Creator(s): These creators of this amphora are unknown, but they are attributed to artists who were active during the last two decades of the 6th century BCE, named after the potter Leagros (Shapiro). They were specifically given this name after five hydriai, water-carrying jugs, with kalos inscriptions found praising Leagros. A few identified members of the Leagros Group include the Acheloos Painter, Chiusi Painter, and Daybreak Painter.
Known for their distinctive black-figure pottery, they decorated large vessels in a complex style which featured intricate designs and overlapping figures drawn in black against a red background. Their depictions favored scenes Herakles and the Trojan War, as well as Dionysian themes. In addition to their technical skill and artistic creativity, the Leagros Group was also notable for their attention to detail and their ability to capture lifelike poses and expressions in their figures.
Date of Creation: This piece of art is dated c. 510-500 BCE.
Location: This amphora is located in the Blanton Museum of Art on the second floor in the Greco-Roman art exhibit.
Acquisition: Thanks to the Archer M. Huntington Museum Fund and the James R. Dougherty Jr. Foundation, this object was brought to an exhibition at the Blanton Museum of Art on the UT Austin campus. It was likely acquired in Italy in 1820-1830 and arrived in England in 1941 by Spencer Joshua Alwyne Compton. It then likely stayed within the possession of the 2nd to the 7th Marquess of Northampton until it was sold on July 2nd, 1980, to be part of the Castle Ashby Vases collection.
Type of Art Work: Athena and Tethrippon (Quadriga) depicted on a Black-Figure Neck-Amphora (Wine Storage Vessel), 45.6 cm tall ceramic piece of pottery with terracotta medium.
Description: This amphora showcases an image of Athena, goddess of wisdom, driving a quadriga, which was commonly referred to as a tethrippon in ancient Greece. An amphora like this was specifically designed for use in symposia to hold wine, formal drinking parties that were important social occasions for elite Greek men. The ancient Greeks considered the consumption of undiluted wine to be barbaric; civilized drinkers always mixed their wine with water. Symposium vessels reflect this practice. This amphora was likely mixed with the water of a hydra into a krater. The mixture was then distributed from the krater into the kylikes of individual drinkers. Although these vases may have once been used in parties, they were eventually deposited in tombs (Blanton Museum).
Looking at the iconography on the vase, we recognize Athena from her sharp-tipped spear, majestic breastplate, and Corinthian helmet (Ovid, Metamorphoses 6. 70 ff, Mayer, 5.312). In ancient Greece, the quadriga, or tethrippon, was a four-horse chariot commonly used in athletic competitions such as the Olympics. These chariots were also used in warfare, particularly by the wealthy elite, and were often associated with victory in battle. Many myths display the quadriga being ridden by a variety of gods, such as Nike, Helios, and Ares. The four-horse chariot is also prominently featured in Roman art and architecture as the Quadriga of St. Mark’s Basilica in Venice, Italy, features four horses pulling a chariot with a statue of the archangel Michael on top, symbolizing the triumph of good over evil (Curtis). Overall, the quadriga was an important symbol of victory and power in both Greek and Roman mythology and played a significant role in their respective cultures (Nike & Chariot).
Since Athena was strongly associated with military strategy and the defense of the city, the imagery on the amphora conveys her martial nature in ancient Greek culture (Curtis). This resembles what is shown on the opposite side of the vase, as two hoplites advance over another third kneeling hoplite. Hoplites were the most common type of heavily armed foot-soldier in ancient Greece from the 7th to 4th centuries BCE. These soldiers were not only expected to fight battle in the front lines, but also be courageous to be the first attacked and ready to respond on any enemy invasion (Cartwright). On the vase, the warrior on the left carries a Boeotian shield with scooped indentations that allow him to thrust his weapon more effectively while protecting himself. Such a shield also had several other smaller indentations or ridges on the surface, which were used to improve grip and to deflect or absorb blows from enemy weapons (Blanton Museum).
According to Greek mythology, Athena is often described as engaging in battles or aiding Greek heroes during their quests, such as Perseus, Jason, and Theseus. Many warriors would believe that Athena, along with her brother Ares, would watch over the battle of war, with Athena saving those that come back and wishing for their good fortune and happiness. Many Greeks embraced this role as in myth she took a leading role in the Trojan War, fighting against the Trojans (Homeric Hymn 11 to Athena, Cashford, 11.1-4). As a result of these notions, some may believe that the depiction of Athena on this amphora is after a general victory of a people or that of a hero. Additionally, she may be arriving at a time of need under the context of the hoplites, showing her presence to bring a side she favors to victory.
Bibliography
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By Arul Yamdagni
