amphora by Exekias in Philadelphia (Philadelphia MS3442; Museum Journal 6 pp. 91-2; AJA. 1935 pl. 8; Technau Exekias pl. 23), Greeks chase them from the dead body of Antilochos. All that remains of the other vase, red-figured, by the Berlin Painter (ARV. p. 131 no. 4), is two fragments in Erlangen (Erlangen 526: Mü. Jb. 1919 = Buschor Krokodil des Sotades pl. 3, whence AJA 1935 pl. 9). On all this see Buschor Krok. pp. 36-9. The Erlangen fragments are described more accurately there than in ARV. Add that they are from a loutrophoros rather than a pointed amphora: below the main picture part of a horseman, in silhouette, is preserved: this is probably from the cavalcade at a funeral, and he makes the gesture of valediction. The fragment Tübingen E 101 (Watzinger pl. 29: warriors), which is probably from the neck of a loutrophoros, is either by the Berlin Painter or in his manner.
We return to the Boston krater.
B. The subject on the other side of the vase is taken from the fifth book of the Iliad. Diomed strikes at Aeneas with his spear. Aeneas has drawn his sword, but falls, helpless. Athena encourages Diomed, and Aphrodite comes to the rescue of her son. The figures are all named, ΑΘΕΝΑΙΑ, Λ̣ΙΟΜΕΛ̣ΕΣ, ΑΙΝΕΑΣ, and, retrograde, ΑΦΡΟΛ̣ΙΤΕ. The artist has not kept close to Homer: in the Iliad, Diomed wounds Aeneas with a boulder; here he uses his spear. Similarly, in the Kleophrades Painter's version of this scene, on his cup in London (see below), Aeneas is wounded by a spear which still sticks, broken, in the wound, and Diomed is following his attack up with the sword.
Johansen observes (Iliaden p. 112) that the composition of the picture is especially like that of the 'Ajax and Hector' on a cup by Douris in the Louvre (Louvre G 115: Hoppin i p. 245; Johansen fig. 39: ARV. p. 285 no. 70).
The combat of Diomed and Aeneas is represented on five other vases and a plaque:
- Berlin 764, fragment of a plaque. AD. i pl. 7, 15, whence Johansen Il. fig. 4.
(Corinthian black-figure)
- Athens, Acr. 646, fragment of a bf. column-krater: what remains is part of the picture on the upper surface of the mouth. Graef pl. 42, whence Johansen Il. fig. 34. The interpretation is due to Robert (Hermes 1901 p. 387): see also Bulas pp. 35-6, Johansen pp. 103-4. Johansen's date, about 540, cannot be far out. The woman on the left is no doubt Athena, but the scale-pattern on the peplos is so common that it cannot be meant to suggest the aegis.
- Copenhagen, Thorvaldsen Museum, Copenhagen, Thorvaldsen Museum 100, rf. cup by Oltos (ARV. p. 39 no. 53). Johansen Il. fig. 35; Art. Bull. 19 p. 548 fig. 8; Bruhn Oltos figs. 37 and 42-3. See Johansen Il. pp. 105-6.
- London E 73, rf. cup by the Kleophrades Painter (ARV. p. 128 no. 94). Journ. Phil. 7 pll. A-B, whence (B) Robert Sc. der Ilias p. 10 fig. 15, Bulas fig. 19, and Johansen Il. fig. 36.
- Louvre, fr. of a rf. pot (possibly a stamnos) by the Syleus Painter. What remains is the lower part of a shield, in three-quarter view, and the middle of a female figure to left, holding a dove (in silhouette) in the left hand: this must be Aphrodite (compare the Syleus Painter's stamnos in Berlin, Jb. 31 p. 203), and the shield must belong to Aeneas. I am not certain that another fragment by the Syleus Painter in the Louvre is from the same vase: if it is, it may give part of Diomed, of Aeneas, and of Aphrodite.
(Attic)
- Würzburg 799, bf. amphora. Mon. 3 pl. 50; Gerhard AV. pl. 194; Jh. 13 pll. 5-8; Langlotz pll. 232-4. See Klein in Jh. 13 pp. 154-6; Bulas pp. 34-5; and EVP. pp. 17-18 and 49.
(Etruscan)