[88]. Gerhard, op. cit. iv. 367. 2. Cf. Euripides’ Κρῆτες.
[89]. Op. cit. iv. pl. 401.
[90]. Op. cit. ii. pl. 229 = Overbeck, Bildwerke, pl. 14. 1; iv. pl. 390. 2; v. pl. 108.
[91]. Op. cit. v. p. 217.
[92]. Wiener Vorlegeblätter, ser. D. pl. 10. 4 and 5 = op. cit. ii. pl. 138. 139. Aischylos was the first to chain Prometheus, and all the monuments representing the giant thus fastened on the cliff are dependent on the Prometheus. Cf. Milchhoefer, in Berliner Winckelmannsprogramm for 1882.
[93]. The question as to where and how the Etruscans came to have so wide a knowledge of Greek poetry will long remain a perplexing one. One thing seems clear, viz., that the Romans did not serve as any connecting link between Greece and Etruria. Greek art as well as Greek letters reached this people direct. It hardly seems probable that translations of the Greek poets were so extensively made by this practical people, that the artists could in this manner have had access to so much that is Euripidean. There is, moreover, a great deal in some of the reliefs that bespeaks a familiarity with the scenes as actually given in the theatre. This leads me to think that the wandering troops of actors had penetrated Etruria also, and introduced the plays of which the Etruscans made so much in their art.
[94]. Figs. 12, 16, 27, 28; cf. also note 2, p. [95] f.
[95]. Vid. Lüders, Die dionysischen Künstler, Berlin, 1873.
[97]. The ‘Megarian Bowls’ have much in common with such later monuments as the tabula iliaca. Cf. Jahn’s Bilderchroniken, and Baumeister, Denkmäler, i. no. 775.