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Lot Essay
PUBLISHED:
J. Dörig, Art antique, Collection privées de Suisse Romande, Geneva, 1975, no. 159; H. Metzger and D. van Berchem, Festschrift für K. Schefold, 1971, pp. 155, pls. 55 and 56,2.
For related vases, cf. J. D. Beazley, Paralipomena, Oxford, 1971, p. 132. The Painter of Tarquinia RC 3984 fits closely between the Painter of Berlin 1686, The Princeton Group, Louvre F42 and the Swing Painter. Also, cf. Sotheby's New York, The Nelson Bunker Hunt Collection, 19 June 1990, lot 2; and W. G. Moon, Greek Vase Painting in Midwestern Collections, Chicago, 1979, pp. 52-53, no. 31, although no longer thought to be by the Painter of Berlin 1686.
Dörig, loc.cit., alludes to the fine technique of the painter of this vase, in painting the rear horse in each scene in white so as to make the black horse in the foreground stand out dramatically in contrast.
The departure of hoplites to battle was a popular subject for Athenian vase-painters of the 6th Century B.C. In the 7th Century B.C., many Greek city-states formed volunteer armies, composed of adult male citizens who could afford to acquire the panoply of a hoplite - namely spear, helmet, cuirass, greaves and most importantly the large defensive shield. The name of hoplites derives from the Greek 'hoplon', the word for arms and more specifically when used in the singular, shield. It was an honour to serve as a hoplite since it conferred status and was an outward expression of citizenship and wealth, as well as affording the opportunity to gain glory. In the 6th Century B.C., the archon Solon divided the hoplites into four classes, receiving status and political responsibility in relation to their wealth. The second highest class was that of the 'hippeis', the cavalry, equivalent to Roman equestrians or mediaeval knights. These hippeis would be drawn from the aristocracy, being wealthy enough to arm themselves and to maintain a war horse.
Dörig speculates on the scenes here and whether these warriors are hippeis. The eagle, characterized by its size and large round eye would seem to confirm this for Metzger and van Berchem, since it expresses the devotion of the hippeis to Zeus and the presence of this divine bird would indicate that the horsemen here belong to that aristocratic class.
J. Dörig, Art antique, Collection privées de Suisse Romande, Geneva, 1975, no. 159; H. Metzger and D. van Berchem, Festschrift für K. Schefold, 1971, pp. 155, pls. 55 and 56,2.
For related vases, cf. J. D. Beazley, Paralipomena, Oxford, 1971, p. 132. The Painter of Tarquinia RC 3984 fits closely between the Painter of Berlin 1686, The Princeton Group, Louvre F42 and the Swing Painter. Also, cf. Sotheby's New York, The Nelson Bunker Hunt Collection, 19 June 1990, lot 2; and W. G. Moon, Greek Vase Painting in Midwestern Collections, Chicago, 1979, pp. 52-53, no. 31, although no longer thought to be by the Painter of Berlin 1686.
Dörig, loc.cit., alludes to the fine technique of the painter of this vase, in painting the rear horse in each scene in white so as to make the black horse in the foreground stand out dramatically in contrast.
The departure of hoplites to battle was a popular subject for Athenian vase-painters of the 6th Century B.C. In the 7th Century B.C., many Greek city-states formed volunteer armies, composed of adult male citizens who could afford to acquire the panoply of a hoplite - namely spear, helmet, cuirass, greaves and most importantly the large defensive shield. The name of hoplites derives from the Greek 'hoplon', the word for arms and more specifically when used in the singular, shield. It was an honour to serve as a hoplite since it conferred status and was an outward expression of citizenship and wealth, as well as affording the opportunity to gain glory. In the 6th Century B.C., the archon Solon divided the hoplites into four classes, receiving status and political responsibility in relation to their wealth. The second highest class was that of the 'hippeis', the cavalry, equivalent to Roman equestrians or mediaeval knights. These hippeis would be drawn from the aristocracy, being wealthy enough to arm themselves and to maintain a war horse.
Dörig speculates on the scenes here and whether these warriors are hippeis. The eagle, characterized by its size and large round eye would seem to confirm this for Metzger and van Berchem, since it expresses the devotion of the hippeis to Zeus and the presence of this divine bird would indicate that the horsemen here belong to that aristocratic class.