![]() The zone below shows a procession of chariots and foot soldiers. For optimal clarity, the dead man is shown on his side, and the checkered shroud that would normally cover the body has been raised and regularized into a long rectangle with two projections. On this magnificent krater, the main scene occupies the widest portion of the vase and shows the deceased laid upon a bier surrounded by members of his household and, at either side, mourners. It was only in the Archaic period that stone sculptures were used as funerary monuments. They were large vases, often decorated with funerary representations. ![]() The wounded warrior Telephos holds the baby Orestes hostage at an altar, with Agamemnon and Clytemnestra rushing to save their son.Monumental grave markers were first introduced during the Geometric period. Two Furies flank her, while Jason and a distraught nurse and teacher approach the bodies on the altar below.Ī different tragedy unfolds on the other side of the vase, from Euripides’s Telephos (438 BC). Seeking revenge against her husband Jason, leader of the Argonauts, Medea has just slain their two children. Framed in the center by a halo (recalling her sun god grandfather Helios), the sorceress Medea flies off in a dragon-drawn chariot. The remarkable scene on the front of this vase relates to the famous tragedy Medea, written by Euripides and first produced in Athens in 431 BC. Near the Policoro Painter (South Italian, Lucanian, active c. Red-Figure Calyx-Krater (Mixing Vessel): Medea in Chariot (A) Telephos with Baby Orestes (B), c.
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