Broadly speaking the Gorgon is marked off from the Harpy by the mask-face. The Harpy is a less monstrous form of Gorgon, but at worst there was not much to choose between them. We sympathize with the hesitation of the priestess, when we compare the Medusa-Gorgon of the Amasis vase (fig. 46) with the undoubted Harpies of the famous Würzburg[584] cylix (fig. 47). Here we have depicted the very scene remembered by the priestess, ‘those pictured things that snatch at Phineus’ feast.’ The vase is in a disastrous condition, and the inscriptions present many difficulties as well as uncertainties, but happily those that are legible and certain are sufficient to place the subject of the scene beyond a doubt. It would indeed be clear enough without the added evidence of inscriptions. Phineus to the right reclines at the banquet, attended by women of his family, whose names present difficulties and need not here be discussed. The Harpies[585] (Ἀρε...), pestilential unclean winds as they are, have fouled the feast. But for the last time they are chased away by the two sons of Boreas, Zetes and Kalais, sword in hand. The sons of the clean clear North Wind drive away the unclean demons. All the winds, clean and unclean, are figured alike, with four wings each; but the Boreadae are of course male, the women Harpies are draped. [Illustration: FIG. 48.] Before returning to the tragic Erinyes, another vase must be discussed. The design, from an early black-figured cylix in the Louvre[586], is reproduced in fig. 48. The centre of interest is clearly the large dog, a creature of supernatural size, almost the height of a man. To the left of him a bearded man is hastening away; he looks back, apparently in surprise or consternation. Immediately behind the dog comes a winged figure, also in haste, and manifestly interested in the dog. Behind her is Hermes, and behind him, as quiet spectators, two women figures. There is only one possible explanation of the general gist of the scene. It is the story of the golden dog of Minos stolen from Crete by Pandareos, king of Lycia, and by him from fear of Zeus deposited with Tantalos. The scholiast on the _Odyssey_[587] tells the story in commenting on the lines ‘As when the daughter of Pandareos the bright brown nightingale’ as follows. ‘There is a legend about the above-mentioned Pandareos, that he stole the golden dog of Zeus in Crete, a life-like work of Hephaistos, from the precinct of Zeus, and having stolen it he deposited it with Tantalos. And when Zeus demanded the stolen thing by the mouth of Hermes Tantalos swore that he had it not. But Zeus when he had got the dog again, Hermes having secretly taken it away, buried Tantalos under Sipylos.’ Another scholiast[588] gives a different version, in which judgment fell on the daughters of Pandareos. ‘Merope and Kleothera (daughters of Pandareos) were brought up by Aphrodite; but when Pandareos, having received the dog stolen from Crete in trust for