Vase Catalog Number: Boston 63.420

Decoration:

The column krater has a main frieze and below that an animal frieze. The flaring foot of the vase is painted black. Above this is a band of white, then a band of black, then the animal frieze. This frieze includes a series of flying birds, sirens, griffins, waterbirds, and cocks. Above this frieze is a band of squares with a simplified white meander pattern, then above that is the main frieze. A band of tongues is on the shoulder, the neck of the vase is black, and there is another square/meander pattern on the rim. On the top of the rim is a "crudely drawn, botched, and unfinished" (Amyx 1988, 507) cable pattern. On Side A, one-half of it is thin cables, the other half is squiggles; on Side B, there are fat cables.

Side A: Herakles and Hesione are depicted, fighting the sea monster Ketos. A charioteer with one white and three black horses rides to the left. He wears a long chiton and a helmet. To the right of him, Herakles stands facing right. He has a quiver on his back and his bow is drawn, as he shoots arrows at the Ketos. To Herakles' right stands Hesione, facing right and throwing rocks at the Ketos. She wears a long embroidered chiton, and her face, arms, and feet are painted white. On the far right is a black hole, out of which the Ketos emerges, looking like a large dying fish. It is white, with lots of teeth, protruding tongue, and large round eye.

Hesione was the daughter of the Trojan king, Laomedon. She was supposed to be sacrificed to the sea monster which was plaguing the city, but Herakles saved her.

Side B: Eight men in himatia and cloaks walk to the left. A woman (?) walks in front of them, playing a flute (?). She wears a white chiton.

Amyx 1988, 630 notes that two of the most striking representations of Herakles are unique in Corinthian vase painting, citing this scene and the Banquet of Eurytios on the Eurytios krater (Louvre E 635).

Collection History:

Helen and Alice Colburn Fund and Gift in Memory of Stephen B. Luce, 1963.

Sources Used:

Amyx 1988, 507, 508, fn. 274, 630; Brommer 1973, 70, C-1; Museum of Fine Arts, Boston. Bulletin 61(1963): 159-164, figs. 10-12

(Anne Leinster)