More commonly she is seen riding over the sea on a goose or swan,[[427]] of which there is one exceedingly beautiful example in the British Museum; here she is to be recognised as the Heavenly Aphrodite (Ourania), whereas in her character of Pandemos (profane or unlicensed love) she rides on a goat.[[428]] In other instances the swan draws her chariot over the sea,[[429]] or she is borne by a pair of Erotes,[[430]] or sails in a shell, as in the story of her birth and appearance in the island of Kythera[[431]]; in others, again, her chariot is drawn (on land) by the Erotes,[[432]] or by a lion, wolf, and pair of boars.[[433]] She is also represented at her toilet[[434]] or bathing,[[435]] in the latter case in the attitude of the Vénus accroupie of sculpture; in these instances again there is often difficulty in distinguishing from scenes of ordinary life. Again, she is represented spinning,[[436]] playing with a swan,[[437]] or caressing a hare,[[438]] or in company with a young hunter,[[439]] possibly meant for Adonis.
From Ἐφ. Ἀρχ. 1897.
FIG. 117. APHRODITE AND HER FOLLOWING (VASE AT ATHENS).
In many scenes she is grouped with a cortège of attendant Nymphs and personified figures, often with names attached.[[440]] Besides Eros, the following are found on these vases: Pothos (Longing) and Himeros (Charm), Hygieia (Health), Peitho (Persuasion), Paidia (Play), Pandaisia (Good Cheer), Eunomia (Orderliness), Euthymia (Cheerfulness), Eudaimonia (Happiness), Hedylogos (Winning Speech), and Kleopatra (a fancy name). Eros himself she embraces[[441]] and suckles,[[442]] and in some cases he assists in her toilet, perfuming her hair from an unguent flask,[[443]] or adjusting her sandals[[444]]; he is seldom absent from her side on the later vases. In one instance Aphrodite and two Erotes make a basket of golden twigs.[[445]] Their heads or busts are also found on late vases, as is that of Aphrodite alone.[[446]]
In relation to other mythological subjects she is frequently found in assemblies of the gods, especially in the spectator groups on Apulian vases[[447]]; also at the birth of Athena (rarely),[[448]] at the marriage of Zeus and Hera,[[449]] and in the Gigantomachia (very rare).[[450]] She is seen among the Eleusinian deities,[[451]] and in scenes from the nether world[[452]]; and she accompanies the chariots of Athena and Demeter.[[453]] She also accompanies Poseidon in his wooing of Amymone,[[454]] and is present at the slaying of Argos by Hermes,[[455]] the punishment of Aktaeon[[456]] and the contest of Apollo and Marsyas,[[457]] and the wooing of Europa by Zeus.[[458]] She is also grouped with Apollo and the Muses listening to Thamyris and Sappho.[[459]]
She is seldom seen with Herakles, but is present at his apotheosis,[[460]] and also with him in the Garden of the Hesperides[[461]]; she is once seen with Theseus,[[462]] and is present at the rape of the Leukippidae by the Dioskuri.[[463]] Other heroes with whom she is connected (chiefly as a spectator on the Apulian vases) are Kadmos, Meleager, Perseus, and Pelops.[[464]] In the tale of Troy, however, she plays a more important part. The Judgment of Paris is, of course, the scene with which she is chiefly connected[[465]]; in one instance she appears alone with Paris, unless Anchises be here meant.[[466]] She is present at the first meeting and wedding of Peleus and Thetis[[467]]; at the toilet of Helen, and at her carrying off by Paris[[468]]; she assists her son Aeneas in his combat with Diomede,[[469]] and is present at the rape of Kassandra.[[470]] Helen takes refuge from Menelaos with her in her temple[[471]]; and finally she assists Aeneas to escape with the aged Anchises from Troy.[[472]]
Besides the scenes in which he appears with Aphrodite, Eros is a sufficiently important personage on vases to demand a section to himself. On the black-figured vases he never appears, nor on the earlier red-figured ones is it possible to find many instances, but towards the end of the fifth century his popularity is firmly established, while on the Italian vases, especially the the later Apulian, his presence is almost invariable, not only in mythological scenes, but in subjects from daily life. As a single figure he occurs again and again, generally holding a wreath, mirror, box, fan, or some object which may be regarded as signifying a lover’s present.
Concurrently with his increasing popularity we note the change that comes over the conception of his personality. Beginning as a full-grown youth of fair proportions, his form gradually attenuates and becomes more juvenile, or even in some cases infantile, as in Hellenistic art; while on the Apulian vases it assumes an androgynous, altogether effeminate character. His hair is arranged in feminine fashion, and his person is adorned with earrings, bracelets, anklets, and chains, remaining otherwise entirely nude, except that he sometimes wears soft shoes of a feminine kind (see Plate [XLIV]. and Fig. [118]).
On the red-figured vases he generally appears as a single figure, though on those of the “fine” style he is often in attendance on Aphrodite; roughly speaking, it may be said that he figures in all scenes that deal with the passion of Love, such as the Judgment of Paris,[[473]] the story of Adonis,[[474]] the marriage of Dionysos and Ariadne,[[475]] or the love-affairs of Zeus, Poseidon, and other gods.[[476]]