From Hoppin.
FIG. 137. WARRIOR ARMING; SCYTHIAN ARCHERS (AMPHORA BY EUTHYMIDES
IN MUNICH).

Among the various scenes incident to warfare may be mentioned an ambuscade,[[1829]] a wounded warrior dragged out of battle,[[1830]] a warrior protecting himself from darts,[[1831]] the capture of a prisoner,[[1832]] warriors carrying dead bodies,[[1833]] or human heads as trophies of victory.[[1834]] Besides single figures of warriors, heralds,[[1835]] trumpeters,[[1836]] slingers,[[1837]] and archers[[1838]] often appear; or representations of the armour of a warrior[[1839]]; or of the Δοκιμασία or parade of Athenian knights.[[1840]] Of a somewhat burlesque character is a scene depicting warriors riding on ostriches and dolphins.[[1841]]

Naval scenes are very rare, but we find occasional early representations of sea-fights,[[1842]] as on the Dipylon vases, the vessels on which appear to be biremes.[[1843]] On the B.F. and R.F. vases we find war-galleys[[1844]] or merchant-vessels,[[1845]] usually in places suitable for a row of ships—such as the outer edge of a kylix[[1846]] or the broad rim of a deinos or large bowl.[[1847]] These are specially common on vases of “mixed” technique. The subject of “keel-hauling,” the punishment administered to refractory sailors, must also find a place here.[[1848]]

8. Orientals and Barbarians

Oriental figures which can neither be classified as mythological, historical, or genre subjects sometimes appear on vases. We have already made mention of such quasi-mythological subjects as combats of Gryphons with Arimaspi or other figures in Oriental attire.[[1849]] Phrygian warriors, too, may be seen in some Trojan scenes—such as the sack of Troy or the flight of Aeneas[[1850]]—but their presence in scenes of departure or combat does not necessarily make the subject mythological.[[1851]] It is not always easy to identify the nationality of these barbarians, and the names usually given to them—Persian, Phrygian, or Scythian—must in many cases be regarded as somewhat conventional, except where details of costume are unmistakable.[[1852]]

Archers in Oriental costumes, wearing peaked caps with long lappets, and close-fitting costume of jerkin and trousers (ἀναξυρίδες), stippled over to indicate skin, are seen shooting arrows, on foot or on horseback,[[1853]] or accompanying the chariots of Greek warriors,[[1854]] or taking part in general combats[[1855]]; as also warriors blowing trumpets.[[1856]] Persian warriors in combat with Greeks appear on R.F. vases of the strong period,[[1857]] and may have some reference to the historical events of the time. It is even suggested that one is copied from the famous painting by Mikon of the battle of Marathon.[[1858]] One vase represents a sort of triumphal procession, perhaps of a Persian king, riding on a camel[[1859]]; and others depict Persians riding.[[1860]] Those of undoubted historical signification have already been mentioned.[[1861]] Scythians appear as mounted or unmounted archers,[[1862]] a Scythian horseman is attacked by a lion,[[1863]] a Scythian pursues two courtesans,[[1864]] and there is a curious scene depicting the revels of the Scythian Agathyrsi.[[1865]] Thracians, in the typical local costume of ζεῖρα (a thick cloak) and ἀλωπεκῆ (a fox-skin cap), appear by themselves or with Orpheus and Boreas[[1866]]; Thracian horsemen are represented setting out[[1867]]; and after the conquests of Miltiades the local costume appears to have become fashionable among the Athenian youth, as they are depicted wearing it on some contemporary vases.[[1868]] The Thracian custom of tattooing is suggested in some of the Orpheus scenes.[[1869]]

Figures of negroes are not very common on vases, though many of fifth-century date and later are modelled in the form of negroes’ heads; but there is a small class of B.F. alabastra on which they are represented in the traditional barbarian costume of trousers, etc., and are armed with the Oriental battle-axe.[[1870]] In one case a negro accompanies a camel.[[1871]] Ethiopians are seen conveying the body of Memnon or an ordinary warrior to his grave,[[1872]] and one vase represents an Ethiopian with a jug.[[1873]] A pair of Egyptian combatants can be identified on a fragmentary vase from Daphnae (Defenneh).[[1874]] Lastly, many of the vases of Southern Italy, especially those of Campania, represent combats or leave-takings of native Osco-Samnite warriors, in their typical costume of triangular cuirass, gaily plumed helmet, and scanty tunic.[[1875]]

FIG. 138. BANQUETERS PLAYING KOTTABOS (BRITISH MUSEUM, E 70).