The find complex associated with a group of ancient Apulian picture vases for a funeral ceremony (German: Apulische Bildervasen für eine Totenfeier) consists of 29 vases, plates, vase fragments, and fragment groups, which are showpieces of the Berlin Collection of Classical Antiquities in the Altes Museum. The vase ensemble comprises vases of varying sizes and values, consistently decorated with images in the rich style of Apulian vase painting. Additionally, there are vases of medium and low quality. All the pieces likely originate from a looted excavation in the latter half of the 20th century.
History and composition of the find
The artifacts' origins remain uncertain. The Berlin Collection of Classical Antiquities procured these items in 1984, facilitated by the antiquities dealer Christoph Leon, purportedly from the estate of a Basel family.Zur offiziellen Erwerbsgeschichte siehe Luca Giuliani: Tragik, Trauer und Trost. Bildervasen für eine apulische Totenfeier. Staatliche Museen zu Berlin - Preußischer Kulturbesitz, Berlin 1995, pp. 21–22 According to the art dealer, the vases were bought by an unknown traveler from Geneva in Naples in the late 19th century. However, subsequent investigations revealed that these vases were actually discovered in the latter half of the 20th century through illicit excavations in Apulia and entered the art market through the dealer Giacomo Medici in Geneva. In 1984, the museum did not acquire the complete find, as the entire ensemble was not available for purchase. This was rectified in 1991 when multiple plate fragments were acquired, allowing for the reconstruction of several plates and the discovery of clues for additional tableware within the complex.Giuliani: Tragik, Trauer und Trost. pp. 24
The clay vases were identified as Apulian based on stylistic analysis. Since these vases were seldom found outside Apulia, it is unlikely they originated in Naples or nearby areas. They all date back to around 340 BC and are linked to a specific vase maker from Taranto. About eight out of 20 of the vases display funeral themes like naiskoi on the front or back, suggesting they were used for funerary decoration.Giuliani: Tragik, Trauer und Trost, pp. 23 Most vases, except for a few without counterparts, can be paired with others, indicating they were likely arranged for a special occasion. This aligns with Apulian funeral ceremonies, where symmetrical grave items were common.Giuliani: Tragik, Trauer und Trost. pp. 24, 62–65
After restoration, the discovery includes seven sizable volute craters, two amphorae, two skyphoi, a hydria, a large plate, nine fish plates with pieces, four women's head plates with fragments, and several fragments, including the base of another volute crater and numerous bowls. Each of these items had a distinctive function in everyday life. However, some pieces from the discovery may be difficult or impossible to use for their intended purpose. The skyphoi, used for drinking mixed wine, had a capacity exceeding ten liters, rendering it impractical for ordinary use. Additionally, most other large vessels were unsuitable for use due to the lack of a seal between the base and body, with some being incomplete, leaving them incapable of holding liquid. These findings imply that the vessels were utilized in a sacred or funerary capacity.
Large high-quality vases with eye-catching motifs were not for functional use, but rather to create an impressive visual impact at burials. These preserved vases acted as showpieces at funeral ceremonies, but their purpose as simple ceramics, presumably used as grave goods, remains uncertain. Similarities with other grave discoveries indicate that the vases' place of origin was a chamber tomb, which emerged during the early 4th century B.C.
Individual pieces
Phrixos crater
The Phrixos crater,Inventarnummer 1984.41, Beschreibung bei Luca Giuliani: Bildervasen aus Apulien, pp. 6–10 und 31; Giuliani: Tragik, Trauer und Trost, pp. 26–31 a volute crater adorned with masked handles, stands as the third-largest individual piece, measuring 102 cm in height.Von Trendall stammen alle Zuweisungen. Attributed to the Darius Painter by Arthur Dale Trendall, it is regarded as one of the artist's finest creations.Luca Giuliani: Bildervasen aus Apulien, pp. 6 While no direct match has been found, it is assumed that the single vase foot may be a fragment of this particular counterpart.Inventarnummer 1984.48, Beschreibung bei Luca Giuliani: Bildervasen aus Apulien, pp. 31
On both sides of the two central winged creatures, one can see an imaginative tendril winding its way upward. The Darius painter portrays a vine with stems emerging from the flowers, which has no natural equivalent. Above this decoration lies a band of oak leaves forming a kind of garland and decorated with a painted chain of eggs. It is likely that the artist drew inspiration from a popular decoration used during celebrations in Apulia.
The primary illustration is separated into two levels: an upper divine level and a lower human level. All the main figures in the frieze are inscribed. In the center, there is the young Phrixos with his foot raised and garlanding a ram, which is typical for sacrificial animals. The painted altar below further validates the interpretation as a sacrificial scene. To the left of Phrixos, his stepmother Ino is standing, and to the right, his father, King Athamas, has a sacrificial knife drawn. However, Phrixos is the one to be sacrificed as a result of a false oracle from his stepmother, not the ram. Moving to the right, an elderly scholar informs Phrixos' sister Helle of her brother's imminent sacrifice, which is reflected in the young woman's horrified expression. The last figure on the page is a woman who is described with the evocative name Euphemia. Euphemia - the one with the good reputation - is not just a name, but also a description of the ritual silence of people taking part in a sacred act. In the upper frieze, an assembly of gods looks down on what is happening among the people. The second person from the left is Nephele, the biological mother of Phrixos and Helle, who moves excitedly, with fear and horror, and yet full of elegance. To her right is Hermes, who will apparently bring her the message of the imminent divine rescue of her two children.
Several specific details, such as the sacrificial bandages in the siblings' hair, Athamas' pointing at his wife, and the emotions displayed by Helle and Nephele, become recognizable only with the familiarity of the Greek legend of Phrixos and Helle. This leads to the assumption that the vase was created for a knowledgeable audience in Greek mythology.
The reverse side illustrates the previously mentioned temple-like structure associated with funerary scenes visible on many vases. A youthful, naked figure casually leans on a staff, holding a bowl in one hand and a wreath in the other. Three equally youthful individuals stand on each side of the tomb, adorned in festive attire rather than mourning. The portrait on the neck of the vase depicts the deceased once again, this time in an afterlife setting. He is depicted holding a bowl of wine, capturing the dripping wine from two hanging grapes above him.
Rhesos crater
The Rhesos crater is similar in many ways to the Phrixos crater. It stands as a volute crater, measuring 82 cm in height and featuring three scroll handles. Attributed to the Darius Painter, similar to the Phrixos crater, its main figures bear inscriptions. The mythological story of the Thracian king Rhesos depicted here is one of the oldest Greek legends and is recorded in Homer. The rendition of this story aligns with a tragedy focusing on the central figure, Rhesos, preserved within the works of Euripides. This tale, a part of Trojan mythology, revolves around the murder of Rhesos by Diomedes.Inventarnummer 1984.39, Beschreibung bei Luca Giuliani: Bildervasen aus Apulien, S. 10–13 und 31; Giuliani: Tragik, Trauer und Trost, pp. 31–33
Persephone crater
The Persephone crater is a volute crater with spiraled handles, measuring 86.5 cm in height. It is attributed to the Underworld Painter and is the counterpart of the Rhesos crater, although the style of drawing does not have the elegance and delicacy of its counterpart. The depiction of the story is a widely popular motif seen on Apulian vases, but this particular detailing is uncommon. It is the tale of the abduction of Persephone, the goddess of vegetation, by Hades, the ultimate god of the underworld. The lower row of paintings depicts abduction as its main theme. Hades rides to the underworld on his chariot with the desperate Persephone, who stretches out her arm pleading for help. Two other divine beings are in the scene. However, Persephone cannot rely on them for help. As the guide to the underworld for the dead, Hermes knows the best way to get there and leads his uncle Hades. Following the chariot is the mysterious goddess Hecate, holding a torch. The focal point of the upper frieze is a pack of panthers, ridden by a servant of Demeter, Persephone's mother, in pursuit. On the right-hand side is the mother of the kidnapped woman, raising an arm in sorrow and sending her servants after her. However, catching up with Persephone is impossible. The painter has created an effect by having the explanatory inscriptions and Hades with his female prey fleeing from left to right, while the pursuers move from right to left. This highlights the hopelessness of the chase.Inventarnummer 1984.40, Beschreibung bei Luca Giuliani: Bildervasen aus Apulien, pp. 13–15 und 31; Giuliani: Tragik, Trauer und Trost, pp. 33–37
Gigantomachy crater
The Gigantomachy crater is a volute crater equipped with mask handles and a separately crafted foot. It stands at a height of 113 cm, making it the largest surviving artifact in the find complex. The Underworld Painter is credited with its creation, and the vase depicts the battle of gods against giants in the Gigantomachy, a popular theme in Greek art.
The vase is notable for its unique composition of the depiction. In the central motif, Zeus, the god of thunder and lightning, is depicted riding into battle on a chariot led by Nike, the goddess of victory. He is shown hurling a thunderbolt at a defeated giant lying on the ground. To Zeus' left rides his brother, Poseidon, the god of the sea, on his winged horse, Pegasus. This mythologically appropriate motif is rarely used, given Pegasus is the child of Poseidon and Gorgo-Medusa. The remaining pairs of fighters are positioned in an iconographically suitable manner. Athena, wearing a helmet and armed with a shield and lance, is engaging in battle with an equally equipped giant. Dionysus, draped in a panther skin, is fighting a giant also clad in a panther skin. Heracles, donning a lion skin, is battling a giant attired in the same manner. The fighting couple to the right of Zeus is particularly original. Here the goddess of love Aphrodite is fighting a young giant. He gazes languishingly at the goddess, who is holding a palm frond as a sign of victory, and kneels before her. Eros seizes this moment and binds his hands behind his back. Love thus triumphs over violence.Inventarnummer 1984.44, Beschreibung bei Luca Giuliani: Bildervasen aus Apulien, S. 15–17 und 31; Giuliani: Tragik, Trauer und Trost, pp. 37–43
Another battle for love is depicted in the neck painting. Peleus battles the sea goddess Thetis, who was prophesied that her child would surpass his father in power. Peleus wins the battle, as indicated by the winged Eros flying to crown him as the victor. The victory earns him the love of Thetis, and their union produces Achilles, the most powerful Greek of the Trojan War. The battle is flanked by dangerous sea serpents.
Priamid crater