Unchanged by any teller — how the centuries since have seen Alcmaeon.
The gallery
The Erinyes Drive Alcmaeon from the Corpse of Eriphyle
Henry Fuseli, 1821
Fuseli's 1821 canvas in the Kunsthaus Zürich seizes the aftermath of Alcmaeon's matricide: the Erinyes swarm as he flees the body of Eriphyle, whom he killed to avenge Amphiaraus and the bribe of Harmonia's necklace. Romantic terror turns the Epigoni hero into a second Orestes — pollution made visible.
Alcmaeon Killing His Mother Eriphyle
Unknown Roman wall-painter, 1st century AD
A Pompeian fresco from the House of Siricus (VII.1.25 / VII.1.47), now in the Naples Archaeological Museum: Alcmaeon strikes down Eriphyle, the mother who sold Amphiaraus into the war on Thebes. One of the few ancient paintings to show the matricide that sent the Epigoni leader wandering mad until purification.
Eriphyle Suckling Alcmaeon, with Amphiaraus
Unknown Attic red-figure painter, c. 450 BC
Attic red-figure hydria: Amphiaraus leans on his staff while Eriphyle suckles the infant Alcmaeon — the domestic calm before the necklace, the Seven, and the son's revenge. The vase, photographed in Berlin's Altes Museum collections, foreshadows the house that will make Alcmaeon both Epigoni captain and matricide.
The Erinyes beside the Body of Eriphyle
Henry Fuseli, 1821
Fuseli's related treatment of the same crisis, long associated with the Louvre: the Furies crowd Eriphyle's corpse as Alcmaeon is driven into exile. With the Zürich canvas it fixed the Epigoni matricide as Romantic tragedy's second Orestes.
In play
Alcmaeon in Psophis
Euripides
Euripides' lost tragedy of the matricide purified at Psophis — Alcmaeon as Attic drama's Theban-cycle Orestes.
Alcmaeon in Corinth
Euripides
Staged posthumously with the Bacchae — the lost play of Alcmaeon's children and Corinthian recognition.