Among these are the numerous vases (especially B.F.) where he is represented as being greeted by Athena or conversing with her,[[1205]] or receiving a libation from her.[[1206]] These may either refer to his receiving visits of encouragement from her in the intervals between his labours, or to his reception by her in Olympos (see below). Many vases represent him banqueting, usually in company with Dionysos and other deities.[[1207]] With Hermes and Iolaos he takes part in a procession accompanied by music[[1208]]; and he is also represented overcome with wine and forming a subject for mockery,[[1209]] while Satyrs steal his weapons[[1210]] (this subject being probably taken from a Satyric drama). Or he is represented bathing at a fountain[[1211]]; and in one case fishing with Hermes and Poseidon.[[1212]] He also takes part in the Gigantomachia,[[1213]] and is present at the birth of Athena,[[1214]] in both cases by a curious anticipation of his deified character. Exceedingly common are his appearances with a lyre, as Kitharoidos.[[1215]]
The last scenes of Herakles’ earthly life are his last sacrifice on Mount Kenaion,[[1216]] the wearing of the poisoned robe which led to his death,[[1217]] and the subsequent burning of his body on the funeral pyre. The last scene is occasionally combined with his apotheosis; the Hyades quench the flames among which his body is consuming, while the deified hero ascends in the chariot of Athena or Nike to Olympos.[[1218]]
The vases relating exclusively to his apotheosis fall into two main classes, which admit of more than one sub-division: (1) his ascent into heaven in the chariot of Athena or Nike; (2) his reception in Olympos. The ascent in the chariot of Athena is almost confined to B.F. vases; on those of the R.F. period it rarely occurs; and on the Italian vases her place is usually taken by Nike, who is also represented crowning him with a wreath. On the B.F. vases the “type” is almost invariable (see Plate [XXIX].): Herakles mounts the four-horse chariot in which the goddess stands ready; on the farther side of it stand various deities, the commonest being Apollo, Dionysos, and Hebe, with Hermes at the horses’ heads; more rarely Zeus, Hera, and Artemis are seen.[[1219]] In one or two cases Iolaos acts as charioteer, Athena standing at the side[[1220]]; or, again, Hebe performs the same office.[[1221]] On the late red-figured vases the attendant deities are almost limited to Hermes and Eros; the chariot is here usually represented as on its way.[[1222]]
From Arch. Zeit.
FIG. 127. RECEPTION OF THE DEIFIED HERAKLES BY ZEUS, FROM A VASE AT PALERMO.
The first stage of the hero’s introduction into Olympos is his introduction to Zeus by Athena, a scene common on both B.F. and R.F. vases (Fig. [127]). The attendant deities vary very greatly: Hermes, Apollo, Hebe, and Artemis are most often seen; also Hera, Poseidon, Ares, and Dionysos.[[1223]] Besides these there are numerous scenes in which he is grouped with various deities, usually Athena and Hermes, but also Poseidon, Ares, Dionysos, and Hebe, apparently in the enjoyment of his new life among the welcoming gods[[1224]]; and to this group may be added the scenes in which he is crowned by Nike.[[1225]] The completion of his bliss is the marriage with Hebe, found on two or three fine R.F. vases,[[1226]] with a numerous company of attendant deities.
The adventures of Theseus, the peculiarly Attic hero, are portrayed on vases of all dates; they are rare on the later kinds, but are most popular on the R.F. vases of the “strong” and “fine” periods, as would naturally be expected at a time when his cult was coming into special prominence in Athens (see Vol. I. p. [418]). Of his seven labours the only one commonly found on the B.F. vases is the combat with the Minotaur, but some of the finest R.F. kylikes give a complete series. They are given in the order of his progress from his birthplace Troezen through the Isthmus to Athens. It should be noted that the Cretan legends, which alone are common on the early vases, are clearly older than the more purely Attic.
The first subject to be mentioned in connection with the story of Theseus is that of his father Aigeus consulting the oracle of Themis.[[1227]] His finding of Aigeus’ sword and sandals beneath the stone (cf. Plate [LXII].) is not depicted on vases, but we have a possible representation of his recognition by Aigeus,[[1228]] and an unintelligible scene where he pursues or attacks his mother Aithra, apparently wielding the newly found sword.[[1229]]
There are only two R.F. kylikes which give the complete series of adventures, including that in Crete; the Duris kylix in the British Museum (Vol. I., [frontisp].) omits two (the bull and Prokrustes), and others give a varying number of scenes, omitting sometimes one, sometimes another. The adventure with Periphetes appears to be confined to literature. We give the list as follows, with the vases on which they may be seen[[1230]]: