[265]. Benndorf und Schöne, Die antiken Bildwerke des Lateranensischen Museums, p. 61 ff.; F.-W. no. 1200. The Berlin copy of this relief, long supposed to be of Renaissance origin, has lately been proved to be antique; vid. Kekulé von Stradonitz in Jahrbuch, 1897, p. 96 ff.
[266]. Cf. Baumeister’s Denkmäler, i. p. 142; ii. p. 875; iii. p. 1852.
[267]. Kekulé’s Die antiken Terracotten, ii. p. 21.
[268]. Vid. Roscher’s Lexikon, ii. p. 2513.
[269]. Robert in Die antiken Sarkophag-Reliefs, ii. p. 205–217, gives all the literature; cf. also pl. 62–65. Vid. Arch. Ztg. 1866, p. 234 ff.; Annali d. Inst. 1869, p. 5 ff.; Urlichs’ Würzburger Programm, ein Medea-Sarkophag, 1888. (This fine sarcophagus is now in the Berlin museum.) Robert and Urlichs have, to my mind, shown conclusively that these reliefs go back to Euripides’ Medeia for their literary source. Notwithstanding that they all date from about the second century A.D., and could thus be based on various Roman plays, the arrangement of the events on the reliefs bears a remarkable similarity to the scenes in Euripides. The reliefs on the long sides are taken up with exactly the scenes of the Greek poet. Those on the ends are but indifferently worked out, and often do not represent any events in the Medeia-Jason adventures.
[270]. A half-tone reproduction of the vase is shown in the frontispiece. The section with the painting is given separately in fig. 23. It is no. 810 in Jahn’s catalogue; pub. in Millin’s Tombeaux de Canose, 1816, pl. 7; Arch. Ztg. 1847, pl. 3; Wiener Vorlegeblätter, ser. i. pl. 12; Baumeister’s Denkmäler, ii. p. 903; Roscher’s Lexikon, ii. p. 2510; Inghirami, Vasi fitt. iv. pl. 388; Engelmann, Bilderatlas zu Ovid, pl. 13, 81. Discussed by Jahn, Arch. Ztg. 1847, p. 33 ff.; ibid. (by Dilthey) 1875, p. 68 f.; Robert, Bild und Lied, p. 37 ff., and Hermes, vol. 30, p. 567 note; Körte, Ueber Personificationen psychologischer Affecte, p. 38 ff.; Vogel, Scenen eur. Trag. p. 146 ff.; Seeliger in Roscher’s Lexikon, loc. cit.; Bethe, Prolegomena zur Geschichte des Theaters im Altertum, p. 148, note 6.
[271]. The latter name is found in schol. Eur. Med. v. 19, and in Hyginus. fab. 25.
[272]. Diod. Sic. iv. 55. 5, calls Kreusa’s brother Hippotes.
[273]. The reading Κ ... ΩΝ in Millin’s publication, followed also by Conze in the Vorlegeblätter and by Baumeister, is incorrect as Jahn (vid. cat. no. 810, note) expressly stated, and as is plainly proved by a glance at the original. Hence the useless conjectures that have been made to fill up the space between the first and last letters. There is absolutely no trace of the Κ, but there are faint remains of letters preceding ΩΝ, and the correct reading is without question, ΚΡΕ]ΩΝ.