VS 
ORIGIN OF GREEK GAMES IN THE CULT OF THE DEAD. 13 
match (§10), a foot-race, quoit-throwing, and a victor represented as 
being crowned (§10), and prize tripods (§11). 
The most valuable parallel to some of the scenes described by 
Pausanias is found on the Amphiaraos vase in Berlin,! dating from 
the sixth century B.C., on which the wrestling match and chariot- 
race correspond surprisingly well with the descriptions of Pausanias, 
despite certain differences in detail. Another archaic vase depicts a 
_two-horse chariot-race and the parting of Amphiaraos and Eriphyle.? 
The scenes on this latter vase appear to have been copied from those 
on the chest, and it is possible that the scenes on the Berlin vase had 
the same origin. 
Funeral games are commonly pictured on early vases. Thus on a 
proto-Attic amphora, discovered by the British School of Athens in 
excavating the Gymnasion of Kynosarges, there are groups of wrestlers 
and chariot-racers. ‘he wrestling bout here, however, seems to be to 
the death, as the victor has his adversary by the throat with both 
hands. It may be a mythological scene, perhaps representing the bout 
between Herakles and Antaios. A still earlier representation of funeral 
games is shown by a Dipylon geometric vase from the Akropolis now in 
Copenhagen, dating back possibly to the eighth century B.C.?. On one 
side two nude men, who have grasped each other by the arms, are 
ready to stab one another with swords. ‘his may represent, however, 
as Gardiner suggests, only a mimic contest. On the other side are two 
boxers standing between groups of warriors and dancers. A similar 
scene in repoussé appears on a Cypriote silver vase from Etruria now in 
the Uffizi in Florence.* We should also, in this connection, note again 
the reliefs representing funeral games, which appear on the sixth-cen- 
tury sarcophagus from Klazomenai already mentioned.’ Here is 
represented a combat of armed men; amid chariots stand groups of 
men armed with helmets, shields, and spears, while flute- -players stand 
between them; at either end 1s a pillar with a prize vase upon it; against 
one leans a nated man with a staff, doubtless intended to represent the 
spirit of the deceased in whose honor the games are being held. 
Games in honor of the dead tended to become periodic... The tomb 
of the honored warriors became a rallying-point for neighboring people, 
Vasen, 1655; Perrot-Chipiez, IX, p. 637, fig. 348 (departure of Amphiaraos); p. 639, fig. 349 
“(chariot-race); Gardiner, p. 29, fig. 3; Frazer, III, p..609, fig. 77; Baum. I, fig. 69; and see Robert 
Annali, XLVI, 1874, pp. 82 f.; Mon. d. I., X, 1874-1878, Pls. IV, V. The discovery of this 
vase at Cerveteri (Caere) in 1872 proved the Corinthian workmanship of the chest. 
2Micali, Monument: per servire all’ historia degli antichi popoli Italianz®, 1833, Pl. XCV; described 
by Jahn, Archaeol. Aufsaetze, pp. 154f. (quoted by Frazer, III, p. 610). For scenes representing the 
departure of Amphiaraos and a four-horse chariot-race, see also an Attic-Corinthian vase in Flor- 
ence: Perrot-Chipiez, X, pp. 109 and 111, figs. 78, 79 (=Thiersch, Tyrrhenische Amphoren, Pl. 
IV); the latter also gives us the oldest representation of a Greek stadion. 
34. Z., XLIII, 1885, Pl. VIII; Gardiner, p. 30, fig. 4 (one side). 
4Cited by Gardiner, pp. 30-31; Inghirami, Mon. Eir., 1821-1826, III, 19, 20; Schreiber, Bilder- 
wearers. 63M. W., 1, Pl. LX, fig. 302b. 5Reproduced by Gardiner, p. 21, fig. 2. 
