Two Trojan Themes: The Iconography of Ajax Carrying the Body of Achilles and of Aeneas

Carrying Anchises in Black Figure Vase Painting

Author(s): Susan Woodford and Margot Loudon
Source: American Journal of Archaeology, Vol. 84, No. 1 (Jan., 1980), pp. 25-40
Published by: Archaeological Institute of America
Stable URL: http://www.jstor.org/stable/504392
Accessed: 17-06-2016 16:55 UTC

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 Two Trojan Themes:
The Iconography of Ajax Carrying the Body of Achilles
and of Aeneas Carrying Anchises in Black Figure Vase Painting
SUSAN WOODFORD AND MARGOT LOUDON*
(Pls. 2-6)
Abstract
The present paper discusses the iconography of
two themes: Ajax carrying the body of Achilles and
Aeneas carrying Anchises. Both were popular with
black figure workshops of the last third of the sixth
century B.C. Both themes appear on a previously
unpublished neck amphora in San Simeon.
In the first two sections we discuss the themes
separately; in the third section we consider the way
in which the iconography of the two themes inter-
acted, and reach conclusions about the capabilities
of the vase painters.
Achilles and Aeneas both had divine mothers
and both participated in the Trojan War. Little else
seems to relate them. They fought on opposite
sides during the war and met different fates:
Achilles died upon the field of battle, while Aeneas
escaped from the fallen city and succeeded in res-
cuing his aged father and little son.' From the
myths as told there would be no reason to expect
the stories of the two heroes to converge. But
myths were not only told; they were also illus-
trated.
In the graphic tradition, illustrations of the dead
Achilles carried out of battle and representations of
Aeneas carrying his father away from Troy have
much in common. The carriers and their burdens
are occasionally shown in isolation, but usually
they are accompanied by subsidiary figures:
women, archers, hoplites, old men.
The iconographical similarities between the two
* The section on Ajax with the body of Achilles is written by
Susan Woodford, who is studying the iconography of Ajax, and
that on Aeneas and Anchises by Margot Loudon, who is writing
a dissertation on the latter theme. We are both responsible for
the introduction, conclusions and Appendix II.
1 Even in the Iliad Achilles' death is foretold-the hero mov-
ingly laments that his royal father will have no son to comfort
his old age (24.538 ff.)-while by contrast the survival of
Aeneas is predicted with the royal inheritance of his family
(20.303 ff.).
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themes, considered by Beazley to be pendants of
one another,2 attracted the painter of a neck
amphora in San Simeon.3 On one side he painted
Ajax with the body of Achilles (pl. 2, fig. I) and
on the other, Aeneas carrying Anchises (pl. 2,
fig. 2).
Ajax, holding a huge Boeotian shield blazoned
with snakes and a panther's head, trudges to the
left, the limp body of Achilles slung over his shoul-
der. Only the crest of Achilles' helmet appears
slightly to the left of Ajax's shield. Achilles' Boeo-
tian shield, blazoned with a silene's head seen in
profile, is strapped to his back. Ajax approaches an
old man, a civilian draped in a himation, who
stands at the left and lifts his hand in greeting.
As we shall see later, he is most probably Peleus,
bereaved father of Achilles. Two more warriors, a
hoplite with a round shield and an archer, stand
at the right looking after Ajax.
Aeneas (pl. 2, fig. 2) walks briskly to the right
carrying his father Anchises. The old man has one
arm wrapped around his son's neck and his hands
clasped. Anchises tucks up his knees and Aeneas
supports them with his right hand. Anchises looks
back at a hoplite with a round shield who stands
to the left looking after him. Aeneas carries a more
heroic Boeotian shield and is accompanied by a
dog. He is preceded by a woman who runs to the
right, but looks back at him. She may be intended
to represent Aeneas' wife.
2 Beazley, recognizing their complementary iconographical
features, referred to one scene as a pendant of the other in
Development 84.
3 Inv. 5437 (SSW 9815). H. 39.6 cm. We are extremely
grateful to Professor D.A. Amyx for providing us with photo-
graphs and giving us permission to publish this neck amphora
and to Dr. E.E. Bell for her generosity in providing us with
information about this vase and others in San Simeon relevant
to our study.
 26 WOODFORD AND LOUDON [AJA 84
No other representation of either theme is ex-
actly like this one, but all the elements present
recur in other combinations. The San Simeon
amphora is best understood within the framework
of the iconography of the two themes which
follows.
The vases that have been studied for this paper
are listed in Appendix I with references to ABV
and illustrations when available. They have been
divided into iconographically significant groups as
follows (number of examples of each type given in
parentheses):
Ajax carrying the body of Achilles
A. alone-moving right (5)
B. alone-moving left (7)
C. with Thetis (6)
D. with Thetis, warrior or warriors (men other
than Peleus) (11)
E. with Thetis and Peleus (9)
F. with Thetis, Peleus and warriors (3)
G. with warriors only (no female figures or old
men) (io)
H. with Thetis(?) and another female figure (5)
J. non-standard representations (8)
Aeneas carrying Anchises
I. early and non-standard representations (5)
II. alone (3)
III. with one female figure (9)
IV. with one female figure and warrior or war-
riors (15)
V. with two female figures (15)
VI. with two female figures and warrior or war-
riors (6)
AJAX CARRYING THE BODY OF ACHILLES
A warrior carrying his dead comrade from the
field of battle is a subject that would appeal to any
4K. Fittschen, Untersuchungen zum Beginn der Sagendarstel-
lungen bei den Griechen (Berlin 1969) 179-81, gives a compre-
hensive list. These early examples are also discussed by
R. Hampe, Friihe griechische Sagenbilder in Bdotien (Athens
1936) 72-73, plates 34, 35; E. Kunze, Archdische Schildbi'nder
(OlForsch 2, Berlin 1950) 152-53; H. von Steuben, Friihe
Sagendarstellungen in Korinth und Athen (Berlin 1968) 65-67;
K. Friis Johansen, The Iliad in Early Greek Art (Copenhagen
1967) 30; J. Carter, "Narrative Art in the Geometric Period,"
BSA 67 (1972) 54; J.N. Coldstream, Geometric Greece (London
1977) 228, 355.
5 It is surprising that all the scholars mentioned (supra n. 4)
accept that these early representations of a warrior with his
fallen comrade are intended to show Ajax with the body of
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devotee of the heroic tradition. Representations of
this theme were made as early as the late Geomet-
ric period,4 but the pair of warriors is not partic-
ularized.5 The type is generic like the ekphora
or prothesis of Geometric vases," an echo of the
heroic world.
The theme of a warrior carrying the body of his
comrade becomes specific, infinitely enriched in
meaning and expressiveness, in the two beautiful
representations of Ajax carrying the body of Achil-
les on the handles of the Frangois vase (A I and 2;
pl. 3, fig. 3). Here there is no doubt that we are
dealing with particular heroes, for the figures'
names are neatly written beside them.
Ajax moves to the right; he wears a cuirass and
helmet, but Achilles is naked, his hair hanging
limply. Ajax is shown in the Knielauf pose, an
ambiguous ideograph suggestive either of running
or of rising. Kleitias probably fully appreciated this
ambiguity, for the picture can either be read as por-
traying Ajax striding purposefully from the battle,
or, just having placed Achilles over his shoulder,
rising with an effort under the dead weight.
These seem to be the first explicit representations
we have of Ajax with the body of Achilles, and
very probably the first that were made. The con-
text is interesting and important. The chief frieze
on the vase, one that circles it entirely, depicts the
wedding of Peleus and Thetis, the parents of
Achilles. In the frieze below on the front of the
vase Achilles appears. Though only his legs are
preserved, they are eloquent enough as he is shown
outrunning the galloping horses of Troilos to over-
take the youth and brutally murder him. Achilles
is also shown in the frieze above the marriage
procession, standing by the post, supervising the
funeral games for Patroklos.
Thus this first portrayal we know of the death
Achilles. A healthy skepticism on this point is enunciated by
M.J. Mellink in rev. Kunze Schildbdnder, AJA 57 (1953) 229.
6 The generic nature of the subject seems clear from its con-
text as the top tier of decoration on a skirt on a terracotta relief
in Naples (Hampe [supra n. 4] pl. 35); the next tier shows
a row of identical dancing women and the tier below that, a
row of dancing men-all three tiers appear generalized-or its
use on a relief from Samos (Hampe [supra n. 4] pl. 34) on
which a stamp is used to repeat the same subject several times.
Kunze, (supra n. 4) 152, lucidly discusses the iconography of
the theme in terms of three groups. There seems no reason to
regard his first group, which has considerable iconographic
coherence, as anything but generic.
 1980] TWO TROJAN
of Achilles is firmly set within the context of the
hero's life: his parents, his friend and his enemy.
From time to time later on, the group of the two
heroes is shown moving to the right, to a greater or
lesser extent following the tradition instigated by
Kleitias,7 and when this happens the pathetic detail
of Achilles' limp hanging hair is usually preserved.8
Representations of Ajax with the body of Achil-
les moving to the right eventually become rare, for
sometime after the middle of the sixth century
B.C. Exekias painted Ajax carrying the body of
Achilles moving to the left' (pl. 3, fig. 4). Al-
though the figures are not labelled we know who
the two heroes are because an "attribute"1" of
Achilles is present: his mother.1 Exekias has re-
thought the subject. He has rejected the poignant
nude Achilles of Kleitias' tradition; perhaps he
considered Achilles' armor too important to be left
out of the picture. In his new version the armor of
both heroes is prominent. By depicting Ajax mov-
ing to the left, the painter has caused the hero's
magnificent shield to play an important part in the
composition, as it played an important part in
Ajax's characterization by Homer.12 Apart from
the shield (Achilles' shield is carried on his back),
however, Achilles' armor is grander, his helmet is
plumed and laureate unlike Ajax's, and his cuirass
delicately worked.
7 A 3, a cup interior decorated by the Phrynos Painter, also
shows Ajax in the Knielauf pose, but this time without any
suggestive ambiguity; the hero seems to be kicking up his heel
in a way that makes it clear that he is dashing off the field.
A 4 is similar but has no names inscribed. Here too Ajax seems
to be kicking up his heels vigorously. In this painting Achilles
wears a kilt. In Berlin F 1802 (also a cup and rightward-mov-
ing, and so presumably similar) according to F. Brommer,
Heldensage3 373.5, both heroes are nude. Examples of Ajax
carrying the body of Achilles moving to the right are: A I-5,
C 6, D 9, Io; G 7, 9; H 5, J 4, 5 and 8.
8 Achilles' hair droops pathetically in A 1-3, 5; D io; G 7.
Exceptionally, though Ajax is moving to the left, Achilles' hair
droops in G 8. Achilles is helmeted when Ajax moves to the
right in D 9, G 9 and J 4.
9 J.D. Beazley and F. Magi, La raccolta Benedetto Guglielmi
nel Museo Gregoriano Etrusco (Vatican City 1939) 44, say that
the new movement to the left originates "presso Exekias."
10 On the idea of an attribute as a means of identification see
G.M.A. Hanfmann, "Narration in Greek Art," AJA 61 (1957)
72.
11 Is it possible that considerations of Achilles within the
context of his family were in Exekias' mind as he painted the
other side of the vase, for there he showed the departure of a
warrior in the presence of an old man and two female figures?
Could he have intended this scene not merely as a generic
representation but rather as a specific portrayal of Achilles
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THEMES 27
In Exekias' version the contrasts between the
living forms and the dead become more pro-
nounced. Ajax's living eye peers out of his helmet
beside the dead eye of Achilles; his striding ener-
getic legs (there is no Knielauf here, but rather a
determined walk) are next to the limp legs of his
dead friend. A new poignance is discovered in the
counterpoised juxtaposition of the dead and live
faces, dead and live limbs.
Exekias painted the same theme on both sides
of a neck amphora in Munich (B i and 2). Here
the two heroes are shown alone. Theoretically this
could be a generic scene or one to which any pair
of heroic names could be attached, but the similar-
ity of the schema to the one in Berlin suggests that
Exekias was here again thinking of Ajax with the
body of Achilles.
In these vases Exekias set the style for the future.
The leftward-moving group with the two bodies
and legs close together, Achilles helmeted rather
than bareheaded, and Ajax's shield beautifully
blazoned becomes such a common type that it is
easier to cite exceptions than examples of its use."3
In instances where Thetis is attached to the group
we can be certain that it represents Ajax with the
body of Achilles; in instances where she is not, we
may assume it, though we cannot be sure."4
taking leave of Peleus and Thetis and his bride Deidamia?
Other vases showing Ajax carrying the body of Achilles and
portraying on the other side a warrior taking leave of a female
figure and an old man are E I (pl. 4, fig. 8), H 5 and J 4.
In all of these Thetis is present on the side where Ajax is
carrying the body. The reverses of the vases under discussion
generally do not seem to be thematically related to Ajax carry-
ing the body of Achilles. At least ten have Dionysiac subjects
(B 7, C 2, 3; D 4, 9; E 2, 4, 5; G 3, 9; J 3, 8); at least eight
have warriors (hoplites or archers) (D 2, 3, 8; E 7, 8, 9; G I,
2, I1 and J 2, which shows the death of Antilochos).
12 For instance, Iliad 7.219-20 and I8.193.
13G 8 is unique in showing Ajax moving left carrying the
body of a helmetless Achilles. See supra n. 8 for examples of
Achilles helmeted or not in scenes where Ajax moves to the
right.
14 Most literary sources credit Ajax with having carried the
body of Achilles out of battle, Aithiopis (Proclus Chrestomathia
I0.2), Ilias mikra (Schol. Aristoph. Equites I056), Apollodorus
Epitome 5.4 and Antisthenes, fragment 14 (Aj. 2). The name
of Ajax appears inscribed on vases A I, 2, and 3 and J i.
No inscribed vases give Odysseus credit for carrying the body
of Achilles out of battle, but even before Odysseus' brazen
claims in Ovid Met. 13.284-85, there seems to have been a
trickle of tradition to the effect that he performed this deed, cf.
Schol. Od. 5.310 and P. Oxy. 2510.13 and 21 (G. Huxley,
Greek Epic Poetry from Eumelos to Panyassis [London x969]
 28 WOODFORD AND
As the type becomes more popular, it also be-
comes debased (pl. 3, fig- 5). In almost all post-
Exekian examples Achilles' head drops behind
Ajax's shield and cannot be seen."5 The eloquent
contrast between living and dead eyes is lost, prob-
ably much to the relief of the less gifted artists.
Often only the plume of Achilles' helmet is visible
beyond Ajax's shield to give a hint as to where
the head can be supposed to be,1" but sometimes it
is not. Occasionally Achilles' shield is lost.17 In
some instances Achilles' legs dangle between
Ajax's energetic legs in their wide stride rather
than behind them.18
Exekias' vases in Berlin and Munich also seem
to have suggested the shape that became most pop-
ular as a vehicle for the subject, namely the neck
amphora. About half of all the known portrayals
of the theme are on neck amphoras.1' The rest are
on belly amphoras, lekythoi, olpai and kraters,
with an occasional skyphos or kylix turning up
from time to time.
During the last quarter of the sixth century Ajax
carrying the body of Achilles was frequently
painted on vases, and though the two heroes are
sometimes shown in isolation (groups A and B),
more often other figures are added to put them in
one context or another.
There are two basic contexts in which the death
of Achilles is seen: the war in which he died, and
the family which he left bereaved. Kleitias seems
to have appreciated both, introducing a view of
Achilles' parents at their wedding and also show-
ing the hero active at Troy. Exekias has shown the
scene in both contexts, too: Thetis greeting Ajax
with the body of Achilles in the Berlin vase (C i)
i50). According to Ovid, Odysseus claims that he carried the
body of Achilles, armor and all. In Sophocles' Philoctetes, Neo-
ptolemus when lying to Philoctetes (371 ff.) has Odysseus make
the same claim. While not quite on the same level as the conun-
drum of the Cretan who declared that all Cretans lie, it is
unlikely that this statement reflects Sophocles' opinion as to
who carried the body of Achilles. B. Conticello and B. Andreae
in AntP 14 (1974) 36 n. 52 and 92-93 suggest that the Pa-
squino type group at Sperlonga represents Odysseus carrying the
body of Achilles.
15 Achilles' eye is visible in leftward-moving examples only
in B i, 2; C I; D 5, 7; E 4 and G 8, and io.
16 Only the plume of Achilles' helmet is visible in B 7, C 2-5;
D 1, 2, 3, 6, 8; E I-3, 5-9; F I, 2; G 1-4, 6; H 1-4; J 6, 7;
in D 4 and F 3 not even the plume of the helmet is visible.
17 Achilles' shield seems to have been lost in F 2 and G 9.
18 Achilles' legs dangle between the striding legs of Ajax in
B 4, 5, 7; C 3, 5; D 2, 4, 6, 8-1o; E I, 3, 6-9; F 3, G 1-3,
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LOUDON [AJA 84
(pl. 3, fig-. 4) and Ajax lifting the body from the
ground in the midst of fighting on the vase in
Philadelphia (J 4).
Sometimes artists who are interested in the fam-
ily context show Thetis facing the approaching
Ajax as he carries the body of Achilles toward her,
as Exekias does,20 but in most instances she is
shown moving left but looking back and summon-
ing the great hero who follows her (pl. 3, fig. 6)."21
The schema is, in fact, so firmly established that an
archer can occasionally take the place of Thetis.2'
This archer may simply be intended as a nameless
participant in the war, but if pressed, we could put
a name to him: Teucer. A family connection is
maintained, but it is now the family of Ajax to
which reference is made.
To some extent Thetis is almost an attribute,
identifying Achilles by his divine mother. A more
moving note is struck when both of Achilles' par-
ents are shown (Groups E and F). Even in the
Iliad Achilles' father and mother are both impor-
tant. Family life naturally looms large in Troy, but
among the invading Greeks no parents are men-
tioned so often as Achilles'.
A neck amphora in the Schloss Fasanerie (E I)
(pl. 4, fig. 7) gives a touching representation of
Ajax carrying the body of Achilles flanked by
Achilles' two parents. Peleus stands to the left, his
hand raised to his head in a gesture of grief as he
looks at the approaching figures. Thetis stands on
the right, facing the center. There is no literary
source for any such scene, but unity of time and
place hardly troubled vase painters; there is emo-
tional logic in such a portrayal of the lonely father
receiving the news of the death of his only son.
5, 6, Io; H I, 3, 4; J 3, 6, 7.
19 Add to Brommer's list (supra n. 7) 373-76, neck ampho-
ras in Dublin (H 5), Munich (G 9) and San Simeon (J 7).
Boulogne 375 (G 6) is also a neck amphora, despite Brommer
(376.2). Add also Summa Galleries' neck amphora (J 8).
20 C I; D 9; E 9; H I and 2, J 8. (In D 9 Thetis, if the fe-
male figure is Thetis, stands to the right of a group moving to
the right).
21 Thetis moves left, looking back, summoning in C 2-5;
D 1-3, 5, 6, 8; E 7, 8; F I, 2; H 3. Occasionally Thetis moves
to the right, looking back and summoning; C 6, D 1o; H 5;
J 4, 5. Movement to the left seems to be normal; to the right,
a reversal. This is discussed more fully in Appendix II. Thetis
running ahead and summoning as a type and her relationship
to a similar type of female figure in scenes showing Aeneas and
Anchises is discussed more fully in the third part of this paper.
22 An archer moving left replaces Thetis in D 4; G 1, 2; and
J 3-
 19801 TWO TROJAN
The idea for this sort of image, with the parents of
the dead warrior flanking the central group, may
well have come from the popular type of the de-
parture of a warrior, an example of which is
painted on the other side of this vase (pl. 4, fig. 8).
Does the artist here intend to portray the begin-
ning of Achilles' expedition to Troy, the conclu-
sion of which is shown on the other side of the
vase ? 2
While some painters prefer to show the death of
Achilles in terms of its effect upon his family, oth-
ers choose to exclude both women and old men
from their scenes and focus wholly on the battle.
One of the most complex and deeply thought out
examples of this type of scene is on a hydria in
Munich (G 8) (pl. 4, fig. 9). Ajax is shown, un-
usually, down on one knee, just rising with Achil-
les on his shoulder. Both heroes face left; Achilles
is helmetless with expressively drooping hair (an
uncommon trait in left facing groups). As Achil-
les' head sinks, an eidolon of a warrior24 flies off to
the left, apparently wingless, but equipped with
helmet and shield, vividly recalling Homer's words
on the death of Patroklos when his soul departed
"bewailing its lot and the youth and manhood
that it left."25
It is possible that the artist was not thinking of
Ajax and Achilles, but rather of some other heroic
23 The white-haired old man is a conventional figure in rep-
resentations of the departure of a warrior, in which context he
is almost certain to be thought of as the warrior's father; he
would, I believe, preserve this relationship in the pictures where
he is shown receiving the body of Achilles and there would
represent Peleus. In at least nine vases Achilles' parents are
represented alone with Ajax carrying the body (Group E). In
six of them (E i-6) Peleus stands to the left and receives the
sad procession (in one of them-E 5-the dog seems to have
wandered in from the departure scenes in which he is more
usual, though in Exekias' Vatican amphora no. 344 a dog is
prominent in a home-coming scene as here). In all six Ajax
and Achilles are shown in what has become the conventional
manner. Thetis stands at the far right, looking after the central
group. She is young and beautiful, as a goddess should be.
Peleus is old, white-haired and bearded, bent. Do the artists
intend to point up the misalliance of aging mortal and ageless
goddess? It is possible, but before making any overly subtle
interpretations we must remember that the vase painters had a
formula for old men easily to hand but were hard put to find
a type for an old woman. In E 7-9 the positions of Peleus and
Thetis are reversed; in E 6 Thetis leads the group to the left
in the usual manner and Peleus is just tacked on at the far
right. In all the other vases the framing figures serve to central-
ize the composition. In Group F warriors are added as well as
Achilles' parents, but there is little hint of battle.
24The eidolon appears in three vases: F 2, in which it is
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THEMES 29
pair. The same is true of most of the vases that
show the death of the hero within a battle context
(Group G and J i and 2). The vases in Brussels
(G i) and Wiirzburg (G 2) show an archer lead-
ing the hero and his dead comrade in the manner
that Thetis usually does.26 The two lekythoi (G 5
and 6) are similar. In both, a hoplite charges right
over a fallen warrior, a hero carries his dead com-
rade to the left and is followed by a warrior who
moves left, but looks back, apparently covering the
retreat. Might we be justified in here seeing Odys-
seus covering the retreat of Ajax with the body of
Achilles, an illustration corresponding to the narra-
tive in the Aithiopis?27
There is no doubt, however, that Achilles is the
dead hero represented in two highly unconven-
tional vases showing battle scenes, for they are both
copiously inscribed (J i and 2). Munich 1415 (J 1)
is remarkable in conveying the sense of a malle
full of action through what is in fact a formal sym-
metrical composition in the middle of which Ajax
stands holding the lifeless, naked body of Achilles
against his left arm.28 A slightly earlier moment is
shown in the fragmentary amphora by Exekias in
Philadelphia (J 2). Ajax (presumably)29 bends for-
ward and lifts the prone body of Achilles from
the ground.
There are five vases with two female figures, one
winged and helmeted and flies to the left in front of Ajax and
Achilles; G 8 (pl. 4, fig. 9) where it is helmeted and carries a
shield and races from Achilles' neck with Homeric expressive-
ness; and H 3 (p1. 5, fig. io) where it wears a helmet and
cuirass and runs along the ground in the manner of Aeneas'
son. The child in J 4 (pl. 5, fig. 11) should be an eidolon in
accordance with the Ajax and Achilles theme and appears
unarmed because of contamination with the Aeneas and
Anchises iconography.
25 Iliad 16. 856-57 (Rieu translation, Penguin ed. 315).
26 In G 2 left-facing hoplites are stationed at the far right
and far left of the central group of three. In G 3 a pair of
archers symmetrically frame the central group of Ajax and
Achilles. Both face inward and the composition is obviously re-
lated to the symmetrical Dionysiac composition on the other
side of the vase. G 5-8 are vividly within the context of an
active battle.
27 See also Apollodorus, Epitome 5.4.
28 The warriors are inscribed as follows: in the middle Ajax
with the body of Achilles, to the left Neoptolemus fighting
Aeneas, to the right Menelaos fighting Paris. Of the fallen
warriors, one is unlabelled and the other's label is indecipher-
able.
29 On the Philadelphia vase Menelaos fights Amasos, while a
hero (Ajax ?-the inscription that was beside him is unfortu-
nately lost) lifts the dead body of Achilles (inscription partially
preserved).
 30 WOODFORD AND LOUDON [ AJA 84
on each side of the central Ajax and Achilles
(Group H). One of them is likely to be Thetis,
but the identity of the second is problematic. She
could be a Nereid, one of Thetis' sympathetic sis-
ters who so often appear assisting her when she is
bringing arms to Achilles. This idea seems to fit
the Tarquinia amphora (H 4).
On the vases in the Vatican (H i) and Alten-
burg (H 2) the two female figures are so symmet-
rical as to be virtually devoid of narrative value.
(Perhaps it is no coincidence that similar framing
figures are painted on the other sides of the two
vases.) The figure on the right on the Altenburg
vase is Athena. It is hard to think of any reason
for her presence in this solitary example; perhaps
her image accidentally slipped over from the other
side which portrays her proteg6 Theseus throttling
the Minotaur.30
The neck amphora in Dublin (H 5) (pl. 5, fig.
io)'3 which includes an eidolon and in which the
central group moves to the right, may hint at a
deeper confusion. The rightward movement is un-
usual for Ajax carrying the body of Achilles after
the middle of the sixth century B.C. It is, however,
the usual direction for another group in which one
man carries another, namely Aeneas carrying
Anchises. This theme often includes portrayals of
two female figures, Aeneas' wife and his mother,
Aphrodite. Occasionally Aeneas' son is shown (pl.
6, fig. i6) and looks much like the eidolon painted
30 Briseis is another female figure involved with Achilles and
certainly would have mourned his death as she mourned
Patroklos'. Briseis appears with Achilles on both vases (see
Brommer [supra n. 7] 340-41) and on Roman wall paintings,
usually in the context of being removed from or returned to
Achilles, the spur for the action (or inaction) in the Iliad.
Although she may well be intended to be the second female
figure here, in the absence of inscriptions it is impossible to be
sure. A.D. Trendall, Greek Vases in the Felton Collection
(Melbourne 1968) 6, suggests that Briseis is the female figure
on D 7.
31 A.W. Johnston, A Catalogue of Greek Vases in Public
Collections in Ireland (Proceedings of the Royal Irish Academy
73 Section C No. 9, 1973) 372 no. 329. We would like to
thank Dr. Johnston for reading this article and offering many
helpful suggestions. We are also grateful to John Boardman
and Alan Griffiths for their kind and generous help.
32 For a comprehensive list of Aeneas' flight scenes, see
Brommer (supra n. 9) 386-89, for a discussion of some of
these, see K. Schauenburg "Aneas und Rom," Gymnasium 67
(I960) 176-9I and "AINEAZ KAAO," Gymnasium 76
(1969) 42-53. See also W. Fuchs, "Die Bildgeschichte des
Flucht des Aeneas," ANRW I, 4, 615-32. Portrayals of Aeneas'
escape from Troy appear later than other themes drawn from
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here. This looks very close to a contamination:
disarm the eidolon and replace the dead warrior
with a live father, and you have the Aeneas theme.
There are only two steps from one scene to the
other. One of these steps is taken by the painter of
the neck amphora in the collection of Abb6 Mi-
gnot in Brussels (J 4) (pl. 5, fig. I1). There a fe-
male figure leads to the right looking back, as in
the Dublin vase, followed by a boy (not an eido-
Ion), followed by Ajax with the body of Achilles,
the procession terminated by a standing archer, a
figure applicable to either theme. Here we have a
full-fledged contamination.
AENEAS CARRYING ANCHISES
The theme of Aeneas' escape seems to have en-
tered the painters' repertoires about 535 B.C.32 The
iconography of the earliest representations is ex-
perimental33 but on a fragment by Exekias"4 two
features suggest the standard later development:
Aeneas is moving to the right and he is carrying
Anchises high on his back. This fragment differs
from all other Attic representations in one funda-
mental point. Never again is Aeneas shown bare-
headed; he is invariably helmeted.
The theme soon gained popularity and there
were numerous representations in the last quarter
of the sixth century and the first decade of the
fifth century B.C. The unconventional conceptions
of the few early works-their sensitive and elo-
events which belong to the destruction of Troy. An Attic black
figure lekythos from the second quarter of the sixth century B.C.
shows the deaths of Priam and Astyanax (Syracuse 21894,
Paralipomena 201, AJA 58 [1954] pl. 56, fig. 4). The rape of
Cassandra is depicted on a work from the circle of the "C"
painter ca. 570-550 B.C. (London B 379, ABV 60.20; CVA 2,
8 [66] 2).
33 A fragment of Sophocles' Laocoon describes Aeneas as hav-
ing his father 'ewr&iwv (A.C. Pearson, The Fragments of
Sophocles [Cambridge 1917] II 44 ff.). The evidence of the
Tabula Iliaca suggests that Stesichoros included the escape of
Aeneas in his Ilioupersis probably written sometime in the
sixth century B.C., but this artistic document presents too many
problems and inconsistencies for us to rely on it as an accurate
testimony of the Stesichorean treatment of the theme; see
A. Sadurska, Les Tables Iliaques (Warsaw 1964) passim. For
the evidence that the escape of Aeneas was also mentioned in
the early Greek epics that dealt with the capture and destruction
of Troy, see T.W. Allen, Homeri Omnia Opera (OCT) V
127-40.
34 Paralipomena 61. Louvre F 122 (I 2) is a nearly contem-
porary work. Langlotz dates Wiirzburg 218 (I 3) to ca. 530
B.C. Vat. Astarita 733 (I 4) is ca. 520-515 B.C.
 1980] TWO TROJAN
quent interpretations-were lost to stock patterns
and workshop disciplines.
After about 520 B.C. the key motif of the com-
positions, Aeneas with Anchises on his back, is
consistent, whether the hero and his father are ac-
companied by others or are alone."3 Leiden PC 50
(III 7) shows a standard rendering (pl. 5, fig. 12).
Aeneas hurries to the right."6 The way he carries
Anchises seems to be an adaptation from the game
of Ephedrismos."7 Anchises clings to his son, with
his left arm wound around Aeneas' shoulders, his
legs bent at the knees and drawn up. In this par-
ticular representation Aeneas supports him under
the shins with his right hand, but he does not al-
ways offer this support.38 Anchises looks ahead.3"
He is dressed in a short chiton and himation and
carries a scepter.40 Aeneas wears a high crested
Corinthian helmet, cuirass, chiton, chlamys and
greaves. He is armed with two spears and a sword.
Sometimes he carries a shield, normally the Boeo-
tian type.41
In all but a few works Aeneas and Anchises are
set within a figured background. As the focal point
stabilized, so these compositional groupings be-
came stereotyped, and the subsidiary women, chil-
dren, hoplites and archers became afflicted with
black figure anonymity.
The identities of the women arouse the most
controversy.42 On a small amphora in the Bareiss
collection (III 9) (pl. 6, fig. 13) a subsidiary figure
is positively identified as AOPOAITEKA IlF, beau-
35 The vases of Group II are works of the Red-Line painter,
who had a tendency to abbreviate standard iconography. On
New York 06.1021.50 (ABV 606.21) he carried this trend to
unusual lengths.
36Aeneas and Anchises go left in III 8; V 5, B; VI 4, 6.
For discussion of the possible significance in the prevalent direc-
tion, see Appendix II.
37 Aeneas carries Anchises in all the black figure works and
all the red figure, but not on the white ground lekythos by the
Brygos Painter (Gela, Navarra 6I, CVA 3 24 [2401] I, 4
and 5). Anchises is shown walking behind Aeneas as he does
on the Parthenon Metope N. 28 (F. Brommer, Die Metopen
des Parthenon [Mainz 1967] I18-22, pl. 99). Ephedrismos was
a game which involved the defeated party carrying the victor
(DarSag, s.v.). The closest parallel to the way in which Aeneas
carries Anchises is the activity shown on Copenhagen N.M.657I
(CVA 3 pl. 2 [121] 9a and b). It is not Ephedrismos, but is
probably one of the related games such as Ostrakinda.
38 On III.i and 2; IV 3 although Aeneas is moving right,
the weight of his father is on his left side. On some vases he
either supports Anchises under the buttocks or hooks him in
the embrace of his right arm (III 3; IV 12, 13; V I, 5).
39 This detail is arbitrary.
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THEMES 31
tiful Aphrodite. She stands behind Aeneas and
Anchises.4 Her arms, which are swathed in her
himation, are stretched out in front of her in a ges-
ture which betokens grief and sympathy rather
than effective help. The goddess looks like a
woman in a warrior-departure scene (cf. pl. 4, fig.
8)."
None of the other women is labelled,45 but this
static type recurs within the schemata. On Tar-
quinia RC 976 (VI i) (pl. 6, fig. 14) the woman
behind Aeneas is similar but her gesture is much
stronger, more positive than that of the labelled
Aphrodite. It is identical with that of Athena on
the reverse as she watches Heracles subdue Cer-
berus, which suggests that she too is a divinity
who is indicating her protection and encourage-
ment."6
On the same vase an "attribute" identifies the
woman who precedes Aeneas. Bouncing on her
shoulder is a baby. She must be Aeneas' wife with
their child.47 On all but a few48 of the vases the
woman ahead of Aeneas and Anchises moves in
the same direction as they, looking back. She
moves with various shades of enthusiasm, but
generally she is running (III 8) (pl. 6, fig. 15)-
The fast moving woman is a standard icono-
graphical motif: her body is contorted in the tradi-
tional running pose; her arms whirl like a wind-
mill, or are folded across her body; the folds of her
chiton are spread wide to emphasize her speed.
Leiden PC 50 (III 7) (pl. 5, fig. 12) has a fine ex-
40 Scepter: I 2, III 7; IV I, 2, 7, I ; V 4, 7, 8, II, 13, 14,
i5; VI 6. Staff: II 2, 3; III 2, 5, 6, 9; IV 4, 10, 14; V I, 5,
9; VI 5.
41 Aeneas carries a hoplon shield: I 5; III 2, 8; V 2, 5A; VI 6.
42 G. Caputo, "Vasi Attici con Enea ed Anchise," BdA 3
(1937-1938) 267-72: C. Praschniker, Parthenonstudien (Augs-
burg 1928) III: and two articles by Schauenburg (supra n. 32).
43 Aeneas and Anchises are also labelled.
44 See H. Kenner, Weinen und Lachen in der griechischen
Kunst (Vienna I960) 17 and pl. 4, fig. 8 here.
45 The inscription to the left of the woman on III 7 is
nonsense.
46 CVA Tarquinia, pl. 13 3. Jacopi speaks of Aeneas with
Anchises "seguito da una donna" but this is not so.
47 Aeneas' children remain nameless in the graphic tradition.
Within the literary tradition Aeneas was credited with several
sons, the best known of whom was Ascanius (Dion. Hal. AR I,
46-FGrH Hist I, 4 F 31; Virgil Aeneid passim.) For a refer-
ence to daughters, Dion. Hal. op. cit. I, 49. In the Cypria
Aeneas' wife was Eurydice (Paus. Io.26.I-Allen p. 124 XXII)
but Virgil (Aen. 2 passim) knew her as Creusa.
48 V 5B, 8; VI 6.
 32 WOODFORD AND
ample of this type and recalls many other running
women: the fleeing Nereid in the rape of Thetis;4"
the escaping Polyxena who looks back in terror as
Achilles pursues her brother;"5 Thetis who runs
ahead of Ajax. In every context she is alarmed and
distressed as Aeneas' wife would be. At first glance
the woman on VI i (pl. 6, fig. 15) seems different
from the running woman on III 7 (pl. 5, fig. 12)
and even further from the welter of flying drapery
and flailing limbs of the Red Line Painter's
women. It is a difference of style only, and essen-
tially the more crudely depicted women are the
same motif as the more delicately drawn woman
with the baby.
Aeneas' son is shown as a baby only here. He is
usually older, able to trust in his own speed and
strength." On a few vases the son is near warrior
age. On III 9 (pl. 6, fig. 13) the youth precedes his
father and grandfather. He walks partly concealed
behind Aeneas' immense shield, a composition
which recalls that of I 2. Slightly older is the young
man on Syracuse 19882 (V I) who strides ahead
forbearing to look back. Usually his son is a young
boy. On three vases two children are shown, one
on each side of their father.5" In the most popular
grouping a boy is shown between his parents as on
Boulogne 98 (V 13) (pl. 6, fig. 16). The tight
nexus of the composition stresses the family bond.
It may deteriorate into a tangle of spreadeagled
limbs, but in III 6 there is the sensitive detail of
the mother's hand reaching out to touch the boy's
head.53 This schema was retained in red figure,
but the potential of emotional appeal was exploited
more. On a red figure Etruscan vase"5 the boy
49 Parma amphora CVA I, pl. 3 (2004) I (c2) and Munich
1415 CVA I, pl. 46 (140) 2.
50 On Thetis see infra pp. 33-36; on Polyxena see Copen-
hagen CVA 3, pl. 123 (125) 4b, ABV 324, 29.
51 On a silver tetradrachm of Aeneia in the Chalkidike (J.M.
Price and N.M. Waggoner, Archaic Silver Coinage, the Asyut
Hoard [London 19751 43-45, pl. B, I94), a child is on the
shoulder of Aeneas' wife who runs ahead looking behind, like
her painted counterparts. In the painting by the Priam Painter,
a woman stands opposite Aeneas, facing him, and she has a
child on her shoulder. She may, of course, be unconnected with
Aeneas (see R6mMitt 71 [1964] 6I). (I 4).
52 There are two boys on III 6; IV 2; and V 7.
53 In some representations the wife's arm has this protective
appearance. On Munich 1554 (V 9) both women reach out
protective hands towards the two boys, but on Tiibingen 2451
(V Ii) the same pose is depicted without a child. Berlin F 1862
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LOUDON [AJA 84
gazes up at his father and grandfather while hold-
ing tightly to his mother.
The graphic narrative is emerging. In the
schema showing a woman standing behind Aeneas
while another precedes him, the first is to be iden-
tified as Aphrodite, and the second as Aeneas' wife.
The wife-figure is by far the more popular. It is
she who is retained in schemata which show a war-
rior behind Aeneas or on her own with Aeneas
and Anchises. The family is often completed by
Aeneas' son or sons of variable ages.55
Some women behind Aeneas are more ambig-
uous for they seem to be moving rather than stand-
ing (VI 2 and VI 3). These are perhaps works in
which the painters envisaged the goddess as lead-
ing, the wife following, but another possibility is
that there was a tradition involving the escape of
another woman of Aeneas' family, a daughter, sis-
ter, or stepmother. One vase does show three
women (I 5). The third is discernible from the
knees down walking by Aeneas' side. The repre-
sentation of three women may be the idiosyncratic
work of one painter but there could have been
some tradition which suggested it.5
In some of the works the graphic narrative
breaks down. The women act erratically. In a
number"' the woman behind leaps away from the
center in the direction opposite to that in which
Aeneas is going. In every case but one58 she is
simply the mirror image of the wife-figure. On
Boulogne 98 (V 13) (pl. 6, fig. 16) the women
dance away from, but look back at, the central trio.
Symmetrical composition has obscured the narra-
tive, and the women become a graphic chorus
framing the central motif. In three examples"5 the
(IV 5) has the little boy holding on to his father, Aeneas, but
the vase has been considerably restored and this delicate detail
may not have belonged to the original.
5 Munich 3185, J.D. Beazley, Etruscan Vase Painting (Ox-
ford 1947) 195-3.
55 Some literary sources mention an adult son, e.g. Hellanicus
(supra n. 47).
56 One of the women on I 5 has an object on her head, and
on the Etruscan vase (supra n. 54) Aeneas' wife carries the
family luggage on her head. The female behind Aeneas on
V 14 also carries something on her head, but the vase has been
heavily overpainted and the detail may not belong to the origi-
nal. On objects carried on heads, see I. Krauskopf, "Eine attisch
schwarzfigurige Hydria in Heidelberg," AA 1977, 13-30.
57 V 5, A; 9-13; VI 5.
58 V 5, B.
59 V 7, 8 and VI 6.
 1980] TWO TROJAN
women are in statuesque poses, Aphrodite dou-
bled, and their pillar-like attitudes contrast with
the swift movement of Aeneas, but the preference
was for compositions of centrifugal movement
which emphasized the confusion and urgency of
flight.
A number of schemata include warriors. On
two, hoplites and archers are both depicted (IV 8;
VI 6), but one warrior is more common.60 Some-
times he is a hoplite, but the Scythian archer is
more frequent, distinguished by his gaily patterned
clothing, interestingly shaped bonnet and gorytos.
The archer is sometimes shown with the two
women, but more often with the wife-figure only.
In VI i (pl. 6, fig. 14) he leads the party, although
he is more often behind the central group, joining
in their flight, or adopting the passive role of on-
looker. The archer was probably conceived of
originally as a companion and helper of Aeneas,
but he may succumb to the pressures of centrifugal
composition and perversely run off in the opposite
direction looking back. British Museum B 173 (IV
I ) is an example of such centrifugal composition,
emphasized by the chi formation of spears and
scepter."'
Various precise identifications have been offered
for the archer: a son, in the absence of a child; a
second son; Antenor, demoted and rejuvenated.
It would however be unthinkable at this date for a
prominent Trojan to be depicted in such an out-
landish way. Moreover, such identifications ignore
the iconographical history of the motif.62 Scythian
archers were very common in black figure in the
last quarter of the sixth century B.C. in both myth-
ological and non-mythological scenes. They were a
component of the contemporary Attic army, but
when the archer appears in mythical scenes he may
not be there merely because he was a common
sight in the streets of Athens, but as an Asian, a
member of the Trojan gens to add local color.
Once the typology of the two themes has been
reviewed, the depictions on the San Simeon neck
amphora (pl. i, figs. i and 2) naturally fall into
place.
60I I; IV 5, 12, 14. All have one hoplite. On IV 14 there
are two.
61 Also IV 9, Io. On IV ii the archer looks very barbaric
with thick lips and snub nose.
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THEMES 33
Ajax carries the body of Achilles to the left in
the manner that became general after Exekias. The
rendering is not distinguished, but it finds many
parallels. Peleus receives the body of his son as he
does on eight other vases (E 1-6, F 2 and 3). On
those Thetis is also present; her place on the San
Simeon vase is taken by a hoplite accompanied by
an archer, who balance Peleus compositionally.
Such a combination is found elsewhere as well
(D I, F 2). Munich 1519 (J 3) in which an archer
leads the group and an old man trots behind is
actually more anomalous. The painter of the San
Simeon vase has, of course, a good reason for put-
ting special emphasis on the relationship between
a warrior and his father, for it is precisely that rela-
tionship that occupies the center of the stage on the
other side of the amphora.
Thus we may assume that the old man is meant
to be Peleus. If we wished to put names to the
warriors, we could call the hoplite Odysseus and
the archer Teucer, but their rendering and their
iconographical significance are so generic that this
hardly seems convincing.
Aeneas carries Anchises in the usual manner (pl.
I, fig. 2). The woman who precedes him, her arms
flailing in a windmill-like gesture is the conven-
tional wife type, the woman most often shown ac-
companying the hero and his father. The single
hoplite who follows also appears on other vases
(I I, IV 5 and 12). Even the dog is present in two
other renderings (I 3 and V 2). As in the scene of
Ajax carrying the body of Achilles on the other
side all the,elements in the composition have icono-
graphical parallels, but out of these conventional
bits a unique image has been composed.
INTERACTIONS BETWEEN THE TWO THEMES
The central point of contact between the two
themes is the primary motif, a man carrying an-
other man. In both types the addition of subsidiary
figures usually stresses the idea of movement in
one direction. Occasionally, though, the additional
figures are used to centralize the composition. In
representations of Aeneas and Anchises the fre-
quent presence of two women, one on either side
62 See M.F. Vos, Scythian Archers in Archaic Attic Vase-
Painting (Groningen I963) for a full discussion of the role of
archers. Vos argues that the archer does not even have a generic
function in mythical scenes.
 34 WOODFORD AND LOUDON [AJA 84
of the focal group, in itself encouraged centraliza-
tion.63 In scenes of Ajax with the body of Achilles
this effect is usually achieved through balancing
Thetis with the figure of an archer or another
woman (in active compositions analogous to the
"wife doubled," pl. 5, fig. io and pl. 6, fig. 16) or
with Peleus (in quiet compositions analogous to
"Aphrodite doubled," pl. 4, fig. 7 and V 8). The oc-
casional preference for decorative centralization
rather than narrative specificity is a compositional
consideration common to both themes which has
nothing to do with the interaction between them."4
After about 530 B.C. there is a preferred direc-
tion of movement for each theme. Aeneas moves to
the right, Ajax to the left. Ajax with the body of
Achilles has an earlier tradition of moving right
and sometimes even in later representations move-
ment to the right seems wholly independent of the
Aeneas iconography.65 Similarly the occasional
representations of Aeneas moving to the left ap-
pear to be within the standard Aeneas iconography
and uncontaminated by the Ajax theme (pl. 6, fig.
15)-66 We have discussed the possible significance
of movement to the right or left in its own right
in Appendix II.
Although the representation of carrier and car-
ried is sufficient to suggest either story, both themes
are usually enlarged into a three-figure composi-
tion with a running woman preceding the burden-
bearing warrior (pl. 3, fig. 6 and pl. 5, fig. 12).
The three-figure group is common to both
themes but it seems to have been invented for the
Aeneas theme and taken over by Ajax. The mech-
anism becomes clear if we study the portrayal of
63 Centralization can be achieved either by making the fram-
ing figures rush centrifugally out from the central group, as in
the "wife doubled" type, or by framing the central scene with
lateral figures who quietly face inwards as in the "Aphrodite
doubled" type and the more popular type of Peleus and Thetis
(E 1-4, 9). Centralization occurs in: D 3, 4; E 1-4, 9; F I; G 4;
H I, 2; J I, 8 and IV 9-II; V 7-13.
64Centralized compositions in the Aeneas theme usually
show a neglect or ignorance of the story, but centralized com-
positions in the Ajax theme which involve balancing the figures
of Peleus and Thetis enhance rather than compromise the
narrative.
65 Rightward movement that is visually independent of the
Aeneas theme appears in C 6; D 9; G 7, 9; and, of course, in
Group A.
66 Aeneas moves to the left in III 8; IV 12; V 5, 6.
67 This is what Exekias presents (C I, pl. 3, fig. 4): Thetis
receives the body of her son approaching Ajax with an
Eileithyia-like gesture. E 9 is similar, except that Thetis has her
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the women in the two subjects. In the treatment
of the women there is much interaction between
the two themes. The Ajax theme seems the bor-
rower. In the earlier versions, Thetis receives the
body of her son, as one would expect (pl. 3, fig.
4),67 but after representations of Aeneas and
Anchises have gained popularity, the "running
wife" seems to have been commandeered, now
serving as Thetis leading Ajax off the field of bat-
tle (pl. 3, fig. 6).68 Again, the quietly standing
Aphrodite looking after the departing Aeneas ap-
pears as the quietly standing Thetis watching over
the departing Ajax in scenes where she stands to
the right and Peleus receives the body of Achilles
to the left (pl. 4, fig. 7).
The presence of two not readily identified
women in scenes of Ajax with the body of Achilles
may well be related to the two women who have
a rightful place in scenes of Aeneas with Anchises.
In some instances the relationship is very strong,
as in the lekythos drawn by Tischbein (H 3) (ill.
i) and the Dublin neck amphora (H 5) (pl. 5,
fig. Io).
The eidolon can easily look like a child, espe-
cially when shown running along the ground as in
H 5 (pl. 5, fig. io) and J 4 (pl. 5, fig. ii), and can
easily lead to a contamination, but it does not nec-
essarily do so: G 8 (pl. 4, fig. 9) and F 6. It is
perhaps significant that the central groups in H 5
(pl. 5, fig. io) and J 4 (pl. 5, fig. i i) are rightward-
moving and that on these vases the women on the
far right (particularly in their relationship to the
following eidolon/child) are closer to the Aeneas
arms raised above her head (in a gesture of mourning or sur-
prise). H I shows the same type (only with another woman
at the far right). D 9 is the same type, but reversed from left
to right. D 7, although close to Exekias in time and typology,
is anomalous. The female figure stands to the right of Ajax
with her hand raised in a gesture of mourning(?). She ob-
viously cannot be receiving the body, though she resembles the
type of Thetis who is. The fact that the group of Ajax carrying
the body of Achilles has already passed her moving to the left
may suggest that she is not Thetis at all, but rather Briseis or
some other stricken female. The vase is so early that the type
is not yet consolidated. J 8 resembles the Aphrodite type.
68 By far the most popular type for Thetis is the one that
shows her running ahead of Ajax, looking back (supra n. 21).
It is this figure who appears regularly in the later works,
particularly in the circle of the Red-Line Painter. One must
interpret this figure as Thetis leading Ajax off the field of
battle, but undeniably she is very like Aeneas' wife (only
reversed).
 1980] TWO TROJAN
- -_-c~--- ~-- ---
I-
;I ~,
C~ ~ ::1 ;5??:
2? tlttti~l~i
b j
iA "
" but these were seldom followed closely. Even when
:E
~??,
sa;"
ILL. I. Ex-Hamilton collection lekythos (Tischbein IV,
53) (H 3)
wife type than anything normally found in the tra-
dition of Ajax carrying the body of Achilles.
Influence from the Ajax to the Aeneas theme is
harder to detect; it may have stimulated the occa-
sional reversal of direction of movement (which
leads to confusion on V 5) and may perhaps ac-
count for the introduction of a Peleus-type figure
in VI 5, though he is only a stock type and may
require no further explanation.
We conclude that the developed Aeneas type
was more stable and less liable to contamination
than the Ajax type. While even occasional reversals
of direction in portrayals of the Aeneas theme are
not necessarily dependent on influence from the
Ajax type, the Ajax theme can be shown to have
borrowed the type of the running wife and the
consequent three-figure group.
Perhaps the fact that two types were available for
the portrayal of Ajax with the body of Achilles,
the early Kleitias type with rightward-moving
Ajax carrying the stripped Achilles with patheti-
cally dangling hair (pl. 3, fig- 3) and the later Exe-
kias-inspired leftward-moving type carrying an
armed and helmeted body (pl. 3, fig-. 4) imparted
to the theme the sort of flexibility that in less care-
ful hands easily led to confusion.
Vase painters, especially in the larger work-
shops, obviously worked with certain formulas."6
69 The three-figure group of Thetis running left summoning
Ajax with the body of Achilles may be considered such a for-
mula as well as the essential group of just Ajax with the body
alone. The three-figure group preserves its formulaic character
even when other figures are added or the leading figure is
transformed into an archer (as in D 4, G I, 2, 4; and J 3).
J. Moret, L'llioupersis dans la Ciramique Italiote (Geneva
1975), impressively applies the study of "Formules pre6tablies"
to Trojan scenes on vases of the fourth century B.C.
70 The development of the theme of Ajax and Achilles play-
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THEMES 35
They could and did freely vary the details and an-
cillary personages, but there was no need for them
profoundly to rethink a theme each time they
painted it. Like oral poets they could always feel
that the formula was comfortingly close to hand.
Great artists naturally produced great innovations,
Exekias seems to stand behind a wholly new ico-
nography, as in the leftward-moving Ajax group
or the pictorial representations of Aeneas carrying
Anchises,70 he is not followed in detail and the
conventional type that emerges is different from
his example. It seems that the great workshop or-
ganizers were more influential than the great
innovators.
It is easy to see how representations of Ajax car-
rying the body of Achilles and Aeneas carrying
Anchises could become contaminated and surpris-
ing, therefore, that the two were not more fre-
quently confused, especially in workshops like that
of the Red-Line Painter, which produced numer-
ous examples of both types. Probably the habitual
movement of one theme in one direction and the
other in the other helped, but it cannot be the
whole answer. The individuality of each and every
representation-however conventional its elements
-shows that there was no hard and fast rule on
which the vase painters could rely absolutely.
However careless some paintings may look, we
must recognize that most painters kept their minds
on their work most of the time, for confusions and
contaminations are remarkably scarce, and when
they do occur they are, surprisingly, often on vases
that are rather careful in execution.
Most of the vase painters were probably not con-
sciously aware of the subtler ties that bound the
two themes together. Both dealt with family rela-
tionships: mother and son-Thetis involved with
the rescue of her son's body, Aphrodite protecting
her son's flight; father and son-Peleus receiving
the remains of his dead son, Anchises saved by the
ing a game is similar. Exekias' masterly invention launches the
theme artistically, but it is never exactly followed. Susan
Woodford has found no other example where the two heroes
sit alone but only one is helmeted. In later versions either both
heroes are helmeted or both are bareheaded. What comes to be
the most popular type introduces Athena between the two
heroes. The development here seems analogous to what hap-
pens to Exekias' Thetis in representations of Ajax carrying the
body of Achilles (supra nn. 67-68).
 36 WOODFORD AND LOUDON [AJA 84

energy and piety of his live one. In both families ment for Peleus and Thetis; for Aeneas and An-
the mothers are ageless goddesses and the fathers chises, salvation and a happy ending.
are pathetic old men. Compassion is a strong ele- I AKENSIDE ROAD

ment in both-Ajax rescuing his friend's body, LONDON NW 3 5BS

Aeneas saving his father. In both themes the inter- 24 ALBERT MANSIONS
action of family life and war is seen, one on the ALBERT BRIDGE ROAD

Greek side, one on the Trojan.71 The main differ- LONDON SW II

ence is a difference in tone: tragedy and bereave- ENGLAND

71 The outcome is the opposite of what might be expected in Trojan side, emerges triumphant, while Achilles, on the vic-
both instances, for both are atypical. Aeneas, on the losing torious Greek side, dies before the end of the war.

APPENDIX I

? illustrated in this article

Part I-Ajax carrying the body of Achilles

A. Alone-moving right
?I. Florence 4209 volute krater Development pl. 11.2 ABV 76.1
?2. Florence 4209 volute krater Arias and Hirmer pl. 46 ABV 76.1
3. Vatican 317 cup interior Development pl. 22.i ABV 169.4
4. Florence 3893 cup interior JHS 51 (I93I) 285-30 ABV 64.26
5. Oxford 512 lekythos ABL pl. 18.3 Paralipomena
212

B. Alone-moving left
i. Munich 1470 (J 1295) neck amphora CVA 7 pl. 352 (1566) ABV 144.6
2. Munich 1470 (J 1295) neck amphora CVA 7 pl. 351 (1565) ABV i44.6
3. ex Hauser neck amphora, fr. Jdl i i (1896) 179, 6
4. Paris, Cab. Med. 262 olpe CVA 2 pls. 62 (448) 4; 63 (449) 2
5. Louvre F 323 olpe Pottier II, pl. 85
?6. New York 96.18.63 hydria Paralipomena
145
7. San Simeon 5516 neck amphora
(SSW 9848)
C. With Thetis

?i. Berlin F 1718 neck amphora Technau, pl. 3a ABV 144.5

?2. British Museum B 279 neck amphora CVA 4 pl. 69 (214) 2a ABV 60oi.5
3. Brussels R 314 neck amphora CVA pl. o10 (23) 2b ABV 6oi.6
4. Tarquinia neck amphora NSc 1930, pl. 6 ABV 590.3
5. Ferrara 172 oinochoe CVA 2 pl. ii (2136) 3, 4
6. Boston 99-530 column krater Etruscan
D. With Thetis, warrior or warriors (men other than Peleus)
I. New York 56.171.20 neck amphora Gerhard 97.2 ABV 270.53
2. Brussels R 313 neck amphora CVA i pl. 9 (22) 2b ABV 590.8
3. New York 26.10.20 neck amphora Paralipomena
152.2
4. Louvre F 201 neck amphora CVA 4 pl. 39 (205) 5 ABV 274.120
5. Munich 1884 (J 762) lekythos Furtwdingler, Festschr. 427.20 ABL 54
6. Louvre F 228 neck amphora CVA 4 pl. 43 (209) 6 ABV 269.46

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 1980] TWO TROJAN THEMES 37
7. Melbourne 1729.4 amphora Trendall, Felton pl. 5
8. British Museum B 172 amphora CVA 3 pl. 45 (165) 4b
9. Louvre F 305 column krater CVA 2 pl. 3 (75) 8
io. Louvre fr. C 10585 neck amphora, fr. ABV 271.69
Ii. Taranto lekythos CVA 2 pl. 13 (879) I
E. With Thetis and Peleus

?i. Adolphseck 4 neck amphora CVA i pl. 6 (484) 2 Paralipomena

123.12 ter
2. Toulouse 26.097 (336) neck amphora Paralipomena
153
3. Vatican 441 olpe Albizzati pl. 60
4. Syracuse 21926 neck amphora CVA i pl. 5 (810) 3
5. Villa Giulia 47934 neck amphora MonAnt 42 (i955) 562, 13Ib
6. Munich 1537 (J 317) neck amphora CVA 8 pls. 403 (1821) 3;
405 (1823) 2
7. Syracuse 24509 bis neck amphora CVA i pl. 6 (811) I
8. Tarquinia RC 5652 neck amphora CVA 2 pl. 41 (1190) I
9. Leiden PC 51 neck amphora CVA I pl. 28 (122) I
F. With Thetis, Peleus and warriors

I. Altenburg 203 olpe CVA i pls. 33 (818);

34 (819) I, 2 ABV 367.95
2. Vatican 370 amphora Albizzati pl. 49 ABV 120.5
3. Athens 433 (CC 809) skyphos
G. With warriors only (no female figures or old men)
i. Brussels R 312 neck amphora CVA i pl. 9 (22) ia Paralipomena
157.9 bis
2. Wiirzburg 330 column krater Langlotz pl. 101
3. Lucerne market neck amphora Paralipomena
157-9 ter.
4. Sotheby 1968 neck amphora Sotheby 26 XI 68 no. 133
5. Orleans lekythos RA 2 (1918) 31, 12 ABV 378.262
6. Athens NM 429 (CC 939) lekythos ABV 379.281
7. Baden, Ros lekythos Bloesch AntK pls. 28, 29 ABV 378.261
?8. Munich 1712 (J 409) hydria FR text 3, fig. iio ABV 362.34
9. Munich S.L. 458 neck amphora CVA 7 359 (1573) i
io. San Simeon 5436 column krater ABV 592.9
(SSW 9876)
H. With Thetis (?) and another female figure
i. Vatican Gug. 42 amphora Beazley-Magi pl. 15
2. Altenburg 211 neck amphora CVA I 21 (806) i ABV 312.5
?3. ex Hamilton lekythos Tischbein IV, 53 ABV 508
4. Tarquinia RC 1646 neck amphora CVA 2 pl. 32 (1181) 2
?5. Dublin 1921.91 neck amphora Gerhard 215
J. Non-standard representations

I. Munich 1415 (J380) amphora CVA I pl.45 (I39) 2 ABV 145.14

2. Philadelphia MS 3442 amphora Development pl. 30 ABV 394.4
3. Munich 1519 (J 65~1) neck amphora
?4. Brussels, Abb6 Mignot neck amphora Cat. Abb6 Mignot, fig. 19
5. Paris, Cab. Med 333 cup exterior CVA 2 pl. 57 (443) I, 2 ABV 646.203

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 38 WOODFORD AND LOUDON [AJA 84
6. Boulogne 375 neck amphora ABV 149
?7. San Simeon 5437 neck amphora
(SSW 9815)
8. California market neck amphora Summa Galleries
Sept. 1979, no. 5

The following vases in F. Brommer, Vasenlisten zur griechischen Heldensage3 (Marburg 1973) are not
included in this appendix:
373-5
374. I and 2 (red figure)
374- 17
376. 4, 5, 6, 9, 11, 17, I8, 19
376. I and 2 (red figure)

Part II-Aeneas with Anchises

(s) denotes son

Group I. Early and non-standard representations

i. Reggio Calabria amphora fr. AJA 82 (1978) p. 18, fig. 2 Paralipomena

6i
2. Louvre FI22 (s) eye cup CVA Io pl. 99 (734) I ABV 231.6
3. Wiirzburg 218 (s) neck amphora Langlotz pl. 49 ABV 316.2
4. Vat. Astarita hydria R6mMitt 71 (1964) p. 60, pl. 4 Paralipomena
147.30
5. Montreal 933 Cb. I kalpis Gymnasium 67 (1960) pl. 14, 2
Group II. Alone
1. Syracuse 23512 neck amphora CVA I pl. 4 (809) 4 ABV 604.66
2. Athens Agora P 618o kalpis Gymnasium 67 (196o) pl. 15, I ABV 605.84
3. Louvre F 383 neck amphora Gymnasium 67 (1960) pl. 13, I ABV 60o.3
Group III. With one woman
i. Madrid o1093 neck amphora CVA i pl. 20 (38) 2a ABV 6oo.I u
2. Copenhagen, Nat. Mus. 3 neck amphora CVA 3 pl. 1o9 (III) 2a mentioned
ABV 371.150
3. Cab. Med. 261 olpe CVA 2 pl. 62 (448) 7; 63 (449) 5 ABV 451.14
4. Vat. G 27 neck amphora Beazley-Magi pl. io ABV 600.2
5. Villa Giulia 47505 neck amphora Gymnasium 67 (1960) pl. 13, 2 ABV 6o0.4
6. Leiden PC 49 (2s) neck amphora CVA I pl. 33 (127) I ABV 371.53
?7. Leiden PC 50 (s) neck amphora CVA I pl. 32 (126) I ABV 372.154
?8. N.Y. 56.171.26 neck amphora CVA 4 pl. 51 (779) 3 ABL 240.156
?9. Bareiss Coll. (s) neck amphora Gymnasium (1969) 76 pl. 2
Group IV. With one woman and warrior/s

i. Hamburg 1906 380 (s) amphora Gymnasium 67 (1960) pl. 8, I ABV 397.i
2.
3. Naples
Vat. G2481 (2s) neck
19 neck amphoraBeazley-Magi
amphora Gymnasium 67pl.
(1960) pl. 12, I ABV 397.4
6, 19
4. Hannover, Kestner Mus. 754 neck amphora Gymnasium 67 (1960) pl. 8, 3
5. Berlin F 1862 (s) neck amphora Gymnasium 67 (1960) pl. 8, 2 Paralipomena
141.1I1
6. Munich 1496 neck amphora CVA 8 pl. 406 (1824) 2
7. Lucerne market, 1960 neck amphora Gymnasium 67 (1960)
(A-B) pl. o10, 2 and 3

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 1980] TWO TROJAN THEMES 39
8. Louvre FIi8 oinochoe Gymnasium 67 (1960) pl. 16, I ABV 440.2
9. Compiegne 984 (s) neck amphora CVA I pl. 6 (104) 5 ABV 395.2
io. Heidelberg S. 184 (s) neck amphora CVA I pl. 35 (469) 4 ABV 394.5
ii1. London, B.M. 173 neck amphora CVA 3 pl. 45 (165) ia
12. Termini lekythos 0. Benndorf, Gr. und Sic.
Vasenb., pl. 51, 2
?13. Bareiss Coll. olpe Gymnasium 76 (1969) 76 pl. I
14. San Simeon, Hearst 5437 neck amphora
15. Dunedin 698 lekythos unpub.
Group V. With two women
i. Syracuse 19882 (s) lekythos BdA 1937-38, p. 268 pl. IC2 ABL 216.10
2. Wiirzburg 212 neck amphora Langlotz, pl. 57 ABV 371.150
3. Lucerne market 1960 neck amphora Gymnasium 67 (1960) pl. II, I
4. N.Y. 41.162.171 neck amphora CVA 4 pl. 28 (756)
5. Basle 1921.331 (A&B) neck amphora Gymnasium 67 (1960) pl. 7 ABV 319.9
6. Copenhagen NyCGI 2658 lekythos Poulsen, Vases grecs, ABL 200.21
figs. 22 and 23
7. Berlin F 1861 (s) neck amphora Gerhard, EKV pl. 25 ABV 371.149
8. Market (s) neck amphora Gerhard, AV pl. 231, I and 2
9. Munich 1546 (2s) neck amphora Gerhard, AV pl. 216 ABV 392.1o
io. Camarina, Villa Pace lekythos BdA 1937, 271 pl. 5
I1. Tiibingen 2451 neck amphora Gymnasium 67 (1960) pl. 13, 3
12. Louvre P 256 (s) neck amphora CVA 4 pl. 52 (218) 2 ABV 371.152
13. Boulogne 98 (s) neck amphora Mus&e 2 (1905) fig. 22 ABV 371.151
14. Orvieto kalpis unpub.
15. Villa Giulia 911 amphora CVA 3, 13 (50) I
Group VI. With two women and warrior/s
?i. Tarquinia RC 976 (s) neck amphora CVA I pl. 13 (1145) 4 ABV 269.45
2. Cambridge Fitz. 8/17 amphora CVA I pl. 14 (252) 2a
3. Salerno col. krater Gymnasium 67 (196o) pl. 14, I
4. Munich 1775 oinochoe Gerhard, AV pl. 231, 3 and 4 ABV 431.I u
5. London, BM. B28o neck amphora CVA 4 pl. 69 (214) 3a ABV 589.1 u
6. Munich 1717 (s) hydria Gymnasium 67 (1960) pl. 15, 2 ABV 362.36
The following black-figure vases in F. Brommer, Vasenlisten zur griechischen Heldensage3 (Marburg
1973) are not included in this appendix:
p. 387, I8 and 34; P- 388, 40, 55, 58, 60.
On p. 387, 12 and 14 are the same vase.

APPENDIX II

The Significance of Movement to the Right or Left

After about 530 B.C. one of the most significant
differences between the two themes is the direction
in which the protagonist moves.
The purpose of this appendix is to explore
whether the direction of movement is significant in
itself (rightward for a cheerful outcome, leftward
for a disastrous one), or whether the choice of di-
72 Beazley-Magi (supra n. 9) 44.
rection was dictated primarily by artistic or icono-
graphical considerations.
Both Beazley and Schauenburg appear to attach
independent significance to the direction of move-
ment. Beazley comments that in images of Ajax
carrying the body of Achilles the movement is
usually to the left "lasciando il campo,"72 while

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 40 WOODFORD AND LOUDON [AJA 84
Schauenburg suggests that Aeneas moves right be-
cause in archaic representations the victor usually
moves to the right, and Aeneas' escape is the first
step in his "victory," or at least his triumph over
circumstances.73 P. de la Coste-Messelikre has de-
fined the "principe de dexteralit6" as follows: nor-
mally in archaic compositions when two figures
confront each other, the one on the left (facing or
moving right) is deemed superior, greater in dig-
nity, or strength, or happiness; in general, orienta-
tion to the right is better ("vaut mieux") than the
reverse.7" Usually this appears to be so.'"
But does the predominance of heroes moving
triumphantly to the right prove that rightward
movement has a positive significance of its own?
We believe it does not. Although numerous exam-
ples can be cited of victors moving to the right,
very often their victims also move to the right--
fleeing. In fact, right seems to be the usual direc-
tion for movement in black figure vases. Contin-
uous friezes like the marriage procession of Peleus
and Thetis on the Frangois vase and on the lebes
by Sophilos in the British Museum move to the
right. More single figures and groups face or move
to the right than the left. Right-handed figures can
be portrayed attacking more vigorously from left
to right, and this may be why so many victors are
shown attacking from the left (as in most exam-
ples of Theseus and the Minotaur, Heracles and
the lion, gods and giants)."7
If right was simply the usual direction of move-
ment there is no need to explain why the earliest
examples of Ajax carrying the body of Achilles
(and exceptional later examples) show Ajax mov-
73 "Aeneas und Rom," Gymnasium 67 (1960) 182.
74 "Nouvelles remarques sur les frises Siphniennes," BCH
68/69 (1944/1945) 20-21.
75 Cf. K. Rhomaios, AntDenk 4 (Berlin 1931) 104.
76 In armed conflicts the warrior attacking to the left would
most probably have his action at least partially obscured by his
shield. This may explain the relative paucity of victorious left-
ward-fighting warriors before the invention of the "Harmodios
blow," see B.B. Shefton, "Some Iconographic Remarks on the
Tyrannicides," AJA 64 (196o) 173-79, esp. 175-76.
7 See Rhomaios (supra n. 75) 104, n. 6 and D. von Both-
mer, Amazons in Greek Art (Oxford 1957) 3.
78 Amazons, like Ajax, are sometimes shown carrying their
comrades out of battle. The examples are not numerous and
it is likely that the types are influenced by the more popular
Ajax with the body of Achilles; see von Bothmer (supra n. 77)
40. The earlier examples show Amazons carrying their dead
to the right (Bothmer V 59-60 bis, pp. 95-96), the later ones to
the left (Bothmer III 28 [p. 36, fig. XXXII 2] and V 61-66
[p. 96]). The latest extant rightward-moving Amazon is con-
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ing to the right, nor why Aeneas carrying his aged
father moves to the right.
Some explanation, however, is needed then for
the reversal of the direction in the Ajax theme, if
it is not to be attributed to the "sinister" outcome
of Achilles' last combat. This is easy to find on the
analogy of the most striking exception to the "prin-
cipe de dexteralit'": the leftward-striding images
of Athena Promachos on Panathenaic amphoras.
It seems agreed that the shield of Athena and its
blazon were considered so important that the
image was arranged so as to show them to greatest
advantage." We believe that a similar desire
brought a similar result in the case of Ajax with
the body of Achilles, and that once artists consid-
ered it worthwhile to show the shield of Ajax they
adjusted the direction of movement of the group
accordingly.
It is our conclusion, therefore, that the creation
of a new iconography for the Ajax theme, armed
warrior carrying armed warrior, brought with it
the creation of movement in a new direction. In
such a discussion, however, one can never exclude
what the Freudians call "overdetermination," and
it is likely that even if the desire to show the shield
of Ajax was the primary determinant in turning
the group to the left, some-perhaps unconscious-
satisfaction with the congruence of the leftward
movement and the sinister outcome, or even just
with the handy rule of thumb which helped to dis-
tinguish this theme from the increasingly popular
Aeneas carrying Anchises, aided in perpetuating
the new direction.78
temporary with the earliest leftward-moving example. The
Amazons usually carry shields and wear helmets regardless of
which direction they are moving in. The rightward-moving
Amazons most resemble G 9, in which Ajax carries a shield
and Achilles is helmeted, both atypical features in representa-
tions of Ajax moving to the right. Perhaps the rightward-
moving Amazons carrying their dead are substantially independ-
ent of the rather slight tradition of Ajax carrying the body of
Achilles to the right. Only British Museum B 323 (Bothmer
IV 204, p. 89, fig. LVIII 4), showing Achilles carrying the body
of Penthesilea, whose hair hangs pathetically, recalls the char-
acteristic rightward-moving type of Ajax with Achilles. The
leftward moving Amazons, by contrast (Bothmer V 61-66, pp.
96-97) look very much as if they were typologically influenced
by representations of Ajax with the body of Achilles (in 61 and
62 there is even a preceding figure moving left, looking very
much like the usual Thetis in Ajax representations). Bothmer
III 28 p. 36 seems essentially independent of the Ajax type
moving left.
 (r i?-: iw
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FIc. I. San Simeon 5437 (SSW 9815) neck-amphora (0 7). FIG. 2. San Simeon 5437 (SSW 9815) neck-
(Courtesy Professor D.A. Amyx) (Courtesy Professor D.A. Am

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 WOODFORD & LOUDON PLATE 3

-?r

'II
a

?~d~
~)

~T*-g*,

'il? tl

\\
.,Hlii
?- t-~
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r ''''''''''''''''''''''''''''''''''''''''

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E 711-IC ~ZF
~it~CQ'b.b!b~se ::1':::

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FIG. 3. Florence 4209 (Francois vase) FIG. 4. Berlin 1718 neck-amphora (C I).
volute-krater handle (A I and 2). (Courtesy Staatliche Museen
(Courtesy Museo Archeologico, Florence) zu Berlin, Antikensammlung)

I~ IlrJI` -~z~

FIG. 5. New York 96.18.63 hydria (B 6). l~p ;g;i

(Courtesy Metropolitan Museum of Art, New York)
ab L
FIG. 6. British Museum B 279 neck-amphora (C 2).
(Courtesy the Trustees of the British Museum)

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PLATE 4 WOODFORD & LOUDON

FIG. 7. Schloss Fasanerie 4 FIc. 8. Schloss Fasanerie 4

(Adolphseck) neck-amphora (E I) (Adolphseck) neck-amphora

FIG. 9.
Munich 1712
hydria (G 8).
(From FR [text]
volume 3, p. 228,
fig. IIo)

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 WOODFORD & LOUDON PLATE 5

FIc. io. Dublin 1921.91 neck-amphora (H 5).

(Courtesy National Museum of Ireland)

FIG. 12. Leiden PC 50 neck-amphora (III 7).

(Courtesy Rijksmuseum, Leiden)

FIG. I I. Brussels,
Collection Abb6 Mignot neck-amphora (J 4).
(Courtesy l'Institut Sup6rieur
d'Archdologie et d'Histoire de
l'Universit6 Catholique de Louvain,
neg. no. 9.12. mi 9 B)

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PLATE 6 WOODFORD & LOUDON

FIc. 13. Bareiss Collection neck-amphora (III 9). FIc. 15. New York 56.171.26 neck-amphora (III 8).
(Courtesy Walter Bareiss) (Courtesy Metropolitan Museum of Art, New York)

FIG. 14. Tarquinia RC 976 neck-amphora (VI I).

(Courtesy Dr. Laura Fabbrini)

FIG. I6. Boulogne 98 neck-amphora (V 13)-

(Courtesy Musde Municipal, Boulogne-sur-mer)

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