Beset by satyrs, Amymone is defending herself with an available thyrsos. The scene on the reverse is in rather light-hearted contrast. The youths are Herakles' nephew, Iolaos, the hero Philoktetes (with quiver and bow), and probably Herakles' son, Hylos. Below, Athena urges nymphs to quench the funeral pyre. Herakles leaves behind on the fire a corselet signifying the husk of his mortal self. In the elaborate scene on the obverse, he is already in a quadriga (four-horse chariot) driven by Nike and preceded by Hermes and is on the way to Mount Olympos, where Dionysos, Apollo, and Ares await him. 125, 432, New York: The Metropolitan Museum of Art.Obverse, the death and apotheosis of Herakles Reverse, Amymone surprised by satyrs Horribly burned by a charm that his wife gave him in a misguided attempt to revive his love, Herakles had a funeral pyre built and threw himself on it to die. Art of the Classical World in the Metropolitan Museum of Art: Greece, Cyprus, Etruria, Rome no. 299–300, Athens: Hellenic Ministry of Culture. Pompe und Thysia: Attische Tieropferdarstellungen auf schwarz- und rotfigurigen Vasen. Lexicon Iconographicum Mythologiae Classicae (LIMC). Athenian Red Figure Vases: The Classical Period, a Handbook. "Die Zehn attischen Phylenheroen: Geschichte, Mythos, Kult und Darstellungen." Mitteilungen des Deutschen Archäologischen Instituts, Athenische Abteilung, Beiheft, 5: no. The New Century Handbook of Greek Art and Architecture. Paralipomena: Additions to Attic Black-Figure Vase-Painters and to Attic Red-Figure Vase-Painters. "Greek Vases from the Hearst Collection." Bulletin of the Metropolitan Museum of Art, 15(7): pp. "Medea at Marathon." American Journal of Archaeology, 60(2): pp.
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