[62] Fig. 4 is taken from Baumeister, Denkmäler, Fig. 422. The two craters at Deepdene are illustrated in Cook, op. cit., Pl. XXXIX, Figs. 1-2.
[63] The three dinoi are discussed by Miss Bieber in Athenische Mitteilungen, XXXVI (1911), 269 ff. and Pl. XIII, Figs. 1-3 and Pl. XIV, Figs. 1-5. My Figs. 5-7 are taken from her publication, corresponding to Pl. XIII, Fig. 1, Pl. XIV, Fig. 4, and Pl. XIV, Figs, 1 and 2 respectively. Cook maintains that all six vases are descended from a fresco by Polygnotus, op. cit., pp. 700 f.; but this suggestion seems improbable.
[64] Cf. De Prott, “De Amphora Neapolitana Fabulae Satyricae Apparatum Scaenicum Repraesentante,” in Schedae Philologicae Hermanno Usener Oblatae (Bonn, 1891), pp. 47 ff. It seems strange that De Prott should mar his own interpretation by supposing the figure whom I have called Hesione to be a Muse. The Scythian cap ought to be decisive.
[65] Cf. Miss Bieber, op. cit., Pl. XIV, Fig. 3.
[66] Except the eleventh and twelfth choreutae on the Naples crater ([Fig. 4]), viz., the figure with a lyre near the middle of the lower row and the fully clad figure next to the last on the right. If De Prott is correct in considering these figures choreutae, they must be regarded (I suppose) as having not yet completed their make-up.
[67] Fig. 8 is taken from Baumeister, Denkmäler, Fig. 424. The choreutae in this scene are not to be understood as having no tails; their position does not permit this feature to be seen, cf. Haigh, The Attic Theatre³, p. 293, note.
[68] Cf. Etymologicum Magnum, s.v.: τραγῳδία: ... ἢ ὅτι τὰ πολλὰ οἱ χοροὶ ἐκ σατύρων συνίσταντο, οὓς ἐκάλουν τράγους σκώπτοντες ἢ διὰ τὴν τοῦ σώματος δασύτητα ἢ διὰ τὴν περὶ τὰ ἀφροδίσια σπουδήν· τοιοῦτον γὰρ τὸ ζῷον. ἢ ὅτι οἱ χορευταὶ τὰς κόμας ἀνέπλεκον, σχῆμα τράγων μιμούμενοι.
[69] Cf. Horace Ars Poetica, vss. 220 f:
carmine qui tragico vilem certavit ob hircum,
mox etiam agrestis Satyros nudavit, etc.