Louvre A 478 (_Hermes_, 1898, p. 638); _Bull. de Corr. Hell._ 1898, p. 586.
B.M. B 203 (Athena); Reinach, ii. 22, 26, 73; Benndorf, _Gr. u. Sic. Vasenb._ 4, 1.
B.M. B 340; E 44, 459; Reinach, ii. 125, 152, 275.
Athens 1345 = _J.H.S._ xix. pl. 10; Millin-Reinach, ii. 37 (Lasimos in Louvre).
See generally under those deities; for H. and Athena: B.M. B 144, Reinach, i. 257, ii. 42 (Panathenaic); B.M. E 268, Reinach, i. 520 (Athens 477), ii. 25, 211 (Bibl. Nat. 220).
B.M. B 257, 259, 267, 302 (banqueting); Berlin 2160 (with the Satyr Oreimachos); Reinach, i. 129 (playing lyre).
B.M. B 424, E 492; Petersburg 1792, 1793 (= Reinach, i. 1 and 3); Helbig, 103 = Rayet and Collignon, p. 223; Reinach, i. 93, ii. 310; and see _Ath. Mitth._ 1889, pl. 1, p. 1 ff, and p. 55, note 642.
B.M. F 277; Reinach, i. 99: cf. _Rev. Arch._ xxxvi. (1900), p. 93.
See p. 28; also Naples 1989 = _Él. Cér._ iii. 91, and Reinach, i. 522.
Reinach, i. 456; Berlin 2455; Munich 209 = Fig. 122, p. 70.
Athens 1093 = Roscher, ii. p. 2678; Berlin 2991.
_J.H.S._ xx. p. 101: cf. the story of Pandora’s “box,” and see Vol. I. p. 152 and p. 75 below.
B.M. B 166, 318, 379; Louvre F 116–117; Reinach, i. 222, 368, ii. 76.
B.M. B 248, B 280, E 493; Bibl. Nat. 277 = Reinach, i. 290; _E.g._ ii. 48; _Mon. Grecs_, 1878, pl. 2 (represents an earlier episode).
_Él. Cér._ iii. 78–81; Bibl. Nat. 839: see Roscher, i. p. 2393.
B.M. B 362, 627, E 585; Berlin 1928, 2172; Schreiber-Anderson, 16, 8, and 14, 3.
B.M. B 345, E 444; Berlin 2278; Reinach, i. 203; _Ath. Mitth._ 1889, pl. 1.
CHAPTER XIII _DIONYSOS AND MISCELLANEOUS DEITIES_
Dionysos and his associates—Ariadne, Maenads, and Satyrs—Names of Satyrs and Maenads—The Nether World—General representations and isolated subjects—Charon, Erinnyes, Hekate, and Thanatos—Cosmogonic deities—Gaia and Pandora—Prometheus and Atlas—Iris and Hebe—Personifications—Sun, Moon, Stars, and Dawn—Winds—Cities and countries—The Muses—Victory—Abstract ideas—Descriptive names.
The most important deity in Greek mythology outside the Olympian circle is undoubtedly =Dionysos=; but the part that is played by him and his attendant train in Greek art is out of all proportion even to this, at least in the vase-paintings. Apart from what we may regard as strictly mythological subjects, such as the Birth of Dionysos and scenes in which other gods or heroes are introduced, the number and variety of the themes are so great that an exhaustive enumeration is quite impossible; nor indeed would it repay the trouble to give a complete list of what may for convenience be termed Dionysiac scenes. Suffice it to say that they occur with equal frequency on the vases of all periods from the middle of the sixth century onwards.