fig.

3S.

The
Inst,

Blinding of Polyphemus

Schneider,
(line 382).

60

(9).

Bolte,

loc. cit, p.

12 (b).
p.
1

Etruscan wall-painting in the third chamber of the tomb of orcus at corneto (the ancient tarqinii.)
Polyphemus
and
ward
his

Harrison, Myths,
Journal of Hellenic

fig.

8 a.

Society, iv., p. 259,

No.

9.

in

this

painting
starting

is

no bigger than Odysseus

sleep,

Mon.

d.

ix., PI.

15, 7.

mates.

He
left

is

up from

and supports

Bolte,

loc. cit,

p.

9.

himself on his
off the

hand, while with his right he strives to

burning pole which the Achasans have thrust into

pole
is

Miss Harrison, Myths of Od., p. S (note). Daremberg et Saglio, Diet d. Ant., p. 1695,

fig.

2259.

The Cyclops, with his club, sits at the mouth of the cave much the same attitude as in fig. 37, except that his eye
open, and his hand raised to feel the ram's back.

in
is

his eye.
(cf.

The

held by Odysseus and four comrades

ttc'jUtttos

Only the

line 335, Tr(rapes, avrap eyui

fiera

rolmv
figure

t\(ypt]v),

each of

them armed with a sword.

left

The
more

to

the

Polyphemus
huge eye
inscribed

is

here depicted as a revolting monster with a

extreme

shoves with one foot against the wall which

in his forehead.

His name Cuclu (=Cyclops)

Utusie) unaided

is is

head and shoulders of the ram appear issuing from the cave, represented by a shapeless piece of rock, and below his neck The scene is shown to the bearded head of Odysseus is seen.
be the mouth of the cave by the rock to the
left,

bounds the

picture, to

make

his efforts

effective.

Above

above.

Odysseus (inscribed

and by

another piece of rock to the

right,

which appears above the

latter,

under his

belly,

approach him.

Two

of the

men have

their

Fig.

42. Odysseus mocking Polyphemus

(line 473).

the head of the Cyclops. Shrubs grow from in fig. over the background of the picture, as

and spread

arms bound

37.

round the ram's neck, but the and Drandishes third, who leads the way, has both arms free, of the ram a sword in his left hand, while he clasps the neck
tightly together

Relief on an Etruscan urn in the

Museum

at Leyden.

Brunn, Ml. d. urn. Etr., i PI. 87, Overbeck, Gall. her. Bildw., xxxi.,
Odysseus standing

4.

iS, p. 774-

with his right.

This addition to the Homeric story of Odysseus arming

Fig.
it

in his ship holding a shield,

and gazing
sail
is set,

Odysseus escaping under the

fainting

Ram

(line 431). (cylix)

himself, prepared to fight the Cyclops

if

his device fails,

is

over the poop of his ship towards the land.

the rowers at the oars,

The

Red-figured
1

ON

an

Attic vase
B.C.

of

found
artistic

in

most of the vase-paintings of the subject, and has the value of enabling us to distinguish the hero from his

but the ship

foreground.

is

and the helmsman is working the tiller, almost on the rocks, which appear in the
the
left
is

111

BEGINNING OF THE FIFTH CENTURY

in the Castellani Collection.

comrades.

The ram

too by

whom

he

is

borne

is

in this case

To

Polyphemus

at

the

mouth

of his

Formerly

Journal of Hellenic

Studies,

iv., p.

232.

distinguished by having his thick fleece indicated by dots. In the background is a tree with spreading branches,

cave with two rams.

The

taunting words of Odysseus have

enraged him, and urged on by a Fury,

huntress, he
is

LUCKENBACH,

loc. cit,

p. 311.

probably suggesting the mouth of the cave

(cf.

fig.

40).

is

hurling rocks at his tormentor.

is

who appears as a winged The Cyclops

with two eyes, and
the traditional style,
(cf. figs.

Bow

loc.

cit.,

13 (a).

The
lies

failure of the artist to follow

Homer, and represent the

to three rams, not one,
art, that
it

represented, as

usual in Greek

art,

comrades of Odysseus as each bound

Odysseus and the

but the Fury
23, 96, 97).
is

sailors are

dressed

in

To

the right of the picture, l'olyphcmus

in wait at the

is

so obviously due to the limitations of his

demands

a characteristically Etruscan addition

relief

mouth of the cave, while three rams, each with

man bound

no further explanation.

For a

very similar in style

cf. fig.

65.

BOOK
SCAPED
sailed

X.

from the Cyclops, Odysseus

isle

in

with a maiden going to draw water at the fountain

(fig.

(fig.

43

e),

where, after two days' waiting, he set out

on to the

of ^Eolus,

who
a

Artacia

43

a).

They asked her who was king

home, whither they went and

to find food,

and caught sight of smoke

all told,

in the distance.

entertained

him
on

hospitably
his

for

of the country

and who the inhabitants, and she led

father's

Half the crew, two-and-twenty

in

with Eurylochus

month, and

departure

gave

them

to

her

command,

set out to explore.

In the forest glades

all

him a

fair

wind to waft him home,

in

found the queen within a giantess, huge as a mountain

peak,

they found the palace of Circe, and

around wolves

and presented him with a bag

winds were tied up.
sight

which

all

the other
in

and loathsome

in

their

sight.

She

called in

and

lions,

to

their

amazement,

fawned

upon

them.
the

His men, just as they were

Ithaca, while

her husband Antiphates,

who

seized one of the men,

These were men

goddess.
for all

who had been bewitched by

of their

home on
all

Odysseus

slept,

and prepared him

comrades
fled

for

his

midday meal.
in

His

two

The comrades

of Odysseus fared no better,

untied the bag, and

the winds escaped, blowing

them

and succeeded

getting to the ships,

save Eurylochus, enticed into the palace, were

a

back again to
of the gods.

./Eolus,

who bade them depart

as enemies

while Antiphates raised the war-cry and brought out

given

draught with magic drugs, and then, with a

They

sailed

on and came to the country

of giants, where they

a whole
rocks

army of

giants the

(fig.

43

b),

who
ships,

hurled great

touch of the witch's wand, were transformed into swine

of the

La;strygonians, a race

down from

cliffs

on the

and

"

there
ships

and penned

in

sties.

Yet they
(fig.

still

retained

their

found a land-locked harbour, and

their ships.

moored eleven of

arose from the

fleet
;

an

evil din of

men dying and

spearing
fishes

senses and power of thought

44).

The

twelfth ship, that of Odysseus, did

shattered withal

and

like

folk

they

Eurylochus, after waiting long, returned to the ship,

not enter the

just outside,

harbour, but was

made

fast

to a rock
life.

bare

home

their hideous

meal"

(fig.

43

c).

Odysseus,

and

told

Odysseus

how they had been

girt

entrapped.

a wise precaution, which saved his

however, escaped the fate of his comrades by cutting

his

The hero thereupon

of
a

on

his

sword and started

in

As no
out
to

inhabitants were visible, three

reconnoitre,

men were
level road,

sent
fell

hawser and dashing out to sea

(fig.

43

d).

With

out alone, and as he went met

Hermes

the form the herb

who, following a

the one ship he sailed on to /a?a, the island of Circe

youth

(fig.

48).

The god gave him

Moly, by the power of which he could defy the charmed

potion
;

descending with a pitcher to draw water from the fountain.

Fig. 43?.

Odysseus
now

and Circe

(line 312).

and told him to drink the draught, but when

She

has

just

met

three

of

the

comrades of

Odysseus,

continuation of the above series.

the witch struck

him with her wand

Antilochus
to

draw

his

sword

Eurybates
right

(ANTIA0X02), Anchialus (ANXIAA02), and (EYPYBATH2), who are advancing from the
it.

We

are

led to the palace of Circe

and the grove round

little

and spring upon her as though to slay

then
fall

her.

She would

and ask her who are the inhabitants of the country.

cattle
(cf.

To

the

left,

Circe (KI), attended by a

maid,

is

opening

and entreat him to be her spouse, but he must had sworn an oath to do him
45-S).

Behind them are sheep and

ground.
respect from

line 85)

and marshy

the great gate of the court to admit Odysseus,

who comes
of

sternly refuse until she

no

harm

(figs.

43

c,

All

happened

as

the

god had
royally
until

foretold,

and Odysseus was entertained right

He, however, refused to be comforted

of

The whole scene does not differ in any important Homer, though the artist has taken the liberty naming the scouts, who in the poem are only mentioned

armed with a shield.

the
passage.

One should

note the lattice-work

upper part of the door, and the Hermes' figure in the

as " certain of
l>.

my
it

company."
last picture,

To
and was only
the pastures
pillars

the right

is

a shrine built in a semicircle, with a colonnade

in
it is

by

Circe.

This

is

a continuation of the

in front.

Growing up

a sacred tree

bound with

ribands,

his

bewitched

comrades had been restored to

(fig.

separated from

by one of the

which divide the whole

while in front of a kind of oaldachino, which forms the centre of the background, are altars and a table laden with strange

their former

shape

48) and the crew of the ship

of the fresco into panels.

To

the

left

we

see

brought up to the palace.

Then they spent

;

a year

(NOMAI) and
Above,

the

herdsmen tending the

is

flocks

shown
giants,

in a.

magic
is

offerings.

At the

foot of the tree

Odysseus

(OAY22EY2

with the goddess, feasting in the palace

but at the

in the distance,

a faintly sketched house, the palace

seated,

and before him kneels Circe

little

in terror at the failure in her fright.

where the Achseans had found the queen of the

and

of her charm, while the

maid runs away

end of that time she sent Odysseus forth on a journey

to the

were devoured by her lord the king.

In the foreground we

In front of the shrine, in the court of the palace, magic twigs

are seen stuck in the ground.

home

of

Hades

to consult the soul of Teiresias,

have a rocky landscape, with trees running down on the right

into

the blind soothsayer of Thebes, and learn from the

him

the

sea.

On

the

beach,

holding his

sceptre,

stands

way home.

She
sailed
(fig.

told

him how

to shape his course,

Antiphates, king of the Laestrygonians, calling

on

his

men
them

Fig. 44.

and the ship

man, Elpenor

off with all

its

crew, except one

(AAI2TPYrONE2)

to attack the Achffians.

They

are engaged

Circe bewitching a Man (line 235). Red-figured painting on an Attic vase (amphora) of

46),

who had

tearing branches from the trees, uprooting rocks, hurling

fallen

from the palace

towards the sea, into which one of them has waded to seize
the ships.
is

roof and been killed.

the fifth century B.C. From Nolo, in the Berlin Antiquarium.

Arch. Zeitung, 1876,
PI. 14.

To

the right, in the foreground, one of the giants

feet,

dragging a corpse by the

and carrying another on

his

Harrison, Myths,
Bolte,
loc. cit.,

PI.
c.

18*.

shoulder.
Figs. 43
a,
b,
c,

d.

The

44
p.

Laestrygonians

(line Si).

c.

The scene

is

the harbour surrounded by

cliffs,

and with
one has

Luckeneach,

507, note

(c).

Wall-painting in a house on the Esquiline Rome, discovered in 1848.

a narrow entrance described

by

Homer

in line 87.
;

Hill,

Some

of the ships are already

to shore,

complete wrecks

Wormann, Die

been dragged
ant. Odyssee-landscha/ten, Pis. 1-4.

and

its

crew are making vain

The
efforts

painter has reduced the scene to

its

barest elements,

Harrison, Myths of the Odyssey, PI. Baumeister, Denkmaler, p. 1039.

to escape the stones hurled at 45.

them by the Cyclopes, who

and only shows

us two persons.

Circe, clad in shift (chiton)

hair gathered in a snood,
is

appear on the headlands, on juttings. rocks, or wade into the

sea.

and mantle (himation), with her

magic draught, and

One

of them hurls a trident at the wrecked sailors,

as

who

seated on a chair, and holds in one hand the bowl with her
in the other just

the enchanter's wand.

swim about the harbour, spearing them

fish.

A
here
this

though they were

comrade of Odysseus has

a.

drank from the bowl, she has

the
transformation,

To

the
in

left

of the picture the ships of Odysseus are seen

d.

In

this picture,

which leads on

to the adventures with to the left,

touched him with the wand, and

putting

to

shore, while above

them the demons of the

their course, appear
as

Circe,

we

see the ship of Odysseus

(OAY22EY2)
is

shown by a

swine's head

and

tail,

has taken place.

At

winds,

who had
figures

driven

them from

with

sail fully set, stealing

out to sea from behind a lofty rock.

moment
and he

she utters the words, " Get thee to the sty

is

" (line

320),

winged

blowing trumpets.

In the

foreground

is

a
is

In the foreground below a Lrestrygonian giant

dashing a
entreaties,

turning hurriedly away, striking his head with his

rock with a jutting point below, from which a ferryman

just shoving off his boat.

huge stone down upon

at his feet.

a sailor,

who
is

lies,

making vain

hand

in despair.

This
beach.

is

inscribed

AKTAI, and

is

a personification

of the

On
is

the other side of the

figure holding a

On
rocks,

the

right of the picture

is

the
coast

isle
is

of Circe, towards
hilly,

Fig.

45. Circe offering the Bo wl to Odysseus

(line 3

8).

rock

is

a cave,
is

by which a female
reclining.

long

which Odysseus

sailing.

The

but without

feathery reed

She

the goddess of the fountain

and on the nearest headland (AKTAI) are three nymphs

Black-figured painting on an archaic vase OF THE SIXTH CENTURV B.C.

(lecythus)

ground

(KPHNH), which Homer calls Artacia. More in the backis a lofty, wooded hill, on which a mountain deity
by a steep path, a giant maiden
is

of the coast, one of

whom

points inland to the palace of Circe.

figures of the

Found

in Sicily,

and

in the Berlin
PI. 15.
fig.

Antiquarium.

Further

off,

on another headland, other

same

Arch. Zeitung, 1876,

reclines, while at the side,

kind can be dimly seen.

Baumeister, Denkmaler,

837.

Hi

.-.

Myths,
.

PI. 21, p.

plunge
;

it

into Circe's (Cerca) breast.

raises

She

sits

on a

sort

of

Fig. 48.

Odysseus
in the

in the a

Palace of Circe.
in schools

loc. tit., p.

67.

throne,
-

and
fully

both her hands in

terrified

supplication.

Marble relief on
(cf.

Roman tablet for use

and
4).

at., p.
tit.,

5 6

She

is

clad in shift and

p.

18 (a).

a bracelet, and sandals.

Below

mantle, and wears a necklace, the throne is a boar, to suggest

Tabula

Iliaca, II., figs. 3

Formerly

Rondinini

Collection, tut
PI.
fig.

now

lost.

The

vase-painter has, in the

:

manner of

early art, united

two

Near Circe is a youth the enchantment of the sailors. characteristic "cockscomb," and a Phrygian tiara, with its He would be quite unrecognisable holding a bow and arrow. (Felparun), which shows that if it were not for the inscription
he
is

wearing

Jahn, O., Bihtcrchroniken,

(h).

Baumeister, Denkmater,

839.

Harrison, Myths,
Bolte,
loc. tit.,

PI. 25.

p.

24

(a).

successive scenes

Circe offering the

bowl to Odysseus, and

Elpenor, the youth

Odysseus threatening her with the sword.

Circe
sits in

roof of Circe's palace

who was killed by falling from the when Odysseus set out on his voyage to

Overbeck,

Gall. her. Bildw., xxxii., 3, p. 782.

the centre on a camp-stool, clad in a long shift

in

Hades

and mantle, and holds the bowl

in

her

left

hand and the wand

hat (petasus).

(line 552).

her right.

In front of her stands Odysseus wearing a short

This fragment of a tablet, giving pictures from the Odyssey,

is

shirt Uhiton), a small

1

mantle (thlamys), and

felt

inscribed below, "

X.).

From

the narrative to Alcinous, Book

K"

[1

hi. one
1

hand

raised to threaten her, while in the other

he

Fig.

47. Odysseus threatens Circe with his

(line 321).

Sword

(i.e.

Three scenes are represented.

left
is

(1) In the foreground

holds

drawn sword.

At the sides are four bewitched

left,

sailors,

to

the

the stern of Odysseus' ship drawn up on the

an ass and an ox to the

a boar

and

swan

to the right,

Wall-painting
Era.

at Pompeii, of about the Christian

" in

beach.
(exomis)

Odysseus,

who

is

clad in the traditional short shirt

is

the different forms being perhaps

in

adopted from the hint given

except for their heads and

and

felt

cap (pilleus) and

armed with

a spear, has

line

212.

These are

human
is

Discovered at the " Casa di Modesto

perished.

181

1,

hit has

now

just

landed and met Hermes,

is

who

gives

him

the herb Moly

pointing

tails (cf. figs.

44 and 48), and seem to take the deepest interest

going on
:

(the inscription below

at the

OAI22EITO MfiAY EPMH2),

is

in
thi

what

is

the ass

braying to warn Odysseus

his breast
;

Bwan has sunk

ox

to the

ground and;beats
both
stretch

while
to

Zahn, Wandgemdlde, iii., PL 74. Helbio, Wandgemalde, No. 1329.

same time with an emphatic and hasty

gesture to the

palace of Circe, the gate of which

quite near.

The god
his

is

the

and

the

boar

out

their

hands

Harrison, Myths,

p. 76, PI. 23.

clothed

much

in the

same way

as Odysseus,

except that he

expostulate.

Overbeck,
of the background of the picture
lies,
is

Gall. her. Bildw., xxxii., 11, p. 784.

wears a cloak, and seems to have

breeches on his
legs.

sleeves
is

on

arms and

The whole
pri

filled

with

This, however,

probably due to the

ading brani
fig.

an

artistic

device of this period mentioned

modern

artist

who drew

the sketch, to

whom,

also,

we may

under

37.

The
wall

scene
the

is

room
(line

lighted by a
is

window high up

in the

possibly

owe the absence of

staff,
is

the winged hat and boots and

attributes of the god.

to

left.

The door
312).

open, suggesting the recent

the herald's

which are the usual

arrival of

Odysseus

He

is

striding forwards, with

one
I

foot

on the

stool of the throne in

which Circe had placed

is

The palace Round the

right

a fortified court, with battlements and towers.

court run covered colonnades, with houses to the

(2)

ig.

|ii.

-Odysseus threatens Circe with

(line

his

Sword

him
hilt

as her

guest (line 315),

while his right hand

on the

and

left.

In the lower part Odysseus (OAI22EY2)

is

321).

of his

sword ready

to

draw
felt

it.

He

is

dressed in the
short violet
is

seen,
to

Engraved
Found at
Ann.
I I

di

kn on

rw back of an Etruscan mirror.

the Louvre, Paris.

traditional

costume of conical

cap

(pilleus),

armed with sword and shield, rushing with drawn sword attack Circe (KIPKH), who kneels before him in supplication
figs.

Corneto,

and in

shirt (exomis),

and red cloak

(thlamys).

Facing him

Circe,

(cf.

43

e,

45-7).

(3)

Above

is

the third scene, Circe

,/.

Inst.,

1852,

lav. d'agg.,

H.

distinguished by a blue halo (perhaps as being the daughter of

Helios), sinking
to her knees,
is

summoning
[evm])

the bewitched comrades

sty,

(ETAIPOI TE0HPIOM

\l

[SON, p. 74, PI. 22.

in supplication. in

and holding out both hands

She

dressed in a green shift and long mantle,

contrast to two servants standing near her,

who

only wear

long yellow shifts (chiton).

One

of these starts back in terror.

wand to strike and restore As in fig. 45, the artist has departed from Homer's version and given them the forms of an ox, ram, and bear, as well as that of swine. The
from the
to
their

and

raising her

them

former shape.

Odysseus (Uthste), who here appears bare-headed and only wearing a small mantle (thlamys), has drawn his sword from its
sheath, which he holds in his left hand,

The other is carrying a wine-jug. The painting is architectural, and bounded on

Ionic columns

sailors

thus

freed

show

their

joy by

lively gestures,

while
right

either side

by

Odysseus

gazes

calmly on,

his

head

resting
left.

on

his

and

is

threatening to

hand, with his elbow propped by his

BOOK
DYSSEUS
to the

XI.

and

his

comrades
world

sailed

on

him, and

of Achilles.

To

Achilles he spoke of the

On

either side of

Odysseus stands a comrade (Perimedes and

Odysseus, only
in a cloak

limits of the

and the

wisdom and prowess of

renown he won
the shade of

his son

Neoptolemus, and the

Eurylochus in
(ch/amys).

line 23), clad, like

The one

to the right,

stream

of

Oceanus.

There, guided

at the sack of

Troy

(fig.

56).

After
;

shoes, leans on his spear, while

who wears a felt cap and the other, who has on a pair
ward
off the

by the words of
in

Circe, they landed

Achilles, that

of

Ajax came up
to him,

but

of hunter's sandals, has a sword upraised ready to

spirits

the country

of the

Cimmerians'

though

Odysseus

spoke

softly
still

he answered

of the dead.

a land of mist and night, through which they journeyed

till

not a word, for he was

angry that Odysseus had

with him
(figs.

they came to a rock at the meeting-place of the

of Hades.
libations

won

the arms of Achilles in contest

rivers

Near

this

they dug a trench

and

57, 58).

Next

followed the shades of the great

men
and

Fig. 50.

Odysseus,
Vulci.
d. Inst.,
ii.,

Hermes, and Teiresias

(line 50).

after

of mead, wine, and water, and prayers

of days

long before the Trojan War,

(figs.

Minos, Orion,

Engraved design on an Etruscan mirror.

From
Mon. Ann.

to

the dead, sacrificed

it.

sheep over the trench, letting

Tityos, Tantalus, Sisyphus

59

and 61

a),

the blood flow into

Thereupon the

spirits of
;

the

Heracles.

Theseus and Peirithous he was

fain to see,

PI. 29.
>

dead, young and old, flocked to drink the blood

but
let

but fear came upon him that Persephone might send

the Gorgon's head and slay
vessel,

Bullet, d. Inst., 1835, I22

d. Inst., vol. viii.
PI. 29.

'59

lS 3 6 8l "9'
>

Odysseus, remembering

Circe's

command, would
had
spoken
to

him

and

so, getting to his

none

approach

till

Teiresias

him

he set

sail

over Oceanus once more.

Harrison, Myths,

refusing this

boon even

to the spirit of his

own mother.
his
Fig. 49.

Teiresias

came

at last with a golden

sceptre in

Here, as in

fig.

49,

Odysseus
is

(VTHTZE)

is

seated on a

hand, drank of the blood from the trench, and then

told
(figs.

Odysseus and the Shade of Teiresias

at Pistica.
iv.,

(line 23).

rock, over

which

his cloak

spread, with sword

drawn

to

49, 50, and 61 a) Odysseus of the troubles

Red-figured painting on an Attic vase

ward
(crater).

off the

spirits

of

the

dead.

Teiresias

(HINTIAL
having

that were in store for

him on

his

homeward voyage,
and
in

of

TERASIAS),
a

however, appears, not rising from the earth, but

(cf.

Found

how he should
with a

slay the suitors,

old age meet

leaning on his staff

PI. 19.
fig.

line 91, x/>iotcoi> trurfirrpov l\wv),

Mon.

d. Inst.,

death

from the
telling

sea, the

gentlest

death that

Baumeister, Denkmdlcr,
Harrison, Myths,
PI. 27.

may

1254.

diadem round his hair, clad in a mantle (himal/on) and wearing shoes. His eyes are closed, for he is blind, and

band

or

be.

Then

Odysseus that whoever of the

he stoops as though almost

in a

swoon, but

is

led forward by
to guide
is

dead drank of the blood would gain the power of

speech, he vanished, and the hero let the other spirits

Overbeck,

Gall. her. Bildw., xxxii., 12, p. 787.

Hermes, who
recognised

laid his

and support him.

Odysseus
is

hand on the prophet's shoulder Hermes (TVRMS AITAS), who

hat
(petasus)
is

easily

come
her
(fig.

to the trench
"

and drink,

his

mother

first.

After
is

by his winged

and short

cloak

came the
51),

Fair

Women "
52),

of old, Tyro, Antiope

Epicasta, Chloris,

seated on a heap of stones, over which his cloak

hair

(chlamys), has his

hand upraised and

that he

speaking to Odysseus,

spread.
is

His thick and

and beard are

all

dishevelled, his
air

whose eyes show

listens to the god.

is

Alcmene

(fig.

Leda
54),

brow

knit,

his eyes turned half

upwards with an
a

of

The presence
(compare
fig.

of

Hermes
artists

not in accordance with

Homer,

(%

53). Iphimedeia, Phaedra, Procris,

(fig.

Ariadne

(fig.

distraction

and awe.

In his right hand he holds

drawn
head

but the Etruscan

46),

seldom follow the

literary version

Mfera, Clymene, and Eriphyle

73).

sword dripping with blood, while between his

feet lie the

and the god doubtless appears

here, as in

At

this

point in the

story

Odysseus paused, but

and bleeding remains of the ram

Rising from the earth in
is

that

he had sacrificed.

many

other scenes, in his capacity of guide both to the living

entreated by the Phaeacians,

his narrative,

went on to

tell

who were entranced with how he saw the shades who were
slain with

the.

trench wet with the victim's blood

and the dead.

the shadowy head of Teiresias, with long hair and beard,

his eyes closed, for

he

is

blind,

and

lips

open as

if

in speech,

Homer,

Indeed, according to the creed of times rather later than the halls of the it was only under his guidance that
at
all.

of

Agamemnon, and

the followers

prophesying to the hero the troubles of his homeward journey.

dead could be reached

Fig.

51. Antiope and Dirce

01

(line 260).

the cave as that in which Antiope

(crater)

had brought

forth her

two

p IG-

S3

Leda, Castor, and Pollux

(line 298).

RED PAINTING ON
B.C.

LATE VASE

OF THE

sons.

FOURTH CENTURY From

The style of the vase is late, both in drawing The youths are depicted, as heroes mostly were
naked except
for a small cloak,

and treatment.
at this period,

Black-figured painting on an Attic vase (amphora), by the potter Exekias, of the end of the sixth

century

b.c.

Palaziolo, in the Berlin Antiquarium.

7, p.
fig.

which

flaps

round the neck.

embroidered

From
Mon.

Cozre, in the

Museo Gregoriano, Rome.

in fig. 7.

Arch. Zeitung, 1878, PI.

:

44.

lister, Denkmaler,
1

502.
60, 61.

Lycus, on the other garments of a king, and, like

hand,

has the

flowing,

Tlie reverse is
d. Inst.,

shown
ii.,

all

the other figures, wears shoes.

PI. 22.
4.

Semen Euripid. Tragodien, pp. ROBERT, Bild mid Lied, p. 36 (note

.1
,

Klein, Meistersignaturen, 39,

1.

Roscher, Lexicon
Fig.

d.

Myth.,

fig.

on pp.

73-4.

52. Alcmene and Megara

(line 266).

Antiope, the mother of

pi
1

Amphion and Zethus by

Zeus, was

ecuted by Dirce and handed over to her sons, who did

(for

amphora),

Red-figured painting on a South Italian vase (large by the potter Assteas, of the fourth
B.C.

Leda, the wife

of Tyndareus,

bore the twin demi-gods

not recognise her

they had been taken from her

when

CENTURY

Castor, the tamer of steeds,

and Polydeuces (generally known

vase-painter

Just at the moment when they babes), to be tied to a bull. were obeying these savage orders, a shepherd revealed their
relationship, they freed their mother,

From
Mon.

Peestum,

now

at Madrid.
PI.

as Pollux), the boxer.

their family
life.

The

shows

scene of

d. Inst., viii.,

10.

and bound Dirce

in her

place to the bull.

This myth

is

best

known

in

by the celebrated group of the

Vpollonius

Farnese

bull,

modern times the work of

of the
plot
frag-

Klein, Meistersignaturen, p. 206. Vogel, Scenen aus Eur. Tragodien,

a garland in her hair,

p. 143.

Leda, clad in a richly embroidered garment (peplos), with and holding a branch in her left and

a flower in her right hand, stands between her two sons,

who
the

Roscher, Lexicon der Mythologie,

p.

2235.

and Tauriscus, two

D.(
.

Khodian

sculptors

both have their names inscribed above them.

Castor (KA2TOP), with
archaic style, a cloak (chlamys) hanging

In front stands
in

second century

In antiquity the story

formed the

his hair elaborately dressed

of a celebrated play of Euripides, of

111.

which some new

Both Megara and Alcmene appear

their

in this vase-painting with

down

his back.
is

He
The

ni',

have been recently discovered

in the

papyrus wrapping
is

names

inscribed.

The scene

is

the madness of Heracles,

has a spear in his

left

hand, and with his right

just seizing

of an Egyptian

mummy.

The

popularity of this play

are

shown

and the painting was probably inspired by the tragedy of

Euripides, 'HpaKAijs juaifo/tevos.
It

the bridle of his horse, as if to start on

horse's

some

expedition.

by

several
it.

wall paintings,

which

evidently

intended to
its

shows us the court of

.

illustrate

The

vase-painting here given possibly owes

a large house, in which a

fire

fire

has

been kindled.

On

this

inspiration to the
tied

same source.
bull,

It

shows

to the left Dirce,

Heracles has flung

all

manner of household

utensils

and

name, Cylarus (KYAAP02), is inscribed below, he has a band covered with ornaments round his neck, and is, it would seem, being stroked by a bearded man who stands in
front.

to the

horns of the
is

who
on
its

tramples on her senseless

pieces of furniture,
goblets, cups,
in

tables, chairs, chests, workbaskets, jugs,

This

is

Tyndareus,
his

who

is

clad in a long,

full

mantle

body, and
">i

starting off in a wild gallop.

The scene
off,

is

laid

and bowls.

The hero
is

himself appears half armed

(hi/nation),

and wears
Pollux'.

hair dressed in the

same
is

style as

uiii.iin,

with a forest

slope, here suggested

by
In

helmet and greaves, but

only clad in a light, transparent

carries

Castor's

and

Between him and the horse

carries a flask of oil

little

a single tree.

Near Dirce
course
side
1,,

lies a

branch torn
through

suggesting
trees.

shirt

and a short

cloak.

He

shrieking baby, his

is

boy, quite naked,

who

and bathing imit

the
tl

headlong
mil. mi

of

the

bull

the

daughter, one of Megara's

children,

and

in

the act

of

plements on his arm, and a chair with garments, or

may

the right

trees.

In this /.elhus

is a cave, overshadowed by and Amphion, with drawn swords, are

throwing her on the

is

fire.

Her mother,
through
floor,
is

distracted at the sight,

be a cushion,

laid

upon

it.

The

twins, being athletes, were

in a porch,

and and

is

flying
first

the open door into the

a gallery covered by a

fond of bathing, and

this is their attendant.

is

about to slay Lycus, the husband of Dirce,

to her aid
his
;

who has

hurried
raises
in

house.
roof on
is

Above, on the
pillars,

On

the other side of the picture

Pollux (IIOAYAEYKES),

but, caught

and thrown on
At

his knees,

he

in this

are three spectators, one of

whom
Next

quite naked, patting a

dog which

is

fawning upon him.

hand

in

supplication, while Antiope

flies

from the cave

a matron with white hair,

is

and

is

inscribed Megara.

terror of the violence of her sons.

this tragic

moment

the

toher

Iolaos, the faithful

henchman of Heracles,

raising his

od

[1

stall aloft,
st.i\

rmes appears above the cave, and, holding his herald's answers the prayer of Lycus, and bids the young men
hand.
\\

hand
left

in

amazement

at his master's frenzy,

while farther to the

Fig.

54. Athena, Artemis, Dionysus, and Ariadne

(line 298).

appears the goddess Mania (inscribed), gazing peacefully

their

know

that this

was part of the Euripidean

to resign his

on the ruin she has caused.

tragedy,

and further that Lycus had

kingship in

As
free,

is

usual in paintings of this period, the drawing

Engraved design on an Etruscan mirror.

is

very

favour of Zethus.

with
is

much
hairy,

elaboration

of detail.

The panther
another
trait

Thus, the shirt of

Said

to

have been found at Palestrina

in the Ravenstan

skin which hangs from the roof of the cave

recalls

is

Heracles
breast
is

fringed

which

Euripides,

for

we

are told that

Dirce had

come

and ornamented with strings of beads, his and his helmet fantastic. Megara too, like

Collection at Brussels.

Aunali

d. Inst.,

1859, Tav. d'agg., L.

p.

to the cave with a troop of Bacchantes.

to

This

leads us further

identify the

mountain as Cithaeron, and

border,

Mania, wears an embroidered shift and a mantle with rich and has soft shoes on her feet.

Baumeister, Denkmaler,

127.

Roscher, Mythologie,

pp. 541

and 544.

The Homeric story

of the death of Ariadne,

whom

" Artemis

The
his

painting shows the youthful Neoptolemus holding out

to

the horror of the scene, and to

emphasise the brutality of

is

slew in sea-girt Dia, by reason of the witness of Dionysus,"

hand

Odysseus, ratifying his promise to go with him to

his neck, entreating

Neoptolemus.

At each
intends

side of the central scene

to

a warrior,

does not seem to be

known

to

later

classical writers,

who

Troy.

His mother Deidameia hangs on

in the

and the

artist

them

be regarded as a pair of comIt

make Ariadne

the beloved spouse of Dionysus,

who discovered
in
left

him

to desist, while

background two other daughters

batants, a
is

Greek and
to

a Trojan, fighting in the background.

her on Naxos (Dia)

when Theseus deserted

her.

of Lycomedes express their grief and amazement by lively

gestures.

not possible to

name
fill

these warriors, and they are doubtless

at the sides

The
fig.

strange engraving

on the Etruscan mirror given

story.

added rather
is

up the space
cuirass,

symmetrically
a short
shield,

54 very probably refers to the older

To

the

To
is

the right of the picture

the palace, represented by an

than to represent any known heroes.

shirt

They both wear

in

stands

Athena armed with

a:gis

and helmet, and winged (an

devising).

architrave supported by a single Doric column.

Beneath

this

under a quilted
spear.

and are armed with helmet,

addition of the Etruscan

artist's

own

She holds her

the aged king

Lycomedes seated on a throne with a

to drink

footstool,

and

Neoptolemus
is

is

armed

much

the same way,

hands stretched out with amazement as she gazes on Artemis.

and holding out a cup

grandson.

good luck

to his

departing

except that his cuirass

imitation of leather.

either of leather, or bronze

worked

in

Next

to her

is

Dionysus, clad in a long garment, with a garland

is

In front of the palace stands the goddess Artemis,

in his hair,

and holding the drinking cup (cantharus), which

attribute, in his right

dressed in a long shift and archaic cloak, and holding a

in her left

bow

The remaining
and the warrior
single

figure

his peculiar his

hand.

He,

too, expresses

hand

(cf. fig.

28), while

she stretches out her right

to the left
(pepios),

who appears between Neoptolemus is a little girl, who is clad in a

and
carries a wine-skin in her
left"

amazement by a

gesture.

hand towards Neoptolemus

to signify that, as a youthful hunter,

garment

To
feet
is

the right stands Artemis wearing a diadem, with her

in

bow

he

is

under her protection.

hand and a cap

is

in her right.

She

is

flying in terror, but there

and arrows, and holding

both arms a

girlish figure.

At her
Fig. 56.

nothing by which she can be identified.

the head of a satyr.

of the deities are inscribed near their heads,

The names
of Menfra)

The
d.

Death of Priam

(line 533).

Fig. 57.
(crater

The Contest
545)-

for the

Arms

of Achilles

(line

but in a very corrupt form.

;

Athena

is

called

Menrra (instead

Dionysus, Phuphlunus (instead of Phuphlems)

j

Red-figured painting on an Attic mixing-dowl Found near Bologna, and in the Museum there.
Mon.
Inst,
xi.,

Black-figured painting on an Attic vase.

Wiener
Vorlegebldtter, Ser. C, PI. 8, 28.

Ariadne, Eisa

and Artemis, Artunrs (instead of Arthems). mentioned

in

14.

Artemis

is

often

'Homer

as the
it

goddess who

Ann.

d. Inst.,

1880, 27-9.
p.

brought death to women, as Apollo brought

vi.,

to

men

(cf.

//.,

Klein, Euphronios,

162

(6).

The

contest between Odysseus and Ajax for the arms of

xpitris),

205

xxi.,

483), so that

it

is

probable that the Homeric

Robert, Bild und

Lied, p. 249.

Achilles ^Oir\m>

referred to in this passage, was the

Little Iliad ("IAjas /xwpa) of

story refers to a natural death,

and not one wrought by the

of the Sack of Troy ('Ikiov 7re/}rm), Homer, one of the most popular of heroic lays (cf. //., fig. 3, and Od., figs. 32, 33). To us it is best known by the second book of Virgil's Aineid. Its popularity is well reflected in art, for the number of
epic

opening episode in the

Lesches

goddess

in

vengeance.

The

poem by Arctinus

of Lesbos

(cf. //., fig.

3,

Tabula

Iliaca).

The

dispute arose

was, in ancient times, after

from the rival claims of the two heroes to have rescued the

FlG

55 Neoptolemus
508).

fetched

from

Scyrus

(line

dead body of Achilles from the Trojans,

for

though

it

was Ajax
it

who
so.

carried

it

off the field

of battle on his shoulders,

at

was

Red-figured painting on an Attic drinking-cup OF THE EARLY PART OF THE FIFTH CENTURY B.C.

(cylix)

Odysseus who kept the Trojans

bay and enabled him to do

vases with scenes or episodes from

it is

very considerable (see

series

Hence when

the arms were put up as a prize for a con-

Found near Corneto (tit Mon. d. Ins/., xi., 33.

Ann.
d.

ancient Tarquinii).

Robert and Klein,

is

loc.

cit.).

Sometimes a
(II., fig. 3),
is

of scenes

test restricted
victor.

to these

shown, as in the Tabula Iliaca

is

but more often

Thereupon Ajax drew

two heroes, Odysseus was adjudged his sword, and had they not been
battle.

Ins/.,

1881, pp. 168-81.

one incident only

vase,

chosen.

This

the case with the Bologna

checked, the contest would have become an actual

which gives the chief event of the sack, the death of

at the
is

Eventually the question was referred to the Achrean host, but

as they could not

This vase-painting has

been wrongly interpreted as repre-

Priam

hands of Neoptolemus.

senting Meleager entreated to repel the attack of the Curetes

(cf. //., fig.

Priam on the

seated, clad in rich robes

and holding

his sceptre,

appealed

to.

come to a decision, the Trojan captives were They listened to the claims of the rivals, and,
at defeat that

52-6).

It

depicts the visit of Odysseus to Scyrus

altar

(shown by the volute

c/jkciosJ,

at

the top) of Zeus, the god

in the centre of

by the inspiration of Athena, decided in favour of Odysseus. Ajax was so mortified

doing

to fetch
in at

Neoptolemus to Troy. He had been left quite a babe Scyrus with his mother Deidameia, daughter of Lycomedes, whose court he was brought up (//., xix., 326). On the death
by Odysseus,
in

of the household (Zeus

the palace court
of the place,
is

which stood
spite,

he went mad, and,

(fig.

after
58).

(cf. fig. 5).

In

however, of the sanctity

hair,

much

mischief in his frenzy, committed suicide

of vases
(cf.

Neoptolemus has seized him by the

to death with the lifeless

and
little

number

Robert, Bild

und

Lied, pp. 213-21)

of Achilles before Troy, however, he was fetched from the

island

battering

him

body of the
leg.

show the heroes rushing at one another with drawn swords,

and with
Fig.
difficulty

consequence of a prophecy of Helenus,

Astyanax, Hector's son,

whom
is

who had foretold

(cf.

he holds by one

This

held back by their friends.

later

that the city could only

be taken

if

Philoctetes

ghastly version of the tragedy

art,

the traditional one in early

artist to

57 represents the
the Trojan

scene of the heroes pleading

II,

fig.

Heracles.

19) and Neoptolemus came with the",arrows of The intrigues by which this was brought about
Philoctetes.

and

is

doubtless due to the desire of the

of

combine

before

captives.

Odysseus (OAY5EY2) stands

the

two events

form the basis of the plot of Sophocles' play

Astyanax

the murder into one group.

Priam

and the death of

It also,

of course, serves to heighten

on a small platform with his head slightly raised, evidently Before him on the ground lie the arms for which speaking.

he

is

urging his claim,

helmet,
on

shield, greaves,

and sword;

and

veil

and

close to these, leaning

his spear, stands

Ajax (AIA2),
It is

The temple must

on her head, and holding a cross-torch (her attribute). accordingly be regarded as the palace m

The group

of Theseus and Peirithous

is

explained by the

presence 'of Heracles

down' below,

for

Heracles

brought
artist

with his

mouth open,

as though impatiently interrupting.

which Pluto dwells below.

to his chariot/hang

Two

wheels, doubtless. belonging

in the

Theseus back with him

to the "world above.

The

has

noteworthy that though both heroes, as befits claimants, are

clad in long flowing mantles (himatia), they have
also

from the wall

background.
her husband, and
is

suggested this by representing Theseus as taking farewell of

Peirithous,

got

Persephone turns her head to

from her attitude
it

listen to

who

is

guarded by Justice and cannot escape.

spears

perhaps to suggest their warlike character.

would seem

that

Orpheus

the subject of

their conversation.
lyre all
Fig. 58.

He

is

in front of the temple, pIaying;on

a
Fig. 60
a,
/',

hung with

ribands,

and seems
is

to

be dancing to the

c.

Hades

(line 568).

-The Suicide of Ajax

OTHER PARTS
90.

(line 549).

sound of the music.

His costume

a long flowing embroidered

Group from an archaic black-figured Corinthian

Vt
1

garment, worn over a shirt with

tight,

coloured sleeves, and a

PAINTING,
Od.,

O]

WHICH ARE GIVEN IN

cloak which hangs loosely from his shoulders.

II., fig.

On
to

his

head

is

51,

and

fig.

an Oriental
a
true

tiara,

which shows him

to

be a barbarian, not
is

Etruscan wall-paintings from the second chamber of the "Tomb of Orcus " at Corneto. Fig. $% gives another painting from the same tomb. Mon.
Ann.
d. Inst., ix., PI.'; 15, 1-3 d. Inst.,

Greek.

His errand

in

Hades

seek his wife

and

5.

In the centre of the picture Ajax has fallen

on

his sword,

Eurydice.

1870,

p. 5-74.

which has pierced

his

body through and through.

Jets of

Behind Orpheus

is

a young man,

who
is

is

crowning himself

Harrison, Myths,

Pis. 35, 36.

blood arc spurting from the wound, and Diomede,

to the left,
right,
is is

who

stands

with a myrtle wreath, accompanied by a

little

young woman and a

nothing to show

beating his head

in despair,

while Odysseus, to the but

boy dragging a

toy-cart.

There

who
a.

gazing

on the sight with

hirriseli

interest,

unmoved.

this

couple are, nor do they appear on the other vases of the

class.

On

throne

to

the

right

Pluto
its

(AITA
rest

Hades)

is

Ajax

has

stripped
cuirass.

of his breastplate,

and only wears

same

Above

this

group, in the upper left-hand corner, in

is

seated, wearing the skin of a wolf,

teeth,
his

mouth, with grinning

hanging down

helmet and

The

other heroes are fully

cf. //., fig.

armed with
7),

front of a fountain, a

young woman
utensils

seated on a bank, and

appearing above his forehead, and the

helmet, shield, cuirass (of archaic shape,

greaves,
in

beside her stand two youths, one with a couple of spears, the
other with

back.

This

is

doubtless
its

the

celebrated cap of Hades

invisible.

and

spear.

The names

of

all

three

are

inscribed

early

bathing

(an

oil-flask

and

flesh-scraper).

("Ai'Sos Kvverj)
is

which made
it

wearer

His

left

hand

Corinthian characters.

Both these youths have bands round their

waists,

from under
This shows

raised,

and round

coils

a snake.

Beside the throne

which blood streams out of unhealed wounds.

that they are the Fig.

stands Persephone (Phersipnei), with snakes in her hair, tight

two sons of Heracles

whom

he slew

in his

wrapped

in

a long garment.

In front
full

is

the giant Geryon

59. Hades

(line 568).

frenzy,

and

that the

woman

is

their

mother Megara

(cf. fig. 52).

(Gelun) with three heads, in

for his lord's

armour, waiting attentively

are the remains of a winged

Red-figured painting on a large South Italian vase

{amphora) of aboui the third or

fourth century
Munich.

b.c.

To the right, in the upper corner, two youths in the costume of Athenian knights are conversing one, it would
;

commands.

Near him

Fury or Demon.

From Canosa,
Mii.i.in,

in the old Pinakothek,

seem, taking farewell of the other.

Peirithous,

Tomieaux

de Canosa,

PI. 3, 4.
1.

These are Theseus and and the goddess of justice (AIKH) sits beside them

Behind the throne of Hades the

can be seen, though the head and
figures are
ijEpo'eis)
/'.

coils of
tail

an enormous snake
lost.

have been

All the

Wiener

Vorlegebldtler, Her. E, PI.

Baumeister, Denkmaler,
Archaol Zeitung, 1884,

PI. Ixxxvii.

Below them are the three judges of the souls of the departed. On one of the vases they are named
Triptolemus,
.-Eacus,

with drawn sword.

enveloped

in clouds, the " misty darkness " (o'0os

of which

Homer

speaks.

p. 256.

and

Rhadamanthus.

Triptolemus

is

In the centre of the second

is

fragment Teiresias (Hinthia

his head.
is

the standing figure, clad as a barbarian in the tiara,

and wearing

Teriasals)

seen seated, wearing a cloak drawn over

is

long coloured sleeves.

Pictures of Hades, the heroes,
sinners were

/Eacus

sits in

the centre,

and the

and Rhada-

He

has grey hair, and

blind.

tortures of mythical

To

the

left

of

him
life.

man
is

manthus

to the right.

common

All three have sceptres.

in antiquity, the

most celebrated being

Delphi.

with a beard and flowing locks, in the prime of

This

the fresco by Polygnotus in the Lesche at

In the lowest row of figures

triple-headed

we have

Heracles, dragging the

Memnon (Memrun),
is

cf.

certain

line 522.

Between him and

and
is

Teiresias

numbei ol vases, all of them of the show the scenes arranged decoratively
is

late

South

Italian style,

in a large design.

Fig.

59

typical

specimen of

this class.

In the centre

dog Cerberus up to the light above. He is conducted by Hermes, who is pointing out the way, while behind him an Erinnys, or Fury, dressed as a huntress, waves
a pair>f torches to

a tree, on the branches of which the feeble forms of the

irap^va) are fluttering hither
is

Shades (a/ienpo

thither.

is

a small

To
round

the right of Teiresias

a figure which

probably Ajax,

temple, consisting of an architrave and gable borne by six Ionic

pillars,

make him
back

desist.
is

and raised on two

To

the son of
his

Telamon

(Aivas).

Like Memnon, he has a band wounds.

the right of this group

king,
starting

steps.

In this
is

is

a richly decorated seated with a royal

Tantalus in the dress "of an

terror

body

to conceal his

throne with a footstool, on which Pluto

Oriental

in

from

>

rock,

which

diadem and

threatens to bury him.

sceptre, clad

in

hand

is

outstretched, for

embroidered robes. His right he is speaking to his consort

To
with

the

left is

Sisyphus,
is

Persephone,

who

in her hair,
all

who

stands to the right, wearing a high diadem

hounded on by an Erinnys with snakes lashing him with a scourge. He is striving

falling rock.

c. On the third fragment a winged Demon or Fury, with the beak of an eagle, the ears of an ass, and snakes for hair, called Tuchulcha, holds out a snake to torment Theseus (These) and

Peirithous,

who

sit

his

might to shove up a

before

him bound

to the rock, in punish-

ment

for their

attempt to carry off Persephone from Hades.

Fig. 6ia,

/'.

Odysseus
43
a-d.

in

Hades

(line 568).

Some

of these figures have their

names

inscribed,

Pha;dra,
women
High

at

game

that

he

is is

pursuing.

The

inscription

above him
is

is

not

Wall-paintings found on the Esquiline Hill, Rc

Ariadne, and Leda,

showing

that they are the fair

plain,

but there

every reason to believe that this

Orion.

with

figs.

whom
ll'andgemd/de, Pis. 6
99, 116.

Odysseus questioned

after Teiresias

had gone.
sits

WoRMANN,

Esquil.

and

up
7.

in the

background the shade of Elpenor

with head bent

rites

Fig. 62.

Tantalus

and Sisyphus

(line 582).

Harrison, Myths, pp.

down
burial,

in grief, for

he had not yet received the due

(line 57).

of

and could not enter Hades

Relief on the side panel of a Roman Sarcophagus. In the Vatican Museum, Rome.
Visconti, Museo Pio-Clement, V.,
PI. 19.

In the centre of the foreground are two

a.

men

seated on

To
set

the

left

the ship of Odysseus approaches land, with

plying.

projecting rocks

amid marshy

reeds.

These are most probably

Baumeister, Denkmakr,
There
Tantalus.
are

p.

1924.

sail

and oars
This
is

In the centre

is

huge bridge of
that lies to the

personifications of the Acheron and the Cocytus, the rivers of

rock.
right

the entrance to Hades,

it

and

all

the world below.

/'.

two

different traditions

of the punishment

of

and front of

represents the dark underground cave of

Tantalus and Sisyphus.

is

According

to the later version a stone

lies in his fear that
it

hangs over

Hades.

This picture, which

tinuation

only partly preserved,

is

the con-

him, and his torment

(cf.
fig.

is

falling

upon him

Odysseus (OAYCEYC) has passed through, and stands just

inside the grim gate, with the light of the outer world pouring
in

of the
are

last.

In the foreground the daughters of

in

59).

In Homer's version,

on the other hand, he

This
is

Danaus, who
striving to
fill

not mentioned by Homer, are busied

suffers

from eternal hunger and

relief,

thirst.

represented

in

upon him.

He

has two comrades,

that
its

of the sacrificial

ram so

who blood may

are holding the legs

with their pitchers a huge, bottomless tub.

is

the Vatican

where he

is
it

raising water to his

mouth

in his

flow into the trench.

Higher up

woman

in a

mournful attitude,

sitting

amid

clasped hands, only to find

escape him.
is

Odysseus stands above the trench resting his right foot on a

stone, prepared to drive off with the

reeds below a beetling

cliff,

and beyond her

a giant pinned to

On

the other side Sisyphus

half kneeling,
is

making

painful

sword any of the

spirits

the ground by feet and hands, while an eagle preys on his

liver.

efforts to rise

with the stone which he

it

bearing on his back,

his grasp
is

save Teiresias.

They

are

all

flocking from the darkness in the

first

This

is

Tityos (TITYOC), who had

is

laid

rude hands on

only in another instant to have

slip

from

and leave
on the

distance towards the blood,

among them being

Teiresias

Hera.

Above, on the top of the rock,

Sisyphus (CICY*OC),
is

him
to

to begin

once more.
is

Between the two

to

a huge wheel

(EIPECTAC),

distinguished from the rest by his sceptre

and

rolling his never-resting stone uphill.

Nearer the summit

a
")

which Ixion

bound,

atone for his attack

long flowing robe.

hunter throwing a shepherd stick (lagobolon, or " hare-stick

goddess Hera.

BOOK
jFTER
reaching once more the upper
the ears of his crew with

XII
Helios, where the crew of Odysseus insisted on landing,

wax, and made them bind

all

world Odysseus sailed back to JEzea,

him
and

to the

mast and row past with

speed

(figs.

63

only to suffer the direst pangs of famine, while contrary

where he buried Elpenor,

entertained

and
told

was

64).

Thus

he himself heard the song of the

winds kept them from

sailing.

At last,

as

Odysseus

slept,

by

Circe,

who

him

Sirens, but

was kept from obeying them by Perimedes

still

the sailors slew the oxen of the sun-god, and, despite

of the dangers that awaited

his

him on
strait

and Eurylochus, who bound him

more

tightly to
(fig.

strange omens, feasted for six days on this forbidden

food.

voyage past the Sirens,

and

through the

the mast as he nodded to the rowers to stop

65).

But

their

doom was

sealed, for Helios to depart

in
it

had gone

between Scylla and Charybdis, to the land of Thrinacria,

where he was doomed to lose
escape with bare
life.

Next, they came to the

strait

where the whirlpool of

to Zeus,

and by threatening

from the world

all

his

comrades and

Charybdis seethes on one side and the monster Scylla

lies in

above and shine to the dead

promise of vengeance.

Hades had obtained

was that when the

The

Sirens were two maidens the bones of the victims,

all sailors

wait for her prey

(fig.

66) on the other.

Whilst

Thus

who, sitting

in

mead among

they kept away from the whirlpool Scylla seized six of

his

ship at last set sail they were struck

by a thunderbolt,

chanted a song so sweetly that they lured

passed that

who

men and

lifted

them high

into her lair

(fig.

63),
to

and Odysseus was

left

alone on the sea clinging to the

way

to shipwreck on their rocks.

sail, for
isle,

Warned,
the wind

so suddenly that Odysseus could

make no attempt

mast and keel

(all

that remained of the ship), which

however, by Circe, Odysseus lowered his

failed

attack her.

After escaping Scylla at this horrid cost

of the sun-god

he had lashed together.

The wind

then shifted, and

when they drew near the enchanted

stopped

they came to Thrinacria, the island

drove him into the whirlpool of Charybdis, into which

the planks were sucked, though he himself escaped by

clinging to the branches of a fig tree which

land him.
is

However, the absence of Odysseus from the ship

but

made

the Sirens eight in number, and represented them

air

grew above.

rather against this interpretation.

hovering in the

over the ship.

The

novelty of the Sirens

After long

waiting Charybdis spewed the planks up

is is

The number
that usual in

of the Sirens

three instead of Homer's

fig.

two-

appearing with the bodies of birds, and in such number, led to

Greek
fig.

art (cf.

64), while the

form of Scylla

an interesting correspondence
Gazette.

in the

Standard and Pall Mali

once more, and Odysseus, dropping on them, was once

described under

66.

more

adrift

on the open

sea,

where, rowing with his

of Calypso.

hands, he reached the island the story to Alcinous

With

this
Fig. 64.

comes

to an

artistic close, for

we

The
Vulci,

Sirens and Odysseus

(line 1S3).

have

now
years'

learned

how Odysseus came From

this

Red figured
to

painting on an Attic vase (hydria) of the

B.C.

Fig. 65.

The

Sirens

(line 195).

be

with

BEGINNING OF THE FIFTH CENTURY

Relief on an Etruscan urn.

In
the

Calypso, and the adventures he underwent during his

nine

From

now

in the British
S.

Museum.

Museum

at Volterra.
PI. 92, 3.

wandering.

passage

on

the

story of his return

becomes continuous.

Mon. d. Inst.. 1, PI. Overbeck, Gallerit

Harrison, Myths,

her.

Bildw.,

xxxii., 8.

Brunn, Relievi d. urne etr., 1, Overbeck, Gall her. Bildw.,

Harrison, Myths,
p.

28?.

46.

PI. 37.
fig.

BAUMEISTER, Denhmaler,
Fig. 63.
\l
'

1700.

Bolte,

loc. cit., p.

31 (u).

The
Dl
!'
1 1

Sirens and Scylla

LIEF

(line 39).

BOLTE,

IOC. Cit., p.

2S.

on a cup

(phiale)

of black ware.

Luckenbach,

toe. at., p.

514.

In
fully

this

Etruscan version of the myth, the Sirens appear

as three

in

Pound
Ann.

at Corneto by the Brothers

/int.,

Marzi.
In this picture the
sail is

human form
is

women

seated on the shore playing

(I.

1875, Tav. d'agg., N.

fig.

furled, but the

is

mast has not been

to
it

the lyre, the Pan's-pipe,

and the

double-flute.

The

ship,

whose

BAUMEISTER, Dlnktnaler,
B01
11. he, cit., p.

1675.

lowered, and Odysseus

wrists.

(OAY2EY2)

bound
its

by both

poop

turned towards the Sirens, has already passed by the

32

The

ship

itself

has eyes painted on

bows, and the

,It
is

()

tempters, but Eurylochus

still

and Perimedes

are binding Odysseus

oars pass through

round holes in the gunwale.

decked

tighter,

in

accordance with the

command he had

given

The
First

ship

of

Odysseus
of the
to
to

is

represented four times, at four

forward and

aft,

and has a high poop, on which a

(or aplaustre) of the

pilot sits, with

them

(line 164)

different

stages

story.

two huge steering paddles.

Behind him, hanging down from

poop,
floats

The
handle.
It
is

ship

is

decorated on prow and stern and along the gunis

we

see
sail,

the right two

fur

men

lowering the mast and

the curved

end

a piece of cloth

wale with shields, and

steered by a large paddle with a bent

sail is

furling the
(line

prepare

the passage between the rocks

something
rocks,

like a flag.
pilot,

The

vessel

is

just passing
is

between two

Unlike

figs.

63 and 64, the

not furled.

170)

secondly, one of the sailors binding Odysseus with

his

and the

with outstretched hand,

beckoning the

worth noting that the

artist

has

made an awkward

his

hands behind
figure
to
is

hack to the bare mast;

is

while in the

rowers to pull their hardest.

while the

They

are bending to the work,

attempt to represent the oars of the farther side of the vessel

third

the vessel

sailing

past

three Sirens, Odysseus

man who

sets the stroke looks

backward
is

to see the

by a cluster of them below the bow.

tied

the

mast

being

the

only

ship

seen sailing up to Srylla,

man visible. Lastly, who has seized one of

the the

coming danger.

On

each of the rocks

perched a Siren,

with the body of a bird, but the head of a beautiful

woman.
is

crew with her

Abaft,

left hand and dragged him from the deck. on the deck, Odysseus, armed with a shield and trident,

They gaze

at

Odysseus, and sing to him so sweetly that he

Just in front of
are closed,
cliff

straining every nerve to burst his bonds.

is

him

Fig. 66.

Scylla

(line 245).

and followed by
attempt to

comrade, who shoots a bow, makes a vain

monster.

a third Siren in mid-air.

Her eyes

and she

Relief on a

Roman terra-cotta
p.

plaque.

fight the

appears to be falling helplessly from the

above.

Homer

In this explanation no account has been taken of a figure

speaks only of two Sirens, but a late author gives us a tradition

that when the Sirens found that their spell had failed, they committed suicide by throwing themselves from the rocks, just as the Sphinx did when CEdipus guessed her riddle. This

Mon. d. Inst., iii. PI. 53. Baumeister, Denkmiiler,

Harrison, Myths,
PI.

708

(vignette).

between

the

first

and
his

second

groups,

a
his

man
staff.
is

standing

560.

on a jutting rock,
fawns before him,
Profi
01

head leaning on
this

dog

and

suggests that he
as

shepherd.

Scylla has the

Kliigmann regards him

his

Ithaca,

and recognised by

Odysseus returned to dog Argos (cf. figs. 76, 80), and

ship as that of the Phasacians,
are lowering the sail to

undoubtedly

is

what the

artist

wishes to depict.
this vase-painting has

hips

During the present year (1S91)

before
the public
as

head and the body of a woman, but from the downwards has sea-wolves and sea-serpents instead of legs.
in

come

She holds stones

her victims.
waves.

with this clue interprets the

first

the

both hands, and has raised them to hurl

is

at

source

of a popular painting by
its

who have brought Odysseus home, and

Mr. ^Vaterhouse,

who

Below there

followed the vase in

an ornamental border

to suggest

general features

BOOK
HEN the story was ended King Alcinous
bade
his

XIII.
i.,

Furtwangler, La

Collection Sabouroff,

PI. 63.
(fig

Before her

is

a chariot with four galloping steeds, driven

(cf.

people bring on the morrow

for

Roscher, Lexicon der

Afythologie, pp.

1276 and 2007

by Eos, the winged goddess of the dawn

Od., xxiii., 246)

more presents
departed
in

Odysseus.

He
In the earliest works of Greek
art

She too
the gods

is

crowned and wears a long garment as she drives

over the flowers.

the evening of the next

who

personified
to

The

order of the figure

art

is

somewhat unusual,
followed by Eos,

for

on most
is

day, and lay asleep on the deck of the

Phaeacians' ship, which reached Ithaca at

the changes of the day from light to darkness

light are not represented.

and darkness

works of

Selene comes

first,

who

the

dawn

(fig.

67).

They

were, however, familiar to the

art

harbinger of Helios.
It stars,

Greeks

in literature

There they carried him to land

from the time of Homer, and when

laid

him,

still

asleep,

may be

that the artist wished to depict Selene

and the

took a more

literary turn, in the fifth century,

appear constantly.

upon the

shore, with the treasures they

had given near

for

out-ridden by the dawn, disappearing before the rays of

Thus,

to take the

most familiar example, the East Pediment

by Helios (the Sun) rising

the sun.

him, and sailed

away

to

meet

their

doom,

Poseidon

of the Parthenon (the sculptures of which represented the Birth of Athena)

is

smote the ship when

stone,

in

sight of the harbour with a

bounded on the

left

and sank her

for

utterly.

from the waves, and on the

ing below the horizon.

right,

Selene (the

Moon)

disappear-

Fig. 68.

Beggar

(line 429).
(,;r//v)

As
was.

Odysseus, when he woke Athena had shed a

The

vase-painting of
fill

fig.

67 shows us the deities, not as the

a historic scene,

mist round him, and he

knew not what

came

the country

accessories which

up the background of

Red-figured tainting on a drinking cup Attic potter Hieron, of the fifth century

by

the

e.c.

The
a into

goddess, however,

to his aid,
in,

showed

but by themselves.
In the centre of the lower half of the picture
is

From
an obelisk or
leaves.

Vulci,

now
ii.,

at Neuburg, near Heidelberg.

PI. 48.

him
him

cave to

bestow

his

treasure
filthy

transformed
(fig.

Moil. d'Inst.,

an aged beggar with

his

clothes

column
68),

resting

on a

capital

surmounted by palm

This

Klein, Meistersignaturen,

p.

170 (16,

b).
p. '140, tig.

and sent him on

herd,

way

reminds one of the turning-point of a race-course, and just to

to seek

Eumaeus, the swine-

Dakemberg et Saglio,

Dictionnaire des Ant.,

724.

the right of

it

is is

the sun-god rising with his chariot from the a youth with long flowing hair, wearing
in the long shirt of a driver.

who was

still

loyal to his old master.

margin.

He
rays,

crown of

and clad
full

Above

This

is

one of the
(cf. fig.

figures in a picture of

Eos carrying

off

him shines the

Fig.
67.

orb of the sun, while stretching forward in

Cephalus
to give

75),

and has been inserted by Dr. Engelmann

not a beggar, but

Helios,

Selene, and

Eos (Sun, Moon, and

his car

he guides the prancing steeds.

some

idea of the appearance of Odysseus as a beggar.

is

Dawn),

(line 93).

In front of him, seated in woman's fashion sideways on a

cantering horse,
is

The

old man, however, though shabby,

Red-figured vase-painting on the cover of an Attic TOILET OK OINTMENT POT (fy'Xl's) OF THE FIFTH CENTURY B.C.

Selene, the goddess of the moon.

She

also

a slave

who

carries the bathing

(lecythi),
etc.,

apparatus of flesh-scrapers
of

wears a diadem and has a long garment.

Above her

are stars,

(s/rigiles),

oil-flasks

some noble youths out

in

and below flowers spring out of the

is

earth, over

which she

hunting.

Figs.

76,

79,

and 80 give pictures of Odysseus

Found

in

Greece,

and now

in the Sabouroff Collection at the

hasting in

flight

from Helios,

whom

she turns backward to

his disguise as a
illustration.

beggar which

may

supply the place of this

Berlin Antiquarium.

watch.

BOOK
DYSSEUS
built
for

XIV.
After the supper was over Odysseus told a tale of an am-

found Eumaeus sitting

at

Odysseus foretold that he would himself come to take

vengeance, but Eumaeus, though
still

the door of a house which he

had and

loyal to his master,

bush

(fig.

71) before Troy on a winter's night, and of the

himself by the

sties,

would not believe

it

in spite

of his oaths.

Then

the swine-

cold he endured for want of a mantle.

his ingenuity in hinting at his wants,

As

a reward for

was received hospitably by the swineherd,

herds returned from

the fields

with

their swine,

and

Eumaeus made him

and gave him a

of the suitors, and

who told him of the misdeeds how things were going in Ithaca.

made

a feast in honour of the guest, beginning with a

a bed of skins and fleeces near the

fire,

sacrifice to

Hermes and

the

Nymphs

(figs.

69 and

70).

thick mantle, wrapped in which Odysseus slept soundly.

Fig. 69.

Sacrifice
1

of a Pig

(line 420).

Fig.
IN

70. Hermes and the

Megara,

Nymphs

(line 435).

goat's legs,
right,
is

perched on a ledge of rock

while opposite, on the

BLAI K
01
A
I

IGURED PAINTING ON AN ARCHAIC VASE

THE FORM

Votive relieffrom

in the Sabouroff Collection at the

the

mask of

the river-god Achelous, who, as

(//., xxiv.,

Homer

tells us,

was connected with the Nymphs

'A\o\(ij(of fj>fn''nraiTo).

I'"".'.

Berlin Antiquarium.
oXt
a[x<$>

616, vv^ii,lv

From Tanagra,

nolo in the Berlin Antijuarium.

iii.,

Furtwangler, La

Collection Sabouroff,

i.,

PI. 2S.

Archaologischt Ztitung, 1881, PI.

2.

In Homeric times and during the whole of classical antiquity

the slaying of an animal for a feast took the form of a sacrifice.

The

association

of Hermes,

the shepherds' god,

river,

in

the

Fig. 71.

An

Ambuscade

(Xdx<re), (line 469).

worship of the Nymphs, the deities of

wood, and

field,

The Tanagra
century
15, 40).
B.C.,

picture,

which probably belongs to the seventh

(cf. //.,
figs.

was a very old and familiar one to the Greeks.

large

Black-figured painting on an archaic vase.

gives a

good idea of the ceremony

is

To

the right

an

altar built of

square stone, on which

is

number of works of art, even in the archaic period, depict him leading a procession of Nymphs, who go hand in hand
with a rhythmic step, often to the music of the Satyrs or of

Found at

the Certosa,

Bologna, and in the

Museum

there

Zvnnoni, Scavi

d. Certosa, PI. 107, 19.

a fire

is

burning brightly.

The

boar-pig which

to

be the

victim walks up to the altar, followed by a servant of the temple,

Pan

himself.
is

with chest bare

carries a dish,

and

a cloth
is

wrapped round
an object

his waist.

He

Fig. 70

a fourth century

B.C.

version of the

same

subject.

Four warriors are crouching down

the enemy.

in a vineyard waiting for

shields

on which there
it

like a piece

of twisted

cloth,
1

though

to

In

killed.

may possibly be the club with which the animal Then comes a procession of three men, all fully

draped

in

long festival mantles.

player

on

the double flute

home of the Nymphs (cf. Od., xiii., 103-4), through which Hermes leads three of them hand procession, towards four worshippers, who in hand, in solemn These are a man and his wife with their wait on the left side.
The scene
is

a large cave, the

They

are

armed with crested helmets, and

bearing different badges,

a lion
(?).

two dolphins, a
it

bull,

an octopus, and

Above them
If

are entwined the vine branches, bearing

bunches of grapes.

were not

for this,

and the

fact that

leads the way, followed by two

men

bearing the branches usual

two children, and they greet the gods with the right hand
raised
in prayer.

there were three, not four warriors, one might almost assume
that the artist

with suppliants

(cf. fig.

72) or worshippers.

Above them

sits

the

god Pan, with

his

had intended

to illustrate the story of Odysseus.

BOOK
I

XV.
the following way.

IF.

scene then changes from Ithaca to

talk.

Next day,

at

dawn, Telemachus lands on Ithaca,

Sparta, where Telemachus

{i.e.,

had now

and, sending his crew on to the city, goes himself to

the hut of Eumaius.

the introduction of the

The daughters new worship

of Prcetus had withstood

of Dionysus, and in conse-

since

bk.

iv.)

stayed twentyvisits

quence were

nine days.
lies

Athena
at night,

him

as he
Fig.
72.

awake

and urges instant

Melampus

visited by the god with madness. Melampus, being a seer, healed them, and was made king. This is probably the subject of the vase-painting in fig. In the
72.
(line 225).

return to Ithaca by

way of

Pylos, warning

him

at the

same time against the ambush which the suitors have laid for him (bk. iv., 842 and foil.). Laden with presents from Menclaus, he returns to Pylos,

Red-figured painting on a South Italian vase of the fourth or third century b.c.

Mow

centre stands the statue of Artemis Lusia, and on the altar it are seated three maidens, one holding a kind of
thyrsus, another a sword,

and the

third resting her head upon

and embarks

From the South of Italy .formerly now in the Naples Museum.

Muller-Wieseler, Denkmaler,
Milling)
n, Peintures,

in the Zurlo Collection,

and

without

visiting

Nestor,
the seer,

taking on
a

board with him

i.,

PI. 2,

11.

her hands, in a distracted way. A man with a sceptre, wearing a rich mantle and shoes, stands before them, speaking solemnly. In the background to the right stands Dionysus with his cup
(can/harus)

Theoclymenus,
(fig.

descendant of Melampus
73), for he had slain

53 (ed. Reinach, p. 119).

art.

and bough of

ivy,

to

show

that

he

is

the cause

72),

and Amphiaraus
flying

(fig.

BAUME1STER, Denkmaler,

"Melampus."

of the malady.

To

the

left,

seated crouched up dejectedly

is

kinsman and was

on an indistinguishable object,
Melampus, the ancestor of Theoclymenus, the fugitive seer, had migrated from Pylos to Argos, where, according to a version of the legend

from vengeance.
in Ithaca,

a Satyr with thyrsus.

Meanwhile Odysseus,
to take

was asking Eum.xus

The scene is supposed to be in front of a shrine, the walls of which are decorated by two small votive pictures. Near the
altar is

him

to

the city, and listening to the old man's

unknown

pillar,
its

to

Homer, he had become king

with an Ionic capital, which bears a sacred

in

tripod on

summit.

Fig.

7.3.

The

Departure of Amphiaraus

(line 243).

as

is

fitting, in

the background, drawing her veil across her

still

of everyday

life

by the addition of a commonplace accessory,

was a very favourite amusement among the

Black-figured fainting on vase of the seventh century

an archaic Corinthian
b.c.

face,

while she

holds the huge necklace, the bribe for

to the

for cock-fighting

which she had sent her husband

himself foreseen.

death that he had

Greeks.

From Care, now

The other

in Oie Berlin Antiquarium.

On
stands

the other side of the picture

the

side is given II., fig. 98.

before
sits

the

horses,

while

near

groom Hippotion him the old man

his

Fig. 75.

Eos

carrying

off

a Boy.

TERRA-COTTA RELIEF FOR THE DECORATION OF THE GABLE-

Mon.
I .
:
1

d. Inst., x., PI. 4-5.

fig.

Halimedes
69.
p.

on a stone before the

gate,

hair

dis-

meister, Denhmaler,
d.

hevelled, beating his head with his hand.

296.
araus, possesses

He,

like

Amphi-

END OF A HOUSE, OF ITALO-GREEK MANUFACTURE. From Cure, now in the Berlin Antiquarium.
Archaol. Zeitung, 1882,
PI. 15.

Roscher, Lexicon

Mythologie,
551.

the

gift

of second sight, and foresees the

Luckenbach,

loc. cit., p.

coming doom.
All over the painting are scattered animals,

The legend
against Thebes,

of Amphiaraus,
in

the

seer,

who through

the

centipede, owl, hare, hedgehog,

and

lizard,

a snake, eagle, which have nothing

up the vacant spaces.

Roscher, Mythologie,

p.

1273

(fig.).

treachery of his wife joined

the Expedition of the Seven

whatever to do with the story, but are inserted, after the

and perished accordingly, was the subject of

works of ancient
is

manner of Corinthian

vase-painters, to

fill

The love of Eos (cf. 67) for beautiful youths is the subject of many myths. Thus in this passage we are told that she carried off Clitus, and elsewhere in Homer that Orion (Od., v., 121)
and Tithonus
(//., xi.,

several well-known

art.

The

picture on the

1; Od.,

v.,

1) suffered the

same

fate.

In

chest of Cypselus at Corinth

the most celebrated of these,

Fig. 74.

and

to

judge from Pausanias's description corresponded very

AlcmEeon
Attica,

Attic mythology Cephalus, the beautiful hunter, was the youth

(line 248).

she loved most, and there are

(hydria)

many

vase-paintings representing

closely with this vase-painting.

The

chariot of Amphiaraus, with

its

four horses, stands in the

Red-figured painting on an attic pitcher THE FIFTH CENTURY B.C.

of

her pursuing and bearing

him away.

In

the

group here
or

given the boy seems too small for Cephalus, Tithonus,

Orion.

centre before the city gate.

The

charioteer Baton

(name

in

From

now

in the Berlin
PI. 15.

Antiquarium.

Archaic
is

artists

were
give

little

troubled about proportion,

early Corinthian characters) stands in the chariot, holding the

reins.

Archaol. Zeitung, 1S85,

but
it

it

best not

to

the

figure a
to

name, and
all

to

take

Me

is

fully

armed, and before starting

is

taking the
Leontis.
7),

in

a general way as
it

applicable

such removals.

farewell

drink

handed

him

by a
in

woman

called

This picture

is

a contrast to

fig.

73,

for

it

shows us the

Indeed,
a
poetic

is

probable that "carrying off" by Eos was but

for

Behind him Amphiaraus, armed

is

archaic style

(cf. //., fig.

happy family
Euriphyle
(

life

of Amphiarans before his wife betrayed him.

symbol

early death

"Those whom

the gods

mounting the chariot with a hasty bound. His rage is shown by his drawn sword and the glance he casts at his
house, which
lies

4>YAH)

sits

on a chair

in the centre suckling

)

love die young."

Alcmajon (AAKMEfiN), while

Amphiaraus (AM*IAPA

Eos appears here

as usual with wings, but, unlike true

Greek

to the

left.

Beneath

its

portico

are

his

leans on his stick behind the chair and watches them.

Before
or

representations, her ankles are winged as well as her shoulders,

children bidding

him

farewell.

First stands his son

Alcmreon,

her mistress stands a maid whose

name

is

not clear

(Demo

making her resemble the Gorgons and Daemons so common on

this class of
its

behind
with

whom

are

his

daughters Eurydice and Demonassa,

bears on her shoulders a second boy

Ainippa

?).

She

is

spinning with a spindle, which hangs from

monument.

The whole

relief,

from the hair with

over

their nurse,
cf.

who

her right hand, and doubtless originally held a distaff in her

left.

diadem, formal waves, and long,

rigid plaits falling

(Amphilochus,
in

line 248).

They

all

stretch out their

hands
us
to

Beside her

is

the workbasket
figs.

into

which the thread

the floor between

the ears with their large earrings, to the long dress, through

supplication,

and the

artist

undoubtedly

intends

spun was placed

(cf.

19 and 78).

On

which the

legs are seen,

is

thoroughly archaic.
is

understand that the hero had only desisted from slaying his
treacherous wife at their entreaties.

her and her mistress are two cocks fighting, inserted apparently

The

spiral

ornament below

intended to represent the

is

She (Euriphyle) stands,

without any reason, except perhaps to give the picture the

air

waves of the sea over which Eos

flying-

BOOK
GLEMACHUS
is

XVI.
After the
the suitors,
;

lovingly received

by

the aid of Athena to recognise Odysseus.

recognition they both take counsel as to

ships have arrived at the

same moment with news

fills

of

Eumojus, and, noticing the stranger,

regrets that he cannot entertain
at

how

Telemachus's return, which

the suitors with rage at

him
the

who

are so strong and numerous, can best be overcome

shall

the failure of their plot, and

for his destruction.

drives

them

to

new plans

the

palace,

by

reason

of

and resolve that Odysseus

accompany Eumajus
Telcmachus
are
in

Penelope hears of

this,

and rebukes

violence

of the suitors.
his

He

sends

to the city, disguised as a beggar, whilst

the suitors.

The book
his hut,

then closes with the return of

Eumrcus
and

to

the city to
to
his

tell

mother of
is

his return,

stows away
palace.

in

hiding

all

the arms

that

the

Euma:us

to

where Odysseus and Tclemachus

then,

great

amazement,

enabled by

Meanwhile, Eumrcus and a herald from the

await him.

BOOK
ELEMACHUS
the
city,

XVII.
in his

next day started

for

died.

As

he came into the hall

beggar's dress,

Overbeck,

Gall. her. Bildw.,

PL

33, 10, p. 803.

commanding Eumoeus
guest there
also.

to

after tasting of the food

Telemachus

sent him, he went

Baumeister, Denkmaler, fig. 1256. Daremberg et Saglio, Did. des Antiq.,

p.

697,

fig.

838.

bring his

As Odysseus was on
city,

his

way

to the
reviled

the

goatherd Melanthius

among the suitors, suffering their taunts, footstool at only protesting when Antinous hurled a who The dispute was overheard by Penelope, him.
a-begging

and

The
by
in

interpretation of this

gem

as the recognition of Odysseus

his old

dog

is

a very probable one.

shirt,

The man

is

dressed
that

him, to

the

annoyance of Eumaaus.

On

entering the

summoned

the

stranger

to

her

in

hope of news of

the sailor's conical hat, short

(cf.

and small cloak

courtyard of his home, the old dog Argus

hound

until Odysseus, but he wisely begged to be excused

characterise Odysseus
carries a beggar's staff,

figs.

25,

34, 35, 42, 65. etc.),

and

on

which he leans in a meditative way,

issues

which had been his favourite twenty years before, but

they were alone

in

the evening.

watching the dog.

it

The dog

from a kind of tower, which

as a kennel.
It
is

now

lay,

despised, full of vermin

on the dung-hill

recognised Odysseus,
ears,

wagged

his tail, to

and dropped

his

Fig.

76. The

Dog Argus
Antiquarium.

(line 291).

would be undoubtedly wrong to consider rather the palace of Odysseus represented

in this abbreviated
to

but

had not strength

go

to

him

(fig.

76).

Engraved cornelian.
In
the Berlin

way by the gem-engraver, who had no room

larger.

make

it

Odysseus shed a tear and passed on, and then the dog

BOOK
HEN
left

XVIII
this,

Eum.eus had gone, Odysseus was

alone with the suitors, and Antinous

to

win her by

gifts.

Moved by
on,

they

make

her

Fig.

77. Candlestick

(line 305).

noble presents, and she retires to her apartments.

night had

The

for their

amusement
called
fight.

incited a braggart

now come
the

and Odysseus, wishing to have

Figure from an Etruscan wall-painting. Baumeister, Denkmakr, vol. ii., p. 816, fig. S92.
wood, Homeric palaces were lighted at night by fires of dry (made of resinous strips tied together) were
at This mixture seems to have been placed in braziers thinks throughout the hall. Dr. Engelmann, however,

vagabond

Iris

to

challenge
felled

the hall clear, offers to tend the braziers that lighted

it

Odysseus to

The hero

(fig.

yj)

for

maids,

but

they

laugh

him
out,

to

with which torches

him with

single

blow.

Later on, when the wooers

scorn.

Then by
defiance
to

threats

he drives

them

and

mixed.
intervals
it

were feasting, Penelope, forgetting her sorrow for the

nonce,

bids
at

Eurymachus, who hurls a footstool

strikes
figs.

decked

herself,

and,

entering

the

hall,

first

him,

which

one

of

the
96).

lads

that

ladle

probable that the torches

in the

may have been

stuck on candle-

rebuked Telemachus
his guest,

for the

rough welcome given to

suitors,

out the wine

suitors

(cf.

94 and
drinking,

sticks

manner shown by

the Etruscan wall-painting

Afterwards the

given here.

and then, turning to the

reproached

ended

their

and

went home

for

Bronze candlesticks of this pattern have appear to often found in Etruscan tombs, but there does not

been

hem

with wasting

her substance instead of striving

the night.

be any evidence that they were used

in

Homeric Greece.

BOOK
HEN
the suitors had
all

XIX.
The
the
artist

gone

for the

This figure
sculptures

is

of a type which recurs in a series of Greek

has not followed

of
fig.

Homer

nearly

so closely as

night,

Odysseus

and

Telemachus,
lighted
all

and
is
is

reliefs (see

remarks on

fig.

n).

sculptor

80,

but

has treated the subject quite

sitting
;

aided by Athena,
at
their work,
hall.

who

them

Penelope
(cf.
fig.

seated on a chair, beneath which her workbasket

seen.

independently.

Thus, Odysseus stands instead of

old,

the

19)

She has paused

for

moment

in

her

nurse

is
;

young, not

and called Antiphata instead of

cleared

the arms

spinning, and, resting one foot on the footstool, leans her

head

Euryclea
absent.

while, finally,
last trait,
it

Eumajus
is

is

present and Penelope

to the wish

from the

This done Telemachus

in

upon her hand, with elbow supported on her

whole attitude
her
her
lost
is

right knee.

The

This

however,

no doubt due

went

to bed, but

Odysseus remained

the hall, and

one of pensive meditation,

as she thinks of

to suggest that to his palace.

was Eumreus who had brought back Odysseus

to the
it

presently was found there by Penelope and her maids.

husband.

As

befits a
it

matron, she wears a mantle over

As

name

Antiphata,

it

is

just possible

She bids him

tell

who he

is,

lamenting

at

the

same

shift,

and has drawn

across her

head

like a veil.

that the artist invented

from a hazy recollection of Anticlen,

time her own hard

feigns that he
is

lot (fig.

78).

Pressed by her, he

The
one

pathos of the figure seems to have

funereal

made

it

a favourite
in this

the

name

of Odysseus's mother.

for

man

monuments, and mourners appear

on many monuments.

of Cnossus, in Crete, and that

describing exactly his appear-

natural attitude of grief

he had

known Odysseus,

Fig. 80.

Odysseus recognised by Euryclea

(line 357).

ance and dress.

hero
is

He
many

goes on to swear an oath that the

again before long.
if

safe

and

will return

Penelope

Fig. 79.

Odysseus

Roman terra-cotta
has his Feet washed
(line 357).

relief of about the Christian

Era.
Formerly in the Campana
Nationale at Paris.
Collection,

promises him

gifts

this

prove
bath.

true,

and bids
refuses to

her maids prepare

him a bed and

He
so.

Red-figured painting on an Attic vase of the fifth century b.c.

now

in the Bibliothkque

have his

feet

washed by any save an old woman, and

From
This

Chiusi,
is

now

in the Berlin Antiquarium.

Penelope bids Euryclea, his old nurse, do

As
his

she

the reverse

ofJig.

1.

washes him she recognises an old scar

(figs'.

in

thigh

Mon.

d. Inst., ix., PI. 42. p.

79 and
in

80),

which has remained from a wound he

(fig.

Baumeister, Denkmaler,

1042.

Campana, Antiche op. in plastica, PI. Overbeck, Gall. her. Bildw., PI. a, Millin, Mon. inldils, ii., PI. 40. Baumeister, Denkmaler, fig. 1257.

71.
5
;

p.

40.

had got
is

a boar-hunt

81), and, in her

amazement,

Roscher, Mythologie,

p.

1423.
p.

on the point of uttering his name, when Odysseus,

Daremberg et

Saglio, Diet, des Antiq.,

640,

fig.

725.

seizing her
tion
(fig.

by the
79).

throat, checks this untimely recogni-

Schrieber, Kulturhist. Bilderatlas,

PI. 63, 3.

The scene

is

shown

to be a

room by

the curtain which

sailor's hat,

hangs in the background.

Odysseus, wearing his

Luckily,

Athena prevents Penelope

Odysseus (OAI5EY2), wearing his
sailor's cap,

clad in a tattered shirt (line 72), with a small mantle and a

characteristic
is

from remarking the old woman's discovery, and she,

after
(fig.

conical

beggar's

staff, is

seated on a cushioned chair

(lines 100-103).

comparing her
82),

grief to that of
telling

the nightingale

with a mantle loosely wrapped round,

depicted
in a skin

Euryclea, an old
just felt the scar
(line

woman
and
is

with withered face and lean body, has

and

after

strange dream,

which

as a beggar carrying his victuals in a basket

and wine

in her

amazement overturned
cry,
stuffs

the pan

on the end of a

stick,

Odysseus interprets

to which, at the other end, a wallet

is

468).

She

about to utter a

but Odysseus has

his right

favourably, retires to

her apart-

(Od.,

xvii.,

197), or perhaps a small cooking vessel,

his beggar's staff,

attached.

seized her

by the back of the neck, while he

ments

for the

night.

Leaning on

he holds out

his left foot to

be

hand
at

into her

mouth
the

to

check her

(line 480),

looking backward
it.

washed
Fig.

in a

brazen pan by his nurse

(ANTI<t>ATA,

written

the same time to see that no one has noticed

chair
girt
xiv.,
is

Behind
a

backwards).

She

is

dressed in the single garment of a serving

his foot over the pan.
it

the
shirt,

swineherd Eumaius,
about his
530),

dressed

in

rough

78. Penelope mourning

(line 124).

woman, and kneels holding

just discovered

She has

tightly

loins, a small

cloak, a goat-skin

TERRA-COTTA RELIEF,
Anlike Denkmaler,
I,

the wound, and as she feels

looks up to

(Od.,

line

and

boots

of

undressed hide (Od.,

recognise her master.

Behind her stands Eumseus ('EvMtuOS),

xiv., 23-4),

and holding

his staff in

one hand and a small bowl

seemingly asleep by the

Heft

3, p. 17.

clad in a mantle wrapped round his waist.

in the other.

The dog Argus

lies

chair of Odysseus, reminding us of the

(cf.
fig.

episode in bk.
is

xvii.

followed by Adonis, but the wild beast has

rush, ripped

made

a sudden

Young

Itylus, or rather Itys (ITY5), lies quite

life

nude on
.

the

76).

Just in the

same way Eumajus

introduced to
(cf. fig.

open Adonis's

thigh,

and trampled on the dog.

pillow of a bed, struggling for dear

with his mother

hair
all
is

Edon

suggest his journey with Odysseus to the palace

79).

All round the cave the

herdsmen who are acting as beaters

of Adonis, of

(A1EAONAI).
in

She stands over him, her

dishevelled,

The absence
Homer's story

of Penelope in such a faithful illustration of

is

are hurling missiles at the boar to distract his attention from the hero.
(3)

madness

and, having seized him by the hair,

plunging a
cf.

membered
failed

to

it must be reAthena had bewitched her senses, so that she perceive what was happening (line 478), and an

at

first

sight surprising, but

The death

whom

Aphrodite takes

sword into his throat

fig.

just at the collar-bone (xari kXi^Sh,

that

a tearful farewell.
It

should be noted in the central scene that Adonis

peasant
as hero

is

In the background, on the wall of the bed-chamber, hang a lyre and the sheath of the sword which Aedon holds
2).
is

attempt to represent
artist's

this

would probably have overtaxed the

distinguished from the

for the small cloak

by being nude but

while below, under the bed,

the

a huge foot-pan, which takes

powers

(cf.

fig.

99).

which he has wrapped round his arm (the

place

of the

footstool

generally

seen there

in

Greek

traditional

way

of attacking the boar).

in //.,

The weapon he used

fig.

paintings.

Fig.

Si. Boarhunt (the Death of Adonis),

un- a

was a spear of the shape shown

(line 439).

55

but,

owing

to

ill

The characters above

no reference

the lyre and the right

arm of Aedon have

" love "

Reliei
///

Roman

usage,

it

Sai

coph igus.

has been broken away in the

in his right

relief,

and only the

part

to the story,

and are merely the customary

It is

the Louvre, Paris.

PI. 27,

he grasps
292.

hand remains.
fig.

inscriptions of the potter.

52,

perhaps worth noting that the

first

M'ii ER-Wieseler, Dcnkmaler, ii., Baumeister, Denhmalet, p, 75, fig.

For another representation of a boar-hunt see Iliad,

end ofthe pillow on which

Itylus lies looks at

it.

sight like a

u5

which gives the picture of the Calydonian boar-hunt from the

Francois vase.

Phrygian cap, but must not be mistaken for

The

story

how
and,

Aedon

slew her son unwittingly

is

told

by the

scholiast on this
;

The
version

story

how Odysseus was wounded The

passage.
in

the thigh by the

this

She had but one son by her husband Zethus

son

boar agrees in a very remarkable way with

of the death of Adonis.

sculptured

Fig. 82.

Aedon

slaying Itylus.

smitten with jealousy at the

to slay the eldest

relief is

divided into

three separate scenes.

() To

the right

a herdsman brings

ing CUP

the news of the devastation caused by the as he stands by an altar in the

'

boar to Adonis
(2)

Red-figured painting on the inside of an Attic drink(cylix) OF THE FIFTH CENTURY D.C. Journal of Hellenic Studies, vol. viii., p. 440.
This vase-painting seems to be almost an exact illustration of

many children of among them, but in the

is

Niobe, resolved
darkness of the

night

murdered poor

Itylus.

Zeus took pity on her sorrow, and

turned her into a nightingale, and this

why

the nightingale

bower of Aphrodite.

In

spends her days and nights in mourning.

:ntri

""

beat

have driven the boar

reeds.

to his lair, a

The legend
of
the

in later times

cave

was mixed up with the Attic myth

Procne,

choked with brushwood and

hound has

Philomela, Tereus,

entered,

and

Homeric

and

in

the

composite

story.

version occurs very frequently in classical literature.

BOOK
DYSSEUS
went
to the

XX.
woman,
ever,

bed of undressed

hide that had been

of thunder, and by the prayer of a poor serving

made

for

him

in

who was grinding

prevents

them,

and

they once
at

corn

more begin
prophecy

to

(figs.

the portico, but could not sleep for

85 and 86) in the court-

revile

yard, that the suitors might be slain.

Odysseus,

and
seer,

laugh

the

of
to

thoughts of vengeance.

His anger

The next morning was

Theoclymenus, the
87).

whose eyes were opened

became even
of the maids steal

fiercer

as he

saw some

a feast-day, and the hall was

(fig.

from the women's apartments out

(cf
figs.

being prepared for a great banquet

see the suitors shrouded in death, and walls and rafters

of the hall dripping blood.

Presently

through

the

hall

and

C)

to

join

thdr

paramours among the suitors. At last Athena came and gave him sleep, only to have it broken by the cries
l

Eumaeusand Melanthius, the goat-herd, once more reviling the beggar-guest,

welcomed by
Philoctius, the cow-herd.
seizes the opportunity,

enter, the latter

is

who, however,

Penelope

praying

for

death

like

that

of the

daughters of Pandarcus

(figs.

S3 and 84).

He was
the sound

however, encouraged by a double

omen,-by

Then Odysseus and gets Eumaeus and Philoctius to solemnly declare that if he should return they would be his loyal men. The suitors have now come in, with
the intention of slaying Telemachus.

Fig.

S3. A Harpy

(line 66).

Black-figured painting on an Archaic pitcher

OF THE SIXTH CENTURY
B.C.

(hydria)

From

Vulci, twtv in the

Berlin Antiquarium.
Inst.,
i.

An

omen, how-

Jahrbuch des Deutschen Arch.

(1S86), p. 210.

The Harpies were demons

as

of the storm (line 66, 0u'cAAai),

and

the " Harpies."

The

chief objection to this view

at all

is

that the rest

lower conical, the upper shaped like a double funnel,

working
is

messengers of death carried off quickly those that were

line 77).

of the figures have

no connection
is

with ordinary Greek

to

one on the top of the other

and,

when

the top one was turned

doomed (cf.

Their appearance

in

earlyGreek

art,

where

mythology, and that there

no evidence

show

that the

round, grinding the corn poured into the funnel.

of great antiquity in the East, and was
all

This mill

they appear seizing food from the table of Phineas and pursued

by the winged sons of Boreas,

this

is

rather
is

more human than

in

Lycians were acquainted with Homeric legends. The peculiar egg-shaped end of the " Harpy's " body led

known

to the

Greeks

through the

classical period.

It

was worked either by hand

vase-painting.

In

it

the

Harpy

represented with the

some people
ing.
It
is,

to

advance symbolic interpretations of

artist's

its

mean-

or

by a donkey or horse.

The

section

shown

in

fig.

86

is

body of a bird, and the grinning head and winged shoulders of

a gorgon, holding a youth, snatched up from earth, in each

however, nothing more than the

awkward

based on the donkey-mills discovered in such great numbers

at

attempt to combine a view of the upper part of a bird seen in

profile,

Pompeii

c is the
it,

conical understone

..',

e,

the

double

hand, and carrying him off to the Furies.

with one of the lower part, seen from below with primitive
artists.

a universal

funnel placed over

and driven round by

bar passing
the funnel
sifted.
it

difficulty

through

it

horizontally.

The
/',

corn poured
it

into

Fig.

84. Harpy
in

passed out on to the ledge

(line 66).

where
is

was gathered and

to

Although

it

is

Roman,
mill

there

no reason
Greece.

suppose that

Figure

relief on the

"Harpy Tomb,"
b.c.

Lycian
Fig. 85.

monument of the sixth century

From Xanthus, now
in the British
PI. 73.

Millstone

(line 107).
site

differs

from the

used

in ancient

From
Museum.
Archaol. Zeituug, 1855,

the hill

of Hissarlik (the

of Troy), discovered by

Schliemann,
Gipsabgiisse,

and

noiu in the Ethnographical

Ilios, p.

Museum

at Pier/in.

Fig. 87.

Women

at the

Fountain

(line 153).

Friederichs-Wolters,

No. 127-30.

Schliemann,

266,

fig.

75.

Red-figured painting on an Arnc vase.

Panofka, Bildcrant.
Lebens, PI. 18,
S.
1.

Murray, A.

S.,

History 0/ Greek Sculpture.

Sculpture.

Mitchell, History of Ancient

In Greece, from the earliest times, corn was crushed on a

broad,
flat

Schreiber, Kulturhist.

Bilderail., PI. 65,

Paris, P. (ed. Miss Harrison), History of Ancient Sculpture.

stone, with a smaller stone,

and rubbed

into meal,

Overeeck,

Geschichte d. gr. Plastik (1881), p. 171,

fig.

37.

just as is

done by savages
flour

in

many

countries at the present

to-

Fetching water from the fountain was one of the daily tasks
of the maids in a Greek household
(cf.

day.

The

and bran were not separated, but both

Od.,

vii.,

20;

x.,

104),

and

This figure recurs four times in the

" Harpy
as

reliefs

of the

famous
reliefs,

gether prepared as food.

a favourite subject with Greek vase-painters.

in

In the early black

Tomb," two appearing on each of the narrower

sides.
It

Schliemann found a very great number of these stones

the lower strata of Hissarlik
it

figured style, the fountain appears covered with a colonnade,

a border on both

has the head, arms, and breasts

(i.e.,

Troy and the town over which

beneath which the water spouts from the carved heads of lions
or other animals.
gossiping.

of a

woman, and

the body, claws,

and

tail

of a bird,

and bears
girl (or
its left

was

built).

In front of this the maids are represented

87

a tiny female figure, folded close to

it

its

bosom.
its

The

In

fig.

may be woman)

is

stroking the chin of

captor with

Fig. 86.

Section

of a

Roman

Mill

with three plain spouts

(line 107).

we have a simpler form of fountain, a small number compared with the

;

hand, but rather in a caressing than a supplicating manner. Altogether the " Harpy
in
fig.

Enneakrounos
Schreiber, Kulturhist. Bildcrati,
PI. 67.

at

Athens, which had nine.

On

the right

is

" is

84,

and

this

has led to the popular

much more human and kindly than that name and interpretation
corroborated by a small figure
is

maid stooping
pitcher to

to raise

on her head
left
is

a pitcher (hydria) filled

with water, while to the

another maid waiting for her

that the figures

borne away are the daughters of Pandareus.

extent

The rude
early date,

mill described

above

(fig.

S5) was displaced at an

fill,

and
is

talking

with lively gestures.

Above the
god or

This

is

to a
in

certain

though perhaps not as early as the time of Homer,

mill.

fountain a sash

suspended as a votive

offering to the

crouched

a mourning attitude, which

seen below one of

by the quern, or round

This consists of two stones,

the

nymph who

presides over the fountain.

BOOK
N
this

XXI.
to the hall,

same morning Penelope went

to

with the arrows.

Then she descended

and

the bow.

The

first failed,

though he

tried to

make

the

the treasury of the palace, unlocked

its

proposed to the suitors a contest for her hand, for she

bow more

supple with melted lard.

strong doors
the

(figs.

S8 and

89),

and

would marry the man who could bend the bow and
shoot an arrow through twelve axes
line in the floor of the hall.
in
(fig.

Meanwhile Odysseus had gone out with Eumaeus and

Philoctius, the cow-herd, and, revealing himself to

took

bow
gift

of

Odysseus,

which
90),

92), fixed in a
set the

them

had been a
from the pin where
it

from Iphitus
case
(fig.

(fig.

Telemachus

axes

by the token of the scar

all

in his thigh,
hall,

he bade them get

the doors barred,

hung

in

its

91) along

a row, and the suitors began,

in turn, to try to

bend

the

women

out of the

and

all

and then returned to

to

find the suitors

still

vainly trying

bend the bow.

He

asked to be allowed to try

panel of key through the key-hole into the bolt. On the left on the the door is what may possibly be a knocker, while
panel below
lower panel
it is is

Next, to the

left,

reclines Eurytus (here called 'Evpimos), the

host, with Didaios (AiStufos) beside him.

On

the farthest couch

a strap for pulling the door

to.

On

the right

are Clytius (KAimos)

and Toxus

(Tdf'os).

also,

but was rebuked by Antinous,

fate

who

reminded

to a rough graffito sketch (probably supposed

The

artist

has depicted the

moment when

the guests are

him of the

of the wayward Centaur whose mind

be

in chalk) of a girl's head.

pledging one another, and seems to have wished to suggest

the anger of Heracles

house of Peirithous, for

fearful

was darkened with wine, and led him on to folly in the which the Lapiths wreaked
Figs. 89 a,
b.

by representing him alone

as

not

drinking, but holding a dagger in his

hand instead of a

knife. to

Doors

(lines

6 and 46).
Bilderatl., PI. 56,
2.

It

should be noted that though the vase belongs

B.C.,

the

vengeance

(fig.

93).

Penelope interceded for

a.

Schreiber, Kulturhist.

seventh century

the

Oriental custom of reclining at a

him, but Telemachus persuaded her to leave the

hall,

and himself bade Eumaeus give the bow to his

at the

father,

on an Attic toilet b. Part of red-figured painting OR OINTMENT POT (fyxis) OF THE FIFTH CENTURY B.C.

feast instead of sitting, as in

Homeric

times, has been already

introduced.
it is

As

to the arrangement of the tables

and couches,

same time

telling

Euryclea to bar the door of the

Found

at Alliens,
fig.

now
753.

in the Louvre.

only the exigencies of space that have led the

in

artist to depict

women's apartments, so that none could escape.

Then

Baumeister,

them
Bilderatl., Pis.

a long row.

He

probably intended us

to regard

them

Odysseus bent the bow with the greatest ease, shot the
arrow clean through the axes, and called on the suitors
to begin

Schreiber, Kulturhist.

56 and Si

(1

and

10).

as facing each other or as side

It is

by

side.

interesting to note the

dog

tied

beneath each

table,

and

the dishes with two loaves set before each guest.

the feast, nodding the while to

his sword,

Telemachus,
his father's

The
bronze
nails.

doors, like that of

plates, fastened

fig.

88, are strengthened

by strong

who drew
side.

and took

his stand

by

to the

wood by large-headed bronze

has a key-hole and knocker in
it

The door

to the right

Fig.

91.

Scythian

stringing

Bow

(showing

the

the upper panels, and two rings for closing

this

in the lower.

ympvrd^, (line 54).

At

dramatic point the book closes.

Figure in relief on the shoulder of a silver

Fig. 90.

vase.

Fig. 88.

Door

and Key

(lines 6

and

46).

Heracles
Care,

From

the Crimea,

now

in the Hermitage, St. Petersburg.

PI. 38, 11.

and Iphitus

(line 14).

Schreiber, Kulturhist. Bilderatl,

Red-figured vase-painting on an Attic vase of the

fifth century d.c

Black-figured painting on archaic Corinthian mixing-

bowl
u. Gefasse,
ii.,

(crater).

Gerhard, Trinkschalm

PI. 28.

From
Paris.

now

in the

Campana

Collection at the Louvre,

II., fig.

The yutyjurds was The Scythian in the

itself is

a case which held both

picture wears
it

on

his left side.

bow and arrows. The bow

lie

Other scenes from the same vase are given

51

a short one, of horn, and the manner in which

Od.,fig. 58.

strings, resting

one end on

his right thigh,

is

the usual one for

The doors of the ancients were ours. They were not, as a rule,
hinges, but

essentially different

from

Mon.
fastened to the posts by
holes in the threshold

d. Inst., vi., PI. 33.

i.,

such bows

(cf. II., fig. 24).

worked on pivots

Roscher, Mythologie,
fitting into

220;

ii.,

313.
p. 1273, fig. 1694.

and

lintel.

Such holes are

still

visible in the thresholds of the

at

Daremberg et

Saglio, Diet, des Ant.,

Fig. 92.

Axe

(line 120).
p. 254, fig.

three vestibule doors of the

Megaron

Tiryns

(cf. fig. 6,

where

Helbig, Das Homerische Epos,

they are

shown on the
had a hole

plan).

The legend was

upper
face,

that Heracles

had come
Iole,

to the

house of

The
l>Xcis).
(k\t;i's),

lock was a bolt sliding in a socket (lines 6 and 47,

It

Eurytus as suitor for the hand of

rejected,

and, in wrath at being

The
was

favourite feat of Odysseus, which Penelope proposed as

to the suitors,
is

in

its

into

which the key

fi,

had

slain Iphitus, the son of his host.

an ordeal
to set

described in bk.
in a

xix.,

572-5.

It

which was simply a bent piece of iron

39)
fitted.

(line

hiKainn'p;

The
on the

vase-painting shows Heracles feasting in the house of

up twelve axes

row

like the Spvo^oi, which, as

cf. //., fig.

To open

the lock, the bolt was shoved

Eurytus.

He (name
last

in early Corinthian characters) reclines

Merry says in his note, " seem to be the trestles or blocks with
a central notch on which the keel of a ship was laid when her
building
first

back with the key.

In later times, by

couch

to

the right, a garland round his head,

making a complicated pattern of holes

in

and a knife

in his right

hand, with which he cuts the food

began," and then to shoot the arrow straight

the bar, ami corresponding set of teeth

on the key, the opening

difficult.

taken from a three-legged table placed before his couch.

At

through them.

Homer

tells

us in this book (lines 120-2)

first

how
in a

of the door by a false key was

made much more

(i/ias),

the foot of the couch stands Iole (FioXa), clad in a long shift

Telemachus

set

them up, making

a long straight trench

in
it

The dour was also

tied in a

made

fast

by a thong

which was

and a mantle, taking no

part in the feast, for that

would not

in the floor of the hall,

and then placing the axes

painting in
jewellery.

complicated knot to a hook or handle (KOfwnj). The fig. SS shows a girl flying in terror with a casket of

have been decent for a lady.

She

is

walking towards Heracles,

perfectly straight line, stamping the earth

is,

round them.
it

There

but turns her head to speak to her brother Iphitus (Fi^n-os),

however, no hint as to the way in which

"

was possible to

She has

just

reached the large double door of the

who
his

has addressed her, and

for a goblet

is

in

the act of stretching out

table.

shoot through the axes, except the passage where Odysseus

treasury, and, with her foot

on the threshold, has placed the

hand

which stands before him on the

performs the feat

Even from the

settle

whereon he

sat

and

with straight

aim shot the

first

shaft,

and missed not one of the axes

at the last "

where too the whole question

is

discussed in an admirable note

In the centre

is

the throne of bride Hippodamia (here called

beginning from the

shaft passed clean

axe-handle, and the bronze-weighted

on

p.

418.

AAOAAMEIA), whose
Battle
of the Centaurs

marriage with Peirithous the Lapiths

through and out

(Butcher and

had invited the Centaurs

Fig. 93.

Lang's translation).

The

fact that

he was

sitting

shows

that

The

and Lapiths

to celebrate. A Centaur, however, " flown with insolence and wine," has tossed aside his goblet, to carry her off with him.

the arrow must have gone in

axe, the

some way through

the head of the

to give
it

(line 295).

and seized the bride

in

She struggles
his

whole length of the handle being required

Red-figured painting on a South Italian vase.

his

grasp,

and Peirithous with a sword, and

club, hasten to her aid,

friend

sufficient height,

and commentators have long been

in search

Theseus with a

and vigorously attack

abbreviated

of axe-heads which would be open enough to shoot through.

The

battle of the

Centaurs and Lapiths was proverbial

in
it

the Centaur.

On

each side

is

seen a lady flying in terror from

The axe which Helbig

moderately well,
for the

has chosen would suit the purpose

antiquity as a warning against

immoderate drinking.

In art

the violence of the monster.

to the

The
on

vase-painting

is

curved heads would form a sort of

it

channel through which an arrow might be shot, but

hardly be a difficult
there
is

would

was regarded as symbolising the struggle of human wisdom and moderation over unrestrained animal passions, and was the
subject of
in

smallest compass,

and only shows one Centaur.

friezes

In

sculpture,

however,

especially

or

metopes, the

feat.

There

is

the further objection that

for the

many famous
in the

sculptures.

The

best

known
there

of these

number

of combatants was endless, the artist carving as

fill

many

no evidence worth speaking of

use of such a

modern times

are the metopes of the Parthenon,

British

many
is

of

groups as he needed to

up the required space.

shape in pre-historic Greece.

lished, attention has

Since Helbig's work was pub-

which are now

fine frieze

Museum, where

also a

In the upper half of the picture we are shown the bridal bed,

been called by Dr. Warre to an axe shown

with the same subject from the temple of Apollo at

and
self.

in front of

it

the bride, assisted by her maid, adorning her-

on some Egyptian paintings, which consists of a loop of metal

with
*

Phigaleia, near Bassae.

More famous

in antiquity

were the

To

the

left,

on

a throne, sits Aphrodite

(?) in

a meditative

its

ends fastened

to a shaft,

and

its

convex side sharpened

sculptures of Alcamenes which decorated the

West Pediment of
still

attitude, while a little

Eros

flies

towards her with a riband.

the right of the picture an

to
at

an edge. once
test

To
the

shoot through twelve such axe-heads " would

skill

the temple of Zeus at Olympia.

These too

exist,

having

Behind her

is

an old duenna.

To

of the artist in aiming,

and the strength

been discovered by the Germans

year 1876.
subject in

in their excavations of the

old pitdagogus talks to a

woman.

On

the wall in the backball,

of the
this

bow

in the flat trajectory of the arrow."

picture of

axe

will

be found in the appendix

to

the

last

edition

(1890) of Butcher and Lang's Translation

of the

Odyssey,

The lower half of the vase-painting treats the much the same style as these larger monuments, if allowance is made for the difference of style and material.

ground are suspended a casket of jewels, a shaped musical instrument.

and a curiously

BOOK
HE
suitors

XXII.
where he was caught
Figs. 94 a,
Reliefs
b,
c.

had not yet

realised

that

unclosed to the treasury

(cf. fig.

94),

Odysseus
the

slaying the Suitors.

the

their

doom had come upon them,

red-handed by Eumjeus and Philoctius, and bound to

the rafters to abide his punishment.

from

tomb at Gjalbaschi, in Lycia, now in

and so when Odysseus, mounting the

threshold of the women's apartments,

Museum
encouraged

at Vienna.

Then Odysseus and

his three comrades,

Fig. 5 of the Iliad comes from the

same tomb, and

references to

the literature of the subject are given there.

drew

his

bow, and drove the arrow

(fig.

by the goddess Athena, slew the

suitors

one

after

clean through Antinous's neck

94), they thought

it

another, sparing only Phemius, the minstrel, and Medon,

Two
suitors,

scenes are represented

(a)

and

(c)

the slaughter of the

was but a misadventure.

Then, despite the entreaty of

a servant,

who had wrapped

on
the
suitors

himself in a newly-flayed
(figs.

and

(b) the

denunciation by Euryclea of the faithless

maids.

Eurymachus

that he

would be content with one victim,

ox-hide, and hidden

under a seat

94-8).

His

In the slaughter scene, which appears on four slabs, two of

he slew him too, aided by Telemachus,

who

fought with
one-sided,

vengeance
purified

accomplished,

Odysseus

which
to the

(c)

are connected by a Doric column, Odysseus appears

in his characteristic costume,
lies

sword and spear.

The combat, however, was

failing, so

the hall, carrying out the dead, washing and

left,

drawing the bow and

and the arrows were and fetched four

that

Telemachus went
and father

scraping off the blood, and burning sulphur.

the aid of Euryclea, he separated
the faithful handmaids
(fig.

Then, with

aiming
for

at

Eurymachus, who

on a couch before him begging

suits of

armour

for himself

the faithless from

and the

faithful

swine-herd and cow-herd.

in

There was,

94), and, taking

rafters,

them

mercy (lines 45 and foil.). By the sideof Odysseus is Telemachus with drawn sword advancing to the fray. He is clad
in

out,

a cloak (chlamys) and conical cap.

reclines
is

At the
the

foot of the

couch

moreover, treachery
the goat-herd, stole

the household, for Melanthius,

side door that

hanged the

faithless

from the

while the faithful

on which Eurymachus
from which the wine

mixing-bowl

(crater)

away by a

was

still

crowded round him with joyful welcome.

for the

banquet had been drawn.

In the

next slab, on the other side of the column,

we

see to the right

or perhaps accords with the early date of the sculptures (fourth

p IG

gf,

The

Slaughter of the Suitors.

at Volterra.

Antinous lying stretched in death, and on the ground the cup from which he was drinking when the arrow struck him
(line 9

even

fifth

century

Relief on an Etruscan urn.

In
the

B.C.).

Museum

and

foil.).

Before him on another couch one of the suitors holds

up a

table as a shield,
(line 74),

a means of defence suggested by EuryBeside

in

machus

but not mentioned as actually used.

the back
is

95. The Slaughter of the Suitors. Red-figured painting on an Attic drinking-bowl OF THE FIFTH CENTURY B.C.
Fig.

Wiener
(cotyle)

Vorlegeblatter, Series

D,

PI. 12, S.

This

relief

shows us four
fig.

suitors

on a couch, with

a similar

him a man who has been struck

both hands
out,
in

feeling with
it

In

the Berlin

Antiquarium.
53.
p.

a helpless, agonised way for the arrow, to draw

Man.

J. Inst., x., PI.

96 in front, and a mixing-bowl beside it. They are no longer drinking, for one lies dead at the top of
table to that in

At the foot of the bed a youth appears to be trying to

last victim.

Baumeister, Denkmaler,

1044.

the couch
efforts to

another, pierced through the back, writhes in his

out, while

hide himself behind the

draw the arrow

;

he

raises his

cup

to hurl

This beautiful painting appears on the two sides of the vase.

In the next slab (a) we have a solitary suitor shielding himself

with his cloak.

it

at the

archer

a third strives to pull an arrow from his eye

On

On
shirt

the fourth slab

is

another youth holding

up

.1

table as a screen,

and

man

one side Odysseus (QAY22V), clad in his short and girt with a quiver, is aiming his bow, while behind

sailor's

and the

fourth, rising

sinking in death, both on a

in hiding, protecting

him

to give himself

on the couch, draws some small protection.

fig.

his

mantle round

couch behind which a third kneels

himself

him stand two maids, one clasping her hands in terror or anxiety, the other leaning her head upon her hand in thoughtful
meditation.

Close by him Odysseus (dressed as in

96)

is

drawing

his

with a cloak and preparing to hurl a footstool at his enemy.

Behind him
footstool.

is

a fourth figure,

who seems

On

the other side

is

a couch with pillow

?),

and

to

be carrying another

coverlet, at the

head of which a man (Eurymachus

is

crowned

bow once more, while Leiodes, in the form of a boy, has seized him by the knee, and implores mercy (xxii., 310). To the left,
behind Odysseus, two
places her knee
idol

women have
pillar

fled in terror,

one of

whom

for the feast with a garland,

starting

up from

his

recumbent

The
fitting

slab

(/>)

gives a continuation of slab

(c),

its

right

end

position, and holding out both hands in wild entreaty.

At the
as

upon the

altar (cf. line 379),

and

clasps the

the

left

of

(c).

It

shows a youthful

figure escaping

which stands on a

above.

foot of the

up a step and through a door.

side door to bring

bed

is

a youth

wounded

in the

back with an arrow,

This corresponds well with

the story of Melanthius, the goat-herd,

who

which he
the older

is

vainly endeavouring to reach in the

in
fig.

same way

On
about.

the other side of the picture stands a Fury with her torch
23, 96), gazing

fled

through a

(cf. figs.

on the

fell

work

that she has brought

arms

for the suitors (line 126).

The
it

man

94.

The same

figure reappears again in

is

figure,
fig.

however,
to

is

much
that

too small for a grown man,

it

and

97.

Half-kneeling on the ground near the bed

an older

is

safest

assume

is

intended

for

one of the
In
this

boys

who
when

bearded man, who holds a shield to protect himself from the

arrows, like the

Fig.

served out the wine to the suitors.

case he would

men

in figs.

94 and 97.

98. The Slaughter of the Suitors. Fragment of a Greek relief of the fourih century
In
the Hermitage, St. Petersburg.
Vorlegebliitter, Series

have been stationed

(

at

the great mixing-bowl,

and

fled

l.lysseus

began to shoot.
is

Fig. 96.

Odysseus
Museum

and the Suitors.

B.C.

On
Bceni

the other side of the wall, in which

the side door, the

Relief on an Etruscan urn.

In
tiie

changes to the women's apartments.

To

at Leyden.
i.,

Wiener
PI. 95, 2.

D,

PI.

12, 7.
PI. 53,

the

left,

near

the foot of a bed, stands Penelope, taller than any of the other

Brunn,

Rilievi d. urne Etr.,

is

Robert, Die antiktn Sarkophag-Reliefs,

This
is

No. 153.
fig.

;i

women, attended by a girl. Before her Euryclea points to maid who stands with folded arms and seems to be one of those who had proved faithful. Beyond is another maid who
lost

In the centre

a three-legged table, on which stand a

part of a relief

somewhat

in the

same
is

style as

94it

mixing-bowl (crater) and two jars of wine (amplwree).

this is a

Behind

To

the

left

one of the

pillars

of the hall

seen,

and near

couch with

footstool,

on which four
ladle to

suitors recline.

couch on which a suitor has

fallen,

doubled up by

his agony.

in

melancholy thought

while farther on, one of the

boy stands by the table with a

fill

the goblets (one

those

who have been denounced rushes from

certainly Melantho, the

room beating
wild despair.

a drinking-horn, or rhyton) from which the suitors are drinking.

companion, seated on the couch, holds up a table with his left hand, while with his right he strives
arrow from his side, and a third
neath.
lies

as a shield
to

draw an

her head with her right hand, and waving her

left in

As they drink they turn

Penelope,
footstool.

their

heads to the right to gaze on

stretched in death underfigure

is

She

is

paramour of Eurymachus, who had

320;
xix., 65).

who

is

seated on a richly carved throne with a

is

At the head of the couch a nude

shield,

seated holding
is

reviled

Odysseus
is

in his disguise (xviii.,

To

the

She wears a diadem, over which her mantle

a shield, and gazing round in terror.

fully

Behind him

man

right of her

Odysseus

just leaving the

women's apartments,

drawn
right

like a veil, holds a fan in her left

is

hand, and with her

armed with helmet and

holding up a spear as

with a drawn sword and lighted torch, to purify the hall with burning sulphur (lines 481 and foil.).

in

the act of taking jewels from a casket which an

attendant maid bears to her.

Behind the throne

is

another

This

last

scene
fast

does not
asleep

follow
5)

the

Odyssey closely, for

the faithless maids

maid.

Neither of these can be an ally of to hurl it. chosen Odysseus, and one must assume that the artist has howthis way of depicting the treachery of Melanthius, who,

though about

Penelope was

(xxiii.,

when

On

the other side of the picture Odysseus

is

seated on a

ever,

were denounced, and they were denounced, not to her, but to

stone with sailor's cap, a scanty cloak thrown over his shoulders,

Odj

(line 135

was caught before he succeeded in getting into the hall and foil.). Professor Robert recognises in the two
suitors,

us (xxii., 420).

Further, Odysseus did not himself fetch

to purify the hall, but sent
text,

and a twisted beggar's

above him, touching
2 3> 97) "'ho

staff.

He

is

watching the

feast,
(cf.

and
figs.

wounded

the sulphur

and

fire

Euryclea

for

his shoulder, stands the

them

Fury

back by Telemachus

Amphinomus, who had been wounded in the was (line 90), and Eurymachus, who

(line 4S1).

Such independence of the

however, well

has

marked the

suitors as her prey.

struck in the breast by an arrow of Odysseus.

BOOK
ENELOPE
slumber
has been buried in a deep
the time that Odysseus
suitors,

XXIII
the
kinsfolk
in bk. xvi.,

with

the

aid

of Athena, he overcame

but

it

does not seem to correspond so well with

is

all

of the suitors, and was once of Ithaca.

more unquestioned king

the account there, nor

the incident so picturesque as this

was slaying the

she
believe,

nor would

second meeting.

when Euryclea waked

vengeance, that
Fig. 99.

her and

told of his

he had really returned.

Yet she went down,

to see the

Odysseus

Figs. \ooa,b (Plate xv.). Pitcher

and Basin

for

Washing

and Penelope.

the

Hands

of Guests.

dead, to the hall where he sat awaiting her beside one

of the pillars, but did not recognise
rags, in spite of the assurances of

him

in his beggar's

Telemachus.

Even

pompeian wall-painting from the so-called temple of Augustus. Zahn, Die schbnsten Orn. u. Gemdlde, i., PI. 85. Overbeck, Gall. her. Bildw., xxxiii., 16.
Odysseus, with his
seated on the
sailor's

Cypriote earthenware.

From
In

the graves at

Marion,

in Cyprus.

the Berlin

Museum.
Graberfeld von Marion,
figs.

when he had bathed and put on kingly

refused to believe,
till

robes, she

Hermann, Das
cap (pilidiou) and beggar's cloak,
is

42 and 46.

he described to her the inner

built

chamber that he had

tears she

long before.

Then with
his

drum

of a fallen column, just inside the door

raises his

large

number

of pitchers

and basins

in pairs

have been

of his palace.

He

head to speak to Penelope, who

(cf.

found

in the graves at

Marion, in Cyprus, and there can be no

irpo^ovi (pitcher)
at feasts in

ran to him, and threw her

too,

arms round
in turn.

stands beside him in a meditative and melancholy attitude

figs.

doubt that they are the

for

and
the

Ki{Sijs

(howl) used

neck and kissed him, he,

this

weeping
a

After
their

11, 78).

In her hand she carries a bunch of poppy heads,

washing the hands of guests

manner described

the

book

closes

with

description

of

probably to suggest the deep sleep from which she has just

by

Homer

(xepit/?a

Su/ac/kVoAos ttpo^oui cirque fpepuvaa KaXij,

Ac/Ji;tos).

happiness.

been wakened
souls of the suitors

(line 16).
veil,

She

is

clad in a long under-garment,

Xpwet';;, fnrip

apyvpemo

They
ware,

are,

however, not made

to a

Book xxiv. describes how the

a mantle, and a

and wears

a bracelet

and sandals.

of precious metal, but

common

and they belong

In the background a

woman
This

gazes on this group through a

is

period long after Homer's time.

only
then,

The custom remained

the

not
in

were led down to Hades by Hermes;

revealed

how Odysseus
;

window near

the door.

probably Euryclea

(line 177).

but

is

observed, in

same manner, even

himself to

his

father

Laertes

and

how,

Some

archaeologists refer this picture to the meeting described

modern Greece.

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