[98]. Jahn, Telephos und Troilos, 1841, p. 46 ff., believed that Exekias was indebted to Euripides’ Telephos for the idea of his dice-players; cf. Overbeck, Bildwerke, pl. 14. 4, and Wiener Vorlegeblätter, 1888, pl. 6. 1a. We know now that Exekias must have lived nearly 100 years before the date of the Telephos.
[99]. Klein in his Euphronios, 1886, p. 236 ff., saw in the Iliupersis kylix, pub. Baumeister, Denkmäler, i. no. 795, the workings of Aischylos’ Ὅπλον Κρίσις; in the Euphronios kylix, Wiener Vorlegeblätter, ser. v. pl. 6, representing the death of Troïlos, a connexion was pointed out with Sophokles’ Troilos; and the Dolon kylix, also by Euphronios, cf. op. cit. p. 136 f., might be brought under the Rhesos of Euripides.
[100]. Note especially the Brygos kylix, Brit. Mus., cat. iii. E 65; pub. Mon. d. Inst. ix. 46, and Wiener Vorlegeblätter, ser. viii. 6. Dionysos stands by his altar over which a satyr springs to grasp Iris. Others of the tribe make merry. Cf. also Brit. Mus., cat. iii. E 768; pub. Wiener Vorlegebl. ser. vii. 4, in the style of Euthymides. Seilenos in herald’s dress is in the midst of a long train of satyrs.
[101]. The main scene is published and discussed by Dümmler in Rheinisches Museum, 1888, p. 355 ff.
[102]. Cf. the Peiraieus frag. pub. Arch. Ztg. 1880, pl. 16. Other examples of later styles are included by Reisch, Griech. Weihgeschenke, p. 68 ff. Vid. further the list in Arch. Ztg. 1880, p. 182 f.
[103]. Gerhard, Auser. Vasen, pl. 56, and Reinach-Millin, Peintures, i. 9.
[104]. Berlin, inv. no. 3237. Pub. and discussed by Bethe, Jahrbuch, 1896, p. 292 ff. and pl. 2; cf. Furtwängler, Arch. Anz. 1893, p. 91 f.
[106]. No. 3235, A. Pub. Mon. d. Inst. ii. pl. 36; Overbeck, Bildwerke, pl. 24. 19; cf. Furtwängler, Masterpieces, p. 152 f.