wound, which healed. Telephos, in return, guided the Greeks to Troy. Probably the Greeks had learned, from oracle or prophet, that only a Greek could guide them; and Telephos had meanwhile turned out to be not a Mysian, but a Greek, son of Herakles. These are the outlines of the story: just how much was in the Cypria we cannot be sure. We now turn to the picture outside our cup. The scene is laid in the palace of Agamemnon: there are five figures in each half, and the composition is so arranged that each of the principal persons, Telephos and Agamemnon, is in the middle of one half. Agamemnon remains seated, but the other Greek heroes rush towards the intruder, and the foremost of them draws his sword, but is held back by a companion. Telephos, sitting on the altar, instead of facing his assailant turns round to an old man who hastens forward, extending an arm towards Telephos' shoulder, and calling out, surely, something so important that it takes the suppliant's attention from the immediate danger. The old man should be, as Pollak conjectures, Kalchas: who knows something, and has something to say. The hero drawing his sword, and his companion, must be Achilles and Patroklos: they were foremost, as Pindar tells us (Pind. O. 9.80), in the earlier part of the story, at the battle of the Kaikos in Mysia, and are naturally foremost here too. Pollak takes the impetuous hero who draws his sword to be Patroklos, but it is more probably Achilles, and Patroklos he who holds him back. The painter has provided an architectural setting. On the left of A, the door of the palace is seen; one of the two door-panels is open and not shown; the other remains closed, and is shown together with meeting-stile and nail-studded rails. The upper of the two steps below it will be the threshold. The porch in front of the door is indicated by a slender Aeolic column, doubtless of wood, standing on a base: this may be either the column between the antae, or one of them; or rather, perhaps, one column of a prostyle porch. Compare the later and more detailed view of the porch and door on the onos by the Eretria Painter in Athens.1 Our column supports a thin entablature on which reglets are seen (or reglets with the lower parts of triglyphs?), and, between them, dots which make one think, though perhaps wrongly, of nail-heads or nail-holes. Above this epistyle one sees another architectural member which runs the whole length of A and is continued on B. This too is an entablature, with reglets (or reglets plus parts of triglyphs) and dots. At the right-hand corner of A it is seen to be supported by a column like the first, but having a plain abacus between it and the epistyle. On B there are two such columns: one, at the left edge of B, has the abacus; in the other, near the right edge, the part is lost. This structure is no doubt a cloister surrounding the courtyard in the middle of which the altar of Zeus Herkeios is set. The relation between cloister and door in the picture is not actual: the artist has juxtaposed the two. There may be a further element of fancy in the architecture, but I am not prepared to assert it. For the rendering of the reglets, compare the interior of our painter's cup in Toronto;2 for the capitals, one from Eresos published by Kondis.3 It will be noticed that on B the figures are drawn on the hither side of the architecture, while on A the architecture is on the hither side of the figures. On the left of A, behind Kalchas, a hero with a spear rushes out of the door into the courtyard. He is followed by two others, shown on B, one of them with a drawn sword, the other with a spear. Similarly, Achilles and Patroklos are followed, on B, by two heroes with spears. The second of them, a man, turns his head towards the seated Agamemnon, who is evidently saying to him, 'Go and see just what is the matter.' This must be Odysseus; and if we are to find a name for the hero in front of him, it will be Diomed. The other three heroes — on the left of A, and on the right of B — can hardly be named. We pass to details. The altar is like those on nos. 155 and 157, and on the painter's cups in Munich and Goettingen.4 The oculi of the volutes are indicated both in the altar
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1 Athens 1629: Eph. 1897 pll. 9-10, whence Pfuhl fig. 561; Dugas Aison fig. 14: ARV.1 p. 726, no. 27; ARV.2 pp. 1250-1 no. 34.
2 Toronto 354: Robinson and Harcum pl. 57: ARV.1 p. 543 no. 15; ARV.2 p. 818 no. 20.
3 Annuario 24-26 pp. 26-27.
4 Munich 2669: Gerhard AV. pl. 288-9, 9-12; Greifenhagen Eroten pp. 54-57: ARV.1 p. 543 no. 16; ARV 2. no. 26. Göttingen J. 33: Jacobsthal Gött. V. pl. 10, 35: ARV.1 p. 543 no. 19; ARV.2 no. 28.