These repeated allusions to her father and her former home seem to me to express in a strong manner what the painter chose to develop into the ghost-figure. Aetes appears here to behold the retribution that is overtaking Jason; and his participation in the fearful tragedy emphasizes the secret power in Medeia, her sorcery, and her chariot. The artist read between the lines and discovered the spirit of the poet, and this he has successfully reproduced. A similar instance was noted in the liberty assumed by Botticelli in including Beatrice in the second plate to the Inferno[[306]].
In the second place the εἴδωλον emphasizes the barbaric element in the Medeia-Jason history, and impresses the beholder with the workings of barbarism versus Hellenism. This chord is, moreover, continuously struck by Euripides[[307]]. The poet endeavours from first to last to keep up the keenest distinction between Greece and Kolchis, between Jason’s family and that of Aetes.
There was, moreover, an opportunity, in introducing this oriental king, to add features strikingly characteristic of the Apulian vase paintings[[308]]. The elegance and display of costume peculiar to the Persian and Asia Minor kings were attractive for an artist, and the introduction of Aetes’ shade was a happy invention that went far towards making the deeper meaning of the poet plain.
The deities, who, as spectators, are an important part of the paintings on so many Lower Italy vases, are arranged in the upper section. They need not have any particular connexion with the incidents before them. The Olympian sympathy with earthly affairs was a favourite theme with the artists of the time, and a satisfactory number of participating divinities is usually added where important events occur. Herakles and Athena seem to be but indifferently interested in what is happening below them, although the former was intimately associated with the Argonautic expedition[[309]], and the latter was the promoter of the enterprise[[310]]. The Dioskouroi, who likewise took a large part in the adventures of the voyage, are fitly represented here[[311]]. They are, however, giving no heed to the tragedy. It is enough if the painter has recalled for us the famous voyage and shown us the prelude, as it were, to the drama played in the two lower sections. The panorama of Jason and Medeia’s life together passes before us in distinct scenes. By painting the participants in the expedition and also the shade of Aetes the artist has heightened the effect of the double tragedy which the poet made famous.
Such is the painting on this celebrated amphora, which I do not hesitate to call Euripidean.
Another monument which also shows Kreusa’s death is a vase from Pomarico, now in Naples[[312]].
Fig. 24.
Kreusa has fallen from the θρόνος that occupies the middle of the scene, and in a half-sitting posture upon the floor endeavours to remove the head-dress. Before her is the open box in which the presents were brought. A mirror hangs on the wall. She is dressed in the Ionic chiton with mantle; has earrings and one bracelet. She stares at Kreon, who hurries toward her with outstretched right hand. He has the sceptre in the left hand, is bearded, bald, and wears a chiton which has slipped down to his waist. To the left a female figure rushes away en face, and, watching Kreusa, makes the gestures of one terror-stricken. She is dressed like the latter except the earrings and necklace. Jahn called her a companion of Kreusa, considering that if she were Merope of the Munich vase she would be approaching her daughter and not leaving her. I prefer to see in this figure one of the attendants who in vs. 1177 ff. spread the news. It is true that the appearance of the figure is that of a more important personage than a servant. The latter are not usually represented wearing jewellery and fine costumes, and yet the attendant on the Munich vase, who is endeavouring to divert the pedagogue, is quite as richly dressed. In the present instance, however, the drawing is very careless and the workmanship is of an inferior sort. I believe, therefore, that the artist either did not know the fitness of things, or else took no pains to indicate that this figure was a servant or attendant. When he had once drawn such a miserable king as Kreon is, hobbling along in a ridiculous manner, he might well have slipped into the other extreme of painting a nurse in a lady’s garb. The scene is based upon the messenger’s speech, vs. 1176 ff.
The pedagogue on the right, who is hurrying away the two boys wrapped in cloaks, is a reminiscence of vs. 1157 ff. where the father, Jason, goes away with them.