8. Herakles stands in the centre of the frieze, attracting the viewer’s attention. He is naked except for his lionskin (over his left shoulder), but wears a beard and a wreath, and looks to his right at the warriors. He also carries his trademark club and a bow. Herakles
9. Theseus pulls himself up using the spears he holds in his left hand. His pose is very natural and balanced, with his straight right arm, and bent left leg. His right foot is turned outward in frontal view. His sword is slung across his chest on a strap, while he wears a petassos – a travelling hat – around the back of his neck. Theseus?
10. Peirthoos sits to the right of Herakles. Naked, he sits on his himation, with his sword slung around his chest. This is an unusual pose. His head is ¾ view and, while appears to be looking at Theseus, he looks bored. Peirthoos?
11. These two figures are both shown in a combination of frontal, ¾ and profile views. They are the finest figures shown on the vase. These figures show the influence of the wall-painter Polygnotos.
12. To the right of Herakles, all these figures are arranged on an uneven groundline. This creates a sense of depth. On the far right of the composition, a man is depicted standing by his horse. It is possible that he is also one of Castor and Pollux.
13. wears a Thracian helmet with a horsehair crest. He wears greaves, carries a shield and leans on his spear. This warrior
14. Athena stands behind the warrior. She wears a chiton and an elaborate himation. She is armed with a spear, and wears an Attic helmet on top of her head. It has detailed, hinged nose and cheek flaps. Athena?
15. Behind Athena there are three warriors. One is armed with a corselet of metal scales, a helmet without a crest, a spear and a shield. He stands, half-hidden, behind a rock. This is inspired by the painting of Mikon of Athens. A third figure may be either Castor or Pollux.
19. Apollo stands in the centre of the frieze, with his legs apart, firing arrows. His pose is reminiscent of Greek sculpture. His quiver hangs empty beside him. He is naked, except for a folded cloak which hangs over his arm. Apollo
20. Artemis is also in the centre of the frieze. She is in the process of taking an arrow from her quiver. Her arm is foreshortened. She wears a peplos with an embroidered hem. It is clearly fastened at the shoulder. She wears an ornament on a string around her neck. She wears a sakkos. Artemis
21. Here a stylised tree grows on a small hill. This is the only indication of landscape. A boy runs away from Apollo. He is naked and has already been hit in the ribs by one of Apollo’s arrows.
22. Another boy lies dying from an arrow wound in the back. His face is ¾ view and his eyes are closed. He clutches the rock he has fallen onto. Another arrow lies on the ground nearby.
23. Apollo’s arrows never missed, so another body must be hidden behind a rock. The implied presence of another corpse is a huge step forward in vase decorating.
24. A dead girl lies in front of Artemis with an arrow sticking out of her back. Her face is shown in frontal view, and her eyes are closed. Her arm is outstretched and her hair is dishevelled. She wears a diadem – this shows she is of royal status.
25. Behind Artemis is a boy wrapped in a cloak. He is running terror away from Artemis, but he has already been hit in the chest and will die soon.
26.
27.
Editor's Notes
Mikon of Athens’ signature style was to paint figures partially or totally hidden behind rocks or other pieces of stylised landscape.
The krater is so large it would have taken 2 slaves to carry it!
Only a few of the characters may be identified with any certainty – rest are unknown
Apollo killed all the boys, and artemis killed the girls.
![The Niobid Painter ,[object Object],[object Object]](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)