[108]. Heydemann’s cat. no. 3240. Pub. Müller-Wieseler, Theater-gebäude, pl. 6. 2; Baumeister, Denkmäler, i. fig. 422.
[109]. iv. 115–117. Cf. also Bethe, Prolegomena zur Geschichte des Theaters im Altertum, p. 42.
[110]. The Penelope vase, pub. Mon. d. Inst. ix. pl. 42 = Baumeister’s Denkmäler, iii. no. 2332, has lately been explained by Robert as being based on Soph. Νίπτρα. Cf. Die Marathonschlacht in der Poikile, p. 78 ff. If I could accept this view my position would be very materially strengthened. The Νίπτρα must be set cir. 428 B.C., and this means that the painting is later than this date. Much as I should like to bring this important monument into connexion with the drama, I cannot think of a later date for the vase than 440 B.C., which to be sure renders its relation to Sophokles impossible. If, however, Professor Robert be correct, it shows that there is at least one vase painting of the fifth century that represents a form of a myth which belonged to the theatre, and this was not granted in Bild und Lied.
[111]. Cf. Gardner’s Types of Greek Coins, pl. v. nos. 17–20, and Furtwängler’s Masterpieces, p. 105 ff., with the very instructive collection of Italian and Sicilian coins which shows the Attic influence in this period.
[112]. Cf. Mommsen, Unteritalische Dialekte, p. 89 ff.
[113]. De leg. 1. 637c.
[114]. Dio Cassius, 39. 3. 6.
[115]. Zonaris, viii. 2. 370, καὶ τὸ θέατρον ἔκλεισε.
[116]. Cf. figs. 5, 6, 18, 19, 20, 21, 23.
[117]. The large class of Lower Italy vases that illustrate scenes from comedy are priceless treasures. They are based on the ‘farce-plays,’ φλύακες τραγικοί—the invention of Rhinthon (vid. Rhinthonis Fragmenta, Halle, dissertation by E. Völker, 1887); cf. especially Heydemann, Jahrbuch, 1886, p. 260 ff., where all the examples then known are discussed. Bethe, Prolegomena zur Geschichte des Theaters im Altertum, p. 278–292, handles particularly the interesting question of the stage represented in the scenes.