Iphigeneia and the Second Mobilization at Aulis (page 584, with art)

Chapter 16, The Trojan War

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Boston, Museum of Fine Arts 6.67: fragmentary Protoattic krater by the New York Nessos Painter with Iphigeneia (?) being carried to sacrifice as Agamemnon (?) watches from the right

G.A. Kovacs, Iphigenia at Aulis: Myth, Performance, and Reception (PhD Thesis, Univ. of Toronto, 2010), p. 86 fig. 2.1

Digital LIMC (without illustration)

Palermo, Museo Nazionale NI 1886: Attic white-ground lekythos by Douris, with Iphigeneia being led to sacrifice by Teukros


Digital LIMC

Beazley Archive Pottery Database

London, British Museum E773: Attic red-figure pyxis by a follower of Douris, featuring three scenes. Figures in upper image are Iphigeneia (named), who stands in doorway while tying on a long taenia (in preparation for her supposed upcoming marriage to Achilleus ?); and Danae (named), who approaches from the right with a jewelry box 

British Museum

Beazley Archive Pottery Database

Py 11.17-25 – Pindar, Pythian Odes

Orestes, who indeed, when his father was murdered, was taken by his nurse Arsinoe from the strong hands and bitter deceit of Clytaemnestra, when she sent the Dardanian daughter of Priam, [20] Cassandra, together with the soul of Agamemnon, to the shadowy bank of Acheron with her gray blade of bronze, the pitiless woman. Was it Iphigeneia, slaughtered at the Euripus far from her fatherland, that provoked her to raise the heavy hand of her anger?  Greek Text

Ag 228-49 – Aischylos, Agamemnon

For her supplications, her cries of “Father,” and her virgin life, [230] the commanders in their eagerness for war cared nothing. Her father, after a prayer, bade his ministers lay hold of her as, enwrapped in her robes, she lay fallen forward, [235] and with stout heart to raise her, as if she were a young goat, high above the altar; and with a gag upon her lovely mouth to hold back the shouted curse against her house—by the bit’s strong and stifling might.

Then, as she shed to earth her saffron robe, she [240] struck each of her sacrificers with a glance from her eyes beseeching pity, looking as if in a picture, wishing she could speak; for she had often sung where men met at her father’s hospitable table, [245] and with her virgin voice would lovingly honor her dear father’s prayer for blessing at the third libation—What happened next I did not see and do not tell. The art of Calchas was not unfulfilled.  Greek Text

See also Early Greek Myth, p. 672

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Artistic sources edited by R. Ross Holloway, Elisha Benjamin Andrews Professor Emeritus, Joukowsky Institute for Archaeology and the Ancient World, Brown Univ., and Frances Van Keuren, Prof. Emerita, Lamar Dodd School of Art, Univ. of Georgia, October 2021

Literary sources edited by Elena Bianchelli, Retired Senior Lecturer of Classical Languages and Culture, Univ. of Georgia, January 2023

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