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Yale 1909.12


Lent by the Yale University Art Gallery; gift of Frederic W. Stevens (1909.12)

Height: 25 11/16 in. (65.2 cm.)

Restored from fragments. The fragments constituting the front and back of this vase are connected on one side, proving that they go together. The entire lower part of the vase, the handles, neck, and part of the lip are plaster. The vase was reconstructed from the original fragments and then heavily repainted. The repaint, which had covered the original drawing, was removed by the Fogg Conservation Department in 1971, and the original fragments were revealed.

Side A: the statue of Athena Polias stands between two columns surmounted by cocks. The statue, which was an ancient wooden one, is dressed in chiton, wool peplos, aegis, and helmet (missing top of crest). In one hand is a javelin and in the other a shield with a Pegasos device (head and forequarters missing). The two fragments with the top of the left column, the cock, part of the shield, and four letters of the inscription are from another vase and have been cut to register.

Side B: chariot race. The charioteer (missing face) in long white chiton spurs on his team. Only the hindquarters and hooves of the horses remain.

Red, side A: rim of Athena's shield, edge of her helmet, and border of her peplos; combs, gullets, and breasts of cocks. Side B: the charioteer's beard, part of the chariot, the horses' tails. Line circling the vase at the base of the panel.

White: Athena's flesh and shield device, the charioteer's chiton.

Attributed to the Kleophrades Painter [Beazley] ca. 500 - 475 B. C.

Panathenaic amphorae filled with olive oil were given as prizes for athletic events at the Panathenaic games. The series begins in the second quarter of the sixth century and continues into the Hellenistic period. The black-figure technique was retained for these vases well past its disappearance on any other kind of vase. The shape and subjects remain constant: Athena on the front, an athletic event on the back. Although the Kleophrades Painter worked primarily in the red-figure technique, he also executed black-figure pieces (ABV, 404). A Panathenaic amphora in New York (New York 07.286.79; ABV, 404, no. 6) which is similar to this example has bold lettering, powerful forms, and the Pegasos shield device, all characteristic of the Kleophrades Painter (Beazley 1951, 94).


Beazley 1951, 111, n. 37; ABV, 404, no. 4.

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