2. The largest painting representing this scene is that on an amphora in St. Petersburg[[243]]. The centre of the picture is taken up by the temple, four Ionic columns. Inside on the right is the Artemis statue, costumed like Artemis in fig. 19; a burning torch in the right, around which is bound a sort of decoration. It is on a large pedestal, and has in the left a spear. On the left, about to leave the temple, is Iphigeneia with an elegant chiton, mantle, a diadem in hair, and the peculiar key in her left; beside her, and leaning against the wall, is a kylix with long handle. She makes a gesture towards Pylades with her right in which there is no letter. He stands on the left by the temple, leaning against his knotty stick; has petasos on the back of the neck, and wears high boots and an escaping chlamys. On the left, lower down, Orestes leans on the περιρῥαντήριον, as in fig. 19, but he is evidently more dejected here. The rest of the painting, which consists of five groups of two figures each, has so little to do with the central scene that we may omit any description of it. In the upper zone on the right are Hermes and Artemis, on the left Athena and Nike. Athena will observe the final part of the affair in which she was so deeply interested in Athens. The two groups, a female and an armed Thracian, represent the common ‘love-scenes’ on this class of vases. For the third group on the right, the artist preferred to draw a young deer instead of the female figure. Stephani[[244]] is correct in calling these ‘love-scenes,’ and so separating them permanently from any part in the action. Countless such groups are thrown upon vases of this style as meaningless, decorative figures. The parasol, wreaths, and vessels serve to enrich the setting and add charm to the coquetry.
Fig. 20 (vid. p. [133] ff.).
Fig. 21.
3. A vase, formerly in the possession of the art dealer Barone in Naples, shows an abridgement of the scene[[245]]. In an Ionic temple, four columns, and akroteria, Iphigeneia, en face, long chiton, mantle, hair done in a knot behind, leans with her left elbow upon the βρέτας. In her left is the temple attribute, and in the right the letter which she extends to Pylades, in chlamys and petasos. He leans against his stick, and has a sword in the left, while he points with the right towards the letter. On the right are Apollo and Artemis. The former, nude except for a mantle and high boots, grasps the laurel tree with his left, and rests his right upon Artemis’ shoulder, who sits to the left upon the altar and looks up to Apollo. She is dressed as usual with short chiton and high boots. She has two spears in the left.
In setting these three paintings over against each other and comparing the elements in them, the uniformity is very striking. Perhaps the details may be clearer if placed in a sort of scheme.
a. Elements common to all three vases.
1. Temple of Artemis. 2. Iphigeneia in elaborate dress, indicated as the κλῃδοῦχος. 3. A youth in travelling costume, with whom she is talking. 4. Artemis on the right of the temple.
b. Elements common to two of the three vases.