History of Ancient Pottery: Greek, Etruscan, and Roman....

The first stage of the hero’s introduction into Olympos is his introduction to Zeus by Athena, a scene common on both B.F. and R.F. vases (Fig. 127). The attendant deities vary very greatly: Hermes, Apollo, Hebe, and Artemis are most often seen; also Hera, Poseidon, Ares, and Dionysos.[1223] Besides these there are numerous scenes in which he is grouped with various deities, usually Athena and Hermes, but also Poseidon, Ares, Dionysos, and Hebe, apparently in the enjoyment of his new life among the welcoming gods[1224]; and to this group may be added the scenes in which he is crowned by Nike.[1225] The completion of his bliss is the marriage with Hebe, found on two or three fine R.F. vases,[1226] with a numerous company of attendant deities.

The adventures of Theseus, the peculiarly Attic hero, are portrayed on vases of all dates; they are rare on the later kinds, but are most popular on the R.F. vases of the “strong” and “fine” periods, as would naturally be expected at a time when his cult was coming into special prominence in Athens (see Vol. I. p. 418). Of his seven labours the only one commonly found on the B.F. vases is the combat with the Minotaur, but some of the finest R.F. kylikes give a complete series. They are given in the order of his progress from his birthplace Troezen through the Isthmus to Athens. It should be noted that the Cretan legends, which alone are common on the early vases, are clearly older than the more purely Attic.

The first subject to be mentioned in connection with the story of Theseus is that of his father Aigeus consulting the oracle of Themis.[1227] His finding of Aigeus’ sword and sandals beneath the stone (cf. Plate LXII.) is not depicted on vases, but we have a possible representation of his recognition by Aigeus,[1228] and an unintelligible scene where he pursues or attacks his mother Aithra, apparently wielding the newly found sword.[1229]

There are only two R.F. kylikes which give the complete series of adventures, including that in Crete; the Duris kylix in the British Museum (Vol. I., frontisp.) omits two (the bull and Prokrustes), and others give a varying number of scenes, omitting sometimes one, sometimes another. The adventure with Periphetes appears to be confined to literature. We give the list as follows, with the vases on which they may be seen[1230]:

After the labours on his journey comes the purification of Theseus on reaching Athens.[1231] To this time may perhaps be referred a scene in which he receives a palm-branch from Athena.[1232] There is a subject which cannot be placed in literary tradition, but probably comes in point of time immediately before or after the labours; this is the visit to Poseidon and Amphitrite under the sea, whither he is borne by Triton. It occurs on the beautiful Euphronios kylix in the Louvre (G 104) and elsewhere.[1233]

Next in point of time we have to deal with the story of Theseus’ voyage to Crete and his marriage with and desertion of Ariadne. It begins with a scene in which he bids farewell to Aigeus[1234]; then on his arrival in Crete he slays the Minotaur, as already described. We next see the meeting with Ariadne,[1235] followed by the nuptial ceremonies; the latter scene, together with the subsequent arrival at Delos, and a dance of boys and maidens liberated by Theseus, is vividly depicted on the François vase. His desertion of the sleeping Ariadne in Naxos and the appearance of Dionysos as her consoler form the subjects of two very beautiful R.F. vases[1236]; but the return to Athens and the death of Aigeus are not depicted.

The reign of Theseus at Athens is signalised by his combats with the Amazons and Centaurs. In the former story he carries off their leader Hippolyta as his queen, assisted by his friend Peirithoös[1237]; and in another version it is Antiope whom he overcomes,[1238] or the subject is treated in a more general fashion.[1239] This scene is supposed to take place in Attica; but the story of the Centaurs belongs to Thessaly, the home of Peirithoös. The Centaurs are represented interrupting a banquet, throwing everything into confusion, and carrying off Laodameia and other female victims. It occurs on the François vase, and is treated in a vivid pictorial fashion on several vases of a later period.[1240] The episode of the death of Kaineus (see p. 145) belongs to this group of subjects. To the same period belongs a vase representing the rape of a girl named Korone by Theseus and his friend.[1241] In the story as told by Plutarch (Thes. 31) it was Helene[1242] whom Theseus carried off; curiously enough, a figure thus inscribed is also present on this vase,[1243] as well as Antiope (see above). The rape (as described by Plutarch) was followed by their descent into Hades to seize Persephone. For this they were doomed to punishment, to sit for ever with hands bound behind them[1244]; but in one version Theseus is allowed to depart after a time, as is seen on one of the Apulian under-world vases.[1245] A vase signed by Xenotimos represents Peirithoös seated in a chair holding two spears[1246]; but its mythological significance is open to question.

Closely linked with the story of Theseus is that of the love of Phaidra for Hippolytos and the death of the latter, confined to late Italian vases; but Phaidra has not been certainly identified in any case.[1247] There is, however, an undoubted representation of the appearance of the bull which overthrew Hippolytos’ chariot.[1248]

Next in importance as a hero of Greek legend comes Perseus, born from the golden shower in which Zeus visited Danae (see p. 19). We find representations of the scene so touchingly sung of by Simonides, the placing of Danae and her child in the wooden chest and sending them adrift[1249]; and next we find Perseus as a full-grown youth, about to set forth on his mission of slaying the Gorgon, and receiving from the Naiads the cap, sandals, and wallet, which were to aid him in his quest.[1250] On later vases he receives from Athena the sickle (harpe) with which he slays the monster.[1251] On his way he seizes the eye and tooth of the Graiae, a subject rarely depicted in art.[1252] The actual slaying of the Gorgon[1253] is not so often represented as the subsequent flight of Perseus, generally accompanied by Athena and Hermes[1254]; in one or two instances we see Perseus approaching his victim unobserved.[1255] Other vases depict the headless corpse of Medusa, from which springs the young Chrysaor or Pegasos, and the other two Gorgons, Stheno and Euryale, either pursuing Perseus or remaining with the corpse[1256]; in one instance they appeal to Poseidon for help.[1257]

We next see Perseus arriving at the court of Kepheus to deliver Andromeda[1258]; she is generally represented chained to a column in the palace itself. On other vases he is depicted in the act of slaying the monster, but this is a somewhat rare subject.[1259] Finally, we have the return to Seriphos and the petrifaction of the king Polydektes by showing him the Gorgon’s head.[1260] Perseus is also represented showing the head to Satyrs,[1261] or placing it in the wallet (κίβισις),[1262] or in combat with Maenads[1263]; or, again, he is accompanied by Athena, who holds the Gorgon’s head while he looks at the reflection.[1264] Lastly, on some small R.F. vases, a bust of Perseus is depicted wearing his winged cap.[1265]

The story of Pelops is chiefly connected with Olympia, and his visit to Oinomaos; but the subjects are almost exclusively confined to the later Apulian vases. On one B.F. (Cyrenaic) kylix Pelops is depicted with the winged horses given him by Poseidon,[1266] but this is exceptional. The Olympia scenes include five episodes: (1) the arrival of Pelops at Olympia[1267]; (2) the sacrifice or compact with Oinomaos[1268]; (3) the race[1269]; (4) the death of Myrtilos[1270]; (5) the carrying off of Hippodameia.[1271] Pelops also occurs with Myrtilos and Hippodameia in the under-world.[1272]

The adventures of Bellerophon are not so popular as those of other heroes, especially in the R.F. period. The story told in the sixth Iliad appears in several scenes, beginning with Bellerophon’s taking leave of Proitos[1273]; next we see him delivering the letter with its σήματα λυγρά to Iobates, the king of Lycia,[1274] and then, mounted on Pegasos, slaying the Chimaera.[1275] Subsequent events represented on vases are the death of the perfidious Stheneboia, who falls from the back of Pegasos,[1276] and the marriage of Bellerophon with Philonoë.[1277]

Nor need the story of Meleager detain us long. Scenes from his life are practically confined to the Calydonian boar-hunt, a subject popular at all periods, especially on early vases.[1278] Kastor and Polydeukes, Peleus, and other heroes, together with Atalante, are represented as taking part, as well as Meleager. There is also a vase on which Meleager is represented with the boar’s hide, accompanied by Atalante, Peitho, and Eros.[1279] Other scenes where a boar-hunt is represented, but no names given, or only names of a fanciful kind, may or may not be identified in this way.[1280] There is one vase which appears to represent the death of Meleager.[1281]

The next of the Greek heroes with whom we have to deal is Jason, with whom we must include the whole cycle of subjects relating to the Argonautika—such as the stories of Helle, Phineus, and Talos. The legend of the golden fleece which gave rise to the famous quest of Jason is first illustrated by scenes representing Helle or Phrixos in flight on the ram,[1282] or the former grouped with her mother Nephele and her brother Phrixos,[1283] who accompanied her on her flight. The pursuit of Phrixos and the ram by Ino is also represented.[1284] Lastly, there is a vase which may represent the setting out of Jason.[1285]

In the earlier history of the Argonautic expedition the most interesting subject found on the vases is the story of Phineus, who had been blinded for impiety by Boreas,[1286] and was subsequently deprived of his food by the Harpies until he was delivered by the sons of Boreas, Zetes, and Kalais.[1287] Another event is the chastisement of Amykos by Kastor and Polydeukes,[1288] and a fine vase of “Polygnotan” style in the Louvre represents a group of Argonauts apparently without any special signification.[1289] In all these scenes Kastor and Polydeukes and the Boreades are present together with Jason. There is also a scene which has been interpreted as belonging to the Argonautika: Herakles is represented sacrificing to a statue of Chryse on the island of Lemnos.[1290]

Then we have the arrival of Jason and his companions in Kolchis,[1291] and the subsequent feats performed by the hero—his slaying the dragon[1292] (in one version he enters into its mouth[1293]), his contest with the bull,[1294] and finally the capture of the fleece,[1295] which he is also represented as bringing to Pelias on his return.[1296] The only important event relating to the homeward journey is the death of Talos.[1297]