Fig. 23 (vid. p. [145] ff.)
The most famous vase upon which we find Medeia is the great amphora in Munich[[270]], found in Canosa, the ancient Canusium, in Apulia, Oct. 16, 1813. The painting consists of three sections of figures parallel with the perimeter of the vase. The two upper ones are divided in the middle by a building with six Ionic columns. On the inside hang two round shields—a common decoration in this sort of picture. On the right, inside of the house, is a chair or θρόνος, over the arm-rest of which a richly dressed female figure has fallen; above on the frieze the inscription ΚΡΕΟΝΤΕΙΑ (sc. ΠΑΙΣ) shows the person to be Kreusa, or Glauke[[271]], the daughter of Kreon. Rushing rapidly towards her from the right is a youth in petasos and chlamys. He has already reached the upper step of the palace and is attempting to remove Kreusa’s head-dress. Incised in the vase is the name ΙΠΠΟΤΗΣ[[272]]. On the left an elderly male figure, bearded, wearing long, richly embroidered chiton, hurries to Kreusa. One hand is placed behind her as though to support the body; the other, from which the sceptre has just fallen, clutches his hair. He gazes to one side in a dazed sort of manner. On the frieze above is ΩΝ, evidently the last letters of ΚΡΕΩΝ[[273]]. To the left outside of the palace, and somewhat lower, an elderly woman in long chiton and mantle runs toward the scene of the tragedy, extending her left hand and holding her right to her head in the usual attitude of fright. She is designated by the inscription, incised, as ΜΕΡΟΠΗ[[274]]—most likely the wife of Kreon. Further on the left is a group of two, a pedagogue in the usual costume, and a female attendant. The former is hurrying towards the palace, while the latter attempts to divert him from his onward rush.
To the right from Hippotes is another female figure, en face, who appears to be leaving the palace. Her dress, especially the veil, and her bearing point her out as a nurse or servant of Kreusa. Just in front of the latter upon the ground is the open box in which the baneful presents were brought.
The lower section is divided into two parts by Medeia’s dragon-chariot, held in readiness by the charioteer with a burning torch in either hand. The upper part of the latter’s body is nude. There can be little doubt that the figure is female. The inscription ΟΙΣΤΡΟΣ shows it to be Οἴστρος, the personification of Medeia’s rage. On the left, Medeia, ΜΗΔΕΙΑ[[275]], with richly decorated oriental costume and Phrygian cap, advances to the right with drawn sword to kill one son whom she grasps by the hair with the left hand. It is not easy to say whether the boy has taken refuge on the altar, or whether his mother has lifted him upon it. More probably the latter is true. The lad is nude, with the exception of a garment over his left shoulder. He wears bracelets and on the left leg an anklet. Immediately behind Medeia a doryphoros, dressed as Hippotes, but with two spears instead of a sword, hurries to the left with the second boy, dressed as is the other. On the right of the chariot and hastening impetuously to rescue his son is Jason, ΙΑΣΩΝ. He is bearded and has a sword and long spear. His chlamys is thrown over his left arm. Beside him, but moving at slackened speed, another doryphoros extends the right hand towards the chariot as though to warn Jason of the futility of his intervention. Above this group on the right is a bearded male figure, pointing towards the events transpiring below. He wears a long royal dress and Phrygian cap, and carries a sceptre in his left. ΕΙΔΩΛΟΝ ΑΗΤΟΥ, incised, indicates him as the ghost of Aetes, Medeia’s father.
The upper section is bounded on either side by a Corinthian column surmounted by a tripod. Herakles, with club, bow and quiver, and lion’s skin, stands on the left facing Athene, who sits upon a terrain. She has her helmet in her right hand and leans against her shield. The spear is not wanting. On the right are two male figures, one sitting, the other standing. The oil-cruses and strigils, as well as the two stars and the pilos, near the one who sits, designate them as the Dioskouroi.
We turn now to a closer consideration of our vase to see if it is under the influence of Euripides. Starting with the scene which the vase painter has given us in Kreon’s palace, one cannot but be struck with the agreement between the picture and the scene described by the poet through the mouth of the messenger in the celebrated speech, vs. 1136–1230. This wonderful passage is the triumph of Euripidean rhetoric in the Medeia. The two boys, together with their father, had entered Kreusa’s apartment conveying the box with the rich vestment and golden crown, and she, who had refused to listen to words and be softened, was, woman-like, melted by these unexpected gifts. She accepts them, and father and sons retire. She then arrays herself before the mirror, admires her beauty, retreats across the room with proud, exulting step, all too captivated by her gracious figure, when the terrible moment comes—
χροιὰν γὰρ ἀλλάξασα λεχρία πάλιν
χωρεῖ τρέμουσα κῶλα καὶ μόλις φθάνει
θρόνοισιν ἐμπεσοῦσα μὴ χαμαὶ πεσεῖν. vs. 1168–1170.