At this the guards are commanded to enter the temple and make ready for the offering. Our picture follows in one respect the traditional manner of representing the scene. Orestes and Pylades are invariably nude, or so lightly clad with the chlamys that they are practically naked. There is the closest analogy between them as they appear here and as they occur on the sarcophagi.
Fig. 18.
The second moment, as I have marked it out above, is also represented on one vase only[[235]]. In the centre Orestes, ΟΡΕΣΤΑΣ, sits to the right upon a large altar, chlamys about his hips, sword on his left side, hands supported upon his stick towards which his head is sunk. The whole attitude betokens sorrow. On the right is Iphigeneia wearing long, sleeved chiton, and mantle, necklace, and bracelets. In her left hand close by her side (incorrectly published as a knife) is the temple key which is emblematic of her office as κλῃδοῦχος[[236]]. Her right is extended towards Orestes, with whom she is speaking. She is accompanied by a temple servant who, entirely wrapped in chiton and mantle, carries in her right an oinochoë and upon her head a dish in which are articles for the sacrifice, including the branches for sprinkling. Behind Orestes is a laurel tree and on his right Pylades, ΠΥΛΑΔΗΣ, standing with one foot thrown over the other, his right hand placed sorrowfully to his head. The left rests upon his staff. On his left side is a sword. He is deeply concerned in the conversation. Above on the right behind a terrain is the temple of Artemis, Ionic order, and akroteria. Beside it on the left, Artemis, distinguished by her huntress-mantle, two spears, and hair-dress, sits with face to the left towards Apollo who is the remaining figure on the vase. He wears a garment around his waist, and rests his right upon a cane and turns his face towards Artemis.
The vase is especially interesting as being the only one on which any of the characters is accompanied by an inscription, and secondly, because Orestes sits here upon the altar. He cannot be thought of as a victim, and I do not believe he has fled to the altar for refuge, as has been suggested. That would comport but poorly with the spirit which he exhibits throughout the interview. Where does Orestes sit passively upon an altar at the attack of the Furies? He invariably has his sword drawn in a very emphatic manner, and while he crouches upon or clings to the altar he never gives any appearance of being an easy victim to his pursuers[[237]]. Just this point it is necessary to emphasize, for had the artist felt that the meaning of Orestes’ position indicated his pursuit either by seen or unseen Furies, he never would have committed the egregious error of placing him in a calm attitude quite unconscious that he has a sword ready at his side. Furthermore there is no trace in Euripides or the painting to allow us to assume that Orestes is again pursued at this point. He is not, therefore, in any sense a suppliant. The vase painter has simply allowed himself a great liberty in seating his figure where we should least expect to find him. An altar is not by any means a usual seat, and much less for the victim[[238]]. This same freedom in disposing of details led the decorator still further from the established usage, for neither of the captives should be allowed their swords. They are already ἱεροί (v. 469) and should be represented accordingly. In these particulars we must acknowledge that the painter idealized the scene (vs. 472 ff.).
If it were necessary to determine upon any one moment which the artist had in mind, one would discover a close parallel between vs. 625 ff. and the present scene. It has been agreed that Pylades shall be the messenger; Orestes is to die in his stead. The latter proceeds to ask who shall perform the sacrificial act, and whether a tomb shall receive him when all is over. To this Iphigeneia replies—
πῦρ ἱερὸν ἔνδον χάσμα τ’ εὐρωπὸν πέτρας.
and Orestes—
φεῦ·
πῶς ἄν μ’ ἀδελφῆς χεὶρ περιστείλειεν ἄν;