Besides the somewhat insignificant part that he plays in the Gigantomachia,[[1141]] Herakles had several independent combats of his own with gigantic monsters and such-like beings. Of these the most popular subjects are Antaios and Alkyoneus. The legend of Herakles’ wrestling with the former is familiar from Pindar[[1142]]; on the vases Antaios is not characterised as a giant in size or otherwise, but his mother Gaia is generally present.[[1143]]
Alkyoneus, on the other hand, is represented as a being of gigantic size, lying asleep in a cave[[1144]]; a small winged figure which sometimes hovers over him has been interpreted by some as Hypnos (Sleep), but might also be a Κὴρ Θανάτοιο, or harbinger of death.[[1145]] Herakles generally attacks him with club or bow and arrow, but on one vase is depicted gouging out his eye[[1146]]; on another he is assisted by Telamon with a stone.[[1147]] Another giant with whom we find the hero contending is Cacus, whose oxen he carried off. This is a purely Roman myth, and belongs rather to the legends of the Roman Hercules, but curiously enough it finds a place on one Greek vase of Sicilian origin, which represents Cacus in a hut with the oxen and Herakles playing a lyre in triumph.[[1148]]
One of the commonest subjects connected with Herakles is his combat with Kyknos, the son of Ares, described at length in the Hesiodic Scutum Herculis. It is mostly found on B.F. vases, the usual “type” showing the two combatants supported by Athena and Ares respectively in their chariots, while Zeus appears in the midst to interrupt them.[[1149]] One late R.F. vase seems to show the preparations for the combat, in the presence of an Amazon, a Fury, and other personages[[1150]]; another vase, the subsequent attack made on Athena by Ares.[[1151]]
We find him in combat with Acheloös, the river-god, represented as a bull with the face of a bearded man,[[1152]] or occasionally, by confusion with a sea-deity, with the body and tail of a fish.[[1153]] This latter form is assumed by Triton, with whom also the hero contends,[[1154]] though the myth is unknown in literature. Of similar import is his combat with Nereus, the old man of the sea (Ἁλιος Γέρων), who appears in human form as an aged man[[1155]]; the “type” employed on B.F. vases is similar to that of Peleus wrestling with Thetis (see below, p. [120]), with similar indications of the sea-god’s transformation into animals. In one case an air of humour is imparted to the scene, and Herakles is represented smashing the furniture in Nereus’ house.[[1156]]
Another important group of subjects is concerned with Herakles’ adventures with the Centaurs, which fall under several headings. Allusion has already been made to his early education by Cheiron, and again we see him paying a visit of a peaceful nature to the aged Pholos, who entertains him by opening a jar of wine.[[1157]] The smell therefrom attracted the other Centaurs and led to a combat, which we see vividly depicted on many early B.F. vases, on which it was a favourite subject, as also on later ones.[[1158]] We also find him in combat with particular Centaurs, from whom he rescues a woman carried off by them. Thus we see Hippolyta delivered from Eurytion,[[1159]] and Deianeira from Nessos[[1160]] or Dexamenos[[1161]] (the latter appears on later vases only, and there seems to be no distinction between them in the myth).
Other adventures in which he engages include the freeing of Prometheus from the vulture, which he slays with his bow[[1162]]; the bringing back of Alkestis from Hades[[1163]]; the seizure of the Kerkopes, a pair of brigands, whom he carries off head downwards over his shoulders[[1164]]; and his capture by Busiris in Egypt,[[1165]] with his escape after slaying the king’s negro attendants.[[1166]] Among rarer myths may be mentioned the destruction of the vines of Syleus[[1167]]; a possible representation of his contest in drawing water with Lepreos[[1168]]; and his combat with Erginos, the king of Orchomenos, and the capture of his heralds.[[1169]] A vase in Athens, on which he is depicted dragging two Satyrs in a leash,[[1170]] depicts an unknown myth; as do those which represent him contending with Geras, a personification of Old Age,[[1171]] and beating a winged Ker with his club.[[1172]] In company with Athena he attacks an unknown man,[[1173]] and he is also seen leading a Sphinx.[[1174]]
Next we turn to the relations between the hero and the Olympian or other deities, which often take the form of disputes or combats. Of these the most famous and important is his capture of the Delphic tripod, for which he fights with Apollo, generally in the presence of Athena and Artemis[[1175]]; in one instance Herakles is seen in Athena’s chariot, carrying the tripod off with him[[1176]]; other vases represent the final reconciliation with Apollo.[[1177]] There is a curious representation of a combat between Herakles and Hera (depicted as the Roman Juno Sospita, wearing a goatskin on her head), with Athena and Poseidon assisting on either side.[[1178]] Another rare and interesting subject is that of his attack on Helios, whom he interrupts at sunrise to prevent his journey after Geryon’s cattle from becoming known. Herakles is shown waiting for the chariot of the sun-god as it rises from the waves, and preparing to discharge his arrows.[[1179]] A later stage of the story is illustrated by a fine R.F. vase, where he voyages over the sea in the golden bowl given him by Helios.[[1180]] Lastly, he defends Hera and Iris against the attacks of a troop of Seileni.[[1181]] In other scenes where he is associated with the gods, it is in his divine capacity after his apotheosis.
His relations with women are not so frequently depicted but we have at least one representation of his visit to Omphale[[1182]]; or, again, of his entertainment by Eurytos,[[1183]] the carrying off of his daughter Iole,[[1184]] and the subsequent fight with Eurytos.[[1185]] His rescue of Deianeira from the Centaur has already been alluded to, and there may also be a reference to his carrying her off from her father Oineus.[[1186]] Hesione is not found with him on vases, but he is seen carrying off Auge[[1187]]; he is also associated with a Nymph, who may be Nemea.[[1188]] On one vase he pursues, with amorous intention, a woman, who may possibly be intended for Athena.[[1189]]
A remarkable vase-painting by Assteas of Paestum depicts Herakles in a fit of madness destroying his children by hurling them on a fire, on which he has already thrown the household furniture; his mother and others look on, expressing various emotions.[[1190]] In more peaceful mood he is seen grouped with his wife Deianeira and their son Hyllos,[[1191]] or with Oineus, his father-in-law.[[1192]]
We now proceed to note a few subjects which do not admit of more exact classification. Herakles is initiated into the lesser mysteries at Agra, together with Kastor and Polydeukes,[[1193]] and is conducted by Hermes to the revels of the Scythian Agathyrsi (cf. p. [179]).[[1194]] He is also sometimes seen carrying Hades on his back, the latter bearing a large cornucopia[[1195]]; but the signification of this subject is unknown. He accompanies the Argonauts on their wanderings,[[1196]] and appears as a single figure shooting from a bow.[[1197]] He is often represented performing an act of sacrifice, either as a single figure[[1198]] or in groups, sacrificing a ram or other animal.[[1199]] Some of these scenes, where he sacrifices to the xoanon of Chryse,[[1200]] a local Lemnian goddess, must refer to the story of Philoktetes, with which he was connected. Or, again, conversely, we see a statue of Herakles made the subject of offerings from others.[[1201]] A scene from the story of Antigone (see below, p. [119]) is represented as taking place before a shrine, in which stands the deified hero interceding with Kreon for her life.[[1202]] He also appears as protecting god of Attica,[[1203]] and also of the palaestra, with reference to his traditional founding of the Olympian games.[[1204]] Finally, there is a series of subjects which (as in the case with most of the preceding section) may be concerned with Herakles either before or after his apotheosis.