The mythology of Greece and Rome, with special reference to its use in art

by Otto Seemann

Lastly, Theseus is said to have taken part in the Calydonian boar hunt, and also in the expedition of the Argonauts, of which we shall have more to say hereafter.

Fig. 59.—Elgin Theseus. British Museum.

The death of Theseus is commonly agreed to have taken place in the following manner:—He had been deprived of the sovereignty of Athens by Menestheus, who was aided by the Dioscuri; and then withdrew to the island of Scyros. Here he was at first hospitably received, but subsequently murdered in a treacherous manner by Lycomedes, the ruler of the island. Demophoön, the son of Theseus, is said to have afterwards recovered his father’s kingdom. At a still later period the bones of the hero were brought to Athens by Cimon, at the command of the Delphic oracle. Cimon is also supposed to have caused the erection of the temple of Theseus, which still exists in Athens, and serves as an art museum. The eighth day of every month was held sacred to Theseus, besides which he had a special festival, called the Thesea, on the eighth of Pyanepsion.

Fig. 60.—Theseus Lifting the Rock. Relief in the Villa Albani.

Art has followed the example of the poets and mythologists in depicting Theseus as a second Heracles. Here, however, the characteristic differences that existed between the Doric and Ionic races become apparent. Just as the latter race surpassed the former in elasticity, both of mind and body, so their national hero gives token not only of a higher intellectual being, but also of a body more lithe, and capable of greater swiftness and dexterity, than that of the Doric hero. The slighter and more elegant form of Theseus lacks, perhaps, the sheer brute strength of Heracles, but is compensated by the possession of a far greater degree of activity and adroitness. The expression of face is more amiable and the hair less bristling than that of Heracles, while there is generally no beard. Such is Theseus as depicted by Greek art at the epoch of its full development; later art strove to render the form of the body still more lithe and graceful. The costume of Theseus consists, like that of his prototype Heracles, of a lion’s skin and club; sometimes also of the chlamys and petasus of the Attic youth. Existing art monuments are far less numerous in his case than in that of Heracles. If the explanation is correct, the British Museum possesses a Theseus of priceless value. Among the statues of the Parthenon which have been preserved, there is one of a figure negligently reclining on a lion’s skin, which, with the exception of the nose, hands, and feet, is in a tolerably good state of preservation (Fig. 59). It belonged to the great group of the east gable, which represented the first appearance of the new-born Athene to the astonished gods. It is the figure of a youth in his prime, somewhat larger than life, and altogether a perfect ideal of manly beauty.

A representation of the conflict of Theseus with the invading army of the Amazons still exists on a large piece of frieze-work, which, together with the representations of the battle of the Lapithæ and Centaurs (which have been already mentioned), formerly decorated the walls of the shrine of Apollo’s temple in Phigalia, and is now the property of the British Museum. Among the Greek warriors Theseus may be easily recognised by his lion’s skin and the club, which he is in the act of swinging against a mounted Amazon, probably the leader of the hostile army. We give an engraving of the scene where Theseus obtained the sword and sandals of his father from beneath the rock, after a relief in the Villa Albani (Fig. 60).

8. Cretan Legend.—1. Minos and the Minotaur.—Cretan myths are both obscure and difficult of interpretation, because Phœnician and Phrygian influences made themselves felt at a very early period, and native sources fail us. Minos is commonly supposed to have been the first king of the country. He was the son of Zeus and Europa, who is called in Homer a daughter of Phœnix. This Phœnix was subsequently made into Agenor, a Phœnician, king of Sidon; and the story then arose that Zeus, in the form of a white bull, had carried off Europa, and arrived with his lovely prey in Crete. Europa is there said to have given birth to Minos, Rhadamanthys (Rhadamanthus), and some say Sarpedon. She afterwards married Asterion, who brought up the sons of Zeus as his own children, and, at his death, left the kingdom to Minos. He, after expelling his brothers Sarpedon and Rhadamanthus, became sole king of Crete. Of his brothers, Sarpedon went to Lycia, whilst the pious Rhadamanthus found a refuge in Bœotia. Minos next married Pasiphaë, a daughter of Helios and Perseïs, by whom he became the father of Catreus, who succeeded him, Deucalion, Glaucus, and Androgeos, besides several daughters, of whom the most celebrated are Ariadne and Phædra. Minos gave wise laws to his people, and became supreme at sea among the isles of the Ægean Sea, and even as far as Attica. In his name we find the same root (meaning “to think”) which we have seen in Minerva, and which appears in the name of the Indian lawgiver Manu.

In order to vindicate his right to the crown, Minos besought Poseidon to send him a bull out of the sea, which he was then to sacrifice to the god. Poseidon granted his prayer, but Minos was induced by the beauty of the animal to place it among his own herds. As a punishment of his perfidy, Poseidon kindled in the breast of Pasiphaë an unnatural love for the bull, and the fruit of their connection was the Minotaur. This was a monster, half man and half bull, which Minos shut up in the labyrinth that had been made by the skill of Dædalus. The food of the monster consisted of human beings, who were partly criminals and partly youths and maidens, sent as tribute from the subjugated countries. This lasted until Theseus came to Crete, and, with the aid of Ariadne and Dædalus, destroyed the Minotaur. Such is the substance of this perplexing mythical tradition, of which the simplest interpretation is that the Minotaur was originally an ancient idol of the Phœnician sun-god Baal, which had the form of a bull, and to which human sacrifices were offered. The destruction of the Minotaur by Theseus is a symbol of the triumph of the higher Greek civilisation over Phœnician barbarism, and the consequent abolition of human sacrifices.