Hephaistos is usually bearded,[[1950]] and often appears in the workman’s dress of the exomis or short chiton covering one shoulder, and high conical cap; his craft is further symbolised by a hammer or tongs, or by the axe with which he brings Athena forth from the head of Zeus. In the Gigantomachia he uses his tongs with savage violence against an unfortunate opponent (see p. [14]). Ares is the typical Greek fully-armed warrior, bearded, with helmet, short chiton, cuirass, and greaves, sword, spear, and shield; but is not otherwise to be distinguished. Hermes, as the messenger of the gods, appears in appropriate costume of chlamys and petasos (the Greek travelling-hat), and carrying the caduceus or herald’s staff; he usually wears high boots, and on the earlier vases a short chiton in addition. He is occasionally winged, but it is more usual to find the wings attached to his petasos or boots. On B.F. vases he is always bearded, but not after the sixth century. Hestia, who but rarely occurs on vases, forms a pair to Hermes in assemblies of the gods, but is not distinguished further than by the Olympian lotos-sceptre.
Athena on the earlier B.F. vases is not always distinguished from an ordinary woman; later, the helmet, spear, shield, and aegis become inseparable adjuncts of her costume, the shield being always circular in form. The spear, which is sometimes her only characteristic, is usually brandished or couched in her right hand, and sometimes she holds her helmet in her hand (see Plate XXXVI. and p. [40]). Her costume consists of a long girt chiton, over which the peplos or small mantle is thrown, and the aegis round her chest. The latter is covered with scales and has a fringe of rearing serpents, and sometimes, on later vases, the Gorgon’s head in the centre of the front. On the Panathenaic amphorae she is always represented in the Promachos attitude, at first to left, but later to right, brandishing her spear. At either side of her are columns surmounted by an owl, a cock, or other emblems. On the later specimens her figure is greatly elongated, and her drapery is often elaborately embroidered with patterns in purple and white. Her statue when represented is usually a mere reproduction of the living type; but on some later vases there seems to be a reminiscence of the Parthenos or other statues (see p. [40]).
Aphrodite is less individualised than any other deity, at any rate on the earlier vases, on which she is invariably draped in the ordinary manner. She sometimes carries a lotos-headed sceptre (as in Judgment of Paris scenes). Occasionally she is represented armed. On the later vases the influence of fourth-century sculpture becomes apparent in the treatment of this, as of other deities. She now first appears nude (when bathing or washing), scantily clad or half draped, and in transparent Coan draperies, through which the outlines of her form are visible. She has no characteristic attribute, but is frequently represented with a dove or other bird. The types of Eros have already been fully discussed (p. [45]); briefly it may be said that on the Attic R.F. vases he is a full-grown nude youth with wings; on those of Southern Italy the type is more boyish, though never the child or putto of the Hellenistic Age, and in Apulia the androgynous type, with hair arranged in feminine fashion and jewellery profusely adorning his person—earrings, necklace, chains, and anklets—is invariable.
Dionysos is distinguished primarily by the ivy-wreath which crowns his head; he generally wears a long chiton and mantle, but on the latest vases is frequently nude. On all B.F. vases, and often on those of the R.F. period, he is bearded, and it is only on those of Southern Italy that he appears as a somewhat effeminate youth, half draped like Apollo, with rounded and graceful limbs. His attributes are the rhyton or keras (only on B.F. vases), the kantharos, a form of drinking-cup specially associated with him, a vine-branch, and the thyrsos; he is accompanied by panthers and other animals, or swings the limbs of a kid (χιμαιροφόνος). Usually he maintains a calm and unmoved attitude amid the wild revelries of his followers. Ariadne is undistinguished except by her association with him. Pan, who only occurs on later vases, is almost invariably represented as a beardless youthful figure, with goat’s horns, but human legs; when, however, he has goat’s legs or feet, he is usually called Aegipan, and in this aspect he assumes a somewhat dwarfish and more bestial aspect.[[1951]]
Satyrs are either elderly and bearded, or youthful; in all cases with pointed ears and horses’ tails, and undraped except for the fawn-skins which they frequently wear. They carry a thyrsos, drinking-cups, or musical instruments, according to the circumstances in which they are depicted. In Ionic art (Vol. I. p. [353] ff.) the Satyrs invariably have horses’ feet as well as tails, and are usually of repulsive appearance. The Seileni are really aged Satyrs, depicted as bald or white-haired, but not otherwise differentiated, except in the case of Papposeilenos, who is covered with shaggy skin.[[1952]] The Maenads are often represented (especially on B.F. vases) as ordinary draped women, or only with the addition of a fawn-skin or panther-skin over their chiton; they carry the thyrsos, or frequently on later vases a large tambourine (tympanon).
Of the personages associated with the under-world, Hades is usually an elderly bearded deity of the Zeus type. He carries a sceptre, often with ornamented top, and sometimes from his Chthonian association with Dionysos holds a kantharos, vine-branch, or cornucopia. Kerberos has three heads only on two Cacretan hydriae and the Apulian under-world vases; his usual number is two, but once or twice he has only one.[[1953]] Hekate has torches for her customary attribute, and the Furies, who only occur on South Italian vases, wear short chitons with cross-belts and have rough hair, in which and round their arms serpents are intertwined. Charon the ferryman is represented as an elderly man in short chiton and conical cap (cf. Fig. [122]), but the grim Etruscan Charun is a repulsive and savage hook-nosed demon, wielding a hammer. Thanatos and Hypnos, the two Death-deities, are both winged men, but only the former is bearded (cf. Fig. [123]); there is usually nothing forbidding in his appearance. The question of the representation of ghosts or souls (εἴδωλα) has been fully discussed (p. [72]); most commonly they are diminutive winged figures, and in other cases they appear as in ordinary life,[[1954]] but possibly they sometimes appear in the form of birds.[[1955]]
Gaia is represented half rising out of the earth, a beautiful but not young woman, with long hair (Fig. [112]); or, as Pandora, her head alone is seen (see p. [73]). Kybele occasionally appears, with her attendant lion, and an even rarer figure is Asklepios, with his serpent. The Eileithyiae, who attend at the birth of Athena, are ordinary women, distinguished by the appropriate gestures of their hands (Fig. [113]). Iris, the female messenger of the gods, appears winged, with short chiton to allow of rapid movement, and carrying the caduceus or herald’s staff; Hebe, on the other hand, is an ordinary woman. Nike is usually to be distinguished from Iris by her long flowing draperies, even when in flight; the various attributes usually associated with her have already been dealt with in detail (p. [87]).[[1956]]
Among personifications, Helios is a youthful figure in a chariot, usually with rays round his head (as on Plate [LIII].); in one or two cases his head is surmounted by a white disc; Selene appears on horseback, and is sometimes indicated by a crescent moon; where Helios is accompanied by a goddess in a chariot, it is probable that Nyx (Night) is intended (see p. [79]). The Stars are represented as nude youths. The Aurae or breezes appear as girls floating through the air; the Hyades or rain-Nymphs are identified by their water-pitchers. A group of winged gods and goddesses is formed by Eos, Agon (the masculine counterpart of Nike), Eris, Lyssa (Frenzy),[[1957]] and the various wind-gods, such as Boreas and Zephyros. These are found at all periods, but the types vary. Eris, who is only found on B.F. vases, resembles the Gorgons (see below), a somewhat grotesque figure with wings, rough hair, and short girt chiton; Lyssa only occurs on Apulian vases, and is akin in type to the Furies—in two instances her figure is enclosed in a circle of rays of light, perhaps to express the blinding effect of her action, and she holds a goad.[[1958]] Oistros, a kindred figure, rides in a car drawn by serpents, and carries torches. The type of Agon is assimilated to that of Eros on R.F. vases; on those of earlier date (if this is the correct interpretation) he wears a short girt chiton and holds a wreath. The Wind-gods on B.F. vases wear the petasos and high boots, and short girt chiton; Zephyros is represented as a youth; and Boreas, who only occurs on R.F. vases, wears Thracian costume; he is bearded, and his hair is often rough and shaggy. But these winged deities cannot always be identified with certainty. Among other personifications, Geras is a somewhat ugly old man; the Muses are distinguished by their various musical instruments; and Cities and Countries are occasionally individualised. For instance, Thebes, on a vase by Assteas, wears a turreted crown; Sparta appears as a Nymph on horseback; and, generally speaking, their presence is usually indicated not only by inscriptions, but by their relation to the scene depicted.[[1959]] River-gods, such as Acheloös, appear as human-headed bulls, with horns, but the last-named on a stamnos by Pamphaios (E 437 in B.M.) has a fish-tail.
Kastor and Polydeukes usually appear on horseback and in hunting costume, with petasos, chlamys, and spears; on later vases they sometimes wear the pileus, a conical cap which often appears as their emblem on coins. Herakles on earlier vases is always bearded, and wears the lion’s skin fastened round his waist with a belt, the forepaws knotted round his throat[[1960]]; the head covers his head like a cap, leaving his face only exposed, and under it he wears a short girt chiton; he is armed with his club, or bow and quiver, and sometimes with a sword. On R.F. vases he is often nude, or only wears the skin in chlamys fashion. On the earlier vases he is often less characterised, and the same applies to the later R.F. vases, on which he is frequently beardless; in many cases he is only to be identified by his club. Theseus always appears as a youth, and on the R.F. cups usually wears a short loose chiton of crinkly material (cf. Vol. I., [Frontisp.]); his arms are a sword, or sometimes a club. Perseus wears the winged petasos or cap of darkness and high boots (the shoes of swiftness), sometimes winged; he carries the wallet or κίβισις, and sometimes the ἅρπη or curved sword with which he slew Medusa. Pelops on the Apulian vases is usually characterised as an Oriental, with richly embroidered costume and a tiara or embroidered cap. The Homeric heroes are only to be identified by inscriptions, or by the actions in which they take part, but Paris is usually in Oriental costume; in Judgment scenes he holds a lyre, but when he takes part in combats he is attired as an archer, with bow and quiver, Phrygian cap, jerkin, and trousers. Kekrops, the mythical king of Athens, usually ends in a serpent’s tail, to denote his autochthonous origin; Midas has ass’s ears; Orpheus is recognised by his lyre, and sometimes wears, as a musician, feminine costume (see below, p. [197]).[[1961]]
Of other mythological types the Amazons are, of course, always armed, frequently in the Oriental fashion, with Phrygian cap or kidaris and trousers; their weapons are the crescent-shaped shield or pelta, and a peculiar type of battle-axe, the sagaris. The Giants on B.F. vases are ordinary armed warriors, not even of exceptional size, but in later times they often end in serpents, as on the Pergamene frieze. Typhon appears in this form on a Chalcidian vase.[[1962]] Geryon is represented in the manner described by Pausanias (vi. 19, 1), as “three men joined together,” with distinctive arms and legs; on Chalcidian vases he has four wings, and is only triple from the waist upwards. The Centaurs on the more archaic vases, as on those of Ionia, appear as men with the body and hind legs of a horse attached behind; by the middle of the sixth century they appear in the familiar form of a human bust conjoined with a horse’s body. The Gorgons are always rendered in grotesque fashion, with grinning faces and dishevelled hair intertwined with serpents; they wear short girt chitons and high winged boots, and have four wings, the upper pair recurved; usually on B.F. vases they appear in what is known as “the archaic running attitude,” or, as the Germans more expressively phrase it, “Knielaufschema,” the figures being represented as if kneeling on one knee. The same grotesque type of face,[[1963]] with the protruding tongue and teeth, appertains to the Medusa’s head or Gorgoneion, which is at all periods such a favourite decorative motive on vases, either as the interior design of a B.F. kylix, or as a medallion in relief on late vases. The more beautiful type of Medusa head is a creation of later date than most of the painted vases, but in the medallions on Italian vases much of the grotesqueness has disappeared.