| (7) Petersburg 498 | = | Wiener Vorl. E. | pl. 5, 2 | |||
| (8) B.M. F 270 | = | ” | pl. 6, 1 | = | Reinach, | i. 356 |
| (9) Karlsruhe 256 | = | ” | pl. 6, 3 | = | ” | i. 455 |
| (10) Jatta Coll. 1094 | = | ” | pl. 6, 4 | = | ” | i. 356 |
| (11) Naples S.A. 11 | = | ” | pl. 6, 5 | = | ” | i. 401 |
There are also three B.F. vases having reference to the under-world, though in the first two cases it is probable that the scene relates to the return of Persephone (see p. [28]), the accompanying figure of Sisyphos only being introduced to mark the locality:—
(12) B.M. B 261 (Hades, Persephone, Hermes, Sisyphos).
(13) Munich 728 = Wiener Vorl. E. pl. 6, 6 = Reinach, ii. 48 (similar scene).
(14) Berlin 1844 (Persephone and Sisyphos only).
On the Apulian vases there is usually in the centre a pillared building representing the palace of Hades, in which he and his spouse stand or sit; round this are grouped various figures and episodes connected with the nether regions: Herakles carrying off Kerberos[[829]]; Orpheus with his lyre, sometimes accompanied by Eurydike[[830]]; persons undergoing punishment, such as Sisyphos with his rock[[831]]; Tantalos threatened with a rock, not as in the usual legend suffering from thirst[[832]]; the Danaids with their hydriae[[833]]; and Theseus and Peirithoös sitting with their hands bound behind them.[[834]] In one instance a Fury, at the instance of Hades and Hekate, is binding one, the other having already entered on his punishment[[835]]; in another we see Theseus liberated and about to depart from his friend (see below, p. [111]).[[836]]
Among the administrators of these penalties are Aiakos, Minos, and Rhadamanthos, the judges of the souls[[837]]; the Erinnyes or Furies[[838]]; and allegorical personages, such as Dike (Justice),[[839]] Ananke (Necessity),[[840]] or Poinae (Punishments).[[841]] Of the Chthonian deities, Hermes,[[842]] Hekate,[[843]] Triptolemos,[[844]] and Iacchos[[845]] are present. Olympian deities are also sometimes introduced as spectators.[[846]] Other figures introduced are Megara with the two children of Herakles[[847]]; Pelops with Myrtilos and Hippodameia[[848]]; a group of the Blessed Shades[[849]]; and (but not on this class of vase) Oknos with his ass, a subject depicted by Polygnotos in his great fresco at Delphi.[[850]] The subject of Ixion on the wheel is usually found by itself, but occurs on the neck of one of the Apulian vases.[[851]]
Another subject which may be associated with the above scenes is that of Charon and his bark; on the vases, however, its significance is purely sepulchral, as it is confined to the Attic white lekythi (Vol. I. p. [459]), on some of which the dead man is represented entering the ferry-boat.[[852]] Some vases of Etruscan fabric also represent groups of Chthonian deities, especially Charon, who in the mythology of that people is no longer “the grim ferryman that poets write of,” but Charun, a hideous demon wielding a huge hammer.[[853]] In one instance he separates Alkestis from Admetos[[854]]; in another he watches Ajax stabbing a captive Trojan.[[855]]
From Baumeister.
FIG. 122. CHARON’S BARK (LEKYTHOS AT MUNICH).