![]() The Darius Painter is named for a large vase in the National Archaeological Museum, Naples. ![]() Despite the black ironies of this family history, the vase's complex scene conveyed a positive message about Dionysos as a god who would protect his worshippers even after death, making it a perfect funerary gift. Autonoe's son, the hunter Aktaion, was transformed into a stag and eaten by his own hounds (he is shown with antlers on the vase). Under Dionysos' ecstatic spell, Agave ripped apart her son King Pentheus. The infant Dionysos was saved by his father and, when he was grown, returned to Thebes to take vengeance. To prove her truthfulness, Semele begged Zeus to show himself in his true form when he did, she was consumed by his lightning. When Semele, princess of Thebes, became pregnant by Zeus, king of the gods, her sisters Agave and Autonoe refused to believe the child's paternity. On the right are Dionysos' mortal relatives Agave, Pentheus, and Aktaion, victims of the god's vengeance for the mistreatment of his mother Semele. Dionysos is accompanied by a tipsy retinue of satyrs and female followers called maenads (on the left, named Oinops, Persis, and Acheta). Hermes, messenger god and guide of the dead, leans on a column. Hades' wife Persephone stands near him in their marble palace. On this huge vase, Dionysos, god of wine and drama, solemnly shakes hands with Hades, god of the Underworld. Saunders, David, et al., Underworld: Imagining the Afterlife in Ancient South Italian Vase Painting, Los Angeles, J. Osborne, Death in the Greek World: From Homer to the Classical Age, Norman, Oklahoma, University of Oklahoma Press, 2012, pp. and Andrew Erskine, eds., The Gods of Ancient Greece: Identities and Transformations, Edinburgh, Edinburgh University Press, 2010, pp. Reich, Paula, Toledo Museum of Art: Map and Guide, London, Scala, 2009, p. Toledo Museum of Art, Toledo Museum of Art Masterworks, Toledo, 2009, p. 4 (det., col.).Ĭarpenter, Thomas H., "Prolegomenon to the Study of Apulian Red-Figure Pottery," American Journal of Archaeology, vol. Grimm, Günter, Heroen, Götter, Scharlatane: Heilserwartungen and Heilsbringer der Antike, Mainz, Philipp von Zabern, 2008, p. Leventi, Iphigeneia, "The Mondragone Relief revisited: Eleusinian cult iconography in Campania", Hesperia, vol. (col.).ĭorr, Erin, "Fragments of a lost culture," Perspectives,, vol. ![]() ![]() Reich, Paula, Toledo Museum of Art: map and guide, London, Scala, 2005, p. Johnston, Sarah Iles, ed., Religions of ancient world: a guide, Cambridge, MA, Belknap Press of Harvard University PRess, 2004, p. VI (col.).Īvagianou, Aphrodite A., Latreies sten "Periphereia" tou archaiou Hellenikou Kosmou, Athens, Ethniko Hidryma Ereunon, 2002, p. on cover (col.).īerkowitz, Roger M., "Selected acquisitions made by the Toledo Museum of Art, 1990-2001," Burlington, vol. Therese, "The cover," JAMA, The Journal of the American Medical Association, vol. Lexicon iconographicum mythologiae classicae, (LIMC), Zürich, 1981-1999, vol. McNiven, "Dionysos and the underworld in Toledo," Museum Helvecticum, Jagr. "Up front: Toledo acquires ancient Greek vase," Ceramics Monthly, vol. "La chronique des arts," Gazette des Beaux-Arts, vol. Moret, Jean-Marc, "Les Départs des Enfers dans L'Imagerie Apulienne," Revue Archéologique, II, 1993. ?, 2, The Darius Painter (ii), volute-krater no. and Alexander Camitoglou, Second Supplement to the Red-Figured Vases of Apulia, part III, London, University of London, Institue of Classical Studies, Bulletin Supplement 60, 1992, post script, p. On the reverse, a nude youth (probably representing the deceased in whose tomb this krater was placed) stands in a naiskos, or small tomb shrine, surrounded by youths and maidens with grave offerings.īibliography Trendall, A.C. Below the palace, a paniskos (playful imp of the forest) plays with Cerberus, the three-headed dog that guards the entrance of the Underworld. On the left: Persis (a maenad, follower of Dionysos), Oinops (a satyr), and an unnamed maenad on the right: Aktaion (with antlers-he was turned into a stag by the goddess Artemis), Pentheus (mistaken for a beast and ripped apart in a Dionysian ritual), Hermes (the messenger god who conducted souls to the Underworld), and Agave (Pentheus’ mother). ![]() The other figures, most of them labeled, are related to Dionysos. This is the only known ancient image of Dionysos in the Underworld, perhaps interceding on behalf of his worshippers. Label Text Hades, god of the Underworld, with his wife Persephone next to him, shakes hands with Dionysos, god of wine and rebirth. ![]()
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