Mention should be made also of Körte’s excellent article in the Jahrbuch for 1893, p. 61–93, on Archaeologische Studien zur alten Komödie.
[118]. Robert’s conclusion in regard to the literary source of all the monuments (Bild und Lied, p. 149 ff.) is that they go back to the Oresteia of Stesichoros. This view has been generally accepted by archaeologists, and met with no opposition till Wilamowitz showed reason for believing in the existence of a Delphic epic dealing with this subject. The whole question needs another careful investigation.
[119]. Pub. Mon. d. Inst. vi. pl. 57. 1 = Roscher’s Lexikon, i. p. 1238. Cf. Robert, op. cit. p. 167 ff.
[120]. Naples, no. 1755, pub. Baumeister, Denkmäler, iii. 1939 = Reinach-Millingen, Peintures, pl. 14.
[121]. Fig. 2. Pub. Raoul-Rochette, Monuments inédits, pl. 34. Cf. ibid. p. 159 ff.; Overbeck, Bildwerke, pl. 28. 5; cf. text ibid., p. 688 ff.; Inghirami, Vasi fitt. ii. pl. 151.
[122]. Cf. figs. 14, 15, 23, 24 for the regulation dress of the pedagogue.
[124]. Munich coll. Jahn’s cat. no. 814. The figure of Elektra alone together with the view of the tomb is published by Inghirami, Vasi fitt. ii. pl. 154.
[125]. Pub. Inghirami, op. cit. ii. pl. 153.
[126]. An amphora, no. 544. The painting has not been published so far as I know, but the similarity it bears to figs. 3 and 4 appeared to me to render a publication of it here unnecessary.