1. In figs. 19 and 20 a youth leans against the περιρῥαντήριον, resting on one leg over which the other is thrown. 2. In figs. 19 and 21 Iphigeneia hands the letter to the youth. 3. The Artemis ἄγαλμα is in the temple in figs. 20 and 21; so also is Iphigeneia.
We thus observe that the remarkable agreement, even in the details, shows that they must all be copies more or less exact of one and the same original. That Iphigeneia in fig. 20 does not hold the letter in her hand may be accredited to the carelessness of the artist who merely forgot to paint it. The same may be said with regard to the abridged form of the scene in fig. 21, where Orestes has been left out. The two central figures appeared to the artist to be the important part of the original, and accordingly he omitted all else.
Immediately following the scene represented in fig. 18, Iphigeneia entered the temple to get the letter—
ἀλλ’ εἶμι, δέλτον τ’ ἐκ θεᾶς ανακτόρων
οἴσω. v. 636 f.
and ordered the guards to watch the two without binding them. Thereafter ensues the touching scene between Orestes and Pylades (vs. 657–724). The priestess then reappears, and commanding the attendants to go inside, continues—
δέλτου μὲν αἵδε πολύθυροι διαπτυχαί,
ξένοι, πάρεισιν· ἃ δ’ ἐπὶ τοῖσδε βούλομαι,
ἀκούσατ’.
Orestes speaks first after these lines and asks her what she wishes. It shall be an oath for the safe delivery of the letter. At this he demands a counter-oath from her for the safe withdrawal of Pylades from the country. We may imagine that during the delivery of these verses, which were probably spoken while Iphigeneia was still in the temple doorway, Pylades had approached her to receive the letter, while Orestes stepped to one side as he appears in figs. 19 and 20. In vs. 769–787 the contents of the letter are related to ensure safe transfer of the message, even though the written words be lost in a shipwreck. This is the time represented on our vases. The hopelessness of Orestes requires, moreover, the earlier part of the scene, since from v. 772 he begins to be aroused and to prove his brotherhood to Iphigeneia. The αναγνώρισις is complete at the close of v. 826, and there follow the fourth and fifth stages which were noticed above[[246]]. Neither of these movements is, so far as I am aware, shown on any vase painting, although they are an important part of the reliefs on the Roman sarcophagi[[247]].