CAPTIONS FOR COLOR PLATES 1-10- Jupiter and Thetis, by J. A. D. Ingres (1780-1867). Oil on canvas, 1811; 136 X 101 in. In
this huge painting, Jupiter is enthroned among the clouds with his attributes, the
scepter and the eagle. Thetis kneels and touches Jupiter's chin in a gesture of suppli-
cation. To the left Juno (Hera) appears threateningly, and reliefs of the battle of gods
and giants decorate the base of Jupiter's throne. - Dionysus. Kylix by Exekias, ca. 530 B.c.; diameter 4V 2 in. The scene depicts the story
told in the Homeric Hymn to Dionysus. The god reclines on the pirates' ship, round
whose mast a grape-laden vine entwines itself. The crew have leaped overboard and
have been transformed into dolphins. - Christus Apollo. Vault mosaic, third century A.D.; height of vault 72 in. Christ is
shown with the attributes of the sun-god (Apollo or Helius), ascending into the
vault of the sky on a chariot drawn by four white horses (two are missing from the
damaged part). The rays emanating from his head form a cross. Across the back-
ground trails the ivy of Dionysus, another pagan symbol of immortality used in
early Christian art. This vault mosaic is in a Christian tomb in the cemetery beneath
the basilica of St. Peter's in the Vatican. - The Lycurgus Cup. Glass, early fourth century A.D.; height 6V2 m- The Thracian king
Lycurgus is trapped in the vine of Dionysus (who appears on the other side of the
cup, along with a nymph, a satyr, and Pan), as a punishment for his persecution of
the god. The axe with which he tried to cut down the vine lies useless behind his
left foot. This "cage cup" is carved from green glass, which is translucent red when
placed in front of light. The glass has been undercut to show the agony of Lycurgus
in high relief. The gilt-bronze rim is a nineteenth-century addition. - The Rape of Helen by Paris, attributed to a follower of Fra Angelico. Oil on wood, ca.
1450; 20 X 24 in. The companions of Paris carry Helen (distinguished by her central
position and headdress) and three of her companions from a temple (as related by
Dares Phrygius) to a waiting ship, accompanied by a cupid in the foreground. Paris
may be the central figure in the group on the left. This octagonal painting was origi-
nally a panel in a wedding chest, perhaps as a warning of the dangers of marital in-
fidelity.