15. Paris’ companion, Aeneas . He is armed with a spear and shield, and leads the party, looking back over his shoulder. The Boys A servant stands under one handle. Paris’s legs are wide apart, suggesting movement. He too is looking back over his shoulder, as if he might be being pursued, and he leads Helen by the wrist not the hand. He wears a Corinthian helmet, but not as it would be worn in battle
16. The Girls Helen is the central figure, being led by Paris Helen is accompanied by two maidservants The first maidservant is Aphrodite, Goddess of Love, who is putting a cloak over Helen’s head to disguise her. The second maidservant is called Peitho (persuasion). She stands, watching the abduction, holding flowers in her hand.
17. Finally: Eros, son of Aphrodite, is also present. This reinforces the notion that Helen is going with Paris due to seduction not abduction.
18. Composition 1 The important figures are painted in the centre of the frieze. Aeneas and Peitho frame the central trio Aeneas and Peitho frame the central trio
19. Composition 2 The female figures are static The male figures are moving
21. Overlapping All the figures shown on the vase are overlapping. Since they are so close together and the drapery is so similar, Makron has a difficult job to make each figure distinct, but he succeeds. This creates a sense of depth. Single groundline
24. The Boys Kriseus, an old man with a realistic white beard The elderly Priam sits on an elaborate throne underneath the handle. He is balding and a light-coloured slip suggests grey hair Menelaus, King of Sparta, is portrayed fully armed. He is drawing his sword, about to attack his unfaithful wife.
25. The Girls Helen flees towards Aphrodite, but looks back over her shoulder at the angry Menelaus The second maidservant, Kriseis, is ready to help Aphrodite, Helen’s maidservant, holds her arms open towards Helen.
26. Composition 1 The important figures are painted in the centre of the frieze. Kriseus and Kriseis are onlookers Priam is an onlooker
27. Composition 2 These figures mimic the pose of Aeneas and Paris on Side A These figures mimic the pose of the static figures on Side A
29. Overlapping Again, all the figures are overlapping. Makros creates a sense of depth by painting Menelaus behind his shield. Single groundline
30. Height of the figures All figures are the same height – filling the height of the vase – except two. Priam and the boy both fit neatly underneath the handles on either side.
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Editor's Notes
Other figure for Makron is 350 vases
The krater is so large it would have taken 2 slaves to carry it!
And that’s where things started to go wrong…
Cassandra was a seer
Aphrodite later saved Paris when he was losing in a duel with Menelaus by removing him in a cloud.
Inscription next to Paris reads “Alexandros” – the Greek form of the name alexander
The names of the two maidservants are significant: suggest Helen was not abducted, but seduced – persuaded rather than forced to go with Paris
Menelaus, catching sight of Helen’s beauty, drops his sword and forgives her, falling in love with her again
![Makron ,[object Object],[object Object]](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)