^{page 96 note 1} These were modern restorations which have since been cleaned away.

^{page 98 note 1} See Longpérier, in the Rev. Arch. 1851, p. 621–30Google Scholar, cf. Jahn, . Arch. Aufs. 1845, p. 80Google Scholar, and Panofka, Eigennamen mit καλός.

^{page 99 note 1} For these types see Gerhard, Ges. Akad. Abh. Taff. x., xii.

^{page 99 note 2} Especially the early Corinthian Aryballi, cf. Annali dell' Inst. 1866, Tav. Q., and see Murray, , Greek Sculpture, p. 61Google Scholar, and Luckenbach in the Jahrb. für cl. Phil. Suppl. band 11, p. 504.

^{page 100 note 1} Cf. Luckenbach, loc. cit., p. 564.

^{page 100 note 2} It may be that the original composition was in the round, in which case this conjecture becomes more probable. A sculptor would not feel the same difficulty in turning the back of his figure to the spectator which painters until quite a late period felt; cf. Engelmann in the Annali dell' Inst. 1879, p. 242.

^{page 101 note 1} Cf. Daremberg, Dict. des Ant. s.v. and Preller, , Röm. Myth. p. 432Google Scholar.

^{page 101 note 2} Cf. Mimnermus fr. 5 (‘wretched and hideous, old age hateful and dishonoured, which changes the fashion of a man's countenance, injuring his sight and clouding his mind’).

^{page 102 note 1} See the admirable translation of this chorus in Mahaffy, , Social life in Greece, p. 235Google Scholar, and cf. Mahaffy on this subject.

^{page 102 note 2} X. 4.

^{page 103 note 1} See Cic. de Nat. D. III. 17.

^{page 103 note 2} Pauly, Real-Encyclop. s.v.

^{page 104 note 1} Cf. Od. δ, 384,

^{page 104 note 2} Cf. Paus. VI. xxv. 2,

^{page 104 note 3} Cf. also Pind. Isthm. V. (VI.) 1. 14,

^{page 104 note 4} See Arch. Zeit. 1859, p. 102*, Nos. 26, 28, 61, 204, and Furtwängler, , Bronzef. zu Olymp. p. 96Google Scholar.

^{page 105 note 1} I have tried in vain to discover where this vase has gone since the death of Sig. Doria, in whose possession it was when Löschcke saw it.

^{page 105 note 2} Abhandl d. K. Akad. d. W. 1879, p. 14.

^{page 105 note 3} Besides which, the similar scene with a sea deity occurs in the adjoining relief.

^{page 105 note 4} Abhandl. 1879, p. 94.

^{page 106 note 1} (η) (?). In the Annali, 1873, Tav. F., a red-figured vase is published with, on one side, Iphikles learning the lyre from Linos; on the other, Herakles, behind whom stands an old man, wrinkled and squalid; beside this latter figure is inscribed the inscription, as well as the type, would seem to suit some form of the personification of Geras.

^{page 106 note 2} See e.g. vase in B. M. Catal. No. 716, Herakles seizes white-haired figure who holds a sceptre and fish and is closely draped; and Gerhard, Verzeichniss der V., 1753, ‘Herakles hält den Bogen gespannt gegen Poseidon (Fisch und Dreizack) der…ruhig zuschaut.’ In Annali, 1878, Tav. E. is published a vase picture which may perhaps be assigned to this group: Herakles, amidst a number of upset vases, attacks with a trident an aged figure who supplicates him.

^{page 107 note 1} The single-headed Cerberus is evidence in favour of this.

^{page 107 note 2} He is sometimes in antagonism with other deities: see Jahn, , Arch. Aufs. p. 52Google Scholar.

^{page 107 note 3} Cf. Maury, , Hist. des Rel. iii. 436Google Scholar.

^{page 108 note 1} Cf. Robert, , Thanatos, p. 32, etc.Google Scholar, and see Böckh, C. I. 1067, and see Bull. de Corr. Hell. 1883, p. 403.

^{page 108 note 2} See on this question Arch. Zeit. 1859, p. 34, Brunn, , Gr. Künstl. I. p. 16Google Scholar; and the contest of Herakles and Apollo for a stag in Annali d. Inst. 1880, p. 216.

^{page 108 note 3} Cf. Milchhöfer, , Anfänge der Kunst, p. 235Google Scholar.

^{page 109 note 1} See Hartung, , Rel. der Gr. ii. 221, 223Google Scholar: but cf. Welcker, , Gr. Gött. i. 424Google Scholar.

^{page 109 note 2} See Il. Ψ 623, where Achilles gives him a prize, though he had not contended in the games

^{page 109 note 3} Cf. Lückenbach loc. cit. p. 504.

^{page 109 note 4} Pausanias (3, 17, 3) says that Gittiades represented this scene in the Temple of Athene Chalkioikos at Sparta.

^{page 109 note 5} This point has been argued in Milchhöfer's, Anfänge der Kunst, p. 196Google Scholar.

^{page 110 note 1} Cf. Kekule, , Hebe, p. 9Google Scholar, etc. There is a passage in Lucian (LV. Ἡρακλῆς, 1) which is a curious comment upon our vase: the author there describes a Keltic divinity who is called Ὄγμιος, but who is a strange mixture of the Greek type of Herakles with that of a personification of Old Age: This strange figure leads by the ears a great company of people, by golden chains which issue from his mouth. The explanation given is this: the Kelts attribute the power of eloquence, logos, not to Hermes, but to Herakles; and since it is natural that this type of Herakles should include a conception of Geras as well. See Longpérier, in the Rev. Arch. 1849–1850, p. 388Google Scholar, for the derivation of Ὄγμιος as a Keltic word: but I should almost be tempted to look upon it as a Greek form connected with the of Archil. 91.