medea eleusis

Medea at Eleusis on a Volute Krater by the Darius PainterAuthor(s): A. D. TrendallReviewed work(s):Source: Record of the Art Museum, Princeton University, Vol. 43, No. 1 (1984), pp. 4-17Published by: Princeton University Art MuseumStable URL: http://www.jstor.org/stable/3774670 .

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Medea at Eleusis on a Volute Krater by the Darius Painter A. D. Trendall

The Art Museum has been extremely fortunate to ac- quire one of the most remarkable Late Apulian vases to come to light in recent years.1 Not only is the subject depicted on the obverse, Medea at Eleusis, unique in Greek vase painting, but the high quality of the drawing marks the vase as one of the finest of the extant eighty or so major works that may be ascribed to the Darius Painter, who is perhaps the most significant of the Apulian vase painters of the third quarter of the fourth century B.C.

He takes his name from the well-known vase in Naples showing the Persian king, Darius, with his counselors, and is fond of representing upon his vases myths of com- parative rarity, some of which indeed still remain without a convincing interpretation.2 In this respect, he may possibly have been influenced by the works of fourth- century dramatists some of whose plays are known to have introduced considerable variations upon the hith- erto generally accepted version of a particular legend.3

The new vase, which was acquired by The Art Muse- um through the C. 0. von Kienbusch, Jr., Memorial Fund in honor of the seventieth birthday and retirement of Frances Follin Jones (83-I3), is a large volute krater with the following dimensions: height, to top of volutes, ioo cm; to top of neck, 88 cm; of decorated panel on neck, z4 cm; of body (picture zone), 37.5 cm; of foot, 9 cm; diameter, of mouth, 37 cm; of base, z4 cm. It has been put together from a number of fragments, but is in very good condition. A few small pieces are missing from the reverse, especially on the upper level, but no attempt has been made to restore the lost portions, apart from a little repainting of the black background.

The word krater is derived from the ancient Greek verb meaning "to mix," and vases of this shape have a deep body and a wide mouth, since they were used for mixing wine with water. The volute krater is so called from the form of its handles4 and was in use in Athens from the first half of the sixth century B.C. until the be- ginning of the fourth. After that date volute kraters decorated in the red-figure technique are no longer found in mainland Greece, although they become increasingly popular with the Greek colonists in Apulia in South It- aly, where red-figured vases of local manufacture make their appearance in the last quarter of the fifth century.

From about 350 B.C. onwards, following on from the work of the Lycurgus and Iliupersis Painters, the volute krater tends to increase greatly in size, sometimes reach- ing a height of four to five feet, since vases of such large dimensions gave Apulian vase painters more scope for the multi-figured mythological compositions or the elaborate funerary scenes that they greatly favored. Large vases like these were primarily intended for funerary pur- poses, and many of them have been found in the cham- ber tombs of Apulia, especially in the Canosan area. The foot (closed on the Princeton vase) is often made sepa- rately from the body5 with an opening left between them, so that the vase could not have held a liquid, although an offering for the dead might have been poured in as a libation.

In shape the Princeton vase corresponds with that of other volute kraters from the Darius Painter's more mature period (e.g., RVAp z, no. 18/4I, p. I77), when the neck becomes slightly taller than it was in the earlier phase (see also RVAp 2, nos. i8/I7-I8). The volute handles are, as usual, decorated with masks-here they take the form of female heads, the faces on the obverse being painted white and the curly hair a deep golden yellow. There is a small diadem immediately above the brow.

The neck is elaborately decorated on both sides. On the obverse (fig. i) the outer edge of the rim has an egg pattern with touches of added white. Then comes a frieze of rosettes and dot clusters and, beneath it, a berried laurel wreath meeting in a central rosette. On the neck panel is a female head in red-figure, turned to the right in three- quarter view, rising from a campanula flower in a very elaborate floral setting, typical of the developed Apulian style, which includes spiraling tendrils, scrolls, palmettes, and a variety of flowers (lily, campanula, etc.), all highly stylized and sometimes of composite form. The head is very well drawn, with a mass of tight curly hair falling down in ringlets behind the neck; a similar treatment of the face will be found frequently on the painter's vases, as with Medea and Persephone on the Princeton vase. In accordance with the usual practice, the decora- tion on the reverse (fig. 2) is simpler; above the panel are bands of wave pattern and berried ivy, and here the female head is shown in profile to the left. It also springs

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Figure z. Reverse

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Figures 3 a, b. Sides

from a campanula flower, but here the setting consists mainly of palmettes and tendrils with only small flowers. Several of the painter's other vases (e.g., RVAp z, nos. i8 /I7-zOA, 51, 6z) follow the same practice of placing a profile head in red-figure on the reverse in contrast to the more elaborate treatment given to the neck on the main side of the vase.

On both sides the shoulder is decorated with a tongue pattern; there are swans' heads, painted black, at the handle joins, and an impressive array of fan palmettes below the handles between the pictures on either side (figs. 3 a, b).

In the center of the main scene on the obverse (fig. 4) is a stylized version of a temple, painted in added white,

with four Ionic columns rising from the base, which is approached by a single step. The pediment is decorated with elaborate scroll work; fan palmettes with side scrolls serve as acroteria. Beneath the pediment is a row of dentils above a band of egg molding, and on the architrave is the inscription (fig. 5), painted in dilute glaze, EAET]IE' TO IEPON (Eleusis-the temple). The ceiling beams are clearly shown, with a slight attempt at per- spective as they near the center, as on several other of the Darius Painter's buildings; suspended above is a leafy festoon, around which is looped a white ribbon from which hang three small tablets (pinakes) with human figures painted upon them.6 Within the temple are two standing figures; to the left is a woman, her head turned

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Figure 4. Central panel of obverse

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Figure 5. Inscription on the architrave of the temple

in three-quarter view to the right, wearing a long garment over which is wrapped a cloak, drawn up to cover the back of her head and draped across the lower part of her body and over her shoulders. She holds the two ends together with her right hand in front of her breast7 and extends her left hand, palm outward, as if in an explan- atory gesture. Were it not for the inscription MHAEIA (Medea), painted on the base of the temple just below the figure, it would have been very difficult to identify her, since she is not wearing Oriental costume, as Medea generally does, nor does she carry any of her usual ac- coutrements. Beside her stands a paidagogos,8 a figure who frequently appears on vases by the Darius Painter and whose presence normally indicates a theatrical connection, since he sometimes also serves as the messenger, describing events (like the violent death of Hippolytus, as on British Museum, F 279; RVAp z, pl. I73,1), which cannot take place on the stage itself. He is normally shown as an old man with white hair, often receding on top, and a white beard; he wears a tunic (chiton) fas- tened at the waist with a short cloak (chlamys) over it and high laced boots (endromides) with white tops turned down. He usually holds a staff and often carries some form of headgear, either a broad-brimmed traveler's hat (petasos) or a conical cap (pilos), as here. He rests his bearded chin on his right hand, and seems to be listen- ing, perhaps with some doubt or perplexity, to what Medea is saying.

In front of the temple, seated upon a large altar the front of which is painted white, are two boys; the one to the left, whose legs are covered by a piece of drapery, looks slightly younger than his companion, who has long curling locks falling down onto his shoulders and who sits upon his drapery, a fold of which passes over his left thigh beneath his arm. These two boys must surely be the children of Medea, though it is an unusual context in which to find them. To the left is a laurel tree with two branches and white berries, and to the right, an ox skull (bucranium), lying on its side.

The central scene is flanked on both sides by four figures. To the left, above (fig. 6), Nike (Victory), with white wings spread out behind her and wearing a long, filmy garment with an overfall that leaves her legs and

8

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Figure 7. Detail of right side of obverse

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body clearly visible beneath it, approaches Athena, holding out a leafy wreath with both hands. Athena is seated upon a large round white shield with a colored border, holding a white helmet in her outstretched right hand. She wears a long garment with a cloak over her legs, but without the aegis that one might expect to find in such a context; there is a white-studded belt and a shoulder gir- dle9 crossed in front of her body between her breasts, a common style worn by active figures such as Amazons or Furies and by Artemis as huntress. Its function was to keep the tunic beneath from slipping out of place and, when crossed in front, it also served as a support for the breasts (see also the costume of Iris).

Below Athena, on two separate levels, are two youths, one standing and the other seated. The upper youth, naked save for a short cloak over his left arm and flap-

ping out behind his back, leans slightly forward resting on a stick; in his right hand he holds a crossbar torch tied with a white ribbon, and in his left a scraper (strigil) and an oil bottle (aryballos), the typical vade mecum of the athlete. Seated below him and looking up in his direction is a second youth, a piece of drapery over his right thigh and beneath his body; a white petasos hangs down his back, he holds a strigil in his left hand and a knotty stick. His right hand holds a long white ribbon, which seems to be looped over one of three small crossbar torches, which stand on a table beside him together with a spray and two small egg-like objects. At his feet a metal jug (oenochoe) lies upon its side. The ground lines are indicated at all levels by rows of fine white dots.

The two youths must be the Dioskouri (Castor and Polydeuces), who had been initiated into the Eleusinian

9

Figure 6. Detail of left side of obverse



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mysteries and who are probably represented here, like Herakles on the other side of the temple, in their particular capacity as helpers or protectors. The attributes that normally distinguish them (especially the stars) are not shown, but they often appear as athletes, particularly in scenes associated with the expedition of the Argonauts. The addition of the crossbar torches is meant to empha- size their particular connection with Eleusis and its mysteries.

To the right of the temple (fig. 7), the four figures make two matching groups, each on a single level, one above the other. The upper pair represent Persephone and Demeter, the two divinities most closely connected with Eleusis. Persephone wears a crown and holds in both hands a crossbar torch with flames bursting forth from the top. She wears a long garment with a cloak drawn across the front of her body and over the back of her head. Her gaze is directed slightly downward to the seated figure of her mother, Demeter, who holds a crossbar torch in her left hand, which is enveloped by the cloak she wears over her long tunic. With her right hand she holds the edge of the cloak away from her body, at the same time extending two fingers in the so-called admonitory gesture. A wreath of wheat encircles her head; another wheat stalk lies on the ground beside her.

Figure 8 a. Detail of upper level of reverse

Below stands Herakles, his lion skin knotted in front of his chest and falling down his back; he leans upon the white knotted club he holds in his left hand, which is hidden beneath his chlamys and which also holds a bun- dle of sacred myrtle boughs (bacchoi). Around his head is a fillet, and in his right hand he holds a myrtle bough with white berries from which hang two white-dotted headbands (infulae). Beside him stands Iris, the messenger of the gods, her wings outspread behind her and her wand of office (kerykeion; caduceus) in her left hand. Her right hand is extended towards Herakles with two fingers pointed at him in an admonitory gesture similar to that of Demeter. She wears high laced boots and a filmy garment, so draped as to leave both breasts bare in what may be called "huntress" fashion (see note 9).

On the reverse is a Dionysiac scene (see fig. z). This is most unusual on a volute krater by the Darius Painter, where the reverse normally depicts either a mythological or a funerary scene, although Dionysos and his follow- ers regularly appear on the reverses of calyx and bell kraters.10 His presence on this vase, however, is not in- appropriate and may indeed be linked with the scene on the obverse, since Dionysos was also an initiate into the Eleusinian mysteries,11 and his worship is sometimes coupled with that of Demeter.

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Figure 8 b. Detail of upper level of reverse ~ t~ Y.,

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The figured scene is divided into three registers. On the first (figs. 8 a, b) a small Eros, with a "xylophone" in his left hand and an iynx (magic wheel)12 in his right, flies toward a seated maenad, who holds a blazing torch in one hand and a tambourine in the other. Beside her, at ground level, indicated on this side also by lines of white dots, is a bucket (situla), the body of which is decorated with match-like figures in added white. Then comes a small figure of Pan (Paniskos) with goat legs and horns, a branch in one hand and an open wreath in the other, who prances towards another seated maenad, here naked to the waist with the lower part of her body covered with a piece of drapery; she holds a mirror (the shaft of which is missing) in her right hand and a staff (thyrsus) in her left. Beside her on the right a bird is perched on a white-bordered fillet.

This part of the vase has suffered some damage and several small pieces (e.g., the head of Eros, the face of Pan) are lost; the black background has been repainted in places, but the damage is not significant.

On the central level a maenad, draped in a long garment with a dot-stripe border down the outer edges that do not quite meet, thus leaving part of the body exposed (see also the maenad on the reverse of Berlin i968.12; RVAp z, no. i8/66), bends forward over her raised left

leg to offer with her right hand a beaded wreath to Dio- nysos; with her left hand she grasps the stem of a long thyrsus and the ribbons decorating the outer edge of a tambourine, which rests beside her raised foot. Diony- sos, the lower part of whose body is covered with a piece of drapery that passes over his left shoulder, holds out a libation dish (phiale) in his right hand, and in his left, enveloped in the drapery, grasps a thyrsus, the head of which is flanked by a flower on one side and a flower bud on the other that springs out on fine stems from the shaft. It is perhaps worth a passing note that the white stem of the thyrsus is decorated with a row of black dots, thus producing the opposite effect from that normally achieved by the painter, who regularly decorates the shafts of scepters, tridents, etc., with a row of white dots (see RVAp 2, p. 488).

It is the third register (figs. 9 a, b) that is perhaps the most interesting, since in the center there is a remarkable shrine-like building with a gabled roof, a pediment on each of the shorter sides, a frieze of dentils, and ceiling beams. In front, on the longer side, are two engaged Doric columns, shown in added white, attached to the side walls. Around the lower part of the interior of the building runs a dado in diluted glaze, decorated at the top in added white with a row of dots between two sets

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of parallel lines. On the back wall, which is painted black, are two water spouts, originally in the form of lions' heads, from which the details of the features have now largely disappeared; two streams of water trickle down from them, and between them, resting diagonally against the wall, is a crossbar torch. One might be tempted to see in this a possible further connection with Eleusis,13 were it not for the fact that a similar torch also appears in the fountain house on a large hydria, formerly on the London market, attributed to the Underworld Painter (RVAp, Suppl. i, p. 84, no. 28ID), which shows Amymone collecting water in a hydria she holds just below one of the lion-head spouts. From the left a maenad, drawn in the typical Darian manner for walking women, approaches. The upper part of her face is missing, but she wears a flowing garment with sweeping fold lines, beneath which the slightly bent right leg is clearly visible.

- .~~* ~Figure 9 a. Detail of lower level of reverse

In her right hand she holds a bunch of grapes and in her left she carries a tray of offerings (two sprays, pome- granates, and eggs) and three pendant fillets, two pat- terned with dots and with fringed ends. On the right stands a young satyr, a blazing torch with two fillets tied to it by ribbons held up in his right hand, a branch with a pendant fillet grasped firmly in his left. In front of the building is a bucranium with a phiale beside it on the ground, from which spring a couple of small flowers.

How are we to interpret the main scene on the obverse of this remarkable vase? In what survives of ancient Greek literature there appears to be no record whatever of Medea's presence at Eleusis. In view of the Darius Painter's obviously wide knowledge of Greek mythology and his taste for the less well-known myths, it is not easy to believe that he has confused Corinth, where the event depicted might have been expected to take place, with

12



Figure 9 b. Detail of lower level of reverse

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Eleusis, since the location of the scene at the latter site is confirmed not only by the inscription on the temple but by the presence of the Eleusinian deities, Demeter and Persephone, and of initiates like Herakles and the Dios- kouri. It is not perhaps without significance that all of them appear together again in an Eleusinian context on the so-called Pourtales krater in the British Museum (F 68; see note 6). We must, therefore, be dealing with a version of the Medea legend known to the painter but not otherwise preserved, and the presence of the paidagogos suggests that it was of dramatic origin. There seem to have been several variants on the form of the legend as it appears in the Medea of Euripides; Diodorus Siculus (IV.56) makes the general observation that the existence of so many varied and inconsistent accounts of Medea were due to the desire of the tragic poets for the marvelous. The famous Medea krater in Munich,14

on which the principal figures are all identified by in- scriptions, clearly illustrates a different version of the story from that used by Euripides, since it elaborates the death of Creon's daughter and brings in a number of other characters, like her mother Merope or her brother Hippotes as well as the ghost of Medea's father Aetes, who is unlikely to be a creation of the vase painter's own invention. There were also versions of the story in which Medea did not murder her children,15 but put them as suppliants on an altar in the sanctuary of Hera Akraia at Perachora, near Corinth, in the hope that they would be looked after by Jason, although they were actually put to death by the Corinthians, who had subsequently to expiate their murder. Aristotle in the Rhetoric (III.23.- z8; 1400 B 9) refers to a Medea by Carcinus, a fourth- century dramatist, in which she is accused of killing her children because they cannot be found, and her self-de-

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fense, that it would have been a mistake to omit to kill Jason as well if she had in fact killed the children, suggests that she might have sent them away before bring- ing about the death of Creon's daughter, Jason's new wife. There is no extant evidence to suggest that she chose Eleusis as their sanctuary, but it would be an appropriate place for the purpose, since it is in Attica and near to Athens where she herself will find asylum with Aigeus, as we are reminded by the presence of Athena on the Princeton vase. It would also give the children the protection not only of a particularly holy spot but also of the Dioskouri and of Herakles, a protector par excel- lence, who may well have been sent there under divine instruction for this purpose, as the presence of Iris might indicate. Medea looks to be explaining the situation to the slightly puzzled paidagogos; if her look is rather worried, it is nonetheless comparatively tranquil, as if she wishes to do the right thing for her children and se- cure for them all the religious support that can be had. There is, in the Medea of Euripides, at least a hint of her interest in the children, since she says (lines I378 if.) that she will transport their dead bodies to the temple of Hera and establish a solemn festival at Corinth with appropriate rites in their honor.

Our krater may possibly illustrate a further variant on the children theme, perhaps inspired by the lost drama of Carcinus or by some other fourth-century tragedy, of which no trace now remains, in which the children did not meet their death at Corinth but were spirited away by their mother to some place of safety, in this instance Eleusis, chosen both for its sanctity and for the reason that it was on the way to Athens.

This is perhaps the most plausible explanation of an extremely puzzling scene for which no extant literary source can provide any convincing explanation. We should not, however, overlook the possibility that the scene may represent an episode, otherwise unknown to us, from Medea's second flight, following her banish- ment from Athens by Aigeus for attempting to bring about the death of Theseus. The later adventures of Medea might conceivably have formed the subject of some lost fourth-century drama; in this context she could have stopped at Eleusis for purification on her way to

Colchis, and of the two children, the older might be the one who, according to some mythographers,16 escaped her vengeance at Corinth, and the other might be her son (Medus) by Aigeus. Medea might then be telling the paidagogos of the future destiny of the two children so that he can relate it to Aigeus after she had left Greece.

If the interpretation of the scene on the obverse of the Princeton krater presents peculiar difficulties, its attri- bution to the hand of the Darius Painter is hardly open to doubt, since both sides admirably illustrate the char- acteristic style of that artist,17 as well as his typical manner of drawing the hair, the face, and the drapery. Many close parallels to most of the individual figures can be found on the vases of the painter's mature period and, in particular, on the Rhodope calyx krater in Ba- sel,18 on which Rhodope (fig. io a) makes a good coun- terpart to our Medea, and the two representations of Herakles (fig. io b) are very alike, except that on the vase both figures are looking in the opposite direction. The maenads on the two reverses also correspond closely, especially the two who bend forward in front of the seated figure of Dionysos, a group repeated on the neck of the reverse of the Amphiaraos krater (RVAp z, no. I8/4I, pl. I77,2), as well as on several other of the painter's vases (e.g., Berlin I968.12). The filmy drapery that reveals the outlines of the body beneath it, the long overfalls, the fine fold lines, and the use of a dot-stripe pattern are also typical, as is the transverse black line that runs down the drapery between the breasts, as on the maenad with the torch on the reverse (see RVAp 2, p. 488). The faces also are very much in the Darian manner, often shown in three-quarter view with finely modeled features and hair rendered by a mass of tight curls in low relief. The paidagogos is a recurring character on those vases by the Darius Painter with scenes of dramatic in- spiration (e.g., British Museum F z79, RVAp, pl. I73,1; Naples 3z55, RVAp 2, no. 8 /4z; Naples 1769, RVAp z, no. I8/48; Berlin I968.12, RVAp 2z, no. i8/66), and the one here also finds a close parallel in the old satyr on the Sotheby dinos (RVAp, Suppl. i, p. 79, no. I8/7IA, pl. 14,1).

It seems hardly necessary to extend the parallels further since a glance at plates I73-I80 in RVAp I and

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Figure io a. Detail of Rhodope on the calyx krater in the Antikenmuseum, Basel

Figure io b. Detail of Herakles on the calyx krater, Basel

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plates 11-I4 in Suppl. i, or those in Der Dareiosmaler, will reveal numerous correspondences with both the figures and the ornamental patterns on the Princeton krater. The vase is typical of the artist's work at the period of his maturity and should be dated to the latter part of the third quarter of the fourth century B.C.

Notes

i. I am deeply grateful to Frances Follin Jones, curator of collections and of classical art, for kindly inviting me to pub- lish the Medea krater and for sending me the excellent photo- graphs of it reproduced here; also to Dr. Margot Schmidt of Basel and Dr. Ian McPhee of La Trobe University for their help in the interpretation of the Medea scene on the vase.

For Apulian vase painting in general see A. D. Trendall and Alexander Cambitoglou, the Red-figured Vases of Apulia, 2 vols. (Oxford, I978 and I982), and Supplement i (London, 1983, Institute of Classical Studies, Bulletin, Supplement 42), hereafter cited as RVAp i and Suppl. i; the Darius Painter is dealt with in detail in vol. z (RVAp z), pp. 482-522 (with bibliography on pp. 482-3) and in Suppl. I, pp. 73-80, where the Princeton krater is mentioned on p. 74 and listed on p. 78 as no. I8 /4iA, pl. i2. On the Darius Painter see also: Anna Roc- co, "II vaso dei Persiani," in Archeologia Classica 5, Rome, I953, PP. 170-186, with good illustrations on pls. 76-90o of his vases in Naples, especially of the Darius krater itself on pls. 76-80; Margot Schmidt, Der Dareiosmaler und sein Umkreis (Miinster, I960); M. Schmidt, A. D. Trendall, and A. Cambitoglou, Eine Gruppe apulischer Grabvasen, hereafter cited as Ap. Grabvasen (Basel, 1976), especially pp. 94-108; and The Art of South Italy: Vases from Magna Graecia (Richmond, I982).

For Eleusis and the Mysteries see, in particular, G. E. My- lonas, Eleusis and the Eleusinian Mysteries (Princeton, I96I) and C. Kerenyi, Eleusis (London, I967), both with extensive bibliographies; also the article by Mylonas on Eleusis in The Princeton Encyclopedia of Classical Sites (Princeton, I976), pp. 296-8, and, for a useful corpus of illustrations, Ugo Bi- anchi, The Greek Mysteries (Iconography of Religions, xviin, 3; Leiden, I976), figs. 1-52. Representations of Eleusis on later Attic vase painting are dealt with by H. Metzger in Les representations dans la ceramique attique du IVe Siecle (Paris, I951), Chapter 6.

z. See RVAp 2, pp. 484, 492-5; Suppl. I, pp. 74 if. 3. See T. B. L. Webster, Art and Literature in Fourth Cen-

tury Athens (London, I956), pp. 62-7. 4. Richter and Milne, Shapes and Names of Greek Vases

(New York, I935), p. 7. 5. On the technique of manufacture, see J. V. Noble in The

Art of South Italy: Vases from Magna Graecia, pp. 37 ff., and Hans Lohmann in Jahrbuch des deutschen Archiologischen Instituts 97, i982, pp. 191 ff., where vases with separate feet are discussed on pp. 195-206.

6. Cf. the tablets beside the seated Demeter on the fourth- century Attic bell krater in the British museum (F 68), which represents Herakles and the Dioskouroi at Eleusis (Mylonas, Eleusis, fig. 8i; Kerenyi, Eleusis, pp. 156-7, fig. 45; Metzger, Les representations dans la ceramique attique, pl. 33,3; Bi- anchi, The Greek Mysteries, fig. 33); cf. also the figured me- topes on the bases of the naiskoi (little shrines) on the two loutrophoroi (urns) on the London market, RVAp, Suppl. i, nos. I8/I6D and E, pl. x, 3-4.

7. A very similar pose may be seen with Rhodope on the Basel calyx krater (s 34; Ap. Grabvasen, pl. 23A) and the woman in the center of the lower level on the obverse of the calyx krater on the Geneva market (RVAp, Suppl. i, pl. XIIIA).

8. See Chamay and Cambitoglou, Antike Kunst 23, I980, pp. 40-43, where a list is given of paidagogoi on South Italian vases, to which Richmond 81.55 RVAp, Suppl. i, p. 83, no. 28IB; Vases from Magna Graecia, no. 5I, p. I33 should now be added.

9. On this form of drapery see, in particular, Evelyn Harri- son, "The Shoulder-Cord of Themis," inFestschriftBrommer (Mainz, I977), pp. I5I-I6I.

io. E.g., R VAp z, p. 501, nos. 64, 64A, 65, 66; RVAp, Suppl. i, pp. 78-9, nos. 64B-C.

ii. Mylonas, Eleusis, p. 213, where note 70 refers to the appropriate illustrations on vases; Kerenyi, Dionysos (Prince- ton, 1976), pp. 278-9, with illustrations of relevant vases in his Eleusis, figs. 46,,48-54.

I2. On the so-called "xylophone," which is almost certainly some sort of musical instrument, if not the platage (rattle) of Archytas, see RVAp i, pp. 3I5-I6, 404; G. Schneider-Herr- mann in Festoen (Festschrift Zadoks-Jitta) (I976), pp. 517-526 and in Bulletin van de Antike Beschaving 52-3 (I977-8), pp. 265-7; Eva Keuls, American Journal of Archaeology 83 (I979), pp. 476-77. On the iynx see A. B. Cook, Zeus i (Cambridge, I914), pp. 253-265, and A. S. F. Gow, Journal of Hellenic Studies 54 (I934), pp. i f.



13. It should be noted that the only fountain house at Eleu- sis of which any substantial traces remain is of Roman imper- ial date; see Mylonas, Eleusis, p. i66, and Franz Glaser, An- tike Brunnenbauten in Griechenland (Vienna, I983), pp. I05 f., with bibliography.

I4. Munich 3296; R VAp 2, p. 533, no. 283, pl. I95; for the subject matter see A. D. Trendall and T. B. L. Webster, Il- lustrations of Greek Drama (London, I97I), III. 5,4, and Web- ster, Art and Literature, p. 66; see also the section "Euripides's Medea in Art" in the introduction to Page's edition of the Me- dea (Oxford, I938), pp. LVII-LXVIII and L. Sechan, Etudes sur la tragedie grecque (Paris, I926), pp. 396-4z2.

15. Scholiast on Euripides, Medea z64; see also Apollo- dorus 1.9.z8.3.

i6. Diodorus Siculus IV.54 tells of the escape of Thessalus, but adds that he was brought up by the Corinthians.

I7. His style is discussed in detail by Margot Schmidt in Der Dareiosmaler, pp. I8 if.; see also Ap. Grabvasen, p. 96 and RVAp 2, pp. 483 ff.

I8. Basel s 34; RVAp 2, p. 501, no. 64; Ap. Grabvasen, pls. 23-z6.

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