The goddess fronts us, like a column, her head turned towards Actaeon: her right arm is stretched out horizontally, urging the hounds on; the horizontal is emphasized by the bow held in the other hand, the perpendicular of her body by the pattern-band from the waist down and the perpendicular quiver at her back. Actaeon is dressed, as nowhere else, in a deerskin fitting close to his trunk, thighs, and arms, with the head (not merely the scalp) forming a sort of cap: the painter has had Herakles' lionskin in his mind, but still more Dolon's wolfskin coat: see the cup by the Panaitios Painter in the Cabinet des Médailles (WV. 5 pl. 5, 1, whence Hoppin Rf. i p. 395: ARV. p. 215 no. 27); and the cup by the Dokimasia Painter in Leningrad (Annali 1875 pl. Q, 1-2 and pl. R, 1: ARV. p. 271 no. 12), where the attitude of the Dolon in one of the two pictures recalls our Actaeon. By giving Actaeon this strange costume the Pan Painter is explaining how the hounds came to take their master for a stag. This is not the same notion as in Stesichorus, but it is akin: Στησίχορος δὲ ὁ Ἱμεραῖος ἔγραψεν ἐλάφου περιβαλεῖν δέρμα Ἀκταίωνι τὴν θεόν (Paus. 9.2.3: see Jacobsthal Akt. p. 4). The hounds are small, as in the Boston vase; and again one of them is at Actaeon's throat.
B. On the various early representations of Pan see Hartwig in RM. pp. 89-101, Hauser in FR. ii pp. 294-5, Brommer Satyroi pp. 10-19 and 49-51 and in Anz. 1938 pp. 375-82, Crome in A.M. 64 pp. 120-4, Herbig Pan. Here he has goat's head, neck, and horns, goat's hooves, and a small goat's tail, is otherwise human. The body is perfectly formed and proportioned, and the animal head has nobility: there is no other Pan in which the god shows so clearly through the goat.
In the goatherd, relief-lines contour the forehead and chin, the right thumb, the lower line of the right upper arm, the right shoulder, the lower line of the right thigh; in Pan, forehead and nose, parts of the hands, the penis, the back and buttocks, the right thigh and the front line of the left. Brown inner markings.
The goatherd wears a chitoniskos, a goatskin, a sheepskin hat, shoes and stockings. The chiton is ἔξωμος, leaves the right shoulder bare. It is twisted up into the girdle in front: Hauser conjectures that the boy has his supper in this part of his chiton (FR. ii p. 290), but it is improbable that Apollo has his supper in his chiton on the Siphnian frieze, although it is twisted up in much the same manner. The boy's left hand is under the goatskin and draws it tight lest Pan should catch him by the flying end. Once more Reichhold has not got the face quite right.
A goatskin and a hat of the same type as this are worn, with or without a chiton, on a good many vases of this period. Here are some examples:
- 1. New York 38.11.2, hoof-vase, related to the Brygos Painter. Bull. Metr. 33 p. 225; AJA 1939 p. 6; part, Richter A.R.V.S. fig. 80.
- 2. Louvre G 536, small pelike by the Geras Painter (ARV. p. 174 no. 9). Annali 1862 pl. 4; A, Pottier pl. 155; CV. d pl. 45, 5, 7, and 11.
- 3. Louvre G 216, Nolan amphora by the Providence Painter (ARV. p. 432 no. 32). CV. pl. 41, 1-3 and pl. 40, 9.
- 4. Berlin 4052, Nolan amphora, near the Oionokles Painter (ARV. p. 439, below). Annali 1845 pl. C and pl. D, 3; A, Licht iii p. 96, 2.
- 5. Rouen, Bellon, 609, neck-amphora, by the Oionokles Painter (ARV. p. 439 no. 30). Gargiulo Recueil (1845) ii pl. 40; Fröhner Coll. Lecuyer 2 pl. F, 5; Coll. Camille Lecuyer pp. 61-2.
- 6. Berlin inv. 3359, cup by the Briseis Painter (ARV. p. 267 no. 11).
- 7. New York market (Joseph Brummer; ex Parrish), Nolan amphora by the Alkimachos Painter (ARV. p. 356 no. 2). The Lapith on B.
- 8. Goluchow, Prince Czartoryski, 53, Nolan amphora by the Alkimachos Painter (ARV. p. 356 no. 5). V. Pol. pl. 18; CV. pl. 30, 1.
- 9. London E 286, small neck-amphora by the Alkimachos Painter (ARV. p. 357 no. 21). CV. pl. 47, 1.
- 10. Formerly in the Pizzati collection, Nolan amphora by the Ethiop Painter (ARV. p. 464 no. 12). On A, a youth (chitoniskos, left arm extended in a pelt, fur or skin