1. For general information, see H. L. Lorimer, Homer and the Monuments [London, 1950]; also above p. 442, Note 1. [p. 144]

2. Religion in Rome and early Italy: F. Altheim, History of Roman Religion [New York, 1938]; G. Dumézil, Archaic Roman Religion, 2 vols. [Chicago and London, 1970]. Consus and Janus: Altheim, op. cit., 194-7.

3. Etruscan religion: R. Bloch, Les Étrusques [Paris, 1954], 91-109; Dumézil, op. cit., 593-660.

4. Age of Roman myth: Altheim, op. cit., 200-17. Story of Tages and possible representations: R. Herbig in Charites [Bonn, 1957], 182-6, plate 32. Tarchon and the royal legends of Rome: M. Pallotino in Rendiconti Lincei, series VI, 6 [1930], 49-87.

5. Etruscan gentile deities: Altheim, op. cit., 114-18.

6. No reprersentations of diety were included with the rare examples of myth in earlier Etruscan art, such as 'Flight of Ulysses from Polyphemus' on the ivory situlae from the Pania Tomb, above, illustration 37.

7. A few other myths should be mentioned here, though they cannot be discussed in detail.
1. Theseus killing the Minotaur. Polledrara hydria in London: Ducati, 1, 202-3, 11, plate 75, figure 223; probable date, first quarter of the sixth century. Bucchero pesante pitcher in Basel: W. Zschietzschmann, Etruskische Kunst [Frankfurt am Main, 1969], xxviii, 52.

2. Perseus and Medusa. Bucchero pesante pitcher, much restored, from Chiusi, Palermo, Museo Nazionale [Collezione Casuccini]: Giglioli, plate 53, figures 1 and 2, cf. E. Gabrici, S. Etr., 11 [1928], 80, no. 17, plate 14; some details need clarification, especially the dog-headed monster often called Anubis, cf. V. Tusa, Archeologia Classica, VIII [1956], 147-52, plates 35-40; probable date of this and the pitcher in Palermo, mid sixth century. The composition of these friezes and of the earlier Polledrara vase retains the ancient scheme of the procession. In this manner specific action can be only very casually shown. The relief frieze around the pitcher in Palermo resembles a kind of ballet, or dance of demons, rather than the depiction of an event.

3. Story of Amphiaraos, in three episodes: bronze relief, decoration of a chariot, from tumulus of Montecalvario near Castellina in Chianti: I. Krauskopf, Der Thebanische Sagenkreis [Mainz, 1974], 14-17, bibliography note 67, plate 1. This relief is of more than common interest; it forms a frieze in which scenes of small figures are continually repeated, fashioned over dies in the manner of the Etruscan stamped ware mentioned above [p. 84]. Every three of these scenes constitutes a narrative. In this way they present an important example of 'continuous narration' in early Etruria, especially as the individual episodes are not separated by frames as in the New York chariot. Consequently they illustrate the kind of artistic raw material from which compositions like the New York chariot have been derived; see below, Note 14.

8. A Furtwängler, Braun-Bruckmann's Denkmäler griechischer und römischer Skulptur [ed. P. Arndt] [Munich, 1906], text to plates 586-7; G. M. A. Richter, Greek, Etruscan and Roman Bronzes [New York, 1915], 17-29, no. 40; Ducati, 1, 279-80, 11, plate 108, figures 286-7; Giglioli, plates 88-90.

9. This unusual version of the 'flying gallop', with legs drawn under, seems properly Etruscan: terracotta frieze from Caere, in Copenhagen, Ny Calsberg Glyptotek H174 [Andrén, 1, 18, no. c; 11, plate 5, figure 10]. Similar representation on an Etruscan black-figure bowl: M. A. Johnstone, S. Etr., XI [1937], 402, figure 3 on p. 401.

10. Furtwängler, op. cit., made a similar statement about the warrior receiving armour from a woman. His remark is true as regards the subject matter but not the formal composition, examples of which are not frequent and which did not constitute a common formula, such as the 'duelling heroes'. A nearly identical composition, likewise from Etruria, probably Chiusi, is the bronze relief in Florence: Ducati, 1, 194, 11, plate 69, figure 209, evidently derived from the same prototype. 'Duelling heroes': Richter, op. cit., 22. Cf. also the Clazomenian hydria mentioned above, Chapter 9, Note 8.

11. Richter, op. cit., 20-2.

12. This was also the opinion of Furtwängler, op. cit. For a different opinion, see R. Hampe and E. Simon, Griechische Sagen in der Frühen etruskischen Kunst [Mainz, 1964], 53-67.

13. The miraculous end of heroes is apt to take one of two forms in ancient lore: the hero either disappears in a cloud or ascends to heaven with the aid of some carrier. I have dealt with the first idea in 'Origin and Meaning of the Mandorla', Gazette des Beaux Arts, XXV [1944], 5-24, especially 18-19; with the second in 'Classical Ariels', Studies in Honor of F. W. Shipley [St. Louis, 1942], 75-93. For the miraculous disappearance of Aeneas and Romulus see A. S. Pease, 'Some Aspects of Invisibility', Harvard Studies in Classical Philology, LIII [1942], 14-16; for the ascension by chariot in Roman religious thinking, E. Strong, Apotheosis and After Life [London, 1928], 226-8. The story of Aeneas came to Etruria early, perhaps owing to the Phocaeans: F. Boemer, Rom und Troia [Baden-Baden, 1951], 11-49, especially 36-7.

14. A critical discussion of the term, coined originally by F. Wickhoff, is found in K. Weitzmann, Illustration in Roll and Codex [Princeton, 1947], 17-36. In Weitzmann's own terminology the New York chariot and the bronze relief with the story of Amphiaraos, above, Note 7, no. 3, exemplify the 'cyclic method', a more comprehensive term than Wickhoff's 'continuous method'. Sufficient evidence is now at hand to assert that continuous narratives existed in early Italian art long before the Hellenistic period generally assumed to be their origin. For possible examples in Greek art of the fifth century cf. E. Bielefeld, Archäologischer Anzeiger [1956], cols. 29-34.

15. Cypro-Phoenician [or Syro-Phoenician] metal bowls: above, Chapter 3, Note 5. A most interesting case of narratives of this class is 'The Prince and the Ape Man', sufficiently popular to occur twice among the extant materials. Both renditions follow the same prototype. One is found on a Syro-Phoenician bowl from the Bernardini Tomb at Praeneste [C. Densmore Curtis, M.A.A.R., 111 [1919], 38-43, no. 25, plates 20-1]; the other on fragments of a bowl from Cyprus, New York, Metropolitan Museum, Cesnola Collection, no. 4556 [E. Gjerstad, 'Decorated Metal Bowls from Cyprus', Opuscula Archeologica, IV [1946], 10, plate 8; cf. H. G. GÄterbock, A.J.A., LXI [1957], 69-70, plate 26a, where the Ape Man is called an 'ape']. The occurrence in two monuments from such distant places of a nearly identical composition throws an interesting light on the migrations of iconographical types during the seventh century, in the wake of Phoenician trade. This iconographical transfer by portable prototypes resembles the travels of Byzantine and early medieval illustrations in books.

16. H. Payne, Necrocorinthia [Oxford, 1931], 139-40, 329 no. 1471; E. Pfuhl, Masterpieces of Greek Drawing and Painting [London, 1926], plate 9, figure 14.

17. For the tomb see Furtwängler, op. cit., 1-5; Richter, op. cit., 27-8, 177-80. The type of the chariot, though native, was developed with a knowledge of Ionian models: E. Nachod, Der Rennwagen bei den Italikern [Leipzig, 1909], 44-7; Richter, op. cit., 25-7. The date indicated by the tomb group, hardly later than 560-550, is confirmed by the absence of folds from the representation of the garments.

18. Riis, 132.