Antimenes Painter Greek Hydria 530-500 B.C. Slip-glazed earthenware 20-1/8 inches high The John R. Van Derlip Fund 61.59

This hydria is decorated with painted scenes that illustrate episodes in Greek mythology. Because the Greeks thought of their gods and goddesses as having human characteristics and emotions, it is almost impossible to tell the difference between the gods and humans in this scene. However, certain ATTRIBUTES identified the most popular figures to the Greeks familiar with their stories. ATHENA (a-THEE-na) appears at the far left in her role as the goddess of war, wearing full armor: plumed helmet, spear, and breastplate. As attendants harness her horses she prepares to set off in her chariot. Standing in the center of the scene, facing Athena, is HERAKLES (HAIR-a-kleez), with a red beard and the short curly hair of an athlete. The figure on his right is HERMES (HER-meez), who is identified by his pointed traveling hat, long red beard, and a traveling staff which he carries in his left hand. In the lower band of decoration, wild boars and snarling lions, associated with two of the twelve labors of Herakles, combat one another. In the band above, Athena and Herakles are engaged in an equally aggressive battle with KYKNOS (KEEK-nos). ZEUS (zoose) stands between them with his arms outstretched in an attempt to intervene.

Stylistically, the hydria demonstrates the characteristics of black-figure ware produced during the late sixth century B.C. Vase painters typically colored all women's skin white and the men's reddish brown. The human body is shown in profile or in combinations of FRONTAL and profile views. For example, we see Athena and the horses strictly from the side, but Herakles' torso is shown from the front and his head is shown in profile. A sense of depth is achieved by the overlapping of figures. Notice how the horses overlap each other and in turn overlap some of the male figures, including Herakles and Hermes. The clothing is indicated by stylized patterns of line and shape.

This hydria exemplifies the qualities of harmony and SYMMETRY, highly prized by the Greeks. The orderly designs conform to the different parts of the vase and accentuate its well-balanced, harmonious proportions. The largest figures are on the main body of the pot, while smaller figures decorate the shoulder. Various designs complement other parts. For example, a circle of tongue MOTIFS (moe-TEEFS) decorates the base of the vase and emphasizes its function as the support of the whole vessel. A circle of rays rises out of the base and draws attention to the paintings on the main body.

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