1. The document describes a red-figure hydria painted by the Kleophrades Painter around 500-480 BC depicting scenes from the sack of Troy. 2. The scenes show the death of King Priam, the rape of Cassandra, and the escape of Aeneas carrying his father and son to found a new Troy. 3. The painter uses techniques like foreshortening and three-quarter views to realistically depict the figures and create a continuous narrative around the vessel. The scenes portray the horrors and despair of war.

1. Kleophrades Painter HYDRIA White text: p.48-50 Black text: p.63-67

4. Dimensions Height: 45 cm

5. Inscriptions There are no signatures or inscriptions on this vase.

8. Side A

9. The Sack of Troy and the Death of Priam The top of the vase is one frieze which runs continuously around the top of the vase, between the neck and the shoulder. It is divided into separate triangular scenes which tell separate stories. CRUELTY

10. Virgil’s “Aeneid” The death of Priam Neoptolemos, referred to by Virgil as Pyrrhus, kills Priam's son Polites in front of him on the altar of Zeus the Protector, where Priam and his family have taken refuge. Priam, though death now ringed him round, could not be passive, Could not refrain from uttering his indignation. He cried: "Hear me, you criminal! If there is any justice in heaven, Any eye for such things, may the gods pay you the due reward And unstintingly show their gratitude for this most monstrous crime You have committed - making me witness my son's death, Fouling a father's eyes like this with the sight of murder! You are poles apart from Achilles - your father, you lyingly claim. He treated me differently far, though I was his foe; he respected A suppliant's rights, gave up the bloodless remains of Hector For burial, and gave me safe conduct back to my city." So saying, the old man flung his weapon, but harmlessly - No strength behind it; a clang when the shield of Pyrrhus parried it, And then the spear was dangling impotently from its centre. Pyrrhus replied: "All right, you shall go and carry a message To my father Achilles. Remember to tell him what a milksop His son has become, and what shocking deed he has committed. Now die!" Even as he spoke, he dragged the old man, trembling, And sliding in the pool of his son's blood, right to the altar; Twined Priam's hair in his left hand, raised with his right the flashing Sword, and sank it up to the hilt between his ribs.

11. The death of King Priam The focus of this section is the bloodstained figure of King Priam who sits on the altar cradling the limp, gore-smeared body of his grandson, Astyanax the son of Hector Priam is depicted as an old man with a bald head and a stubby beard. He covers his head with his heads in a futile gesture to ward off the fatal blow about to be dealt to him by Neoptolemus, the son of Achilles

12. NEOPTOLEMUS Unusually he has been presented from the rear, with his head and left leg in profile. He is dressed in full battle armour. His huge sword, the so called Machaira, appears to disappear under the lip of the hydria. He has been painted in detail, especially on his armour A dead trojan lies at Neoptolemus’ feet. He grasps the inside of his shield which is presented in a perspective view, while his lower leg appears foreshortened as it disappears behind his thigh. The details of the dead bodies reinforce the sense of the horror of war.

13. The heroism of a Trojan woman A fully armed greek warrior crouches under his shield as he is attacked by an angry Trojan woman armed with a large pestle or a chair leg. This suggests she is desperate. The painter has used the three-quarter technique to give a perspective of the inside of the warrior’s shield, while his left thigh has been foreshortened. COURAGE

14. The Rescue of Aithra Further round the vase is a triangle shaped grouping so that they appear to join both havles of the continuous narrative together. In a touching scene, Akamas and Demophon, sons of Theseus, help their grandmother Aithra who was taken to Troy with Helen to act as her maidservant. The two bearded warriors are beautifully contrasted with the defenceless old woman cowering on the ground. The final figure in the group is a young girl mourning on the far right. See page 65 in Black text for a view of the whole frieze. LIBERATION

15. Side B

16. A Trojan woman crouches beneath a battered palm tree (bent to emphasise the destruction of Troy), tearing her hair out in a gesture of mourning. A second trojan woman sits next to her covering her head in terror, behind a statue of Athena (called the Palladium – the most sacred object in Troy) Crouching Trojan women DESPAIR

17. The Rape of Cassandra The focus of this section is a scene of extreme violence which involves Cassandra, the daughter of Priam. She is being ripped away from the statue. Her attacker the greek hero, Ajax, grabs her by the hair while she implores him with her outstreched palm CRUELTY

18. The Myth Cassandra was the daughter of Priam and Hecuba. She was said to be as lovely as Aphrodite. Apollo loved her and promised to teach her the art of prophecy. He hoped she would fall in love with him, but she rejected his advances. Apollo was so upset he spat into her mouth so that she would speak the truth but was fated never to be listened to. She recognised Paris when he came to Troy and no-one else knew he was Priam’s son; she foresaw the end of Troy when Paris arrived back with Helen; and she told the Trojans not to bring the wooden horse inside the city. During the sack of Troy, Cassandra fled to Athena’s temple, but was captured (and some stories say raped) by Locrian Ajax.

19. An armed trojan lies at Ajax’s feet, his body still bleeding from a wound on the thigh and on his chest Once again the painter has employed foreshortening in the depiction of the princess’ leg.

20. The detail focuses on who are assumed to be the Greek warrior Ajax of Locris, or Little Ajax, and Cassandra the cursed prophetess Ajax's sword is sticking horizontally toward Cassandra in almost a phallic stance. Cassandra is in a very erotic position, with her legs spread wide open and her breasts naked and emphasized by the knot of her cape. Her hand is stretched in either supplication or perhaps in beckoning. It is interesting to note the positioning of Cassandra’s hand. Ajax has grabbed Cassandra by the hair as she seeks refuge in the sanctuary of Athena.

21. Aeneas flees the ruined Troy In the final grouping on the extreme left, the Trojan hero Aeneas is depicted staggering under the weight of his aged father Anchises, as he carries him away from the ruins of Troy. The old man has been depicted with the same old beard and hair as King Priam. Aeneas has been painted from a back view and walking beside him is his young son Ascanius, who has been depicted as a young adult rather than a small child. The aged, stubbly Anchises Aeneas struggling under the weight Ascanius Both Ascanius and Anchises are looking back, as if in fear HOPE