In discussing Ikaros as represented on vase-paintings, Prof. J. D. Beazley has, I think, omitted one consideration which throws further light on a detail of the subject and strengthens his contention as regards the interpretation of a painting. He shows a picture from what he describes as ‘a small red-figured lekythos, of about 470 B.C.,’ which represents a winged youth either rising or sinking; he interprets him as sinking, which indeed the general attitude suggests, and calls attention to the presence just above him of a bird, which ‘is flying almost straight down.… The bird acts as the directional arrow in cartography.’ He therefore concludes that the artist has chosen for his subject the fall of Ikaros during the escape from Crete.

That the bird is not there merely to fill up space I heartily agree; Greek artists of the fifth century were not fond of such tricks, having little or no horror uacui and possessing the precious talent of stopping when they had nothing more to say. That it incidentally shows the direction in which the chief figure moves I am perfectly ready to believe; it is a convention conceivable in itself and made reasonably probable—I do not think it is actually proved—by the other examples cited. But surely it is still better if the bird is part of the story, and this I believe it is.