The descriptions of the designs are mostly clear. Perseus with the Gorgon's head, guided by Hermês; the Sun on a winged chariot, and stars about him; two Sphinxes, holding as victims the men who had failed to answer the riddles which they sang; and, on the breastplate, the Chimaera attacking Bellerophon's winged horse, Pêgasus. The name Pêgasus suggested to a Greek πηγή, "fountain;" and the great spring of Pirênê, near Corinth, was made by Pêgasus stamping on the rock.
Pp. 30–47.]—The Old Man, like other old family servants in Euripides—the extreme case is in the Ion—is absolutely and even morbidly devoted to his masters. Delightful in this first scene, he becomes a little horrible in the next, where they plot the murders; not only ferocious himself, but, what seems worse, inclined to pet and enjoy the bloodthirstiness of his "little mistress."
Pp. 30–33, ll. 510–545.]—The Signs of Orestes. This scene, I think, has been greatly misunderstood by critics. In Aeschylus' Libation-Bearers, which deals with the same subject as the Electra, the scene is at Agamemnon's tomb. Orestes lays his tress there in the prologue. Electra comes bringing libations, sees the hair, compares it with her own, finds that it is similar "wing for wing" (ὁμόπτερος—the same word as here), and guesses that it belongs to Orestes. She then measures the footprints, and finds one that is like her own, one not; evidently Orestes and a fellow-traveller! Orestes enters and announces himself; she refuses to believe, until he shows her a "woven thing," perhaps the robe which he is wearing, which she recognises as the work of her own hand.
The same signs, described in one case by the same peculiar word, occur here. The Old Man mentions one after the other, and Electra refutes or rejects them. It has been thought therefore that
