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Outer Ring: LINE-DANCING

“When the warriors came to their ambush point, a stream where flocks were watered, they hid together among bronze hills and stationed two lookouts at hand. There the two hid, awaiting the sight of the sheep and the …” —Continue Reading

Middle Ring: AMBUSH

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Gallery of Images

Attic Black-Figure Band Cup, ca. 560-550 BCE depicting a plowman behind a team of cattle.

Ancient Greek Red-Figure Pelike ca. 470 BCE depicting Thetis consoling Achilles over the death of Patroklos. To the side can be seen Thetis’ sister Nereids waiting to present Achilles with his new armor.

Detail of Side B from an Attic black-figure amphora, ca. 530 BCE painted in the manner of the Lysippides Painter depicting a young warrior arming with the assistance of a woman.

Clay tablet inscribed with Linear B script, from the Mycenaean palace of Nestor at Pylos, ca. 1450 BCE

Detail of the ancient Greek Black-Figure “Sophilos Dinos” (wine-bowl), ca. 580-570 BCE depicting guests attending the wedding of Thetis and Peleus, future parents of Achilles. Athena and Artemis are seen riding in the chariot, followed by Thetis’ grandfather, the fish-tailed sea-god Okeanos, his wife Tethys, and Eileithyia, goddess of childbirth. Hephaistos brings up the rear, seated side-saddle on a mule.

Attic Red-Figure Kantharos, c 450-400 BCE by the Eretria Painter depicting Achilles and the Nereid Kymothea.

Attic Black-Figure Neck Amphora by Swing Painter c. 540-530 BCE depicting the legendary “Judgement of Paris.”

Vail’s digitally edited version of an 1887 B&W drawing of an early black-figure painting of the Trojan War on a small Corinthian black-figure Aryballos. From Jahrbuchdeskaiserlich, page 431.

A watercolor rendering of drawing of the “Queen’s Megaron” by Emile Gilliéron the younger, ca. 1922-1926, based on Sir Arthur Evans papers relating to his excavations at Knossos in Crete.

The Lion Gate at Mycenae, Greece – portal to the Ancient Greek royal seat of Agamemnon, leader of the Greek forces in the Trojan War made famous in Homer’s Iliad and Odyssey.

Corinthian Column-Krater, known as the “Eurytios Krater” ca. 600 BCE depicting men preparing the hind legs of a sheep in preparation of a feast.

Illustration by Dugald Sutherland MacColl (British draftsman, 1859-1948) of a tondo from an Attic Black-Figure Kylix (ca. 550 BCE) discovered at Corneto. Published in Harrison, Jane Ellen and D.S. MacColl’s “Greek vase paintings; a selection of examples, with preface, introduction and descriptions.” London: T.F. Unwin, 1894. The image depicts maidens holding hands and dancing in a circle. In the center is depicted Herakles wrestling with Nereus, the Old Man of the Sea.

Getty open image attributed to the Inscription Painter; Chalcidian Black-figure neck amphora; Greek Chalcidian, ca. 540 BCE

Detail view of an Attic Black-Figure Kylix, ca. 510 BCE, depicting satyrs and maenads gathering grapes into baskets.

Attic Black-Figure Exaleiptron (tripod), ca. 570–560 BCE by the C Painter depicting the moment when Athena springs fully grown from the head of Zeus. Hephaistos, on the left, is identifiable by his double-edged axe. On the right, Poseidon is identifiable by his trident.

Attic Black-Figure Column Krater, ca. second half of 6th century BCE depicting Odysseus escaping Polyphemos the Cyclops by tying himself to the belly of a ram.

Lucanian Red-Figure Calyx-Krater, ca. 380 BCE by the Dolon Painter depicting Odysseus consulting Tiresias in Hades.

Attic Black-Figure Hydria, ca. 510-500 BCE depicting women filling jugs at the public water fountain.

Attic Black-figure Amphora ca. 530 BCE, Depicting horses trampling a warrior in battle. Source: Wikimedia Commons

Corinthian Painted Wooden Plate, ca. 540-530 BCE depicting a procession to an altar to sacrifice a lamb, accompanied by flute and lyre. The names of the Three Graces are inscribed on the plaque, which was found in a cave above the village of Pitsa, in Corinth, Greece.

Attic red-figure pelike, ca. 470 BCE depicting a shepherd riding on the back of a ram while playing the aulos, or double flute.

Minoan-era Terracotta Pithos, ca. 1800-1700 BCE depicting ocean wave patterns and fish caught in a net.

Attic Black-figure Amphora ca. 490-480 BCE by the Kleophrades Painter depicting the 4-horse chariot racing competition. Typically filled with olive oil, this type of trophy was awarded to chariot race winners at the Panathenaic Games in Athens.

Detail of an Attic Black-figure Hydria, ca. 575-550 BCE, depicting Thetis delivering the new armor to Achilles.

Detail from the ancient Greek Black-Figure “Sophilos Dinos” (wine-bowl), ca. 580-570 BCE depicting the arrival of guests to the wedding of Thetis and Peleus, the future parents of Achilles. The first chariot in the procession is carrying Zeus and Hera, and the second is carrying Poseidon and Amphitrite.

Attic Black-Figure Amphora ca. 530 BCE attributed to the painter Exekias, depicting the suicide of Telamonian Aias (Ajax) after Odysseus wins Achilles’ glorious armor in a competition with Aias.

Detail of the Mykonos Pith Amphora, ca. mid 7th century BCE, showing what is thought to be the earliest depiction of the Trojan Horse.

Detail View of an Apulian red-figure Volute Krater, ca. 320 BCE, attributed to the White Saccos Painter, depicting Hades and Persephone enthroned in the palace of the Underworld

Chalcidian Black-Figure Neck Amphora ca. 540 BCE by the Inscription Painter (Chalcidian) depicting Odysseus slaying Diomedes. Also, please note the tree in the background as an interesting artistic motif.

Nikosthenic Black-Figure Amphora, ca. 530 BCE depicting a king and his ambassadors.

Attic Red-Figure Amphora ca. 440 BCE depicting Athena facilitating the meeting between Odysseus and King Alkinoos’ daughter Nausicaa after Odysseus washes up naked onto the island of Skheria. Receiving aid from Athena, Odysseus has gathered a few branches in a pitiful attempt to hide his nakedness from the women.

Mycenaean rhyton in the shape of a bull’s head, ca. 1300–1200 BCE. Note the very straight horns, as described by Homer in Book 18, lines 573-588.

Attic Black-Figure Amphora, ca. 550 BC. by the Amasis Painter depicting the Recovery of Helen by Menelaus.

Attic Black-figure amphora ca. 570 BCE Depicting enemy warriors engaging in battle.

Attic Black-Figure Kylix, ca. 560 BCE by the C Painter depicting nereids dancing in a line.

Attic Black-Figure Hydria ca. 500 BCE attributed to the Leagros Group depicting Aias (Ajax) carrying the body of Achilles out of battle.

Detail from the Amphiaraos Krater ca. 570 BCE depicting horses and a woman beside a columned portico.

Detail of Attic Black-Figure Column Krater, ca. 525 BCE depicting a lion attacking a bull.

Attic Black-figure Amphora ca. 585 BCE by unidentified painter depicting two warriors in battle, possibly Achilles and Hektor, with the mother of each, Thetis and Hecuba in this case, to left and right of the warriors.

Detail of Attic Black-Figure Amphora ca. 530 and 520 BCE depicting a warrior mounting his chariot to depart for war.

Detail from an Attic Red-Figure Stamnos, ca. 480-470 BCE depicting Odysseus and the Sirens

Corinthian Black-Figure Hydria depicting Thetis and the Nereids Mourning Achilles’ Death. (c) RMN. Now in The Louvre

Attic Black-Figure Oinochoe by the Taleides Painter ca. 520 BCE, depicting Odysseus and Aias (Ajax) quarreling over Achilles’ armor.

Early Cycladic II era clay “frying-pan” ca. 2700-2500 BCE depicting the sun surrounded by ocean waves and fish.

Detail from an Attic Black-Figure Stamnos ca. 500 BCE, depicting revelers dancing behind a man playing a lyre.

Ancient Greek Black-Figure Dinos signed by Sophilos, ca. 6th century BCE, depicting viewers in platform-style seating watching horse races during the funeral games of Patroklos

Late Bronze Age Mycenaean Bronze dagger, bronze with inlaid silver and gold depicting warriors hunting lions, ca. 16th century BCE.

Marble bust of Homer, ca. 2nd – 1st century BCE Roman copy from a now-lost Greek original.

Apulian Red-Figured Volute-Krater ca. 410–400 BCE by the Sisyphus Painter depicting the arrival of a young warrior or hero. Alternatively, it could be a departure. It is considered to be possibly Theseus arriving at Athens and being recognized because of his sword by Aegeus. I would also submit its likelihood as either the arrival of Telemachus or Paris to the home of Menelaus and Helen. If you enlarge the image and note the eye contact between the beautiful woman and the handsome young man, you’ll likely agree that it’s Paris before he kidnaps Helen to Troy!

Detail view of an Attic Red-Figure Amphora ca. 440 BCE depicting Athena facilitating the meeting between Odysseus and King Alkinoos’ daughter Nausicaa after Odysseus washes up naked onto the island of Skheria. Receiving aid from Athena, Odysseus has gathered a few branches in a pitiful attempt to hide his nakedness from the women.

Attic red-figured kylix ca. 490 BCE by the Douris Painter, depicting the struggle of Peleus to subjugate the sea nymph Thetis prior to their marriage.

Nereus (The Old Man of the Sea), and Heracles depicted at the top of a black-figured lekythos, ca. 590-580 BCE by Istanbul Painter, now in the Louvre.

Detail from the Amphiaraos Krater ca. 570 BCE depicting women beside a columned porch waving goodbye to Amphiaraos.

Attic Black-figure Amphora ca. 500-480 BCE. source: Wikimedia commons

Attic Red-Figure Kylix (interior) ca. 480 BCE by the Briseis Painter depicting King Priam entering Achilles’ hut to ransom his dead son Hektor’s body.

Attic Black-Figure Amphora ca. 510 BCE, depicting Aias carrying the mortally wounded Achilles out of the battlefield.

Dueling warriors depicted on an Attic Black-figure Neck Amphora, ca. 550 BCE. source: Wikimedia commons

Attic red-figure cup by the Brygos Potter and the Brygos Painter, ca. 490 BCE, depicting Briseis, Achilles’ beloved war captive, serving Phoenix, Achilles’ lifelong mentor.

Black-Figure terracotta vessel (date and artist unknown) depicting an ancient greek ship similar to the type described by Homer in the Iliad and the Odyssey. At the bow of the ship, note the prominently displayed ‘apotropaic ophthalmos’ or eye, and the ‘long-beaked’ ramming nose painted as a wild boar.

Attic black-figure white-ground lekythos, ca. 480 BCE by the Athena Painter depicting Achilles hiding in order to ambush Polyxena as she comes to the public water fountain.

Attic black-figured volute-krater, ca. 540–510 BCE, signed by the Nikosthenes Potter, depicting Zeus separating Athena and Ares while Kyknos on the far right is fleeing from Herakles approaching on his chariot (not visible in this view).

Attic red-figure Kylix ca. 490-480 BCE by the Foundry Painter depicting Hephaistos giving Achilles’ new armor to Thetis.

White-Ground Lekythos ca. 490-480 BCE by the Athena Painter depicting Odysseus’ men turned into pigs by Circe.

Neck of a Proto-Attic Funerary Amphora ca. 650 BCE by the Polyphemus Painter depicting Odysseus and his men blinding Polyphemos the Cyclops.

Attic Black-Figure Neck Amphora, ca. 510 BCE, depicting a man playing a lyre for women.

Detail from the “Chigi Vase,” a ProtoCorinthian Olpe ca. 650-640 BC by the Chigi Painter depicting a youth playing an aulos.

Geometric Terracotta “Hirschfeld” Krater, ca. 750-735 BCE, Depicting a Funeral and Funeral Games.

Attic Black-Figure Olpe, ca. 540 BCE signed by the Amasis potter and attributed to the Amasis painter. Depicting the entry of Herakles to Olympos, this view shows (from left to right) Poseidon, Hermes, Athena, and Herakles. The inscription reads (translated) “Amasis made me.”

Attic Black-figure Amphora by the Antimenes Painter, ca. 510 BCE. Source: Wikimedia Commons

Detail View of Achilles on a Lucanian Red-Figure Bell-Krater, ca. 5th century BCE depicting the battle of Achilles and Penthesileia.

Known as the “Mask of Agamemnon,” this exquisite funerary mask is made of gold, ca. 16th century BCE. It was found in 1876 by Heinrich Schliemann in Tomb V at Mycenae, Greece. Currently on display in the National Archaeological Museum, Athens, Greece.

Vail’s colorized rendition of a B&W drawing of a lost Chalcidian Black-Figure Amphora from 540-530 BCE by the Inscriptions Painter depicting the epic death of Achilles. Note the arrow in Achilles’ ankle. Above Achilles stands Aias fighting off Paris with his bow still drawn.

Tondo of an Attic Red-Figure Kylix, ca. 500 BCE, depicting Achilles tending Patroklos’ arm, wounded by an arrow.

Attic Red-Figure Skyphos, ca. 470 – 460 BCE depicting two young men performing acrobatic stunts at a symposium.

Image of Achilles’ shield from The Iliad (translated by Pope), pg 171 of Vol. 5, published in 1720.

Achilles’ Shield Interactive Home Page Menu

Attic Red-figure Kylix by the Colmar Painter, ca. 510 BCE. Source: Wikimedia Commons

Apulian Red-Figure Amphora by the Painter of the Berlin Dancing Girl ca. 430-410 BCE depicting Achilles and Briseis.

Attic Black-Figure calyx krater depicting Greek warriors battling over a corpse, probably that of Patroklos. Painted in the manner of Exekias, ca. 530 BCE.

Chryses attempting to ransom his daughter Chryseis from Agamemnon. Side A of an Apulian red-figure volute-crater, ca. 360 BC350 BC,by the Painter of Athens 1714. Found in Taranto, now in the Louvre.

Attic White-ground Lekythos ca. 490 BCE by the Diosphos Painter depicting Achilles dragging Hektor’s body behind his chariot. Notice also the winged ‘spirit’ of Patroklos flying alongside Achilles.

Mycenaean Rhyton in the shape of a bull’s head, ca. 16th century BCE crafted of bronze, inlaid with semi-precious stones, and gilded.

Greek Black-Figure amphora, ca. 540–530 BCE depicting Hermes and Io (in the form of a cow).

Minoan-era Carved Stone Rhyton, ca. 1500-1450 BCE depicting a grain harvest festival.

Home Page
Foreword and Endorsements from the Field of Classical Studies
A Pre-War Prologue
- The Timeless Roots of The Trojan War
- A Mother’s Sad Request For Her Son
The Appearance of Achilles’ Shield
The Death of Achilles and Disappearance of His Shield
The Significance of Achilles’ Shield
Shield Characters and References
Achilles’ Blog Posts
About the Author and the Artist

THE SHIELD OF ACHILLES

Artistic Reconstruction and Original Translation From Homer's "Iliad" by Kathleen Vail

Home Page

Outer Ring: LINE-DANCING

Middle Ring: AMBUSH