Apotropaism in Greek Vase-Paintings

Abstract

Quite another concept-a concept which I take to resemble more or less closely the one whereon are based the numerous representations of an eye surrounded by antagonistic creatures or objects-finds, I think, expression in the way certain other animals appear in the vase-paintings. That concept is to the effect that the picturing of the mastering of an embodiment, or of a symbolization, of some particular evil influence will keep that influence from producing the effect which normally it would prodtice if free to exercise its power. The reasoning (if rationalization be attempted) supporting an expectation of such consequences is likely to depend on the way in which a person has been brought up . Thus, it may be thought that the source of the evil influence is so to be warned of a fate which may overtake it; or that, in a general sense, like will follow like ; or that some helpful divinity may in that way be instructed as to an outcome desired ; or, since from the selection of a subject as one of good omen to its application as presumably apotropaic is but a short span,102 that the portrayal has the character of an omen foreshadowing an actual event. The concept in question is, as I take it, exemplified on the vases by groups whose constituent members may be either normal animals, mythical monsters, human beings, or divinities. The essence of such groups, which are to be found on both the precursors of the Attic vases and the Attic vases themselves, is the representing of an attack on, or the overcoming of, a creature of evil import. On Corinthian vases, for example, we may see an owl between two lions,103 or a hare between two lions 104 or two panthers ;105 and on Attic, accompanying pairs of great eyes, a deer attacked by a lion and a tiger, and by a tiger and its cub.106 Concerning the deer in such groups, little