Cook, Arthur B.: Zeus: a study in ancient religion (Band 1): Zeus god of the bright sky (Cambridge, 1914)

Medeia

251

but feel that he is face to face with a marvellous illustration of the
great tragedy. The marble all but breathes; the dragons of
Medeia's chariot may be heard to hiss.'

Euripides was not the last to compose a drama about Medeia;
and it is in all probability a post-Euripidean play that is illustrated
by another Apulian vase, the famous Medem-kraU'r of Munich1.
This magnificent example of later ceramic art has for its principal
theme a representation of the vengeance taken by Medeia on Iason,
who in her despite contracted wedlock with king Kreon's daughter
(pi. xxii)2. In the centre of the scene rises the royal palace con-
taining a throne surmounted by two eagles and a pair of circular
shields slung from the roof. The king's daughter Kreonteia3
(Kreonteia) has just received from Medeia the fatal gift of a
poisoned crown4. The casket in which it came stands open on the
ground before her. But the poison is potent and is already doing
its deadly work. The princess falls in her agony across the throne.
Her father ([Kre]on\ dazed with grief, drops his eagle-tipped
sceptre, and with one hand clutches at his grey locks, while he
supports her prostrate form with the other. From right and left
two figures hasten to the rescue. Kreon's son (Hippotes)5 is first to
arrive and vainly attempts to pluck the crown from his sister's head.
The queen too {Meropey hurriedly approaches with gestures of grief
and alarm. Behind her are an old paidagogos and a young hand-
maid; the former cautiously advancing, the latter disposed to pull
him back. Behind Hippotes is an elderly veiled woman, evidently
the princess's nurse, who hastens to escape from the horrible sight.

1 C. Robert Bild und Lied Berlin 1881 p. 37 ff. and J. H. Huddilston op. cit. p. 145 ff.
hold that this vase was intended to illustrate the Medeia of Euripides, and that the points
in which its design differs from the subject as conceived by Euripides are to be regarded
as natural and legitimate additions or subtractions on the part of the painter. A. Furt-
wangler in his Gr. Vasenmalerei ii. 164 ff. refutes their view and concludes that the vase
echoes the work of some unknown poet.

2 Jahn Vasensamml. Miinchen p. 260 ff. no. 810, Furtwangler—Reichhold op. cit. ii.
161—166 pi. 90 (which supersedes all previous reproductions). The vase was found in a
tomb near Canosa, Sept. 16, 1813.

3 KpeovreLa is her name, not an abbreviation of KpeovreLa (irals), nor of KpeovreLa
(av&KTOpa), nor yet the title of a drama comparable with Oidiirodeia, 'Qpeareia, etc. Other
sources name her TXatiicT) (Roscher Lex. Myth. i. 1676 no. 4) or Kpeovaa (ib. ii. 1426 f.
no. 3). In Euripides she is nameless.

4 Hyg. fab. 25 coronam ex venenis fecit auream eamque muneri filios suos iussit
novercae dare.

5 The name Hippotes is attested by Diod. 4. 55, schol. Eur. Med. 20, Hyg.fab. 27,
though none of these authors describes him as playing the part here assigned to him.

6 The painter of this vase is our sole authority for Merope as the mother of Iason's
bride, though elsewhere she is mentioned as the wife of Sisyphos or as the wife of Polybos
(Roscher Lex Myth. ii. 2838 f.).