10. Amasis paints an everyday scene of women weaving In the centre of the scene, two women work the upright loom. One pushes the shuttle across the loom while the other beats the wool fibre into position One woman (unseen), loads wool onto the scales, while her partner holds the scales to weigh the wool.
11. Two women fold the finished cloth One woman spins the wool Another unravels wool into the basket, ready for spinning See p.30 Black for full frieze
12.
13. Upper Frieze – subject matter They are approached by more youths, who seem to be bringing gifts A seated woman is shown in between two youths. She holds a circular object. The gifts, and the circular object, which also appears with a bride in Amasis’ wedding scene lekythos, suggest that this is a wedding. An unusual band of mirrored diamonds separates the two friezes
14. Both of them are arranged symmetrically Two friezes encircle the vase All of the women are shown in pairs, except one (under the handle at rear) who is directing the others Most of the figures fill the height of the frieze, except the weavers, who are shorter Composition Emphasis on vertical lines: women standing; the shape of the loom
15. Painting Technique White slip used for female flesh Poses are varied, but still limited to figures in profile Embroidered decoration on the peplos has been incised through the black slip Innovation? Figures cartoonish and lacking detail
16. Dating The figures are blobby and lack detail Drapery is flat and foldless Figures are shown in profile, and there is little attempt to suggest movement Early Part of Amasis’ career
Editor's Notes
2 other things suggest Egyptian origin: Intro of the alabastron shape vase from Egypt around this time Exekias painted a vase showing 2 negro figures, and called them Amasis and Amasos – suggests that he knew Amasis the potter and was depicting him on a vase
The women are grouped in pairs, and rhythmically spaced
Two of the women are exceptionally tall – the two weighing wool and the one sitting down
