Representations of the Marriage of Zeus and Hera cannot be pointed to with certainty in vase-paintings. On B.F. vases we sometimes see a bridal pair in a chariot accompanied by various deities, or figures with the attributes of divinities[[51]]; but the chief figures are not in any way characterised as such, and it is better to regard these scenes as idealisations of ordinary marriage processions. On the other hand, there are undoubted representations of Zeus and Hera enthroned among the Olympian deities or partaking of a banquet.[[52]]
FIG. 113. THE BIRTH OF ATHENA (BRIT. MUS. B 244).
The story of the enchaining of Hera in a magic chair by Hephaistos, and her subsequent liberation by him, is alluded to on many vases, though one episode is more prominent than the others. Of the expulsion of Hephaistos from heaven we find no instance, and of the release of Hera there is only one doubtful example[[53]]; but we find a parody of the former’s combat with Ares, who forces him to liberate Hera.[[54]] The episode most frequent is that of the return of Hephaistos in a drunken condition to Olympos, conducted by Dionysos and a crowd of Satyrs; of this there are fine examples on vases of all periods.[[55]] On earlier vases Hephaistos rides a mule; on the later he generally stumbles along, leaning on Dionysos or a Satyr for support.
On the François vase we see Zeus and Hera, with an attendant train of deities, Nymphs, and Muses, going in a chariot to the nuptials of Peleus and Thetis; on many vases we have the reception of the deified Herakles among the gods of Olympos[[56]]; and on others groups of deities banqueting or without particular signification.[[57]] But on the late Apulian vases it is a frequent occurrence to find an upper row of deities as spectators of some event taking place just below: thus they watch battles of Greeks and Persians,[[58]] or such scenes as the contract between Pelops and Oinomaos,[[59]] the madness of Lykourgos,[[60]] the death of Hippolytos,[[61]] and others from heroic legend, which it is unnecessary to specify here; only a few typical ones can be mentioned.[[62]] They also appear as spectators of scenes in or relating to the nether-world.[[63]]
Zeus appears less frequently than some deities, and seldom alone; but still there are many myths connected with him, besides those already discussed. As a single figure he appears enthroned and attended by his eagle on a Cyrenaic cup in the Louvre[[64]]; or again in his chariot, hurling a thunderbolt[[65]]; in company with his brother-gods of the ocean and under-world, Poseidon and Hades, he is seen on a kylix by Xenokles.[[66]] He is also found with Athena,[[67]] with Hera, Apollo, Artemis, Aphrodite, and Hermes[[68]]; and frequently with Herakles at the latter’s reception into heaven.[[69]] In one instance he settles a dispute between Aphrodite and Persephone.[[70]] He receives libations from Nike,[[71]] or performs the ceremony himself, attended by Hera, Iris, and Nike,[[72]] and is also attended by Hebe and Ganymede as cupbearers.[[73]] His statue, especially that of Ζεὺς Ἑρκεῖος at Troy, sometimes gives local colour to a scene.[[74]]
Most of the scenes in which he appears relate to his various love adventures, among which the legends of Europa, Io, and Semele are the most conspicuous; but first of his numerous amours should perhaps be mentioned his wooing of his consort Hera. He carries her off while asleep from her nurse in Euboea,[[75]] and also appears to her in the form of a cuckoo.[[76]] The rape of Ganymede by his eagle appears once or twice on vases,[[77]] but more generally Zeus himself seizes the youth while he is engaged in bowling a hoop or otherwise at play.[[78]] On a fine late vase with Latin inscriptions Ganymede appears in Olympos,[[79]] and he is also depicted as a shepherd.[[80]]
Semele Zeus pursues and slays with the thunderbolt[[81]]; the birth of her son Dionysos from his thigh is represented but rarely on vases, and is liable to confusion with other subjects. This story falls into three episodes: (1) the reception of the infant by Hermes from Dirke, in order to be sewn into Zeus’ thigh[[82]]; (2) the actual birth scene[[83]]; (3) the handing over of the child to the Nymphs.[[84]] Of his visit to Alkmena there are no certain representations, but two comic scenes on South Italian vases[[85]] may possibly refer to it, and one of them at least seems to be influenced by the burlesque by Rhinton, from which Plautus borrowed the idea of his Amphitruo. The apotheosis of Alkmena, when her husband places her on a funeral pyre after discovering her misdeed, is represented on two fine South Italian vases in the British Museum; in one case Zeus looks on.[[86]] His appearing to Leda in the form of a swan only seems to find one illustration on a vase, but in one case he is present at the scene of Leda with the egg.[[87]]
He is also depicted descending in a shower of gold on Danaë[[88]]; or as carrying off the Nymphs Aegina and Thaleia[[89]]; or, again, with an unknown Nymph, perhaps Taygeta.[[90]] In the form of a bull, on which Europa rides, he provides a very favourite subject, of which some fine specimens exist.[[91]] One variation of the type is found on an Apulian vase, where Europa advances to caress the bull sent by Zeus to fetch her.[[92]] The story of Io[[93]] resolves itself into several scenes, all of which find illustration on the vases: (1) the meeting of Io and Zeus when she rests at the shrine of Artemis after her wanderings[[94]]; (2) Io in the form of a cow, guarded by Argos[[95]]; (3) the appearance of her deliverer Hermes[[96]]; (4) Hermes attacks and slays Argos (Fig. [114]).[[97]]