Humour in greek vase-painting

Revue Archeologique

Volumn 37, Issue 1, 2004, Pages 3-32

  Mitchell, Alexandre G ^a  

^a Ashmolean Museum ^*  (United Kingdom)

Author keywords

6th 5th century B. C.; Caricature; Greece; Greek world; Humour; Iconography; Painting; Parody; Pun; Ridicule; Vase

Indexed keywords

EID: 61949365518     PISSN: 00350737     EISSN: None     Source Type: Journal    
DOI: 10.3917/arch.041.0003     Document Type: Article

References (278)

1. Semos of Delos cited by Ath., 14 . 614 a-b= FGr. Hist., III 396 F10.
2. See P. Bruneau, Recherches sur les cultes de Délos à l'époque hellénistique et à l'époque impériale, BEFAR, 217, 1970, p. 209, n. 4.
3. See also Hdt., 3 . 37: "And he [Cambyses] entered the temple of Hephaistos [in Egypt] and burst into laughter in front of the statue".
4. On humour in Herodotus, see D. Lateiner, No laughing matter, TAPA, 107, 1977, p. 173-182.
5. I use the word "humour" in its modern accepted meaning, as a comprehensive word, for all that is ludicrous or amusing. The mechanisms of humour in representations were studied at length in my doctoral dissertation, Comic pictures in Greek vase-painting, Humour in the Polis and the Dionysian World, in the Sixth and the Fifth Centuries B. C. (Oxford, D. Phil. Trinity Term 2002). I would like to thank Prof. J. Boardman for having read this paper and offered many suggestions for its improvement.
6. E.g. A. Bélis, L'Aulète et le jeu de l'oie, BCH, 116, 1992/2, p. 497-500;
7. C. Picard, Humour chypriote, RA, 1964, p. 58-60;
8. A. Brownlee, A black-figure parody of the ransom of Hector, RA, 1989, p. 3-21;
9. H. Büsing, Das "attische Saltz", Humor auf Vasenbilder, AW, 24, 1993, p. 335-346;
10. rd Symposium on Ancient Greek and related Pottery, Copenhagen, 1988, p. 300-313.
11. See O. Taplin, "Paratragedy in Comedy and in comic vase-paintings", in E. Pöhlmann, W. Gauer eds. (Griechische Klassik Blaubeuren, 75), Nuremberg, 1993, p. 111.
12. See also S. Halliwell, The uses of Laughter in Greek culture, CQ, 41, 1991, p. 280.
13. Arist. Rhet., 3 . 11.
14. See also Tractatus Coislinianus, 6 . 5 (ed. R. Janko, Aristotle on Comedy, London, 1984, p. 36): humour arises "from things contrary to expectation".
15. S. Freud, Der Witz und seine Beziehung zum Unbewussten, Frankfurt / Main, 1978.
16. 2, 1700 (Copyright Museum, Iutta TietzGlagow).
17. See also Attic black-figure kantharos, Thebes, Arch. Mus., 6051, ABV, 30 . 8;
18. CVA, Greece, 6
19. Thebes, Archaeological Museum, 1, pl. 5 . 3.
20. 2, 88 . 1, 1625 (Copyright courtesy of the British Museum).
21. For an earlier use of the sphinx as a decorative corner-figure, see a Tyrrhenian neck-amphora in Paris, Louvre, E862, ABV, 102 . 94.
22. E.g. Munich, Antikensammlungen, 2585
23. 2, 48 . 158;
24. K. Vierneisel, B. Kaeser eds., Kunst der Schale, Kultur des Trinkens, Munich, 1990, p. 413, fig. 74 . 5.
25. E.g. a seventh century B. C. Ionian multiple eye bowl from Naucratis showing two pairs of eyes: London, B. M., 1888 . 6-1 . 392;
26. J. Boardman, Early Greek Vase Painting, London, 1998, fig. 283.
27. D. A. Jackson, East Greek Influence, London, 1976, p. 68.
28. See J. Boardman, The history of Greek vases, London, 2000, p. 240.
29. M. Eisman, Are Eyes apotropaic? AJA, 76, 1972, p. 210.
30. J. Boehlau, Die Ionische Augenschalen, AM, 25, 1900, p. 76: "ein Auge genügt für diesen Zweck".
31. J. Boardman, The history of Greek vases, p. 277.
32. After A. Rumpf, Chalkidische Vasen, Berlin, 1927, pl. 178, cat. 244.
33. 2, 41 . 31, 55 . 11;
34. K. Vierneisel [see n. 11], p. 419, fig. 75 . 5 a-b.
35. After A. Rumpf, Chalkidische Vasen, p. 37, cat. 260, pl. 186.
36. D. Martens, Une esthétique de la transgression, Le vase grec de la fin de l'époque géométrique au début de l'époque classique, Brussels, 1992, p. 316.
37. See cup, Boston, M. F. A., 99 . 518;
38. K. Vierneisel [seen. 11] p. 210, fig. 34 . 1.
39. 2, 43 . 55, 56 . 23;
40. E. Keuls, The Reign of the Phallus: Sexual Politics in Ancient Athens, Berkeley, 1993, p. 80, fig. 65.
41. ABV, 436 . 2, 445 . 11 (Copyright of the Phoebe Apperson Hearst Museum of Anthropology and the Regents of the University of California).
42. F. Lissarrague, The Aesthetics of the Greek Banquet, Princeton, 1990, p. 142.
43. The large eye motif is corrupted in many ways by painters: it becomes the body of sirens as for example on a neck-amphora in London B. M., B215, ABV, 286 . 1;
44. LIMC, VII, pl. 9, s.v. "Thetis" 12.
45. For an "eye-ram", see a cup in Rome Antiquarium Communale, 17417;
46. M. Steinhart, Das Motiv des Auges in der griechischen Bildkunst, Mainz, 1995, pl. 5 . 1.
47. 2, 77 . 91;
48. F. Lissarrague, De la sexualité des satyres, Metis, 2, 1987, fig. 6.
49. 2 , 581 . 4 (Museum photo, Copyright Jutta Tietz-Glagow).
50. 2, 537 . 12;
51. E. Govi, Le ceramiche attiche a vernice nera di Bologna, Bologna, 1999, p. 41, fig. 13.
52. Boardman, ARFH, I, 30.
53. 2, 26 . 1, 1620;
54. Soph., Trach., 1089;
55. Hyg., Fab., 30;
56. Quint. Smyrn., 6 . 220.
57. Diod. Sic, 4 . 12 . 2;
58. Apollod., Bibl., 1 . 187.
59. 2, 1599 . 18, 62 . 83;
60. CVA, France, 17
61. Paris, Musée du Louvre, 10, pl. 6 . 1.
62. Tractatus Coislinianus, VI, 5-6 (ed. R. Janko, Aristotle on Comedy, p. 36).
63. See also D. F. Sutton, The Catharsis of Comedy, London, 1994, p. 7-16.
64. Eur., Heracl., 700.
65. See Eur., Hip., 787
66. Or., 926.
67. Eur., Heracl., 832, 836.
68. H. Bergson, Le Rire : essai sur la signification du comique, Paris, 1900, chap. 2 . 2: "Inversion".
69. For another mythological coward (apart from satyrs), see Peleus taking shelter up a tree surrounded by wild beasts on two black-figure vases: oinochoe, New York, M. M. A., 46 . 11 . 7
70. ABV, 434 . 3;
71. Boardman, ABFH, fig. 230.
72. Neck-amphora, Rome, Villa Giulia, 24247;
73. CVA, Rome, Villa Giulia, 1, pl. 9 . 3-5.
74. See M. J. Milne, Peleus and Akastos, Bull. Metrop. Mus., 5, 1946-47, p. 255-260.
75. The Return of Hephaistos drunk to Olympus is also a typical comic archetype. So is Hermes infant, who, having stolen Apollo's cattle and hidden it in a cave, pretends to sleep while Apollo and Maia gesture in anger above his liknon on a Caeretan hydria in Paris, Louvre, E702;
76. J. M. Hemelrijk, Caeretan Hydriae, Mainz, 1984, p. 10-12, fig. 4, pl. 29-30.
77. 2 , 369 .6, 1649;
78. T. Carpenter, Art and Myth in Ancient Greece, London, 1991, fig. 106.
79. ABV, 375 . 218;
80. from Perrot, 10, p. 210-211.
81. S. B. Luce, Studies of the exploits of Herakles on vases, AJA, 28, 1924, p. 313.
82. 8 a, drawing A. G. Mitchell; 8 b, Museum Copyright.
83. See a lekythos from the New York market (in the Beazley Archive Database, no. 28056).
84. See also a pelike in Malibu, Getty Mus., 86.AE.476;
85. J. Padgett, "The Workshop of the Syleus Sequence: A Wider Circle", in J. H. Oakley et al. eds., Athenian Potters and Painters, Oxford, 1997, p. 222, fig. 11-12.
86. 2, 917 . 205;
87. CVA, Berlin, 3, pl. 137 . 6, 138.
88. 2, 624 . 88.
89. Courtesy of the museum, photo Claire Niggli.
90. According to Andoc., 3 .5, this police force would have been instituted ca 446/5. For an earlier date (ca. 470) see V. J. Hunter, Policing Athens, Princeton, 1994, p. 145-149.
91. Hieron. Rhod., ap. Ath., 499 f.
92. 2, 209 .167 (J. D. Beazley drawing, courtesy of the Beazley Archive).
93. See L. Hannestad, "Slaves and the fountain house theme", in Ancient Greek and Related Pottery, 1984, p. 252-255.
94. See the inscription on a black-figure pelike, Vatican City, Mus. Vat., 413;
95. F. Lissarrague, "Graphein: Écrire et dessiner", in De l'Antiquité à Paul Klee, L'image en Jeu, Paris, 1990, p. 201-202, fig. 13-14: "already it is full it is overflowing".
96. R. Olmos, L.-J. Balmaseda, El tema de "Las Muchachas en la fuente" en unas hidrias aticas del museo arqueologico nacional, AEA, 50-51, 1977-1978, p. 25.
97. Arch. Mus., 6151, ABL, 108;
98. CVA, Thebes, Archaeological Museum, 1, 69-79, pl. 62 . 3, 63 . 4.
99. Ar. Thesm., 393.
100. See also Ar., Lys., 627: "those gossiping women".
101. L. Taafee, Aristophanes & Women, London, 1993, p. 90.
102. I. Manfrini-Aragno, "Femmes à la fontaine, réalité et imaginaire", in L'image en jeu, Lausanne, 1992, p. 127-148.
103. See also E. Diehl, Die Hydria, Berlin, 1964, p. 131, p. 230-231.
104. E.g. black-figure hydria, Brussels, M. R. A. H., R346;
105. CVA, Bruxelles, Musées Royaux d'Art et d'Histoire, 2, pl. 16 . 1.
106. 2, 210 . 174;
107. B. Knittlmayer, Die Attische Demokratie und ihre Helden, Heidelberg, 1997, pl. 19 . 1.
108. Louvre, CP10651 (in the Beazley Archive Database, no. 12421).
109. B. M., 1899 . 7-21 . 4
110. 2, 297 . 15, 296, 1643;
111. LIMC, VII, pl. 346, s.v. "Polyxene" 15.
112. 2, 1335 . 34, 1690;
113. Boardman, ARFH, II, fig. 321 . I have followed this line of reasoning for almost every caricature found on many kantharoi from the Kabirion sanctuary, near Thebes, which, through the use of caricature, parody mythology and everyday life situations.
114. 2, 813 . 96 (Copyright Museum).
115. 2, 808, 811 . 37;
116. A. De Ridder, Catalogue des vases peints de la Bibliothèque nationale, Paris, 1902, p. 471, fig. 110.
117. See also cup, Berkeley, Univ., 8 . 922
118. 2, 808, 811 . 38;
119. CVA, University of California, 1, pl. 26.
120. V. Dasen [see n. 60] p. 222-223.
121. See A. Greifenhagen, Griechische Eroten, Berlin, 1957;
122. H. A. Shapiro, "Eros in Love: Pederasty and Pornography in Greece", in Pornography and representation in Greece and Rome, 1992, p. 53-72.
123. 2, 1134 . 11 (drawing A. G. Mitchell).
124. See Philostr., Gymn., 57.
125. See for example a rhyton in St Petersburg, Hermitage, 679
126. 2, 382 . 188, 1649;
127. R. Garland, The Eye of the Beholder, Deformity and Disability in the Graeco-Roman World, London, 1995, p. 88-89.
128. 2, 323 . 56, 1604;
129. 2, 14 . 2, 1584, 1619;
130. J. D. Beazley, Attic vase-paintings in the Museum of Fine Arts, 2, Boston, 1954, p. 25.
131. 2, 916 . 183;
132. D. Metzler, Porträt und Gesellschaft, Berlin, 1971, p. 94-95, fig. 7.
133. Copyright Museum. F. Lissarrague, "Aesop, between man and beast: ancient portraits and illustrations", in B. Cohen ed., Not the classical ideal, Boston, 2000, fig. 5 . 2.
134. For a different view, using the principles of physiognomy, see V. Zinserling, Physiognomische Studien in der spätarchaischen und klassischen Vasenmalerei, WZ Rostock, 16, 1967, p. 571-575.
135. P. Zanker [see n. 72] p. 32-39.
136. Sophists called themselves frontistai, "thinkers".
137. Ar., Nub., 102-103.
138. Ar., Nub., 334.
139. Ar., Nub., 837.
140. Pl., Phdr., 64 d, 65 a.
141. See K. J. Dover, "Classical Greek Attitudes to Sexual Behaviour", in A. K. Siems ed., Sexualität und Erotik in der Antike, Darmstadt, 1988, p. 279.
142. See Ar., Nub., 146-147, in which a flea jumps from Khairephon's head to Socrates' which implies that both are flea-ridden and dirty.
143. After B. Graef, E. Langlotz, Die antiken Vasen von der Akropolis zu Athen, 2, Berlin, 1933, pl. 83, no. 1073.
144. 2, 174 . 22;
145. E. Vermeule, Some erotica in Boston, Ant Kunst 12, 1969, p. 14, fig. 14.
146. A man with a cloak over his shoulders, wreath and a staff, bends forward, having defecated, and cleans himself with a stone. See Ar., Pax, 1228-1239.
147. See also a cup fr., Athens, Nat. Mus.; E. Keuls [seen. 30] p. 311, fig. 16.
148. 2, 1058 . 117 (drawing A. G. Mitchell).
149. 2, 202 . 73;
150. LIMC, V, pl. 485, s.v. "Iris" I 19.
151. 2, 1173 . 3;
152. after A. Furtwängler, K. Reichhold, Griechische Vasenmalerei, Munich, 1904-32, III, 307, fig. 147.
153. Compare also Achilles tending Patroklos on a cup in Berlin with the great hero Diomedes in full gear having his forefinger tended by Sthenelos on a Chalcidian amphora. In Hom., Il., 5 . 111-113
154. 2, 21 . 1, 1620;
155. Chalcidian amphora (ex-Pembroke and Hope); M. Grmek, D. Gourevitch, Les maladies dans l'art antique, Paris, 1998, fig. 36, p. 71: "un détail amusant".
156. Except in a recent article F. Lissarrague, "Satyres, sérieux s'abstenir", in M.-L. Desclos ed., Le rire des Grecs, Paris, 2000, p. 109-122.
157. Eur., Cycl., 635-648.
158. Even in Gigantomachies in which satyrs appear as Dionysos' allies.
159. "Beasts": 147, 153;
160. "apes/monkeys": 128.
161. B. M., W40, ABV, 384 . 20;
162. E. Keuls [see n. 22] fig. 319-320.
163. 2, 178;
164. CVA, Genève, Musée d'Art et d'Hist., 1, pl. 9 . 2.
165. E.g. J.-M. Moret, Œdipe, La Sphinx et les Thébains, Rome, 1984, p. 140, n. 5;
166. F. Lissarrague [see n. 89] p. 112, 117-118.
167. R. Green, E. Handley, Images of the Greek theatre, London, 1995, p. 23.
168. O. Jahn, Perseus, Herakles, Satyrn und Vasenbildern das Satyrdrama, Philologus, 27, 1868, p. 1-27;
169. L. Campo, I Drammi satireschi della Grecia antica, Milano, 1940;
170. E. Buschor, Satyrtänze und Frühes Drama, Munich, 1943;
171. F. Brommer, Satyrspiele, Berlin, 1959;
172. M. Bieber, The History of the Greek and Roman Theater, Princeton, 1961;
173. T. B. L. Webster, Monuments illustrating Tragedy and Satyr Play, BICS, Suppl. 20, 1967;
174. D. F. Sutton, The Greek Satyr Play, Meisenheim Glan, 1980;
175. D. F. Sutton, A handlist to the fragments of the Greek Satyr Play, Anc. W, 3, 1981, p. 115-130;
176. E. Simon, "Satyr-plays on Vases in the time of Aeschylus", in D. C. Kurtz, K. Sparkes eds., The eye of Greece, Oxford, 1982, p. 123-148;
177. D. F. Sutton, "Scenes from the Greek Satyr Plays illustrated in Greek vase-painting", Anc. W, 9, 1984, p. 119-126;
178. B. Seidensticker ed., Satyrspiele, Darmstadt, 1989;
179. B. Seidensticker et al. eds., Das griechische Satyrspiel, Darmstadt, 1999.
180. 2, 475 . 267;
181. N. Kunisch, Makron, Mainz, 1997, p. 33, fig. 70, pl. 163 . 507.
182. 2, 1180 . 3;
183. CVA, Bonn, Akademisches Kunstmuseum, 1, pl. 32 . 11-13.
184. 2, 1180 . 2;
185. 2, 571 . 75;
186. LIMC, VIII, pl. 770, s.v. "Silenoi" 153.
187. 2, 1336 . 1, 1704;
188. M. Bieber [see n. 97] fig. 32.
189. 2, 1104 . 6;
190. Ashm. Mus., 1965 . 105, ABV, 525 . 11 (in the Beazley Archive Database, no. 330778).
191. In Greek, kleptein meant "to steal" and "to rape", two activities favoured by satyrs. Cf. J. Henderson, The Maculate Muse, New Haven, 1975, p. 156, S 232.
192. J. D. Beazley, Herakles Derubato, Apollo (Salerno) 3-4, 1963-1964, p. 3-14.
193. See also S. Karouzou, Herakles satyrikos, BCH, 60, 1936, p. 152-157;
194. I. McPhee, An Apulian Oinochoe and the Robbery of Herakles, Ant Kunst, 22, 1979, p. 38-42;
195. F. Lissarrague, "Herakles et les satyres", in Les Vases à mémoire, exposition de céramique grecque dans le Midi de la France, 1988, p. 142-143.
196. 2, 1699;
197. B. Seidensticker et al. eds., Das griechische Satyrspiel, Darmstadt, 1999, pl. 7.
198. Psykter in Brussels, M. R. A. H., A1312;
199. CVA, Bruxelles, Musées Royaux d'Art et d'Histoire 3, pl. 27 . 4.
200. 2, 188 . 67;
201. F. Frontisi-Ducroux, Du masque au visage, Aspects de l'identité en Grèce ancienne, Paris, 1995, pl. 25.
202. 2, 623 . 72;
203. 2, 1270 . 15 (in the Beazley Archive Database, no. 217224).
204. See F. Lissarrague, "Un peintre de Dionysos: le peintre de Kléophradès", in F. Berti, C. Gaspard eds., Dionysos, mito e mistero, Bologna, 1989 p. 264.
205. 2, 1186 . 30, 1685 (in the Beazley Archive Database, no. 215719).
206. 2, 591 . 20;
207. T. Carpenter, Dionysian Imagery in Fifth-Century Athens, Oxford, 1997, pl. 14 a;
208. F. Brommer, Hephaistos, Der Schmiedegöt in der Antiken Kunst, Mainz Rhein, 1978, pl. 3 . 1.
209. Walking instead of riding the mule is an artistic variant of the scene, not a proof of theatrical inspiration as suggested by F. Brommer [see n. 106] p. 12-16.
210. 2, 630 . 2;
211. F. Brommer [see n. 106] pl. 2 . 2.
212. 2, 186 . 47;
213. F. Brommer [see n. 106] pl. 7 . 1.
214. 2, 221 . 14 (Museum copyright).
215. E. Simon [see n. 97] p. 130.
216. M. F. Vos, "Aulodic and Auletic contests", in Enthousiamos, Festschrift für M. J. Hemelrijk, Amsterdam, 1986, p. 121.
217. 2, 279 . 7;
218. J. D. Beazley, Attic red figured vases in American museums, 1967, 58, fig. 37.
219. M. F. Vos, CVA, Leiden, Rijksmuseum van Oudheden, 1, 1983, 20-21;
220. see also E. J. Dingwall, Male infibulation, London, 1925.
221. 2, 262 . 37 (drawing A. G. Mitchell).
222. 2, 272 . 7;
223. after E. Pottier, Vases antiques du Louvre, Paris, 1897-1922, pl. 130.
224. Early Augustan copy of a statue ca. 320 B. C., Naples, Mus. naz.; P. Zanker [see n. 72] p. 46, fig. 26.
225. Aeschin., In Tim., 25.
226. Dem., De Cor., 129.
227. P. Zanker [see n. 72] p. 45.
228. P. Zanker [see n. 72] p. 49.
229. Mus. für Vor- und Frühgeschichte, B411, Para, 352;
230. CVA, Frankfurt Am Main, 2, pl. 74 . 1.
231. See a black-figure cup in Orvietto, Mus. Civ., Coll. Faina, 2606;
232. CVA, Orvietto Faina, 1, pl. 21 . 1-3, 26 .4.
233. Cup in Vienna, Kunsthistorisches Mus., 152;
234. CVA, Wien, Kunsthistorisches Museum, 1, pl. 22 . 1-2.
235. Neck-amphora in London, B. M., E335;
236. CVA, London, British Museum, 5, III. Ic . 9, pl. 65 . 1 a-b.
237. B. M., E532;
238. F. A. Beck, Album of Greek education, Sydney, 1975, pl. 17 . 89.
239. H. A. Shapiro [see n. 63], p. 58.
240. 2, 531 . 33 (drawing A. G. Mitchell).
241. 2, 531 . 34 (in the Beazley Archive Database, no. 206010).
242. 2, 183 . 7;
243. CVA, Leiden, Rijksmuseum van Oudheden, 1, pl. 122 . 1-2.
244. 2, 677 . 10;
245. 2, 1668;
246. LIMC, VII, pl. 300, s.v. "Perseus" 163].
247. Compare the old and bent satyr pulled towards a cauldron by a maenad on a bell-krater in Ancona [Mus. Arch. Naz., 3198;
248. E. Simon [see n. 97], pl. 35 b] to Pelias about to be murdered by Medea on a cup in the Vatican City [Mus. Vat., 16538;
249. M. Schmidt, "Medea at work", in G. Tsetskhladze et. al. eds., Periplous, London, 2000, p. 267, fig. 3].
250. 2, 524 . 28;
251. G. Hafner, Jason, Frauen angenehm, RdA, Suppl. 16, Rome, 1995, pl. 17]
252. 2, 524 . 27;
253. B. Seidensticker et al. eds., Das griechische Satyrspiel, Darmstadt, 1999, pl. 12 b].
254. Compare lekythos showing a satyr pulling a youth from a cave to three seated goddesses [Tübingen, Eberhard-Karls-Univ., Arch. Inst., D68, ABL, 117 . 229;
255. CVA, Tübingen, 3, pl. 47 . 1-4]
256. to a neck-amphora frr. in Copenhagen [Nat. Mus., 13440, ABV, 86 . 13;
257. LIMC, VIII, pl. 106, s.v. "Paridis iudicium" 7]. Compare the Theban papposilenoi seated in front of the sphinx on a stamnos in Würzburg [Univ., Martin von Wagner Mus., ZA20, on loan from Tokyo, coll. Fujita;
258. LIMC, VIII, pl. 771, s.v. "Silenoi" 160] to the usual scene on a hydria in Basel, Antikenmus. und Sammlung Ludwig, BS411;
259. CVA, Basel, Antikenmuseum und Sammlung Ludwig, 1, pl. 48 . 1-3.
260. 2, 250 . 14, 254;
261. CVA, Paris, Musée du Louvre, 6, III. Ic . 34-35, pl. 44 . 1, 45 . 2-3 . 8.
262. 2, 654 . 13, 1572, 1664;
263. after L. Caskey, J. D. Beazley, Attic Vase Paintings in the Museum of Fine Arts, Boston, 1931-63, II, pl. 45, 85, p. 38.
264. Poll., Onomast., 9 . 119.
265. 2, 287 . 24 ;
266. Ant. Kunst, 37, 1994, p. 1, pl. 11 . 4.
267. ABV, 392 .10 (Museum copyright).
268. Univ. Martin von Wagner Mus., 218, ABV, 316 . 2 (in the Beazley Archive Database, no. 301643).
269. 2, 189 . 74, 1632;
270. LIMC, VIII, pl. 401-402, s.v. "Ilioupersis" 11.
271. Krannert Art Mus., 70 . 8 . 4;
272. CVA, UrbanaChampaign, Krannert Art Museum, pl. 22;
273. LIMC, V, pl. 288, s.v. "Hesperides" 7.
274. As in literature: see Apollod., 1 . 3 . 51; 2 . 5 . 10-11 ;
275. Paus. 2 . 13 . 8; 5 . 18 . 4.
276. 2, 187 . 52, 206 . 130;
277. J. Paul Getty Museum Journal, 4, 1977, p. 64-69, fig. 1-12.
278. 2, 776 . 2 (Courtesy of the British Museum).