Notwithstanding the fact that the oldest of the tragedians was the least read in the fourth century B.C., he easily rivals Sophokles in his influence on art. This was not due to his being more admired, and can only be accounted for by the bold situations that he invented-situations new and striking. There are certain of his plays that left a lasting impression on Greek and Roman art. Such are the Choephoroi, the Eumenides, and the Lykurgeia. Further than these, Aischylean plays did not appeal to the artist to any great extent. It is the peculiarly popular inventions distinguishable in these tragedies, their uniqueness, so to speak, that set them apart by themselves, a mark for the artist. The character of the plays is easily denoted. They ring with cries of murder and resound with the storming fury of avenging deities; we are struck by the perils of the situations and remain all but breathless to learn the issue. These features attracted the painter and sculptor, and this is what meets one on all the monuments that may be called Aischylean. The deep religious vein that pulsates in every line of the mighty tragedian is reflected to some degree on the vases and the sarcophagi. This force in art was rather epic; it was, in a way, Polygnotean, and the ethical nature of it all but condemned it for the artists who sought the πάθος of Euripides. This very fact explains why Aischylos and Sophokles did not address themselves more to the succeeding generations of artists. The ethical was more difficult to express than was the pathetic, and it was not so attractive. The spirit of the times, moreover, demanded the latter as it demanded Euripides, and consequently one should not expect to meet a large number of vase paintings that were made under the influence of either Aischylos or Sophokles. Those that can be associated with the extant tragedies of the former are given in the following pages. It will be observed that certain scenes from Aischylos were greatly in favour in Lower Italy. All of the nine paintings published are from Italian ware. Not one Attic vase that shows an Aischylean scene has, so far as I know, been discovered. In the West, however, where he was quite as much at home as in his own Athens and where he was destined to end his days, the vase decorators were largely influenced by him.
§ 2. Choephoroi.
There is no proof at hand that epic literature knew aught of Elektra or the part which she played in avenging her father’s murder. The fragments from the lyric poet Stesichoros furnish the oldest literary source for the Oresteia which became later so popular under the hands of the fifth-century tragedians. The trilogy of Aischylos which has happily come down to us is, therefore, the oldest extant authority. When one turns to works of art one discovers a series of vase paintings representing the death of Aigisthos; yet these are but a little older than Aischylos’ work[[118]]. Events concerned with Orestes’ return are even less common in early art. The Melan terra cotta plaque in the Louvre, which represents a scene somewhat similar to the opening of the Choephoroi, is the oldest of the Oresteia monuments, but still must be dated within the fifth century B.C.[[119]] It may be considered as fairly well established that Elektra and Orestes first appeared in art but a few years before the production of Aischylos’ trilogy in 458 B.C. Nor is it possible, so far as I know, to discover any influence of the Agamemnon or Choephoroi upon artistic productions in the last half of the century. A small group of vase paintings from Lower Italy belonging to the fourth century B.C. do, however, present situations which one may well believe to have been suggested by the early part of the Choephoroi.
Fig. 1.
The painting shown in fig. 1[[120]] represents a tomb, the base of which is decorated with triglyphs. Surmounting this is a stele, crowned with a Corinthian helm, and bearing the name ΑΓΑΜΕ[Μ]ΝΩΝ. Sitting with her back to the stele on the left is Elektra, ΕΛΕΚΤΡ[Α, wearing a chiton and mantle and clasping her left knee in a meditative mood; beside her is another female figure similarly dressed and holding a toilet box in the left arm, an unusually common article on the vases of Lower Italy. Perhaps the box is meant to recall the offerings which were brought in it to the grave. This person is not necessarily Chrysothemis, although her dress would be more appropriate for Elektra’s sister than for her attendant. It is, however, the work of the latter to carry such a box of offerings for Elektra. The figure may therefore be left unnamed. Her face is turned towards Orestes, ΟΡΕΣΤΗΣ, who stands on the right and appears to be speaking to Elektra, who pays no attention to his words or his gesture. He is in travelling costume, chlamys, petasos, and carries a spear and sword, but curiously enough wears no boots. Below him to the right in a similar attitude stands Pylades. He has simply a chlamys and a spear. Another youth sits above on a terrain. He serves to round out the picture, and indicates at the same time the attendants of Orestes. In the background are a sword and shield; on the grave is an amphora, as an offering, exactly the shape of the vase on which the painting occurs. There are numerous restorations in the work, but the main part seems to be antique. Heydemann states that the inscription on the stele is genuine, and also ΕΛΕΚΤΡ[Α. Doubt is expressed concerning ΟΡΕΣΤΗΣ.
We have before us the grave of Agamemnon, at which the first 585 verses of the Choephoroi were played. There is no trace of palace or royal building. Orestes, accompanied by Pylades, enters the orchestra and lays his tribute upon his father’s tomb, τύμβου δ’ ἐπ’ ὄχθῳ (v. 4), but suddenly withdraws to avoid the company of women which approaches with ceremonial step. The chorus and Elektra proceed to perform their services when the latter discovers the lock of hair, ἄγαλμα τύμβου (v. 200), and the footprints—two proofs that Orestes must be near. While she is still examining the tracks the latter comes up and proves beyond a doubt, by pointing to the garment that Elektra had once woven, who he is (vs. 212–232). Perhaps one may think of Elektra as sitting upon the grave at some point between v. 84 and v. 212, but when she had discovered the traces of Orestes’ presence, she must have been actively scanning the surroundings. It pleased the artist, however, to represent her as ignoring the appeal of her brother, or at least manifesting no signs of recognizing him. But for the presence of the τύμβος one would be inclined to see the influence of Sophokles’ Elektra, where Orestes’ words gain credence very slowly, and where Elektra hesitates long, before believing his assertions that he is living and standing before her (v. 1219 ff.). But the Sophoklean tragedy is played before the palace. The pedagogue and Orestes leave the orchestra to pour their libations on the grave (v. 82 ff.) when Elektra comes out of the house. The fact that the recognition scene is represented as taking place at the grave gives us therefore ample reason for accepting our painting as under the influence of the Choephoroi. This painting is strikingly free in its conception; no words of the poet can be cited as fitting the situation. The suggestion, the setting, are Aischylean; all else is the artist’s. The work is far removed from the character of an illustration.
Fig. 2 (vid. p. [47] ff.).
The second painting is on a Lucanian hydria[[121]]. The central scene is again the τύμβος of Agamemnon, built up with several steps and surmounted by a stele with Ionic capital and bound by a fillet. Elektra sits upon the upper step in veil and chiton. She holds the former with her right hand and looks away into space. On other steps below her are a lekythos and other small vases, also a pomegranate and a fillet. The offerings are much more abundant here than in fig. 1. Unnoticed by his sister, Orestes approaches the stele on the left, dressed as in fig. 1, with the addition of boots. He is about to pour a libation from a kylix in his left hand. The male figure sitting next to him is doubtless Pylades. He turns his head towards the main scene. The remaining figure here is but remotely associated with the action. The persons on the right are more interesting. The youth standing on the step of the grave about to lay a wreath upon the stele is denoted by his kerykeion as Hermes. He wears a travelling costume without the usual boots. An elderly, bearded, male figure stands behind him. He is not characterized except by a mantle and a long staff, but has been interpreted as Orestes’ pedagogue. The only objection to this is his dress[[122]], but this may be due to the carelessness of the artist. Behind him is another bearded male figure sitting upon a sort of bag, or pack. His short chiton, shoes, and staff all point him out as a traveller. The peculiar, close-fitting cap denotes him as a foreigner. The female figure on the extreme right in Doric peplos carries an aryballos in her left hand, and gazes at the group before her. Perhaps she belongs to Elektra.