VCE Classical Studies 2017Greek Vases(Photographs taken and provided by Dr Peter Mountford)

This set of Greek black-figure and red-figure vases has been chosen to illustrate mythology. Five relate to the life of Hercules/Herakles; six relate to the Trojan War; one to the return of Odysseus; the other four illustrate well-known myths. Three of the vases have been chosen because they can be seen in museums in Victoria; eight can be seen in the British Museum, London; three in the Staatliche-Antikensammlungen, Munich; one in the National Archaeological Museum, Athens; one in the Vatican Museums.

First some basic comments on black and red-figure vases.

Black-figure c.625–480 B.C.Figures and objects are painted on the background of the natural clay, but details, such as facial features, hair, drapery, are added by incising the fired slip with a sharp implement. White is often added for the limbs and the faces of women, as well as the hair and the beards of old men, or decorations on shields. Purple is added, usually to drapery, to show the high status of the wearer. Faces are invariably shown in profile (the Chalcidian Psykter-Amphora in the NGV has the rare exception of a forward-facing face). Often, this means that heads are twisted round to face the rear of a striding figure – an impossible position. A significant feature is the artist’s failure to show eyes correctly. Proportions of bodies are often poor e.g. overly fat thighs and thin lower legs.

Red-figure c.530 B.C. onwardsFigures and objects are drawn in outline and the background is filled in with the black slip. Details of the figures are then added with a thin brush. This is far easier than incising the glazed surface. Consequently figures can be drawn in much more realistic poses, often in three-quarter view, and with more natural proportions. Eyes are also shown as they would appear when viewed in profile. The folds of drapery are beautifully shown. Red-figure continues well into the fourth century B.C. in southern Italy. Vases during this period are often very ornate and are notable for the use of added white, yellow and gold.

Both styles of vases often have decorative borders or bands above or below the central scenes. The necks of vessels are often decorated with a variety of motifs.

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Greek Vases VCE Classical Studies 2017

The prescribed vases for 2017

Black-figure

Ajax with the body of Achilles (National Gallery of Victoria, 1729/D4) The Group of London B 174, amphora, Third-quarter of 6th century B.C. Obverse. The reverse

shows a wedding procession, with the bride and groom in a chariot drawn by four horses.

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Ajax with the body of Achilles (National Gallery of Victoria, 1729/D4) The Group of London B 174, amphora, Third-quarter of 6th century B.C. Obverse. The reverse

shows a wedding procession, with the bride and groom in a chariot drawn by four horses.

Our picture on the obverse has strong movement from right to left. The scene is of Ajax rescuing the body of Achilles, an event described in one of the poems of the epic cycle, the Aithiopis. In the centre, Ajax, whose head is visible between his protecting shield and the body of Achilles, carries the body of Achilles over his shoulder and back. The decoration of the clothing of both Ajax and Achilles is particularly fine. In front of Ajax are four warriors, one of whom has his head turned backwards. Behind the central group are three further warriors, one with added white for the three dolphins which decorate his shield. The last figure, with added white for face and arms, is a woman. Her left hand and arm are raised in a typical gesture of mourning. She is thought to be Briseis, Achilles’ prize from battle.

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Ajax and Achilles playing draughts (Vatican Museum 16757) Exekias, signed as potter and painter. Amphora with lid, 535–530 B.C.

Obverse. Reverse shows Castor and Pollux with horses.

Achilles and Ajax are seated on stools on either side of another stool which supports the game which they are playing. They are identified by their names inscribed above them. There is also a ‘kalos’ inscription behind Ajax. Their positions mirror each other with the front leg tucked back and their front arm engaged in the game. Their disengaged hands hold two spears. They both lean forward over the game. They are both bearded. The one major difference is that Achilles is wearing his helmet, while that of Ajax is behind him with his shield. Great care has been taken with the decoration of their clothing.

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Hercules and the Nemean Lion (Ian Potter Museum of Art 1931.0003 Marathon Group, lekythos, 500–490 BC.

Although this is not as good a representation of this Labour as, for example, that in the British Museum, it was chosen because students would be able to see it in the Ian Potter Museum. Black figure lekythoi are not as common as white ground lekythoi. Lekythoi were used as tomb offerings. Hercules (Herakles) is seen wrestling with the Nemean lion. He cannot use a weapon against the animal, as its skin is impervious to weapons. Hercules, therefore, strangles the animal, whose skin he uses thereafter. His arms are shown to be locked around the lion’s neck. The lion’s mouth is open and its tongue is extended, perhaps in reaction to the strangling. The lion’s skin can often be seen in vases representing other Labours. Above the wrestling group are Hercules’ clothing, his knotted club, and his bow and quiver, all hanging from a tree. On the left is Iolaos who helps Hercules in some of his labours. He is holding a club in his right hand and his cloak around his left arm. On the right, to balance Iolaos, is a tall rock. On the neck are lotus buds. There is added purple for Hercules’ beard and the lion’s tongue. Strangely, the painter uses purple dots to decorate the lion’s mane and also Hercules’ head, as if he is already wearing the lion-skin before he killed it.

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Hercules and the Erymanthian Boar (Munich, Staatliche Antikensammlungen 1561/J394) School of Antimenes, amphora, 510 B.C.

In the centre, Hercules carries the boar over his shoulder, the result of his Fourth Labour. He is wearing his lion-skin, the paws of which can be seen hanging down. The boar has white added to show its fearsome tusks. Hercules has placed his left foot on the large earthenware storage jar (pithos) in which Eurystheus, who imposed the Labours, is trying to hide from the fearsome boar. On the left, with added white for arm and face is Athene, who supports Hercules as he performs his labours. She is recognisable for her helmet, spear and splendidly decorated aegis. To the right, is another woman with added white for arms and face. Her gesture is probably one of alarm. She may be Eurystheus’ daughter, Admete.

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Achilles killing Penthesileia (British Museum, London B210)Exekias, signed as potter and painter, amphora, 535 B.C.

Williams (Greek Vases British Museum, 1985) enthuses about the high skill shown by Exekias as potter in producing the wonderful shape for this neck-amphora. Williams is also convinced that Exekias applied a very fine wash of ochre to enhance the background colour of the clay. A major feature of this vase is that the central body of the vase concentrates on the two central figures. Painters usually fill the gaps with figures or items such as armour. On this vase, Exekias merely adds thin whorls at each side. The central figures are identified by delicate inscriptions. There is also a ‘kalos’ inscription. Achilles, coming from the left as is customary for victorious figures, strides forward to plunge his spear into the neck of the crouching Penthesileia. According to a fragment of the Aethiopis, Penthesileia, the Amazon queen, came to Troy to help the Trojans after the death of Hector, and fought bravely until she was killed by Achilles. Here, she raises her spear in vain in an attempt to defend herself. Exekias has used added white for her limbs and face, and has added purple for clothing, the crests of helmets and the inside of the shields. The standard of incision of details is exceptionally fine. Exekias’ and Achilles’ eyes seem to be locked on each other. This has led some to suggest that Achilles fell in love with her at the moment at which he killed her.

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Hercules and Cerberus (British Museum, London 1893.07–12.11)Eucharides Painter, amphora, c.550–500 B.C.

Obverse. Reverse shows Achilles and Ajax playing draughts.

This is Hercules’ final Labour. He had to go to the underworld to capture the three-headed guardian dog, Cerberus. Hercules, wearing his lion-skin and carrying his knotted club, strides to the left, but looks back at Cerberus, whom he has on a lead. The central figure is Hermes (Mercury), shown with winged sandals and his typical hat, which is shown with added purple. The figure on the right, with added white for face and arms, is Athene, supporting Hercules in his task.

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Aeneas and Anchises (Munich, Staatliche Antikensammlungen 1554/J1187)Painter of the Leagros Group, amphora, c.520–500 B.C.

This is one of 69 vases showing this mythological scene, most of which were found in southern Etruria, especially Vulci. It may well illustrate how original Trojan myths were different from those of later writers. For example, Virgil was probably the first to write that Creusa, Aeneas’ wife, did not leave Troy. Earlier writers, such as Naevius, had written that Creusa had escaped. This vase also shows how some painters were obsessed with the idea of balance, as there is balance between the groups on either side of the central figures. In the centre, Aeneas, in armour and grasping two spears with his left hand, is carrying his lame father, Anchises, on his back, as he strides to the right. He holds Anchises’ tucked up legs with his right hand. Anchises has his left arm clasped around Aeneas and carries two spears in his right hand. Anchises has added white for his beard and his hair in the form of long ringlets. In front of the central group a woman strides to the right, but turns back to look at the small boy who is running to the right, on whose head she places a protective hand. This woman may be Aeneas’ wife, Creusa. On the left, a woman strides to the left, but looks back at the small boy, who is running to the right, on whose head she places her protective left hand. It is possible that this woman is meant to represent Aphrodite (Venus), Aeneas’ mother, farewelling the group as they escape Troy. The painter has added white for their heads and limbs, and has added purple on their drapery for both women. Virgil wrote that Aeneas only had one child, Ascanius. The second child may, therefore, be the result of the painter’s desire for symmetry.

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Fight over the body of Patroclos (Athens, National Archaeological Museum A26746)Exekias, Calyx-Krater, c.530 B.C. Reverse.

Obverse shows Athene and Hercules in a chariot.

Warrior scenes are quite common on Greek vases, with groups of armed warriors engaging with each other. Often the scene depicted cannot be identified, but that is not the case here. The naked body lying on its back on the ground is that of Patroclos, the companion of Achilles. Homer, in Book 16 of the Iliad, describes how Patroclos goes out to fight the Trojans, who are attacking the Greek camp and ships, in place of the sulking Achilles. He goes into battle wearing Achilles’ armour. He drives the Trojans back, but goes beyond Achilles’ instructions, when he tries to scale the walls of Troy. Apollo stuns him and Hector finishes him off. Hector then strips the corpse of Achilles’ armour. A fierce battle follows over the fallen warrior, as the Greeks rescue his corpse. On the vase, in the band below the fight two lions attack a bull.

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Red-figure

Amazonomachy (Telamon and Andromache) (National Gallery of Victoria 1391/D5) Early Apulian Pelike,The Painter of the Berlin Dancing Girl c420 BC.

Obverse. Reverse shows a bearded man and two youths.

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Amazonomachy (Telamon and Andromache) (National Gallery of Victoria 1391/D5) Early Apulian Pelike,The Painter of the Berlin Dancing Girl c420 BC.

Obverse. Reverse shows a bearded man and two youths.

The figures of the scene can be identified as Telamon and Andromache from the inscriptions on the vase. Telamon was a companion of Hercules. This scene may, therefore, be linked to one of the Labours of Hercules, the Girdle of Hippolyta. The naked Telamon (heroes fought in armour as described in the Iliad, but painters and sculptors seemed to be obsessed with showing the male physique), bearded, armed with spear and protected with helmet and shield, is about to plunge his weapon into Andromache. She is mounted on a fine horse. While she holds the reins with her left hand, who turns round and raises her right arm armed with an axe in an attempt to strike Telamon. Andromache and her companion on foot, running away in front, wear colourful trousers and tops. Her companion, who looks back as she runs, also has a Phrygian cap on her head, a cap worn by Trojans and other peoples to the north of Greece.

A.D. Trendall (Greek Vases in the National Gallery of Victoria1978) considers the painter to be an excellent ‘draughtsman’, but believes that the scene ‘fails to carry conviction’ since the main characters do not seem ‘really concerned with what is going on around them’, in spite of the fact that Andromache seems to looking at Telamon.

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Hercules and the Lernaean Hydra (British Museum, London 1929, 0513.1)The Geras Painter, Stamnos, c.480–470 B.C.

This is the second of Hercules’ Labours. Hercules, on the left, is dressed in his lion-skin and is using his bow to attack the many-headed Hydra. This is different from the usual version of the myth, in which Hercules cuts of the heads of the Hydra one by one and cauterises them with a torch to prevent two new ones growing in the place of the one that had been cut off. Finally he buried the last head and the body of the monster under a large rock.

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Odysseus and the Sirens (British Museum, London E 440, 1843, 1103.31)The Siren Painter, stamnos, c.480–470 B.C.

Homer describes Odysseus’ encounter with the Sirens in Book 12 of The Odyssey. Circe warns Odysseus of the danger which the Sirens present. Odysseus, however, is eager to hear their song, which lures sailors to destruction. He, therefore, fills his men’s ears with beeswax so that they will not be overcome by the Sirens’ musical spell. He has his men bind him to the mast so that he can hear their song, but not succumb to it. The picture shows him tied to the mast, looking up at the Sirens. Two of the Sirens are perched on rocks or cliffs, the third Siren is swooping down towards the ship. Odysseus’ men are shown rowing the ship as the sail is furled. At the stern is the helmsman with the two steering oars.

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Actaeon (British Museum, London F176, 1865.0103.17)The Dolon Painter, Group of Tardol.

Lucanian Nestoris with ornate handles, c.390–380 B.C.

Actaeon was a grandson of Cadmus. Actaeon’s passion was hunting. He set out into the woods with his hounds to hunt for deer, but unfortunately came across Artemis (Diana), the goddess of hunting, bathing in a pool in the woods. Artemis punished him by turning him into a stag so that his hounds tore him to pieces. Ovid tells the story in Book 3 of the Metamorphoses. On this vase, Actaeon is shown surrounded by his hounds which are attacking him in spite of his attempts to fight them off with his sword. In this respect the picture does not resemble the myth as told by Ovid, since Ovid relates how Actaeon is completely changed into a timid deer. Some representations of the myth, such as a wall-painting in the House of Loreius Tiburtinus in Pompeii, merely show him with antlers spreading from his head. Below the decorative band, revellers are shown running.

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Hercules and Nessus (British Museum, London E176)Oreithyia Painter, hydria, c.500–450 B.C.

The event portrayed takes place close to the end of Hercules’ life. Hercules was travelling in northern Greece with his wife Deianira when they came to a river. He entrusted her to the centaur Nessus, to carry her across the river, but Nessus tried to rape her. Hercules fired a poisoned arrow at him. As he was dying, Nessus gave some of his blood to Deianira, telling her that it was a powerful love potion. Some years later, when Hercules brought Iole home, Deianira, in an attempt to regain his affection, smeared his clothing with the blood. When Hercules put on the garment, he died in agony. In the picture, Hercules, on the left, is wearing his lion-skin and is using his club to attack Nessus, who is falling onto his front knees while he clasps Deianira with his left arm.

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Suicide of Ajax (Alvas) (British Museum, London F480)Turmuca group, calux krater, c.400–350 B.C.

Sophocles’ play Ajax centres on the suicide of Ajax. In his version of the myth, Ajax is angry that, in spite of the fact that he rescued the body of the dead Achilles, Achilles’ armour is not awarded to him, but to Odysseus. Ajax plots vengeance, but the gods send him mad, so that he slaughters sheep under the delusion that they are the Greek leaders. When he comes to his senses, he is so ashamed by what he has done that he commits suicide by falling on his sword, the hilt of which he has buried in the ground. This is the scene portrayed on this vase. His sword enters the right side of his body and exits near his left shoulder, with blood shown round the wound. His name is inscribed on the right.

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Labours of Theseus (British Museum, London E84, 1850.0302.3)The Codrus Painter, kylix, c.440–430 B.C.

This remarkable kylix (drinking cup) informs us in one place about most of the trials endured by Theseus.

Theseus was the son of Aegeus, king of Athens, and Aethra, daughter of Pittheus, king of Troezen. When Aegeus left the pregnant Aethra at Troezen, he left his sword and sandals under a huge rock. If the child turned out to be a son and, when older, if he could lift the rock, he should put on the sandals and wear the sword, which Aegeus had placed under the rock. When Theseus reached the age of sixteen, his mother revealed who his father was and showed him the rock. Theseus moved it easily, put on the sandals and wore the sword. He then set out to Athens by road, a route beset by robbers and monsters.

First, he came across Sinis, the pine bender, who killed people by tying them to two trees which tore them apart when they were released. On the left of the central tondo a balding, bearded Sinis can be seen sitting on a rock and holding onto a tree. Theseus has grasped him with his left arm, while, with his right, he is bending down the tree so that he can give Sinis some of his own medicine.

Theseus’second task was to kill the wild sow of the old woman Phaea. The old woman is identified by her hair in added white. She is urging on the sow which Theseus kills with his sword.

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As Theseus approached Megara, the mountains were steep on his left, with a sheer drop into the sea on his right. In the sea, was a carnivorous turtle. Blocking the path, was Sciron, who made passers-by wash his feet in return for being allowed to pass. The scoundrel kicked them off the cliff to be eaten by the waiting turtle. Theseus punished Sciron in the same way. The balding, bearded Sciron can be seen sitting by a tree with the turtle beneath him (to the right lower of the central tondo). Theseus is preparing to strike him with a large bowl, which presumably held water for washing Sciron’s feet. This was Theseus’ third labour.

The fourth labour is that of killing the giant Cercyon, a champion wrestler. Theseus is shown at the top wrestling the bearded Cercyon before dashing him to the ground to kill him.

The fifth labour was that of killing Procrustes. This robber killed passers-by, by making them fit his bed. If they were too tall, he cut them to the right size with his axe: if they were too short, he tied ropes to them to stretch them to fit the bed. Theseus is shown with axe raised about to make Procrustes fit his own bed. The raised arm of Procrustes is this vain attempt to beg for mercy.

Not shown is what was actually Theseus’ first challenge after leaving Troezen. He had to kill Periphetes, who lay in wait for passers-by and killed them with a huge metal club. Theseus took it and killed Periphetes.

Theseus reached Athens and was recognised by his father because of the sandals and the sword. He was sent out (some say by his step-mother, Medea, in an attempt to kill him) to deal with the Cretan Bull of Marathon which Hercules had brought to the mainland which was destroying crops and killing humanbeings. . Theseus overcame the bull and sacrificed it to Apollo. Theseus is shown holding a knotted club as he rides on the back of the bull.

The central tondo shows the task for which Theseus is most famous: the killing of the Minotaur. Minos, king of Crete, sent his son, Androgeos, to compete in games in Athens. The Athenians were upset when Androgeos won all the events. They sent him, therefore, to deal with the bull of Marathon, which killed him. As punishment for this deed, Minos demanded that each year the Athenians send seven youths and seven maidens to be fed to the dreaded Minotaur. The Minotaur, half-man, half-bull, was the result of the mating of Pasiphae, Minos’ wife, with a bull sent to Minos by Poseidon. When Minos neglected to sacrifice the animal, Poseidon caused Pasiphae to become infatuated with the bull. Daedalus constructed a cow in which Pasiphae could hide and mate with the bull. The offspring of the union, the Minotaur, was kept in the famous Labyrinth at Knossos. Theseus volunteered to be included in the annual tribute. Fortunately for him, Ariadne, the daughter of Minos, fell in love with him at first sight. She gave him a sword and a ball of thread so that he could kill the Minotaur and find his way back out of the Labyrinth. Theseus duly killed the Minotaur, escaped from the Labyrinth, and sailed away from Crete with Ariadne, whom he abandoned on the island of Naxos. As Theseus approached Athens, he forgot to change the black sails to white. When his father, Aegeus, saw the black sails, he committed suicide by jumping off either the Acropolis or Cape Sounion. After this, Theseus became king.

One small, but interesting feature of this kylix is that the painter has used the same head for Theseus in all the representations, but has placed his body in a variety of poses, from front and back. The heads of Sciron, Sinis and Procrustes are also almost identical, but their bodies are in different positions.

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Oedipus and the Sphinx (Munich, Staatliche Antikensammlungen J249) amphora with twisted handles, c.440–430 B.C. Obverse. Reverse shows a man and a woman.

The story of Oedipus and the riddle of the Sphinx is one of the best known in Greek mythology. It forms part of the background of Sophocles’ play Oedipus. Oedipus had been abandoned as an infant by his parents, Laius and Jocasta, because of a prophecy that he will kill his father. Laius is king of Thebes. The infant is given to shepherds for them to abandon him on Mount Cithaeron to die, but the shepherds take pity on the child and hand him to fellow shepherds from Corinth. When he has grown into a man, Oedipus hears a rumour about his past. He goes to Delphi to ask the oracle who his parents are. The oracle replies that he will kill his father and marry his mother. When Oedipus receives the answer, he decides not to return to Corinth, because he fears that he will kill the man he presumes is his father, Polybus, king of Corinth. Oedipus wanders towards Thebes. On the way, he has an argument with a man in a chariot. The argument escalates and Oedipus kills the man, who is, of course, his father, Laius. As he approaches Thebes, he comes across the Sphinx. The Sphinx, with the body of a lion, wings, and a female head, terrorises those who use the road to Thebes. The Sphinx asks passers-by the riddle, ‘What goes on four legs in the morning, two in the middle of the day and three in the evening?’ Those who cannot answer the riddle are killed by the Sphinx. In the picture, Oedipus, dressed like a traveller, is facing the Sphinx, sitting on a column. When the Sphinx asks Oedipus the riddle, Oedipus answers that it is man, who crawls on all fours as an infant, walks on two legs for most of his life, and uses a stick (third leg) in old age. The Sphinx commits suicide. Oedipus is welcomed as a saviour by the people of Thebes, as he has got rid of the monster. As they have just lost their king, the people of Thebes make Oedipus king. Oedipus marries the widowed Jocasta, who is, of course, his mother. In this way the oracle has come true.

(These notes were prepared by Dr Peter Mountford (University of Melbourne). The views expressed are his own. He accepts responsibility for any errors.)

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