Herakles in the context of "Deianira"

Theophilus Dicaeus (Ancient Greek: Θεόφιλος Δίκαιος, romanized: Theophilos Dikaios) was a minor Indo-Greek king who ruled for a short time in the Paropamisadae. He was possibly a relative of Zoilus I and is only known from coins. It is possible that some of Theophilus' coins in fact belong to another ruler, in Greek Bactria, during approximately the same period.

Perdiccas III (Greek: Περδίκκας Γ΄) was king of the Hellenic kingdom of Macedonia from 365 BC to 360 BC, succeeding his brother Alexander II.

Son of Amyntas III and Eurydice, he was a child when in 369 BC his brother Alexander II was killed by their brother-in-law Ptolemy of Aloros, who then ruled as regent. In 365 BC, Perdiccas killed Ptolemy and assumed government.

The Lysippides Painter was an Attic vase painter in the black-figure style. He was active around 530 to 510 BC. His conventional name comes from a kalos inscription on a vase in the British Museum attributed to him; his real name is not known.

Orontes IV (Old Persian: *Arvanta-) was the son of King Arsames and is recorded as ruling Armenia from inscriptions found at the historic capital of the Orontid dynasty, Armavir. He was the founder of the city of Yervandashat and Ervandakert.In his reign the religious site of Bagaran was founded. Large bronze statues in the Hellenistic style of the gods, Zeus (Aramazd), Artemis (Anahit) and Herakles (Vahagn) were brought there and set up in temples dedicated to them. He is also said to have founded a shrine at Armavir dedicated to Apollo (Mithra), a golden statue of four horses pulling a chariot with Apollo as god of the Sun. This was later destroyed by the Sassanid Persian army in the 4th century AD.

Antiochus III, King of the Seleucid Empire, instigated a revolt against Orontes, headed by Artaxias I. Aramaic inscriptions found at Armavir state that King Orontes IV died at the hands of his own army, in other words by betrayal from Artaxias I. Artaxias I was appointed as King of Armenia, by Antiochus.

The Rider Painter was a Laconian vase painter active between 560 and 530 BC. He is considered one of the five great vase painters of Sparta.

His name is unknown, but he is called the Rider Painter after the horseman depicted on his name vase at the British Museum. He painted various shapes, including lebetes, a rare shape in Sparta, but predominantly kylikes. He primarily produced for export, as indicated by the fact that one of his works has so far been discovered in Laconia. His workshop cannot be located, but was perhaps in a perioikic settlement. Since identifiable painting styles and peculiarities in vase shapes tend to be consistent, it is assumed that the Rider Painter, like other Laconian vase painters, was both potter and painter. He is considered somewhat inferior in talent to the other four great Laconian vase painters. He mainly depicted scenes from Greek mythology, such as the blinding of Polyphemus, Kadmos or Herakles. Other motifs include scenes from everyday life, such komasts or the eponymous rider.

Alea (Ancient Greek: Ἀλέα) was an epithet of the Greek goddess Athena, prominent in Arcadian mythology, under which she was worshiped at Alea, Mantineia and Tegea. Alea was initially an independent goddess, but was eventually assimilated with Athena. A statue of Athena Alea existed on the road from Sparta to Therapne. Her most important sanctuary was the famous Temple of Athena Alea at Tegea.

The Antiphon Painter (fl. 495–480 BC) is the Notname for an Athenian red-figure vase-painter active in ancient Greece during the early 5th century BC. He owes his name to a double Kalos inscription of Antiphon on the dinos stand in the Antique collection of Berlin (Inventory number F 2325). He learned his handicraft in the workshop of Euphronios and Onesimos. There he worked closely with them, the Kalmarer Painter and other painters.

There are about 100 drinking containers of his (primarily kylikes) known to us. They almost exclusively depict the life of the aristocratic youth of Athens. They are shown as athletes, in symposia, in komos scenes, and with their horses or in arms. Representations of women – in particular Hetairai – are rare, as are mythological topics. When he depicts mythological subjects, they are usually the heroic acts of Herakles or Theseus. One of his bowls possibly refers to the Battle of Marathon (Orvieto, Collection Faina).