[255]. v. 99, Odysseus says he thinks they have dropped down on a city of Bromios, so many are the satyrs whom he sees before the cave.
[257]. Pliny 35, 74. A Cyclops dormiens so large that a number of satyrs were engaged in measuring his thumb with a thyrsos. I follow Robert (Bild und Lied, p. 35) and Winter (Jahrbuch, 1891, p. 272) in connecting this painting with Euripides.
[258]. The painting is on a krater in the possession of Sir Francis Cook, Richmond, England; pub. by Winter, Jahrbuch, 1891, pl. 6. He thinks the work Attic, but Furtwängler (Masterpieces, p. 109, note 8) is sure it is Lower Italy ware.
[259]. The three eyes are plainly visible. One huge eye alone in the centre of the forehead belongs to later times.
[260]. Furtwängler, loc. cit., remarks that the publication is not exactly correct, as fire is plainly noticeable on the wood that the youths are contributing.
[261]. Polyphemos here is strikingly like the figure on an Etruscan urn. Brunn, I rilievi, i. pl. 873. The Kyklops is in both cases stretched out upon his left side, and is on the point of being attacked.
[262]. The poet mentions the krater, and in the next breath the skyphos, neither of which is exactly found in the rough sketch in the painting. Besides these, Euripides names in this play the kylix, amphora, and pithos—a considerable vocabulary of ceramic terms.
[263]. My remark applies only to the extant monuments, for one finds that Pausanias saw the marriage of Jason and Medeia represented on the Kypselos Chest (5. 18. 3). This is in keeping with the Corinthian origin of the Chest. It is hardly to be expected that such domestic events in Medeia’s career would have found their place in any work of art that was not made in Corinth, or at least in a place essentially influenced by Corinthian legend.
[264]. Vid. Arch. Ztg. 1867, p. 58.