Show description

V. 8 (Athens, National Archaeological Museum 5610). See Davies 2000 on the Greek expedition to Klazomenai.  7. 10 Sarah P. 27 Polyxena and her pitiful fate seem sadly popular on Anatolian soil, in both local and imported works of art. 28 It is interesting to speculate whether, and how, Trojan hero/ines and non-Homeric episodes may have captured the imagination of artists and poets in a separate, even local, tradition. These two stories are closely linked in both narrative and art, for both young royal Trojans were pursued by Achilles, in love and ambush: the young prince died at the fountainhouse, his sister who refused Achilles or was refused by him, while the Greek hero was alive, ended up a sacrifice on his tomb.

17 The fallen vessel has come to rest sideways on the ground behind the maiden, framed beneath Troilos’ galloping horses like prizes in the funerary games for Patroklos shown on the krater’s neck. While the partially preserved ovoid vessel’s horizontal side handle articulated with internal incised lines might suggest this vase is metal,18 its visible side lifting handle does indicate that the hydria has fallen in profile view, the modern loss of its top-rear vertical pouring handle notwithstanding.

On ominous elements – the bird, lion’s head water spout and Achilles’ lion shield device – see Schefold/Jung 1989, 167.  406–409. Hydrias in Troilos depictions reflect the vase shape’s development: Clark/Elston/Hart 2002, 98–99; hydrias were also used in burials.  228. 18 Cf.  36, and 98, on identifying bronze hydrias in vase painting. 18 Beth Cohen The pursuit scene’s major elements, shown in the same order – fountainhouse, running Achilles, mounted, spear-bearing Troilos fleeing with two congruent horses, and running Polyxena (lower portion preserved) – already appear in the colorful frieze on the earlier overlap Siana cup of ca.