(8) Rape of the Palladion: B.M. F 366. (9) Death of Priam: Berlin 3045 = Reinach, i. 370, 8. (10) Odysseus and Kirke: Jatta 901 = Heydemann, p. 271. (11) Odysseus in Phaeacia: Reinach, i. 153, 1. [Illustration: FIG. 134. SCENE FROM A FARCE (BRITISH MUSEUM, F 189).] Other scenes represent single figures, such as Herakles,[1610] or Taras on the dolphin[1611]; or subjects from farces of daily life, such as an actor with a table of cakes[1612] or the drunken return from a revel.[1613] Many scenes, again, have some reference to the Satyric drama, as on the fine vase in Naples, where Dionysos and other figures attend the preparations for a performance of that kind[1614]; or such scenes as that of Hera and Iris attacked by Seileni,[1615] or those relating to adventures of Herakles and Perseus with Satyrs.[1616] Other subjects have no particular significance, such as an actor attired as a Seilenos playing on the flute, or dancing, or with a Sphinx,[1617] groups of actors[1618] (in one case dressing[1619]), a comic actor among Satyrs and Maenads,[1620] and single figures.[1621] Some, which are apparently mythological, defy explanation.[1622] The influence of Tragedy on vase-paintings is an indirect one, and entirely confined to the vases of Southern Italy on the one hand, and to the plays of Euripides on the other. The subject has been discussed at length elsewhere in this work,[1623] and it is unnecessary here to give a list of the subjects on South Italian vases which can be traced to the influence of Euripides. It has also been pointed out that this influence made itself felt, not only in the actual choice of subjects, but generally in their treatment and arrangement, in the quasi-architectural setting of many scenes, and in the elaborate costumes of the figures. [Illustration: FIG. 135. ATHLETES ENGAGED IN THE PENTATHLON (BRITISH MUSEUM, B 134).] 4. ATHLETICS AND SPORT