The document provides an in-depth analysis of an ancient Greek vase painted by Exekias between 540-530 BC. It summarizes the key features and decoration of the vase, including two mythological scenes painted on opposite sides - Achilles and Ajax playing a game while the Trojans attack on one side, and the return of Castor and Polydeuces greeting their family on the other. The summary highlights Exekias' skillful adaptation of the compositions to suit the vase shape and his attempts to depict realistic details and perspectives.

3. Exekias Belly Amphora White text: p.27-29 Black text: p.17-21

7. Shape Exekias potted his own vases, so each one was shaped in order to complement the design he intended for it. This vase differs from the traditional Amphora shape in the following ways: The shoulder of the vase is much broader and squarer – in fact the shoulder is the widest part of the body of the vase – much wider than the belly

8. The neck of the vase is much wider

9. The handles are flanged (flattened) and decorated, rather than rounded and plain

10. The foot has been moulded into two layers, rather than just one

11. Dimensions Height: 61cm

14. Behind Ajax there is a kalos inscription: “ Onetorides is beautiful”

17. Analysing the friezes

20. This is the psychological moment: the viewer knows what is about to happen! The heroes are sitting on boxes, dressed in full armour, with the rest of their battle gear close at hand. Either the game is so engrossing that they are literally on the edge of their seats with excitement, or this is a very temporary scene. Perhaps they sat down just for a quick game? Either way, the effect is the same.

21. Achilles is the larger, dominant figure. He wears a Corinthian helmet with a horsehair crest. Note the depiction of the figures themselves: Ajax is bare-headed (his helmet is hanging from his shield behind him)

23. Exekias gives the heroes Boeotian shields – common in archaic art. Achilles’ shield is particularly detailed – it shows a satyr’s head in high relief. Ajax’s shield shows a similar scene, but his shield shows a Gorgon’s head without the relief. See p. 18 in Black text for clearer pictures

24. Composition BALANCED SYMMETRICAL Scene is framed by the borders above and below The central figures form a triangle, with Achilles’ horse hair at the apex. The bodies and arms of the heroes form another triangle

25. The figures are composed in an “inverted W” shape

26. The line of the spears continue to line up with the handles, and the line of the shields also follow the line of the handles

27. The curved backs of the heroes follows the line of the vase – shows how Exekias decorated his vase in sympathy with its form

29. Realism Detail on the horse’s hair plume on the helmet, also on Achilles’ beard Exekias added white slip on Achilles’ corselet and greaves, and purple on the shield Cloak shows incredible detail, all incised through the black, with white and purple added to the stars, spirals and flowers on the cloak. The leather corselet bulges underneath the cloak. Extra glaze used to show Achilles’ curls p.19 (Black) to show detail

30. Limitations to Exekias’ Realism Exekias’ eyes are all shown in frontal aspect Muscles are shown, but there is no attempt to make them look realistic Achilles’ cloak is flat and two dimensional, but Exekias is trying to show the folds in the drapery

35. Exekias creates a homely scene to illustrate the reunion of the family – even when family members are mythical heroes Polydeuces Note he is bending down to greet the family dog, which jumps ecitedly Queen Leda, hand outstretched, greets Castor with a flower King Tandareus stands, hand outstretched to pat Castor’s horse A slave boy is also present. He carries a stool on his head, with a set of clothes for the brothers, and holds an aryballos Castor holds his horse with one hand, a spear with the other, and turns his head towards his mother

36. Exekias is again trying to make his decoration more realistic. He paints Castor behind his horse – trying to create the impression of depth. Typically for the period, Exekias paints Castor mainly in profile – only his head turns behind to greet his mother. This is a rigid, unrealistic pose.

37. Drapery and Realism Castor wears a chlamys, which Exekias has coloured with red slip. Queen Leda wears a peplos, which is flat and foldless Polydeuces is naked Tyndareus wears an himation Exekias has used incisions through the black slip to show the folds in the cloth of these cloaks – an attempt to show realism Exekias has incised through the black to show detail on the horse’s mane

38. Limitations to Realism All the figures stand on the same groundline However, Exekias has placed Castor and the dog behind other figures to provide depth.

39. Composition of Side B Scene framed above and below Placing the horse in the centre, and the figures either side provides symmetry in the scene.

40. Composition of Side B There are THREE focal points. This creates the sense of depth and movement. 1 2 3