Among the numerous mythological events in which Nike plays a more or less symbolical part may be mentioned the Gigantomachia, in which she drives Zeus’ chariot,[[1033]] the birth of Athena,[[1034]] the sending of Triptolemos,[[1035]] the Judgment of Paris,[[1036]] the birth of Dionysos[[1037]] and that of Erichthonios,[[1038]] and the punishment of Ixion.[[1039]] Among Trojan scenes she appears with Achilles arming,[[1040]] at his (supposed) fight with Telephos and possibly also at that with Memnon,[[1041]] and at the carrying off of the Palladion.[[1042]] She is also seen with Herakles in the Garden of the Hesperides,[[1043]] with the Dioskuri,[[1044]] with Perseus and Bellerophon,[[1045]] with Orestes at Delphi[[1046]]; crowning Hellas as the victor over the Persians[[1047]]; and in many scenes with Dionysos.[[1048]]
More numerous and characteristic, however, are the scenes in which she appears as a single figure, or associated with mortals, usually victorious warriors or athletes. As a single figure she most commonly pours a libation over an altar,[[1049]] or flies towards the altar bearing a torch, incense-burner, lyre, tripod, sash, or other attribute[[1050]]; in one case (unless Iris is intended) a jug and caduceus.[[1051]] Especially characterised as the goddess of Victory, she often holds a palm-branch.[[1052]] She frequently takes part in religious and sacrificial ceremonies, such as the decoration or dedication of a choragic tripod,[[1053]] or burns incense,[[1054]] or herself sacrifices a ram or bull.[[1055]] The last-named subject is, however, commoner on gems and a certain class of terracotta reliefs.[[1056]] On one vase she gives drink to a bull[[1057]]; or, again, she rides on a sacrificial bull[[1058]]; or places a hydria on a fountain or altar.[[1059]] She pursues a hare, doe, or bird,[[1060]] or offers a bird to a youth.[[1061]] On the later Panathenaic amphorae and elsewhere she holds the ἀκροστόλιον or stern-ornament of a ship[[1062]]; and sometimes she erects a trophy.[[1063]]
FIG. 124. NIKE SACRIFICING BULL (BRITISH MUSEUM F 66).
She appears in a chariot drawn by female Centaurs,[[1064]] or accompanied by Chrysos and Ploutos (see above),[[1065]] and she also conducts a victorious warrior in this manner.[[1066]] In other instances she pours a libation to a warrior,[[1067]] who is sometimes inscribed with a fanciful name[[1068]]; or, again, as anticipating his victory, she brings him his helmet.[[1069]] She is, however, more frequently seen in athletic scenes, crowning a victorious athlete,[[1070]] rider,[[1071]] or charioteer,[[1072]] or superintending the games in the palaestra,[[1073]] torch-races,[[1074]] or the taking of an oath by an athlete.[[1075]] In musical contests she performs the same functions, crowning or pouring libations to a successful performer.[[1076]] She crowns a successful potter in his workshop,[[1077]] and also a poet (?).[[1078]] A being of similar character, who may perhaps be recognised in the figure of a winged youth on some B.F. and early R.F. vases, is Agon, the personification of athletic contests.[[1079]]
On the later R.F. vases the figure of Nike is often duplicated, probably more to produce a balanced composition than for any other reason.[[1080]]
VII. The next class of personifications is that of abstract ethical ideas. Even on the earlier vases there are found a considerable number of these, such as Eris (Strife); but on the later, unlimited play is given to the tendency of the age (seen also in sculpture and painting) to invest every abstract idea with a personality, apart from any idea of deification or mythological import.
Among these, by far the most numerous examples are, of course, those relating to the passion of Love. We have already traced the development of the type and conception of Eros in vase-paintings, and in the same place we have had occasion to speak of the associated ideas which became personified as subsidiary conceptions to that of Love, such as Peitho (Persuasion), Pothos (Yearning), and Himeros (Charm), Phthonos (Envy or Amor invidiosus), and Talas (Unfortunate or Unrequited Love).[[1081]] Of a similar type are the feminine conceptions associated with Aphrodite-Eudaimonia (Happiness), Euthymia (Cheerfulness), and the like.[[1082]]
Among other abstract ideas are those of Arete (Virtue) and Hedone (Pleasure), which have been suggested as represented on one vase.[[1083]] On a R.F. vase in Vienna, Dike (Justice) is seen overcoming Adikia (Injustice)[[1084]]; Apate (Deceit) on the vase with Dareios in council beguiles the goddess Asia with bad advice,[[1085]] and also leads Tereus astray[[1086]]; Phobos (Fear) drives the chariot of Ares when he assists Kyknos against Herakles[[1087]]; he is specially associated with the god of war, the idea being that of inducing panic among enemies; and in many cases his head appears, like that of the Gorgon, as a device on shields.[[1088]] In one instance he appears as a lion-headed monster.[[1089]] Artemis, in the capacity of Aidos (Shame), hinders Tityos from carrying off Leto.[[1090]] Eris (Strife) appears on B.F. vases as a winged female figure running, in scenes of combat, chariot-races, etc., or as a single figure.[[1091]] But the identification is not always certain; in some combat scenes it is possible that Ate or a Ker is meant, and in those of an agonistic character we may see Agon, the personification of athletics (see above, p. [89]).[[1092]]