Greek Tragedy in the Light of Vase Paintings

by John H. Huddilston

[18]. F.-W. 1402. Cf. Pliny, Nat. Hist. 36, 34.

[19]. One may distinguish two distinct moments in works of art based upon the Antiope myth. (1) The two sons of Antiope have the unfortunate Dirke all but fastened to the bull, which is being held only with the utmost exertion. (2) The catastrophe ensues. The wild animal is dragging his victim over the ground. It need not be said that the most celebrated representation of (1) is the toro farnese. For (2), cf. a wall painting, pub. Arch. Ztg. 1878, pl. 9, a and b. The myth was wonderfully popular and appears on coins, gems, reliefs, &c., all of which belong to the period when tragic influence predominated in art. Cf. Dilthey, Arch. Ztg. 1878, p. 43 ff. and Jahn, ibid., 1853, p. 65–105.

[20]. F.-W. no. 1422. Cf. Pliny, Nat. Hist. 36, 37.

[21]. Robert, Bild und Lied, p. 192 ff., contends against the influence of Sophokles.

[22]. Cic. de opt. gen. orat. 1. 1.

[23]. Velleius, 1. 17. 1.

[24]. The favourite subject was the murder of Troïlos.

[25]. Brunn, op. cit. pl. 1–16; cf. Schlie, Die Darstellungen des troischen Sagenkreises auf etruskischen Aschenkisten, p. 13 ff.

[26]. Poet. 1453^a. 21.

[27]. Op. cit. pl. 26–34, gives eighteen reliefs.