It has often been a matter of regret that a Greek vase of much importance as to subject and unique in being the work of a particular painter named Python was inaccessible except by a visit to Castle Howard in Yorkshire. That, I am glad to say, is no longer necessary. The vase has become the property of the British Museum. But there remains a difficulty of another kind. The vase had been published in 1837 by the French section of the Institute in Rome, but so rare has that publication become that very few English students have ever seen it. We propose now to remedy that matter by a re-publication of the vase (Plates VI. and VII.).

The characters in the principal scene are Alkmene, Amphitryon, Antenor, Zeus, Eos, and two Hyades. Except these latter, each figure has its name attached to it. But, though the names are plain enough, the interpretation of the scene has been a subject of controversy. Originally the scene was described as the ‘Apotheosis of Alkmene,’ against which there was at least this objection that in the legend Alkmene had survived Amphitryon, and could not therefore in her apotheosis be assisted by him, as that explanation of the vase would imply. In 1872 the question was re-opened by Engelmann in connexion with another vase, now also in the British Museum, on which the same subject occurs in an abbreviated form. Engelmann argued that the meaning must be this: Amphitryon has come back from the wars, and, being enraged at the reception given him by his wife, has determined to take vengeance on her, whereupon she has fled for refuge to an altar followed by him and his friend Antenor. Instead of dragging her from the altar they proceed to sacrifice her on it, building up a pyre of wood in front and fetching torches to light it.