'In a yet gentler spirit we see the same journey conceived in a vase-painting from lower Italy. Here there is a look of gentleness on Hades' face; the bride accompanies him gladly, and even takes an affectionate farewell of her mother, who appears to acquiesce in her departure. In this case too Eros is flying above the horses, and is turned towards the lovers, while in front of him there flies a dove, the bird sacred to the goddess of love. Hecate with torches guides the steeds; near at hand waits Hermes to escort the procession; and above the whole scene the stars are shining, as if to indicate the new life in the region of death.
'In another form, exalted to a yet higher holiness, the same marriage is repeated in the sphere of Dionysus-worship. Thus on a cameo in the Vatican, Dionysus is represented driving with his bride, Ariadne, in a brightly-decked triumphal car. Holy rapture is manifested on the features of both, and on top of the chariot stands a Cupid directing it. Dionysus is arrayed in the doe-skin, and holds in his left hand a thyrsus, in his right a goblet; Ariadne is carrying ears of corn and poppy-heads, and has her hair wreathed with vine-leaves. The car is drawn by Centaurs of both sexes, with torches, drinking-horns, and musical instruments. The idea which underlies this scene is the reproduction of Life out of Death; Hades has issued forth again for a new marriage-bond with Kore in the realm of light, appearing now rejuvenated in the form of Dionysus, just as his bride assumes the form of Ariadne, and because the power of death is broken behind him, his car likewise becomes a triumphal car.
'Just as the marriage of Zeus in the realm of light became a type for men in this life, so the marriage of Hades, or of Dionysus representing him, developed into a similar prototype for the dead. Since that which is true of Death bears directly upon the actual dead, it was quite natural that gradually the process of death came to be considered in general as a wedding with the deities of death. With this conception too harmonize those wedding-scenes which are so common and conspicuous on funeral monuments, as well as the often-recurring scenes from the joyous cycle of Dionysus-myths[1].'
- ↑ Furtwängler, Die Idee des Todes, p. 293.
