Eunomia or "make love not war"? Meidian personifications reconsidered

Aldershot 2005, S. 193-210

14

Eunomia or 'make love not war'?

Meidian personifications reconsidered*

Barbara E. Borg

C o m m e n t s o n vase p a i n t i n g s b y t h e M e i d i a s p a i n t e r a n d h i s w i d e r circle t e n d t o read l i k e this:

Vase painting, as far as it was supposed to serve the living, usually did not have those serious concerns but directed its sense of the subjective, the personal, towards the sensual, the pleasant, and the decorative ... It is in accordance with this luxurious, feminine splendour that the subjects are regularly taken from an aphrodisian context ... It has to be asked which mental need these

mythological idylls may satisfy. Are they the expression of a desperate search for a better dream world during the hard years of war, or do they display the hedonism and negligent carelessness of the Athenians who set off even to conquer Sicily?1

T h i s j u d g e m e n t s e e m s t o b e p e r f e c t l y s u p p o r t e d b y a particular g r o u p o f v a s e s s h o w i n g various f e m a l e personifications,2 o f t e n a c c o m p a n y i n g A p h r o d i t e , w h o are typically u n i t e d u n d e r t h e c o l l e c t i v e h e a d e r o f 'circle o f A p h r o d i t e ' , a m o n g t h e s e P a i d i a ( P l a y ) , H i m e r o s ( D e s i r e ) , E u d a i m o n i a

* T h i s contribution is a slightly extended version of m y talk given at the Personifications Conference in September 2000.1 a m especially grateful to E m m a Stafford and J u d i t h Herrin for their invitation to this very stimulating event. Earlier vers ions o f this paper were also presented on different occasions. I would like to extend m y thanks to all those who contributed to the respecdve discussions and thus helped m e focussing m y ideas.

1 Strocka 1975,56.

2T h e term personification is, o f course, hotly debated. I n this paper, I will call any figure a personification w h o s e name is also used as nomen appttlathum, independently o f whether it is considered a divine being or the poetic or rhetorical creation o f an artist. It will b e c o m e clear in the course of m y argument that this definition o f the term may not b e perfect (since its derivation from personificatio implies a chronological or at least factual, technical primacy o f the appellathsum), but that there is no other shorthand for personifications in the a b o v e sense whose status or 'ontology' is the very subject o f discussion and thus must not be involved in the definition.

From Personification In The Greek World: From Antiquity To Byzantium, eds E m m a Stafford and Judith Herrin. Copyright © 2005 by E m m a Stafford and Judith Herrin.

Published by Ashgatc Publishing L t d , Gower House, Croft Road, Aldershot, Hampshire, G U 1 1 3 H R , U K .

( H a p p i n e s s ) , H a r m o n i a ( H a r m o n y ) , E u t y c h i a ( G o o d F o r t u n e ) , A p o n i a ( F r e e d o m - f r o m - t o i l ) , H e d y l o g o s ( S w e e t T a l k ) , M a k a r i a ( B l e s s e d n e s s ) , a n d P o t h o s ( Y e a r n i n g ) (figs 14.1-7).3 Still, it is n o t o n l y b e c a u s e o f t h e s e characters t h a t scholars h a v e i n t e r p r e t e d t h e p i c t u r e s as d o c u m e n t s o f p l a y f u l , e v e n f r i v o l o u s superficiality b u t also b e c a u s e o f the v e r y fact that t h e figures are p e r s o n i f i c a t i o n s (here: d e l i b e r a t e creations o f t h e artist). D i e t e r M e t z l e r , in h i s p e r t i n e n t p a p e r o n t h e s e pictures, is particularly e x p l i c i t , stating that t h e a c c e p t a n c e o f t h e p e r s o n i f i c a t i o n s as

... simple creations of the artist's fantasy ... liberates us from the duty of more intensive thinking [about them], but must, on the other hand, accept the blame for flat positivism.

I n t h e s e pictures, h e c o n c l u d e s , t h e

... desire [that is the concepts embodied by the personifications] fades away into mere abstraction, the hollow dignity o f which boasts about Euripidean lyricism and Gorgian detail, only to get lost in the precious superficialisation of its form.4

Salvation f r o m this sort o f accusation, o n t h e o t h e r h a n d , m a y b e s o u g h t in t h e c l a i m that t h e p e r s o n i f i c a t i o n s actually w e r e n o t ' s i m p l e creations o f t h e artist's f a n t a s y ' b u t d i v i n e b e i n g s . W i t h t h i s strategy, t h e f o c u s o f a t t e n t i o n also shifts f r o m t h e ' h e d o n i s t i c ' p e r s o n i f i c a t i o n s to t h e m o r e 'serious' figures o f E u n o m i a ( G o o d O r d e r ) a n d E u k l e i a ( G o o d R e p u t e ) , m o r e or less n e g l e c t e d b y t h e s u p p o r t e r s o f t h e first v i e w , w h i c h a p p e a r q u i t e o f t e n w i t h i n t h e circle o f A p h r o d i t e . M o s t i n f l u e n t i a l l y , R . H a m p e d e d u c e d f r o m t h e v a s e p a i n t i n g s a c o m m o n c u l t for E u n o m i a a n d E u k l e i a , firmly attested o n l y for t h e i m p e r i a l p e r i o d , w h i c h in turn b e c a m e t h e basis o f t h e interpretation o f t h e v a s e paintings.5 F o r H a m p e a n d his successors, t h e e x i s t e n c e o f a c u l t for E u n o m i a a n d E u k l e i a g u a r a n t e e d b o t h t h e sincerity o f religious f e e l i n g s t o w a r d s t h e m and their i m p o r t a n c e for t h e pictures, w h i c h b y n o w ceased t o b e o n l y superficial idylls. M e t z l e r w e n t e v e n further, regarding E u n o m i a as t h e g o d d e s s o f a political, a n t i - d e m o c r a t i c ideal i n a c o n s e r v a t i v e c o n s t i t u t i o n d e r i v e d f r o m Sparta. T h e rest o f t h e p e r s o n n e l w e r e forced i n t o t h e f r a m e o f this c o n c e p t , s o that t h e i m a g e s finally t u r n e d o u t t o r e p r e s e n t q u i t e austere political ' i d e o l o g i e s ' .6

A catalogue o f fifteen vases belonging to that group is given as an appendix at the end o f the paper. T h e s e pieces count among the most central examples for the p h e n o m e n a studied here but are by no means the o n l y ones. N u m b e r s in the text refer to this catalogue.

4 Metzler 1980, 75 and 81.

H a m p e 1955; M e t z l e r 1980, 75: ' H a m p e k o n n t e viclmehr nachweisen [sic!], dass es sich bci beiden Gestalten keincswegs u m sogenannte blasse Personifikationen spatercr Zeit, s o n d e m u m alee attische Gottheiten h a n d e l t '

Metzler 1980; for a more detailed c o m m e n t o n his argument see Borg 2002.

I n this paper, I shall argue (1) that a 'close r e a d i n g ' o f single pictures w i l l p r o v e that their m e a n i n g s are m u c h m o r e sophisticated t h e n t h e first g r o u p o f scholars w i l l allow, a n d m u c h less austere t h e n t h e s e c o n d p e r m i t s ; ( 2 ) t h a t t h e m e a n i n g o f t h e pictures is i n d e p e n d e n t o f w h e t h e r w e c o n s i d e r t h e p e r s o n i f i c a t i o n s d i v i n e b e i n g s or c o n s c i o u s creations b y t h e artist, a n d ( 3 ) that t h e ' o n t o l o g y ' o f t h e figures w a s i n d e e d q u i t e u n i m p o r t a n t in a n t i q u i t y . Scholars h a v e correctly p o i n t e d o u t that t h e actions o f t h e figures are u n s p e c i f i c in so far as t h e y d o n o t characterize a n y single personification e x c l u s i v e l y b u t are e x c h a n g e a b l e b o t h b e t w e e n v a r i o u s p e r s o n i f i c a t i o n s a n d b e t w e e n t h e s e a n d a n o n y m o u s figures. T h u s , n e i t h e r i c o n o g r a p h i e s nor actions p e r m i t t h e i d e n t i f i c a t i o n o f a figure w i t h o u t a n inscription as a particular personification.7

O n t h e o t h e r h a n d , t h e p e r s o n i f i c a t i o n s are n e i t h e r c h o s e n r a n d o m l y n o r are t h e y e x c h a n g e a b l e at will, a n d , in fact, their actions are n o t e n t i r e l y accidental either. T h e y o f t e n establish a m e a n i n g f u l r e l a t i o n s h i p b e t w e e n particular personifications. If, for e x a m p l e , o n a f r a g m e n t f r o m Uliastret (no.

12, fig. 14.1), D i k e ( J u s t i c e ) or N i k e ( V i c t o r y ) - t h e r e a d i n g is n o t e n t i r e l y clear - steps u p to E u k l e i a sitting o n a rock t o p r e s e n t h e r a n e c k l a c e , or if, o n a lid in M a i n z (no. 7, fig. 14.2), E u k l e i a offers t h e seated E u n o m i a a b o x , t h e n t h e s e gestures o f g i v i n g a n d serving c a n w e l l b e transferred

m e t a p h o r i c a l l y to t h e p e r s o n i f i e d c o n c e p t s t h e m s e l v e s : J u s t i c e — as w e l l as v i c t o r y - certainly c o n t r i b u t e s to g o o d r e p u t e a n d a g o o d reputation is a substantial c o n t r i b u t i o n t o g o o d order. W h e n , o n a f a m o u s h y d r i a in

F l o r e n c e ,8 A p h r o d i t e races in a chariot d r a w n b y H i m e r o s a n d P o t h o s o v e r an arbour w h e r e P h a o n a n d D e m o n a s s a are seated, t h e s y m b o l i s m is c l e a n s e n s u a l l o v e is set in m o t i o n a n d d r i v e n b y passion a n d desire (fig. 14.3). T h e s a m e i m a g e r y , i f s o m e w h a t restrained, w a s c h o s e n for a p y x i s in L o n d o n ( n o . 6, fig. 14.4) w h e r e A p h r o d i t e ' s chariot is d r a w n b y P o t h o s a n d H e d y l o g o s : h e r e l o v e ' s d r i v i n g forces are y e a r n i n g desire a n d s w e e t t a l k i n g .

A n o v e r v i e w o f t h e p e r s o n n e l o n t h e various v a s e s w i l l s o o n m a k e it clear that t h e n u m b e r a n d s p e c i f i c character o f t h e ' h e d o n i s t i c ' p e r s o n i f i c a t i o n s varies. T h e lids in M a i n z (no. 7, fig. 14.2), N a p l e s ( n o . 9 ) a n d Uliastret (no.

12, fig. 14.1) - as far as w e can tell f r o m t h e f r a g m e n t - certainly s h o w less p l a y f u l c o n c e p t s t h a n s o m e o f t h e o t h e r vases c o l l e c t e d in t h e catalogue.

H o w e v e r , in m a n y e x a m p l e s , t h e f o c u s o n t h e A p h r o d i s i a n a n d t h e e r o t i c w i l l b e p r e t t y o b v i o u s , s o that it is n o t s o m u c h A p h r o d i t e , E r o s , or H i m e r o s w h o appear t o b e in n e e d o f e x p l a n a t i o n , b u t E u n o m i a a n d E u k l e i a instead.

For a contrary view sec Neils 1983. A n exception to the rule is a Paidia on a Pyxis in N e w York (no. 10) balancing a stick o n her index finger.

8 F b r e n z , M u s e o Archeologico Nazionale 81947: ARV1 1312, 2 (Meidias Painter); Para 477;

Addenda 361; Shapiro 1 9 9 3 , 6 7 - 8 , 116-17,129, 234, no. 17 figs. 21, 69, 80; Burn 1 9 8 7 , 4 0 - 4 4 , M 2 pis 2 7 - 9 .

I n m a n y cases, A p h r o d i t e is t h e central f o c u s o f t h e pictures, o f t e n g i v e n p r o m i n e n c e b y h e r s e a t e d p o s i t i o n (fig. 14.5). C o n s i d e r i n g t h e g o d d e s s ' s p r i m a r i l y erotic a n d s e x u a l d o m a i n , w e l l e s t a b l i s h e d in literature, art a n d c u l t , it is h a r d l y q u e s t i o n a b l e that t h i s s a m e b a c k g r o u n d also d e t e r m i n e s b o t h t h e c o n t e x t o f t h e painting's m e s s a g e s a n d t h e primary l e v e l o f their reading.

I n this c o n t e x t , t h e g a r d e n s s h o w n b y m a n y o f t h e pictures a s s e m b l e all t h e erotic c o n n o t a t i o n s associated w i t h m e a d o w s a n d gardens in G r e e k literature s i n c e t h e Iliad a n d Odyssey. O f t h e personifications, H i m e r o s a n d P o t h o s are least a m b i g u o u s e v e n if - or i n d e e d p r e c i s e l y i f - w e suspect t h e s e m a n t i c i m p a c t o f t h e o m n i p r e s e n t E r o s t o h a v e d e a d e n e d o v e r t i m e . O n a L o n d o n l e k y t h o s (no. 4, fig. 14.5), P e i t h o p r e s e n t i n g a kanoun to A p h r o d i t e d o e s n o t necessarily h i n t at h e r s u b o r d i n a t e role in cult b u t can also b e u n d e r s t o o d in a m e t a p h o r i c a l sense: peitho, a c o n c e p t i n c l u d i n g all n o n - v i o l e n t , v e r b a l as w e l l m n o n - v e r b a l f o r m s o f p e r s u a s i o n a n d s e d u c t i o n , serves A p h r o d i t e a n d ta aphrodisia as t h e i r essential a n d v e r y o w n p o w e r o f o l d .9

S i m i l a r l y , P a i d i a m a y s o m e t i m e s i m p l y m o r e t h a n t h e careless j o y s o f a c h i l d ' s g a m e a n d acquire t h o s e a m b i g u i t i e s k n o w n f r o m o t h e r erotic c o n t e x t s w h e r e paidia a n d paixein d e s i g n a t e v a r i o u s f o r m s o f erotic and/or s e x u a l encounters.1 0 T h i s a m b i g u i t y is t h e k e y t o t h e u n d e r s t a n d i n g o f t h e n a m e s o n a c u p in W i l r z b u r g s h o w i n g a satyr n a m e d C h o r i l l o s m a k i n g l o v e t o a n y m p h n a m e d P a i d i a (fig. 14.6).11 T h e s c e n e is f r e e f r o m t h e r u d e n e s s a n d a w k w a r d n e s s o f surprise attacks k n o w n f r o m so m a n y o t h e r e n c o u n t e r s o f satyrs a n d n y m p h s b u t is d i s p l a y e d as a v e r y e n j o y a b l e action: t h e y l o o k d e e p i n t o e a c h o t h e r ' s e y e s - b y w h i c h eras is k n o w n t o e n t e r t h e m i n d o f m a n - a n d h e r right a r m reaches for h i s s h o u l d e r t o stabilize t h e s o m e w h a t precarious b a l a n c e o f their e n c o u n t e r . I n a c c o r d a n c e w i t h this a t m o s p h e r e , her n a m e referring t o t h e act o f l o v e is e q u a l l y a p p r o p r i a t e as t h e o n e o f t h e satyr, dancer. T h e v e r b choreuo d e s i g n a t e s d a n c i n g in a c h o r u s as w e l l as d a n c i n g for j o y in a m o r e g e n e r a l s e n s e . I n a n a l o g y t o A r i s t o p h a n e s , Lys. 409, w h e r e t h e e q u i v a l e n t v e r b orcheomai is u s e d as a e u p h e m i s m for a s e x u a l e n c o u n t e r ,1 2 w e m a y c o n s i d e r w h e t h e r t h e n a m e o f t h e satyr w a s n o t m e a n t as a double entendre too.

T h e representation o n a l e k y t h o s i n M u n i c h ( n o . 8, fig. 14.7), s h o w i n g H i m e r o s sitting o n a s w i n g p u s h e d forward b y P a i d i a , can b e read as a m o r e s u b t l e variant o f t h e s a m e s u b j e c t , a p p r o x i m a t e l y stating: ' P l a y f u l l o v e sets

9 Buxton 1982 passim; Stafford 2 0 0 0 , 1 1 1 - 4 5 .

10 Henderson 1991, 157 no. 240 s.v.pahxin with n.28; p. 2 4 9 - 5 0 no. 240.

11 Wflrzburg, Martin-von-Wagncr M u s e u m L 492 - H 4633: ARV* 1512,18 (Jena Painter);

LIMC III, 274 s. v. Chorillos (A. Kossatz-Deissmann); Paul-Zinserling 1994, 5 4 - 6 no. 5 pi. 22, 2.

Sec also Smith (infra fig. 15.6).

12 Henderson 1 9 9 1 , 4 1 , 4 9 , 1 2 5 , no. 75.

passion a n d erotic desire in m o t i o n . ' A s a f o r m o f p l a y i n g , e v e n t h e m o t i v e o f s w i n g i n g itself can b e u n d e r s t o o d m e t a p h o r i c a l l y , w i t h t h e r h y t h m i c m o t i o n o f r o c k i n g l e n d i n g s o m e a d d i t i o n a l g r a p h i c q u a l i t y t o t h e image.1 3

A g a i n s t t h i s b a c k g r o u n d , t h e e m b r a c i n g o f P a i d i a b y E u n o m i a o n t h e L o n d o n l e k y t h o s {no. 4, fig. 14.5) appears t o b e n o t j u s t a t e n d e r gesture b u t an i m a g e o f t h e restriction o f t h e p o t e n t i a l l y f r o l i c s o m e g a m e o f l o v e b y g o o d order. A t t h e s a m e t i m e , it g i v e s a n i m p o r t a n t h i n t for a m o r e general u n d e r s t a n d i n g o f E u n o m i a a n d E u k l e i a in an a p h r o d i s i a n a n d erotic c o n t e x t . I n t h e later f i f t h c e n t u r y , s e x u a l e n c o u n t e r s w e r e a rather p r o b l e m a t i c field o f social contacts s u r r o u n d e d b y s p e c i f i c v a l u e s a n d b e h a v i o u r a l ideals.

H o w e v e r , m o r e recent s t u d i e s h a v e m a d e it clear that s e x u a l i t y w a s n e i t h e r p r o b l e m a t i c as s o m e t h i n g 'dirty' or ' d e f i l i n g ' , n o r d i d it b e l o n g e x c l u s i v e l y t o t h e extramarital s p h e r e o f hetairai.u W h i l e n o t o r i o u s topoi a b o u t t h e

insatiability o f f e m a l e s e x u a l desire m a y e v o k e strong s u s p i c i o n s o f e i t h e r m a l e d r e a m s or n i g h t m a r e s , t h e success o f t h e A r i s t o p h a n i c c o m e d y Lysistrata is h a r d l y i m a g i n a b l e w i t h o u t t h e a s s u m p t i o n t h a t in real life t o o t h e c o m m o n marital relationship w a s t o i n c l u d e a p l e a s u r a b l e s e x life. D e n i a l o f ta aphrodisia w a s rated as unnatural a n d e v e n an act o f hybris, a n d t h e art o f s e d u c t i o n a n d t h e pleasures o f s e x u a l l o v e d o n o t , as a m a t t e r o f p r i n c i p l e , b e l o n g in t h e extramarital s p h e r e , b u t , o n t h e contrary, e v e n a c c o r d i n g t o - or rather p r e c i s e l y according t o - m a l e i d e o l o g y , t h e y are a natural, h e a l t h y a n d p o s i t i v e a s p e c t o f marriage for b o t h partners, c o n t r i b u t i n g t o m u t u a l t>Mia.K

T h e p o w e r o f desire, h o w e v e r , w a s a matter o f d e e p c o n c e r n . T h e d a n g e r s o f irresistible erotic attraction a n d u n c o n t r o l l a b l e p a s s i o n are e v o k e d b y w r i t t e n t e x t s o f all genres. T h u s , n o t t o lose s e l f - c o n t r o l w a s crucial for p e r s o n a l m e n t a l h e a l t h as w e l l as for o n e ' s o w n r e p u t a t i o n . I n t h e case o f w o m e n , it also g u a r a n t e e d c o n j u g a l f a i t h f u l n e s s , w h i c h i n t u r n w a s essential f o r b o t h t h e r e p u t a t i o n o f t h e h u s b a n d a n d t h e l e g i t i m a c y o f t h e c o u p l e ' s offspring.1 6

13 Henderson 1991,49,151 no. 205-06.

14 From the vast literature o n this subject sec in particular Henderson 1991, 1-19. O n the following see also C o h e n 1991; Catamc 1 9 9 2 , 1 3 0 - 3 6 ; Hanson 1990.

15 T h i s is not to fall back into the other e x t r e m e and to idealize the situation o f Athenian w o m e n . Criticism o f the potential misery deriving from the status o f w o m e n intruded e v e n into tragedy (cf. e.g. Aischyl. Suppl.; Eur. Med. 2 3 0 - 5 1 ; Soph. Terms ft. 524 Nauck), a genre primarily meeting the expectations of a male audience. For our questions, it suffices to understand die general, 'official' attitude towards female sexuality, since messages on vases which may have been produced and/or donated on the occasion o f marriage most probably range within this spectrum.

16 T h i s is, o f course, an extremely short and dull summary o f an otherwise complicated and m u c h discussed subject. For more detailed accounts see e.g. Foucault 1984; important qualifications to Foucault's views: N u s s b a u m 1986; D c t e l 1998; cf. also D o v e r 1978, 100-09;

W i n k l e r 1990; C o h e n 1991,171-202 and passim; each with bibliography.

W e m a y t h e r e f o r e u n d e r s t a n d t h e p r e v a l e n c e o f b o t h E u n o m i a a n d E u k l e i a as d e r i v i n g f r o m this c o n c e r n a b o u t t h e p o t e n t i a l l y d a n g e r o u s qualities o f ems a n d ta apkrodisw. E u n o m i a can b e c o n c e i v e d as propagating m o d e r a t i o n i n t h e e n j o y m e n t o f s e n s u a l p l e a s u r e s a n d t h u s is m o r e or less e q u i v a l e n t t o t h e c o n c e p t o f s o p h r o s y n e so central in f o u r t h - c e n t u r y p h i l o s o p h i c a l t h o u g h t . E u k l e i a is b o t h a d e m a n d for a n d a result o f m o d e r a t i o n in erotic p a s s i o n a n d also c o n t r i b u t e s t o t h e h o n o u r a b l e n e s s o f t h e erotic r e l a t i o n s h i p itself. S h e t h u s m a k e s sense e v e n w i t h o u t t h e s u p p o s i t i o n o f a c o m m o n c u l t w i t h E u n o m i a .

W e m a y c o n c l u d e that t h e i m a g e s a s s e m b l i n g p e r s o n i f i c a t i o n s l i k e E u d a i m o n i a a n d M a k a r i a , E u t y c h i a , A p o n i a , P e i t h o , a n d e v e n E r o s , H i m c r o s , P o t h o s a n d H e d y l o g o s d o i n d e e d p r e s e n t a sort o f c o m p l e m e n t t o t h e D i o n y s i a n w o r l d s o f A r i s t o p h a n e s , e s t a b l i s h e d , for e x a m p l e , b y t h e protagonists o f Acharnae a n d Peace, characterized h o t least b y carefree e n j o y m e n t o f a n y sensual pleasures. I n general, s u c h a w a y o f life w i l l surely h a v e a p p e a l e d t o t h e A t h e n i a n s d u r i n g t h e P e l o p o n n e s i a n W a r . S o far, p r e v a i l i n g i n t e r p r e t a t i o n s o f t h e p a i n t i n g s are n o t c o m p l e t e l y m i s l e a d i n g , b u t i m p r e c i s e a n d o n e - s i d e d . S i n c e t h e s e desires are p o t e n t i a l l y d a n g e r o u s , o u t s i d e o f c o m e d y p r o v i s i o n m u s t b e t a k e n to r e d u c e this danger. L o v e , s e x a n d g o o d l i v i n g m a y b e e n j o y e d as p o s i t i v e parts o f h u m a n life, n o t

e x c e s s i v e l y b u t w i t h m o d e r a t i o n , i n t e g r a t e d in a b a l a n c e d s y s t e m , a n d w i t h i n t h e b o u n d a r i e s o f p e r s o n a l h e a l t h a n d g o o d repute.1 7

A c c o r d i n g l y , o n e r e a d i n g o f t h e s e e m i n g l y m o s t i n c o n s i s t e n t a n d p r o b l e m a t i c o f o u r pictures, n a m e l y t h e o n e o n t h e L o n d o n p y x i s (no. 6, fig.

14.4), m a y a p p r o x i m a t e l y b e : s e x u a l l o v e is a central p o w e r ( A p h r o d i t e w i t h h e r chariot as t h e m o s t d o m i n a n t e l e m e n t o f t h e painting). H e r d r i v i n g forces are y e a r n i n g d e s i r e ( P o t h o s ) a n d s w e e t t a l k i n g ( H e d y l o g o s ) . D e s i r e a n d passion ( H i m e r o s ) c o n t r i b u t e t o h a p p i n e s s a n d g o o d l i v i n g

( E u d a i m o n i a ) . B u t o n l y if t h e play o f l o v e ( P a i d i a ) r e m a i n s w i t h i n t h e b o u n d a r i e s o f g o o d order ( E u n o m i a ) , pleasure, l o v e a n d h e a l t h ( H y g i e i a ) can c o e x i s t in h a r m o n y ( H a r m o n i a ) .1 8

A p p a r e n t l y , t h e vase p a i n t i n g s c a n b e read as allegorical c o m m e n t s o n t h e ideas a n d c o n c e p t s p e r s o n i f i e d a n d o n t h e pleasures a n d l i m i t s o f t h e aphrodisia. C o n t r a r y t o c o m m o n scholarly o p i n i o n , t h e pictures are a n y t h i n g b u t superficial a n d h o l l o w e v e n i f o n t h e o n e h a n d w e a c c e p t t h e erotic a n d h e d o n i s t i c e l e m e n t s a n d i f o n t h e o t h e r h a n d w e disregard q u e s t i o n s o f c u l t a n d 'religious f e e l i n g s ' .

C f . Eur., /pi. A. 5 4 3 - 5 7 ; D c t c l 1991, 9: 'cs ist nicht ein Begrenzungs- u n d

Bchenschungsmodeli, das die antiken Autoren zur Eincttmmung cincr bcdrohlichcn scxucllcn D y n a m i k vorechlagen, s o n d e m das M o d e l ! cincr souventnen Einbettung in d e n

Gesamthaushak dcr hSheren u n d niedcten Lflste, dessen Glcichgcwicht u n d O p t i m i c r u n g ein konstitutiver B e s t a n d t e i l . . . des guten L e b e n s ist."

18 O n the M e i d i a n Hygieia, cf. S t a f f o r i 2 0 0 0 , 1 5 9 - 6 3 .

T h e s e o b s e r v a t i o n s lead t o m y last p o i n t . O b v i o u s l y , for t h e allegorical structure1 9 o f t h e representations as w e l l as for t h e c o n t e n t o f their m e s s a g e s it is irrelevant w h e t h e r w e u n d e r s t a n d t h e p e r s o n i f i c a t i o n s as p o e t i c fictions or d i v i n e beings: t h e m o m e n t w e b e g i n to reflect u p o n t h e representations t h e l e v e l o f abstract m e a n i n g d e t a c h e s f r o m t h e pictorial o n e . E v e n H a m p e a n d M e t z l e r c a n escape this separation o n l y as l o n g as t h e y b e l i e v e in an e x c l u s i v e l y i n t u i t i o n a l u n d e r s t a n d i n g o f t h e alleged m e a n i n g o f t h e paintings. A n y a n c i e n t v i e w e r w h o c o n s c i o u s l y r e f l e c t e d o n t h e m w o u l d necessarily h a v e b e c o m e an allegorist - l i k e t h e m o d e r n interpreters t h e m s e l v e s .

T h i s s t a t e m e n t m a y , at first sight, s e e m surprising, particularly b e c a u s e it o b s c u r e s t h e borderline b e t w e e n d i v i n i t y a n d p o e t i c f i c t i o n or rhetorical d e v i c e , w h i c h m o d e r n scholarship tries so hard t o establish. A t t h e s a m e t i m e , in m a n y cases t h e p r o b l e m s i n v o l v e d in t h e s e struggles are all t o o o b v i o u s a n d discussions o f t e n e n d in a n aporia - at least w h e r e e v o l u t i o n a r y m o d e l s o f t h e d e v e l o p m e n t o f t h e h u m a n m i n d f r o m m y t h t o reason are p u t aside.2 0 I w o u l d suggest, h o w e v e r , that in order t o o v e r c o m e this aporia t h e p r o b l e m s h o u l d n o t b e treated as either a religious o n e or, in t h e case o f texts, a linguistic o n e , as it m o s t o f t e n has b e e n , b u t w i t h i n t h e w i d e r c o n t e x t o f d e b a t e a b o u t fictionality. O f course, it is n o t t h e right p l a c e h e r e t o r e v i e w this v e r y e x t e n s i v e d e b a t e in a n y detail. I n s t e a d , I w o u l d l i k e j u s t t o s u m u p t h o s e p o s i t i o n s that I find b o t h m o s t c o n v i n c i n g a n d m o s t relevant for t h e p r e s e n t topic.

T h e k e y a r g u m e n t is that in t h e archaic a n d classical p e r i o d s (as, arguably, in a n t i q u i t y i n general), in contrast t o m o d e r n t i m e s , t h e o p p o s e d categories o f '(historical) fact' a n d 'fiction'2 1 in m a n y c o n t e x t s are n o t relevant.2 2 T h i s is

19 By this I m e a n the existence o f two (or more) levels o f meaning, clearly distinguished a n d distinguishable from each other but interrelated more or less systematically, which require a discursive, rational m o d e of interpretation (not necessarily realized by the viewer or reader but becoming e v i d e n t the m o m e n t he or she starts to reflect u p o n the act o f interpretation). I n the cases studied here the initial level w o u l d b e that o f human/divine figures handling certain objects, from which detaches a more theoretical level concerning the interrelationship between abstract concepts. I use the terms 'allegorist', 'allegorical interpretation', etc., for any case o f interpretation coinciding with such a semantic structure. For a more detailed account o f the terminology with further examples cf. Borg 2002.

2 0 T i m e and again these m o d e l s have b e e n used to secure a divine status for early personifications - cf. Metzler's statement q u o t e d above. O n the critique o f these models (but without special reference to personifications) see in particular Schmitt 1990; Williams 1993; G i l l 1996; Buxton 1999; with respect to personifications and their images, see also Borg 2002 and Stafford 2000 (esp. 75-110, o n Nemesis).

21 As with all the crucial terms used here there is n o definition of fiction generally agreed upon. I a m following the definition b y Petersen 1996, w h o understands fictional statements (Fiktionalaussagen) as opposed to statements about reality (Rcalaussagen,

Wirklichkeitsaussagcn): only the latter can b e verified b y comparing t h e m to what is the case ('Bci Realaussagen kann ich durch (empirischc) Oberprtlfung feststellen, o b etwas z u R e c h t

n o t t o s a y t h a t fictionality w a s a c o m p l e t e l y u n k n o w n c o n c e p t . I t w a s

r e c o g n i z e d b y H o m e r ,2 3 a n d b y m a n y p o e t s a n d p h i l o s o p h e r s a f t e r h i m , b u t e x c e p t f o r p a r t i c u l a r c a s e s i t w a s n o c r u c i a l c a t e g o r y o f t h i n k i n g .2 4 M o s t o f t e n , i t w a s n o t c e n t r a l t o t h e t r u t h s t a t u s o f a n a r r a t i v e , s i n c e t h i s t r u t h s t a t u s w a s u s u a l l y c o n s t i t u t e d w i t h i n e t h i c a l a n d m o r a l c a t e g o r i e s a n d n o t w i t h i n t h o s e o f f a c t u a l i t y a n d h i s t o r i c i t y . I t i s e x a c t l y t h i s c i r c u m s t a n c e t h a t c a n e x p l a i n w h y e v e n P l a t o c o u l d g o s o f a r a s t o p r o m o t e , u n d e r c e r t a i n c o n d i t i o n s , a pseudos a s a l e g i t i m a t e - s i n c e m o s t e f f e c t i v e - w a y o f

c o n v e y i n g t h e t r u t h .2 5 C o r r e s p o n d i n g l y , e v e n t h o u g h m y t h s , i n t h e m i n d s o f m a n y p e o p l e , h a d s o m e s o r t o f h i s t o r i c i t y i n t h e s e n s e t h a t t h e y w e r e l o c a t e d i n t h e p a s t , w i t h i n c e r t a i n l i m i t s t h e y c o u l d b e a l t e r e d w i t h o u t a n y p r o b l e m s t o fit a s cxrmpla i n p a r t i c u l a r s i t u a t i o n s o r t o s u i t t h e v a r i o u s p u r p o s e s o f t r a g e d i a n s a n d o t h e r p o e t s . M o s t n o t a b l y , S t e s i c h o r o s w r o t e h i s Palinode, a c c o r d i n g t o w h i c h n o t H e l e n b u t o n l y a n eidolon w e n t t o T r o y , t o

r e h a b i l i t a t e H e l e n a n d t o c o r r e c t t h e t r a d i t i o n a l s t o r y , w h i c h w a s n o t t r u e

odcr niche als Wirklichscin ausgesagt wurde. D a s ist bci Fiktionalaussagen voilig andcrs. D c n n da sic kein Wirklichscin, sondern nur ein wcitcr niche spczifiziertcs Sein bchauptcn, habc ich k c i n e n MaBstab, an d e m ich c s QbcrprOfcn, d.h. die Richcigkcic dcr Fiktionalaussage fcststcllcn kann', 285). H o w e v e r , w h e n Petersen goes o n to say that therefore fictional statements are direct to the truth and absolutely true OB losses Sein, unspezifisches ist-Sagen lasst sich offcnsichtlfch niche ObcrprOfen urtd ist deshalb unmittclbar u n d absolut wahr", ibid.), this may be convincing to s o m e o f us but definitely not to the ancient G r e e k s as will b e c o m e clear in the following.

2 2 T h e following argument is based o n G i l l 1993; cf. also Murray 1999.

2 3 Sec in particular the invented autobiography as a Cretan prince O d y s s e u s presents to Penelope, c o m m e n t e d o n b y H o m e r : ' W h i l e telling m a n y psendea he was m a k i n g t h e m similar to real events' Od. 19, 203; Gill (1993, 7 0 - 1 ) points to the consequences for Homeric poetry itself: 'if Odysseus can create "fictions'*, so, b y implication, can Homer.' A s a deliberate falsehood the story is seen here as a sort o f subcategory o f fiction. C f . also Od. 13.293-5; 14.462 ff.; Pucci 1 9 8 7 , 5 6 - 6 2 ; 98-109, with further c o m m e n t s .

O f course, the very passages that talk about deliberately invented stories show thae this notion can be used to reinforce the claim for trustworthiness o f a story either b y disqualifying certain stories by other poets ( H e s . Tkmg. 2 2 - 3 5 ; cf. G i l l 1993, 70 f.) or b y deliberately integrating lies and fictions in o n e ' s o w n story (cf. Pucci 1987, 9 9 w h o suggests that Odysseus' fictions by implication 'function as the Odyssey's ironic denials o f its own "fiction" (mingling truth and falsehood into a simulation o f reality - eturrm) and as evidence in favor o f the Odyssey's real truth.'). But these claims - like all the other strategies to convince the listeners or readers that the story told is true - are not based on any argument that w e would accept as proof and, indeed, did not eliminate suspicion about the truth status o f poetry in antiquiey itself; o n this last point cf. Pratt 1993, w h o tends to underestimate that in spice of this pertinent suspicion there is a claim for truth in poetry, if not (necessarily) o f a factual kind (cf. the review by K . Morgan, BMCR 94.11.4).

T h e correct translation o f pseudos is much debated, but in any case it is clear from the respective passages in Plato (and others) that the term designates some story, which is not true o n the level o f historical fact. T h u s the principle argument put forward by Gill 1993 still appears valuable; cf. also Murray 1999,251-2.

(puk eiymos).26 A c c o r d i n g t o S t c p h a n u s o f B y z a n t i u m , t h e accusation against t h e first E u r i p i d e a n H i p p o l y t o s t r a g e d y was n o t that it was u n f a i t h f u l t o a factual 'reality' b u t that t h e characterisation a n d b e h a v i o u r o f t h e

protagonist, P h a i d r a , was u n a c c e p t a b l e in ethical t e r m s {aprepes kai katigprias axion).21 F o r Plato, c o m m o n m y t h s w e r e n o t d a n g e r o u s b e c a u s e t h e y d o n o t r e p r e s e n t a factual truth b u t b e c a u s e t h e y t e n d t o i n f l u e n c e p e o p l e b y g i v i n g a bad e x a m p l e ; t h e y h a d t o b e b a n n e d f r o m his i d e a l state e v e n i f t h e y w e r e factually true (Plat. Tim. 378a2). T h u s , t h e v a l u e o f t h o s e stories w e call m y t h s d o e s n o t d e p e n d o n w h e t h e r p e o p l e 'really b e l i e v e d in t h e m ' as historical facts b u t o n w h e t h e r t h e model or concept o f reality t h e story creates is valuable.2 8 T h e truth at s t a k e h e r e c o n c e r n s a d i f f e r e n t l e v e l o f reality f r o m that o f factual history.

T h e s e observations, I w o u l d argue, h o l d true n o t o n l y for t h e stories a b o u t t h e protagonists, their actions, their characterization, etc., b u t also for their v e r y e x i s t e n c e . T h e m e a n i n g f u l n e s s a n d truth o f a narrative or pictorial r e p r e s e n t a t i o n d o e s not, or at least n o t necessarily, d e p e n d o n t h e factual e x i s t e n c e o f t h e protagonists b u t o n t h e b e l i e f t h a t t h e characters a n d c o n c e p t s e m b o d i e d b y t h e m are e x i s t e n t a n d that their actions a n d m u t u a l a t t i t u d e s are b o t h r e l e v a n t a n d m o r a l l y acceptable. T h u s , t h e d e c i s i o n , so i m p o r t a n t for m o d e r n scholars, w h e t h e r a certain e x p r e s s i o n is m e a n t f i g u r a t i v e l y or 'literally', w h e t h e r a notnen d e n o t e s a p e r s o n or a thing, w a s o b v i o u s l y u n i m p o r t a n t for m u c h o f a n t i q u i t y - at least as l o n g as t h e r e a d i n g l e d to a c c e p t a b l e results. O n l y in a m o n o t h e i s t i c religion can t h e s t a t e m e n t t h a t t h e n a m e o f (a) g o d w a s u s e d m e r e l y figuratively b e scandalous. F o r an a n c i e n t G r e e k , a narrative a b o u t t h e g o d s / ' g o d s ' o n l y b e c a m e a scandal i f t h e b e h a v i o u r o f t h e s e g o d s / ' g o d s ' d i d n o t c o r r e s p o n d to generally a c c e p t e d moral ideas a n d c o n c e p t s o f reality. T h i s is e x a c t l y w h y allegorical

interpretation o f m y t h s c o u l d n o t o n l y save t h e m y t h s - a n d their p o e t s - b u t also t h e g o d s t h e m s e l v e s . It thus s e e m s that for an a n c i e n t listener, reader or v i e w e r t h e status o f a p e r s o n i f i c a t i o n w i t h respect t o h e r fictionality or d i v i n i t y w a s n o t crucial as l o n g as t h e overall m e s s a g e w a s appreciated.2 9

2 6 Plat. Piaidr. 243A; cf. Zagagi 1 9 8 5 , 6 5 - 9 .

2 7 Eur. Hipp. Hypothesis; Hcrter 1975,133-7, with bibliography.

2 8 MBllcndorff 2000,525; 5 3 0 - 3 1 with bibliography in n.78: 'nicht in dcr Fiktion als solchcr, aber in d e m Wirklichkeitsmodf//, das sic vermittclt oder dessen Generierung durch den L e s e r sic steucrt, muss die G c f a h r der L f l g e u n d des Bctrugs gesehen werden' (emphasis added).

T h i s is in stark contrast to the v i e w held by Snell a n d others w h o draw a dividing line b e t w e e n 'believers' and 'non-believers'; e.g., *F(ir einen gricchischcn Dichter bczeichnet, solange cr g l l u b i g ist, solchcr N a m e [here: Hephacst] etwas Wirkliches; d e m nicht mehr G B u b i g e n wird cr ein Stilmittel odcr dient d e m poetischen Spiel' (Snell 1946, 273; quoted with appreciation b y A c l l c n 1993, 191 n.89). I would argue instead that a 'believer* may well both understand and appreciate an allegorical expression without b e c o m i n g a 'non-believer'.

Alas, t h e s e c o n s i d e r a t i o n s s h o u l d n o t c o n c e a l a m a r k e d d i f f e r e n c e b e t w e e n a n c i e n t a n d m o d e r n p e r s o n i f i c a t i o n allegory. T h i s d i f f e r e n c e results f r o m a f u n d a m e n t a l l y d i v e r g e n t w a y o f p e r c e i v i n g b o t h t h e w o r l d a n d t h e d i v i n e . I n a s o c i e t y w i t h g o d s as p e r s o n a l i z e d forces a n d p o w e r s , o n t h e o n e h a n d , b y m e n t i o n i n g t h e g o d s t h e s e forces a n d p o w e r s are already i m p l i c i t ; o n t h e o t h e r h a n d , a f o r c e or p o w e r that is felt t o h a v e s o m e v e r y i n t e n s e p r e s e n c e can gain d i v i n e s t a t u s at a n y t i m e . F r o m this it f o l l o w s , first o f all, that t h e f u n d a m e n t a l m e a n i n g o f personification allegories c a n b e u n d e r s t o o d , l i k e a n y narrative a b o u t t h e g o d s , w i t h o u t a c o n s c i o u s r e f l e c t i o n a b o u t t h e abstract l e v e l , at least t o t h e e x t e n t t o w h i c h t h e l e v e l s are

c o n g r u e n t . S e c o n d l y , it is n o t o n l y i m p o s s i b l e t o d i s t i n g u i s h categorically (certain) p e r s o n i f i c a t i o n s f r o m d i v i n e b e i n g s , a n d also n o t o n l y u n n e c e s s a r y , b u t p e r h a p s n o t e v e n desirable s i n c e it is e x a c t l y this interface w i t h t h e d i v i n e i n h e r e n t i n all p e r s o n i f i c a t i o n s that is b o t h a n e x p r e s s i o n a n d a c a u s e o f their liveliness a n d t h e i r i m p r e s s i o n o n t h e v i e w e r (or reader). C o n v e r s e l y , that m e a n s : t h e m o r e l i v e l y a n d i m m e d i a t e t h e representations, t h e m o r e a p p e a l i n g a n d p e r h a p s e f f e c t i v e t h e allegory a n d its p o s s i b l e t e a c h i n g m a y b e . T h e v i v a c i t y o f p e r s o n i f i c a t i o n s a n d their actions, t h e r e f o r e , is n o criterion for d i s t i n g u i s h i n g b e t w e e n g o d a n d f i c t i o n a l b e i n g or b e t w e e n m y t h a n d allegory b u t , i f at all, a criterion o f t h e q u a l i t y o f a p i e c e o f art, w h e t h e r allegorical or n o t .

F u r t h e r m o r e , t h e s e m a n t i c a m b i g u i t y o f pictorial representations l e a v e s r o o m for t h e inspiration o f a n y s i n g l e interpreter a n d bears a p o t e n t i a l for m e a n i n g s t o b e e x p r e s s e d o n l y l o n g - w i n d e d l y - if at all — i n abstract language. A n d f i n a l l y , t h e g e n e r a l i t y o f t h e m e s s a g e s e x p r e s s e d b y a n allegory p e r m i t s their actualization i n v a r i o u s c o n t e x t s (cult, marriage, ' d a i l y l i f e ' etc.). T h u s , t h e n o t o r i o u s accusations d i r e c t e d at allegory charging it w i t h t h e r e s p e c t i v e d e f i c i e n c i e s o f b o t h art a n d s c i e n c e can also b e r e v e r s e d b y s e e i n g allegory as t h e c o m b i n a t i o n o f t h e r e s p e c t i v e v i r t u e s o f t h e t w o , n a m e l y t h e i m a g i n a t i v e p o w e r o f art ( p o t e n t i a l l y transgressing i n t o t h e m e t a p h y s i c a l s p h e r e ) a n d its a p p e a l t o e m o t i o n , a n d t h e l u c i d i t y a n d generality o f t h e m e s s a g e . T h i s i n d e e d s e e m s t o h a v e b e e n t h e a t t i t u d e o f later theoreticians w h o praise a n d r e c o m m e n d allegory as an a d o r n m e n t o f language, w h i c h , at t h e s a m e t i m e , c o n d e n s e s c o m p l e x t h o u g h t s b y its p o i n t e d n e s s a n d gains t h e a t t e n t i o n o f t h e a u d i e n c e b y its wit. F i n a l l y , t a k i n g i n t o a c c o u n t t h e w i d e l y h e l d o p i n i o n that p i c t u r e s w e r e , in t h e e n d , b o t h m o r e e f f e c t i v e a n d m o r e m e m o r a b l e t h a n s p o k e n language, t h e allegorical representations o f t h e later fifth c e n t u r y s e e m to t a k e a d v a n t a g e o f all t h e s e c o n v i c t i o n s , l o n g b e f o r e t h e first theoreticians r e f l e c t e d o n t h e m a n d incorporated t h e m i n t o their m n e m o t e c h n i q u e s .3 0

Blum 1969,164-71; Giuliani 1998,127-36.

Appendix

1 B a l t i m o r e , W a l t e r s A r t G a l l e r y 4 8 . 2 0 5 ( s q u a t l e k y t h o s ) : ARV* 1330, 8 ( M a k a r i a P a i n t e r ) ; S h a p i r o 1993, p p . 8 3 , 8 8 , 2 3 8 n o . 3 2 fig. 36. 4 1 - E T T T X I A , E T N O M I , riAIAIA, (after: J . O a k l e y , CVA Baltimore I, USA 28, B a l t i m o r e , M D , 1992, p p . 3 5 ff. p i . 3 8 . 1 - 3 ) .

2 K a n s a s C i t y , N e l s o n - A t k i n s M u s . 31.80 ( w h i t e - g r o u n d s q u a t l e k y t h o s ) : ARV21248, 8 (Eretria P a i n t e r ) ; Addenda 3 5 3 ; S h a p i r o 1993, p p . 8 0 - 8 2 , 1 8 1 , 2 0 3 , 2 3 7 n o . 3 0 figs 3 3 - 4 . 139. 164 - A N 0 E I A , n E [ I ] © Q , [sitting w o m a n , n a m e n o t p r e s e r v e d ] , K E 0 H M O 2 , E T N O M I A or A P M O N I A , f l A I A I A ( a f t e n A . L e z z i - H a f t e r , Der Entria-Maler, M a i n z , 1988, p . 3 4 4 n o . 2 4 0 ; S h a p i r o 1993, 81 n . 1 6 7 reads t h e third n a m e as K E A ... M O X , o t h e r s read K e p h i m o s ) .

3 L o n d o n , British M u s . 1 8 6 7 . 5 - 8 . 1 0 4 4 ( E 2 2 2 ) ( h y d r i a f r o m N o l a ) : ARV* 1033, 6 6 ( P o r y g n o t o s ) ; S h a p i r o 1993, p p . 113 f., 2 4 3 no. 5 5 fig. 6 4 - I M E P [ 0 £ , riEfOQ (after:

C . H . S m i t h , Catalogue of the Greet and Etruscan Vases in the British Museum III, L o n d o n , 1896, p p . 172 f. n o . E 222).

4 L o n d o n , British M u s . 1 8 5 6 . 5 - 1 2 . 1 5 ( E 6 9 7 ) ( s q u a t L e k y t h o s f r o m A t h e n s ) : ARV2

1324,45 ( M a n n e r o f t h e M e i d i a s P a i n t e r ) ; Para 4 7 8 ; Addenda 3 6 4 ; B u r n 1987, M M 7 4 p i . 2 0 a. b ; S h a p i r o 1993, p p . 66 f., 83, 183, 2 0 3 , 2 3 5 n o . 21 figs 2 0 , 35, 142, 163 - K A E O n A T P A , E T N O M I A , FIAIAIA, A O P O A I T H [ w i t h E r o s ] , F I E i e d , E T A A I M O N I A ( a f t e n S m i t h , loc. cit., p p . 3 4 5 f. n o . E 6 9 7 ) .

5 L o n d o n , B r i t i s h M u s . 1 8 4 9 . 9 - 2 5 . 1 2 ( E 6 9 8 ) (squat L e k y t h o s f r o m R u v o ) : ARV1

1316 ( P a i n t e r o f t h e C a r l s r u h e Paris); Addenda 3 6 2 ; B u r n 1987, P I pi. 2 0 c. d ; S h a p i r o 1993, p p . 6 3 f., 129, 2 3 4 n o . 18 figs. 17, 8 4 - " O T E I A , I 1 A N A A I 2 I A , [ E r o s ] , E T A A I M O N [ I ] A , I T O A Y I . . . O S , K A A H ( a f t e r S m i t h , loc. cit., p p . 3 4 6 f. n o . E 698);

s e c o n d last n a m e read b y B e a z l e y , A R V21 3 1 6 , as I T O A T K A E X ? .

6 L o n d o n , B r i t i s h M u s . 1 8 9 3 . 1 1 - 3 . 2 ( E 7 7 5 ) ( p y x i s f r o m Eretria): ARV2 1328, 9 2 ( M a n n e r o f t h e M e i d i a s P a i n t e r ) ; Addenda 364; B u r n 1987, M M 136 pi. 18, 19a;

S h a p i r o 1993, p p . 6 6 , 84, 1 0 9 , 1 2 2 , 1 2 9 , 234, n o . 19 figs 19, 3 7 , 60, 76, 8 2 - Y H E I A , ETNOMIA, F I A I A I A , ETAAIMONIA, IMEPOZ, APMONIA, K A A H , A & P O A I T H , n o e O E u n d H A T A O r O S (aften S m i t h , loc. cit., pp. 367 f. no. E 775.

7 M a i n z , U n i v e r s i t a t , A r c h a o l o g i s c h e s I n s t i t u t 118 ( l e k a n i s lid): ARV2 1327, 8 7 ( M a n n e r o f t h e M e i d i a s P a i n t e r ) ; Addenda 3 6 4 ; B u m 1987, M M 1 2 8 p i . 21; S h a p i r o 1993, p p . 7 3 f. 2 3 6 n o . 2 7 fig. 2 4 - E [ T ] K A E I A , E [ T ] N O M I [ A , [ t w o a n o n y m o u s w o m e n ] , FIA<MA [ « A p h r o d i t e ] , [ a n o n y m o u s ] ( a f t e n E . B o h r , CVA Mains 2, Deutschland 63, M U n c h e n , 1993, p p . 4 5 - 7 pi. 27).

8 M u n i c h , A n t i k e n s a m m l u n g 2 5 2 0 (squat l e k y t h o s ) : S h a p i r o 1993, p p . 1 1 9 , 1 8 1 , 2 4 4 , n o . 5 7 figs 73, 140 - I I A I A I A , I M E P O X (after. R o s c h e r , M L I I I 1, S. 1251 f . d r a w i n g ) .

9 N a p l e s , M u s . A r c h . N a z . S t g . 3 1 6 ( l e k a n i s lid f r o m E g n a z i a ) : ARV2 1327, 8 5 ( M a n n e r o f t h e M e i d i a s P a i n t e r ) ; Addenda 364; B u r n 1987, M M 126; S h a p i r o 1993, p p . 7 3 , 109, 2 3 6 n o . 2 6 figs. 23, 61 - A P M O N I A , E T K A E I A , E T N O M I A ,

n A N N Y X I X , A O P O A I T H , K A T M E N H (after: H . H e y d e m a n n , Die Vasensammlung des Museo Nazionale %u Neapel, B e r l i n , 1872, p p . 7 0 8 f. n o . 3 1 6 ) .

10 N e w Y o r k , M e t r o p o l i t a n M u s . o f Art 0 9 . 2 2 1 . 4 0 ( p y x i s ) : ARV2 1328, 9 9 ( M a n n e r o f t h e M e i d i a s P a i n t e r ) ; Para 4 7 9 ; Addenda 3 6 4 f.; B u r n 1987, M M 143; S h a p i r o 1993,

p p . 3 2 ff., 1 2 9 , 181, 2 0 3 , 2 3 0 , n o . 1 figs 1, 8 3 , 1 4 1 , 1 6 2 - F I E I 0 Q , A * f P J O A I T H , H T T T E I A , E T f l A A I M O N I A , I 1 A I A I A , E T K A E [ I ] A , A n O N I A ( a f t e r : G . M . A . R i c h t e r - L . F . Hall, Red-Figured Athenian Vases in the Metropolitan Museum of Art, N e w H a v e n / L o n d o n / O x f o r d , 1 9 3 6 , p p . 2 0 2 f f . n o . 161).

11 R e a d i n g , U n i v e r s i t y , M u s . o f G r e e k A r c h a e o l o g y 5 2 . 3 . 2 ( s q u a t L e k y t h o s ) : ARV1

1 3 3 0 , 7 ( M a k a r i a P a i n t e r ) ; Para 4 7 9 ; S h a p i r o 1 9 9 3 , p p . 8 8 , 1 1 6 , 1 1 9 , 172, 2 3 8 n o . 3 3 figs 4 2 , 6 8 , 1 3 2 - ETTTXIA, A * P O A I T H , I M E P O S , M A K J A P I A ( a f t e r : J . D . B e a z l e y , ' S o m e I n s c r i p t i o n s o n V a s e s : V I I ' , A M 6 1 , 1 9 5 7 , p . 8 n o . 2 2 ) . 12 U l l a s t r e t , M u s . M o n o g r i p h i c o 1 4 8 6 ( l e k a n i s l i d f r o m U l l a s t r e t ) : M a i l u q u e r d e

M o t e s i N i c o l a u , J . , - P i c a z o I G u r i n a , M . , - M a r t i n I O r t e g a , A . , CVA Ullastret 1, Spanien 5, B a r c e l o n a , 1 9 8 4 , p p . 3 6 f f . p i . 3 4 , 1 ; B u r n 1 9 8 7 , M M 1 3 4 p i . 19b; S h a p i r o 1 9 9 3 , p p . 7 3 ff. 2 3 6 n o . 2 8 fig. 2 5 - + P V Z E ( - K r u s e i ) , O N U M I A ( - E u n o m i e ) , A I R E ( - N i k e ) , E U K A E A ( - E u k l e i a ) ( a f t e r : CVA. O b v i o u s l y s o m e o f t h e o d d i t i e s o f t h e s e t r a n s c r i p t i o n s are d u e t o a m i s s i n g G r e e k f o n t ; m o s t p r o b a b l y t h e

i n s c r i p t i o n s s h o u l d r e a d l i k e : X P T X E [ E , O N T M l A , [ - E u n o m i a J , A I K E [= N i k e or D i k e ] , E T K A E [ I ] A ) .

1 3 F o r m e r l y A t h e n s , p r i v a t e c o l l e c t i o n ( a c o r n l e k y t h o s f r o m A t h e n s ) : G . K o r t e , ' E i c h e l f o r m i g e L e k y t h o s m i t G o l d s c h m u c k a u s A t t i k a ' , AZ 3 7 , 1 8 7 9 , p p . 9 5 ff.;

S h a p i r o 1 9 9 3 , p . 2 4 2 n o . 5 1 - A P M O N I A , I I E i e Q , Y O E I A , T T X H ( a f t e r : K o r t e e b e n d a ) .

14 F o r m e r l y L o n d o n , c o l l . H o p e ( h y d r i a ) : S h a p i r o 1 9 9 3 , p p . 78. 2 3 5 n o . 2 4 fig. 3 2 - a n o n y m o u s w o m a n , E T K A E [ I ] A a n d n E I O Q ( a f t e r S h a p i r o 1 9 9 3 , fig. 3 2 ) . 15 F o r m e r l y P a r i s , c o l l . B a u v i l l e ( s q u a t l e k y t h o s ) : ARV1 1 3 2 6 , 6 7 ( M a n n e r o f t h e

M e i d i a s P a i n t e r ) ; S h a p i r o 1993, p . 8 4 f f . 2 3 7 n o . 3 1 fig. 3 8 - [ g o d d e s s s i t t i n g i n f r o n t o f altar, c o l u m n w i t h s t a t u e - A p h r o d i t e ? ] , © J A A E I A u n d E T N O M I A ( a f t e r . S h a p i r o 1 9 9 3 , fig. 3 8 ) .

F i g 14.5 ( f r o m left t o right) K l e o p a t r a , E u n o m i a , Paidia, A p h r o d i t e ( E r o s ) , P e i t h o , E u d a i m o n i a .

F i g 14.6 C h o r i l l o s a n d Paidia.