The next picture[591] (fig. 50) is later in style, but far more closely under dramatic influence. We have the very opening scene of the _Eumenides_. The inner shrine of the temple, a small Ionic naos, the omphalos, and the supplicant Orestes, with no Apollo to purify; the frightened priestess holding the symbol of her office, the great temple key with its sacred fillet. All about the shrine are lying the Erinyes, wingless and loathly; the scanty dishevelled hair and pouting barbarous lips are best seen in the rightmost Erinys, whose face is drawn profile-wise. [Illustration: FIG. 51.] In the third representation[592] from a krater formerly in the Hope Collection (fig. 51) the style is late and florid, and the vase-painter has shaken himself quite free from dramatic influence. Orestes crouches in an impossible pose on the great elaborately decorated omphalos; Apollo is there with his filleted laurel staff. The place of Artemis is taken by Athene, her foot resting on what seems to be an urn for voting. To the left is an Erinys, in huntress garb, with huge snake and high curved wings; but the vase-painter is indifferent and looks for variety: a second Erinys, who leans over the tripod, is well furnished with snakes, but has no wings. In the last and latest of the series, a kalpis in the Berlin Museum[593] (fig. 52), the Erinys is a mere angel of vengeance; her wings are no longer fantastic, she is no huntress, but a matronly, heavily draped figure; she holds a scourge in her hand, she is more Poine than Erinys, only about her is still curled a huge snake. [Illustration: FIG. 52.] * * * * * Aeschylus then, we may safely assert, first gave to the Erinyes outward and visible shape, first differentiated them from Keres, Gorgons, or Harpies. In this connection it is worth noting that the Erinyes or Poinae were not infrequently referred to in classical literature as though they were almost the exclusive property of the stage. Aeschines[594], in his oration against Timarchus, exhorts the Athenians not to imagine ‘that impious men _as in the tragedies_ are pursued and chastized by Poinae with blazing torches.’ Plutarch[595] in his life of Dion tells how, when the conspiracy of Callippus was on foot against him, Dion had a ‘monstrous and portentous vision.’ As he was meditating alone one evening he heard a sudden noise and saw, for it was still light, a woman of gigantic size, ‘in form and raiment exactly like a tragic Erinys.’ She was sweeping the house with a sort of broom.