[185]. The Phaedra seems to have followed the first Hippolytos of Euripides.
[186]. Cf. Met. 15, vs. 497 ff., and Heroid. 4.
[187]. Cat. iv. F 272, pub. by Braun, Mon. ed Annali, 1854, pl. 16; Engelmann’s Atlas zum Homer, ii, Odyssee, pl. 15. 93. First correctly interpreted by Heydemann, Arch. Ztg. 1871, p. 158 ff.; cf. also Vogel, op. cit. p. 66 f., and Kalkmann, Arch. Ztg. 1883, p. 62 ff. The vase is Apulian ware. The lower zone represents the violence of the Centaurs at the marriage of Peirithoös’ daughter, Laodameia. Theseus and the father are seen rushing to the help of the bride.
[188]. The fact that no succession of events, where one person appears more than once, can be found in Hellenic art, forbids us interpreting this group as again Phaidra and an attendant. I cannot, however, rid myself of the feeling that the figure leaning on the kline is not a servant, but is more in rank with Phaidra. Her rôle is more than that of the other attendants. This is shown by her attitude and dress. Her appearance is exactly that required for Phaidra after she had ordered her attendants to lift her up, remove her veil, and allow her hair to drop over her shoulders (vs. 198–202).
[189]. Cf. the part of the pedagogue on the Medeia vase, fig. 23, p. [146].
[190]. There are, besides, fragments of several other reliefs. For the literature vid. Kalkmann, Arch. Ztg. 1883, p. 65 ff., and Jahn, Arch. Beiträge, p. 300 ff.
[191]. Cf. vs. 201 ff.
[192]. Pub. Arch. Ztg. 1847, pl. 5 and 6.
[193]. Pub. Mon. d. Inst. vi. pl. 1, 2, 3.
[194]. So on the Constantinople relief, pub. Arch. Ztg. 1857, pl. 100 = Brunn’s Vorlegeblätter, pl. 9. 3; and on the Girgenti sarcophagi; cf. note 1 above.