[102.] For the history of dialogue in Greek epigrams and examples of stones speaking with the passer-by and for sepulchral symbolism as in the Pelagon epigram cf., D. M. Robinson, “Two Epitaphs from Sardis,” in Anatolian Studies presented to Sir William Mitchell Ramsay, Manchester, 1923, pp. 341-353.
[103.] For a bronze in the British Museum supposed to represent the reclining Sappho cf. Walters, Cat. of Bronzes, London, 1899, 203.
[104.] Pollux, IX. 84.
[105.] Cf. Bernoulli, Griechische Ikonographie, pp. 59-72; Cat. of Coins in the Brit. Mus., Lesbos, pl. XXXIX; Miss Patrick, pp. 73, 81; Jacoby, Marmor Parium, p. 101; Forrer, Les Portraits de Sappho sur les monnaies, in Revue Belge de numismatique, 1901, pp. 413 ff.; Zeitschrift für Numismatik, IX. 114, pl. IV.
[106.] Meisterwerke, p. 103.
[107.] Greek Hero Cults and Ideas of Immortality, Oxford, 1921, p. 367.
[108.] Walters, Cat. of Terra-cottas in the British Museum, London, 1903, pl. 19.
[109.] The ancient representations of Sappho on vases have been well studied by Jahn, Darstellungen griechischer Dichter auf Vasenbildern, Abh. d. Sächs. Ges. d. Wiss., VIII. 699 ff. (1861); Comparetti, Museo Italiano di Antichita classica, II, 41-80, pls. III-VI (1888); Cipollini, pp. 319-344; Wilamowitz, Sappho und Simonides, pp. 40 ff. Little new material has come to light, but the individual vases have been better interpreted in the later publications which we cite in other notes. Aly omits the busts, though he mentions the vases, but he calls the Steinhauser fragment a clay relief and fails to recognize that it is part of a vase.
[110.] Cf. Jahn, pl. III; Comparetti, op. cit., pl. IV; Furtwängler-Reichhold, Gr. Vas., II, pp. 21 ff., 308 ff., pl. 64; Steiner, Sappho, pp. 54-5; Perrot et Chipiez, Histoire de l’art, X, p. 624, pl. 15; Beazley, J. H. S., XLII, 1922, p. 91; Pfuhl, Malerei und Zeichnung der Griechen, Munich, 1923, p. 399; Hoppin, Handbook of Attic Red-figured Vases, I, p. 461. Hoppin wrongly rejects Furtwängler’s attribution to the factory of Brygus; and wrongly identifies Hauser’s “Frau Meisterin” with Beazley’s Niobid Painter. Perrot (p. 626) says that the Munich vase belongs to a contemporary of Duris but that we shall never know the painter; but on p. 634 he says: “we would be tempted to add the vase to the Berlin amphora painter.”