[195]. Clarac, Musée de Sculpture, pl. 213, no. 228, and Mon. d. Inst. viii. pl. 38. 1 = Wiener Vorlegeblätter, ser. 5, pl. 12, and Gerhard, Antike Bildwerke, pl. 26.
[196]. A number of vase paintings interpreted as Phaidra are not included here since they all admit of a variety of interpretations. Vid. p. [179] below.
[197]. The remarkable feature in these reliefs that shows non-Euripidean influence is the letter which the old nurse hands to Hippolytos. This points to another handling of the myth, where the former confined herself to a written statement rather than a word of mouth proposal. Strikingly in harmony with Euripides, however, is the position of the trophos. She grasps Hippolytos’ elbow—ναὶ πρός δε τῆσδε δεξιᾶς εὐωλένου (v. 605). Cf. also the Pompeian wall painting, Mus. Borbonico, 8, pl. 52. This and other wall paintings represent the scene between Hippolytos and the nurse as taking place in the presence of Phaidra, who sits quite alone.
[198]. Cf. fig. 15. Cat. vol. iv. F 279; pub. by Kalkmann, Arch. Ztg. 1883, pl. 6; vid. ibid. p. 43 ff.
[199]. Cf. a similar group in fig. 23.
[200]. The same group of divinities, with the exception of Apollo, occurs on the Naples amphora, no. 3256, pub. Mon. d. Inst. ii. 30, and Robert, Die Marathonschlacht, p. 37; Robert calls attention to the fact that this is an essentially Athenian assembly. Poseidon, Athena, and Pan were inseparably associated with the Acropolis, the latter, of course, after the battle of Marathon. The Naples vase represents a battle between Greeks and barbarians, and according to Robert’s theory is dependent upon Polygnotos’ painting in the Stoa Poikile. As participants and spectators the gods occur in the upper section. Athena, indeed, whirls into line on her chariot. If this ingenious theory has hit the gist of the matter regarding the Naples painting, then we may also claim the group of gods on the Hippolytos vase as peculiarly Athenian. And such would be very appropriate for a picture that represented an Attic tragedy, whose hero had a cult under the shadow of the Acropolis.
[201]. vs. 1199 ff.
[202]. v. 1214; cf. also Ovid, Met. 15. 512, where the bull is described as having his breast half out of the water.
[203]. Bk. ii. 4.
[204]. Nat. Hist. 35. 114.