B.M. E 48 = [Frontispiece], Vol. I. (by Duris; five scenes).
Louvre G 104 (Euphronios).
Reinach, i. 528–32.
After the labours on his journey comes the purification of Theseus on reaching Athens.[[1231]] To this time may perhaps be referred a scene in which he receives a palm-branch from Athena.[[1232]] There is a subject which cannot be placed in literary tradition, but probably comes in point of time immediately before or after the labours; this is the visit to Poseidon and Amphitrite under the sea, whither he is borne by Triton. It occurs on the beautiful Euphronios kylix in the Louvre (G 104) and elsewhere.[[1233]]
Next in point of time we have to deal with the story of Theseus’ voyage to Crete and his marriage with and desertion of Ariadne. It begins with a scene in which he bids farewell to Aigeus[[1234]]; then on his arrival in Crete he slays the Minotaur, as already described. We next see the meeting with Ariadne,[[1235]] followed by the nuptial ceremonies; the latter scene, together with the subsequent arrival at Delos, and a dance of boys and maidens liberated by Theseus, is vividly depicted on the François vase. His desertion of the sleeping Ariadne in Naxos and the appearance of Dionysos as her consoler form the subjects of two very beautiful R.F. vases[[1236]]; but the return to Athens and the death of Aigeus are not depicted.
The reign of Theseus at Athens is signalised by his combats with the Amazons and Centaurs. In the former story he carries off their leader Hippolyta as his queen, assisted by his friend Peirithoös[[1237]]; and in another version it is Antiope whom he overcomes,[[1238]] or the subject is treated in a more general fashion.[[1239]] This scene is supposed to take place in Attica; but the story of the Centaurs belongs to Thessaly, the home of Peirithoös. The Centaurs are represented interrupting a banquet, throwing everything into confusion, and carrying off Laodameia and other female victims. It occurs on the François vase, and is treated in a vivid pictorial fashion on several vases of a later period.[[1240]] The episode of the death of Kaineus (see p. [145]) belongs to this group of subjects. To the same period belongs a vase representing the rape of a girl named Korone by Theseus and his friend.[[1241]] In the story as told by Plutarch (Thes. 31) it was Helene[[1242]] whom Theseus carried off; curiously enough, a figure thus inscribed is also present on this vase,[[1243]] as well as Antiope (see above). The rape (as described by Plutarch) was followed by their descent into Hades to seize Persephone. For this they were doomed to punishment, to sit for ever with hands bound behind them[[1244]]; but in one version Theseus is allowed to depart after a time, as is seen on one of the Apulian under-world vases.[[1245]] A vase signed by Xenotimos represents Peirithoös seated in a chair holding two spears[[1246]]; but its mythological significance is open to question.
Closely linked with the story of Theseus is that of the love of Phaidra for Hippolytos and the death of the latter, confined to late Italian vases; but Phaidra has not been certainly identified in any case.[[1247]] There is, however, an undoubted representation of the appearance of the bull which overthrew Hippolytos’ chariot.[[1248]]
Next in importance as a hero of Greek legend comes Perseus, born from the golden shower in which Zeus visited Danae (see p. [19]). We find representations of the scene so touchingly sung of by Simonides, the placing of Danae and her child in the wooden chest and sending them adrift[[1249]]; and next we find Perseus as a full-grown youth, about to set forth on his mission of slaying the Gorgon, and receiving from the Naiads the cap, sandals, and wallet, which were to aid him in his quest.[[1250]] On later vases he receives from Athena the sickle (harpe) with which he slays the monster.[[1251]] On his way he seizes the eye and tooth of the Graiae, a subject rarely depicted in art.[[1252]] The actual slaying of the Gorgon[[1253]] is not so often represented as the subsequent flight of Perseus, generally accompanied by Athena and Hermes[[1254]]; in one or two instances we see Perseus approaching his victim unobserved.[[1255]] Other vases depict the headless corpse of Medusa, from which springs the young Chrysaor or Pegasos, and the other two Gorgons, Stheno and Euryale, either pursuing Perseus or remaining with the corpse[[1256]]; in one instance they appeal to Poseidon for help.[[1257]]
We next see Perseus arriving at the court of Kepheus to deliver Andromeda[[1258]]; she is generally represented chained to a column in the palace itself. On other vases he is depicted in the act of slaying the monster, but this is a somewhat rare subject.[[1259]] Finally, we have the return to Seriphos and the petrifaction of the king Polydektes by showing him the Gorgon’s head.[[1260]] Perseus is also represented showing the head to Satyrs,[[1261]] or placing it in the wallet (κίβισις),[[1262]] or in combat with Maenads[[1263]]; or, again, he is accompanied by Athena, who holds the Gorgon’s head while he looks at the reflection.[[1264]] Lastly, on some small R.F. vases, a bust of Perseus is depicted wearing his winged cap.[[1265]]