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Jesse S. Seese
Professor Baxter
Art History I
23 June 2014
The Walters Art Museum Paper
The Black- Figure Amphora with Herakles and the Erymanthian Boar at the Walters Art
Museum, accession number 48.253, was made in Archaic Greece, c. 520 BC, and stands about 11 inches
tall and 17 inches wide. The artist, who is unknown, decorated this piece of terra cotta pottery with two
different images. The front depicts Herakles completing one of his Twelve Labors, bringing the
Erymanthian Boar to King Eurystheus. Herakles holds the boar over his shoulder as he leans over top of
King Eurystheus, who is hiding in a half buried urn. The back depicts Dionysos handing a cup to a
maenad, one of his female followers, who might be Ariadne, his wife, or a generic bride. (The Walters Art
Museum, Museum Label) The amphora of Herakles and the Erymanthian Boar uses elements of
symmetry and rhythm to establish the focal points of well-known stories, which have already been
illustrated through context and symbolism with in the images, all of which help shed some light on the
values of Archaic Greece.
The significance of these two paintings varies. The dynamic comical scene of Herakles holding
the boar over the terrified King Eurystheus has obvious entertainment purposes. However, the scene of
Dionysos illustrates the functionality of the amphora. Dionysos became, a popular subject in Attic
vase painting because the consumption of wine, which was always a sacred drink in Greece,
became ritualized. (Sacks; Willis 140) The image of Dionysos may indicate that this particular amphora
was meant to hold wine, instead of oil or other liquids that were commonly stored in them.
Both images can be understood based on the context of the characters actions or surroundings.
Starting on the front, the depiction of Herakles carrying the boar and King Eurystheus hiding in terror
directly parallels the action in the story. This image is the visual depiction of a specific scene in a story, so
any one who is familiar with the story of Herakles and the Erymanthian Boar will understand this image.

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In a similar way, the scene of Dionysos uses context to identify him. Dionysos may be difficult to
recognize because he may appear as an animal, a man, or a woman, of varying age. However, he is often
depicted with his female and, more easily recognized, male followers. (Willis 140-141) The presences of
satyrs, his male followers, identify Dionysos in this image.
In conjunction with context, other symbols further add to these stories. The woman behind
Herakles, holding his helmet and club, may be his protective Goddess Athena, who often assisted him on
his adventures. (Albersmeier 55; Willis 136) In addition, the club itself is the club that Herakles fashioned
to complete his first labor, slaying the Nemean Lion. Pulling symbols from Herakles's previous labors and
involving Athena sets this individual act, Herakles capturing the boar, into the much broader play of
Herakles's Twelve Labors.
The symbolism within the scene of Dionysos does not further elaborate his story, but instead
more fully depicts his character. Dionysos is the God of wine and altered states. The cup Dionysos is
giving to the maenad can be assumed to contain wine, because his followers are often depicted drinking,
dancing, and in some form of ecstasy. (Willis 140- 141; Sacks) Exemplifying this, the satyr on the left is
shown with an erect penis as he makes direct eye contact with the maenad's breasts. These depictions
further cement Dionysos's connection with the alcoholic drink which inevitably lead to the alter states,
particularly sexual ones, experienced by his followers, as well as exemplifies the functionality of the
amphora for wine storage.
We can learn about the values held in Archaic Greece by observing the art on the amphora.
Herakles was the subject of much art because he was considered Greece's greatest hero, transcending into
Roman and even Christian beliefs. (Daly; Willis 148; Albersmeier 40) However, Herakles was a slave to
his passions, raping women, slaughtering cities, and feeding his greed. Yet, his story still ends happily, as
he was the only human to ascend into Olympus and made immortal. (Willis 148; Daly) Even though
Herakles committed many acts that in modern western society would have made him a criminal, Herakles
was still The most popular and most widely worshipped of Greek heroes (Adkins) These portrayals
show the Greeks value a hero for his physical abilities rather than for his moral compass. Images of

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Herakles glorify his superhuman strength in dramatic scenes of him surviving impossible odds and
slaying beasts. However, the tales of his devious exploits have survived in written stories. The ability to
overlook Herakless immoral acts to still portray him as the greatest of fighters shows the Greeks
value a hero for their physical prowess over their moral righteousness. (Willis 148)
Decorated pottery was a thriving trade in Archaic Greece, produced for domestic and ceremonial
purposes. (Albersmeier 38, 39) This particular amphora is decorated in black- figure, which is produced
in a three stage firing process. The amphora would have been fired, painted with slip, and then fired twice
more, each time manipulating the oxygen and temperature of the kiln in order to achieve the desired
effect. The result is the image represented in silhouette. Details can then be incised or enhanced with
touches of white or reddish- purple gloss. (Stokstad 120) This technique lends itself to a stylized look.
The figures in total silhouette are not very believable. Features are greatly simplified and even abstracted
to accommodate the lack of details and colors that can be achieved.
In black- figure, shape and line are used to create the figures, objects, and decorative motifs.
Organic free form contours comprise most of the silhouettes, with some contrasting geometric motifs.
Line is used as an outline to define stylized details with in the black silhouettes, such as the folds in
clothing, facial features, and muscle definition. Additionally, line is also used to indicate where two or
more silhouettes overlap.
Black- figure by nature produces a flat looking image. However, line is use to create a sense of
depth in this piece. Looking at Herakles's extended leg, it can be understood that he is in front of the club
even though both of their silhouettes intersect. This is because line is used to outline Herakles's leg as in
front of the club. The overlapping of silhouettes is used to create a sense of depth by illustrating the
arrangement of different layers.
The artist established the focal point of both images by using symmetry, balance, and by directing
the eye. The balance and symmetry used in both of these images frame the focal points. In the image of
Dionysos, the cup is the focal point, which was made by creating two layers of symmetrical frames that
surround the cup. The inner layer is Dionysos and the maenad, who stands at the same height, feet

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together, and one arm extended holding the cup. The outer layer of symmetry is formed by the two satyrs
who stand in mid stride facing outward, but looking over their shoulders towards the center. The
symmetry is by definition balanced and leads the eye to the center point, which is the cup.
The scene of Herakles shares some of the aspects of symmetry seen on the reverse side, but
lacking complete symmetry the focal point and balance are achieved by directing the movement of the
eye. Herakles and the King can clearly be identified as the focal point. The nearly symmetrical female
figures, which face center with their inside arms extended and outside arms pulled back, are similar to the
satyrs on the reverse side. However, the focal points of Herakles, the boar, and the King are not
symmetrical. Instead, the artist established a sense of balance within the center focus by creating a
circular pattern that the eye follows. Starting with the King the eye follows the connection points to the
urn, Herakles, and the boar, which create a circular pattern. The circular pattern of the center focus is by
nature very balanced. This means the artist has established a sense of balance, but is not necessarily
symmetrical.
In addition to balance, the circular pattern of the focus has significance in the interpretation of the
image. Capturing the boar was Herakles's third or fourth labor there is some variation between sources.
This means he completed two or three other labors before this, and there were still many more yet to
come. The gap between the boar and the King disrupts the circular pattern made by the connection points.
As the eye follows the path, the natural tendency to connect these two points emphasizes the intent and
action of Herakles bringing the boar to the King, which would complete the circle. The circular pattern
made by the figures and emphasis on the gap between the accomplished task, capturing the boar, and the
King could be interpreted as a visual metaphor for how Herakles is constantly sent by the King on
impossible tasks he must complete.
Unity is achieved in the amphora through different aspects of its formal elements and
composition. The consistent styles of the shapes, lines, and color palette help create unity throughout the
amphora. Both images were painted and tooled with a consistent style, like handwriting, and a color
palette of black, dark burgundy, white, and orange brown, which creates a sense of cohesion among the

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work. Similar to style, the continuous bands of decorative motifs that line the top and bottom of the main
images create unity in their repetitive patterns that bring the eye all the way around the amphora.
Furthermore, the similarities of the compositions shows these two images were meant to be viewed
together, on the same piece of pottery.
The amphora of Herakles and the Erymanthian Boar features two well-known images in Archaic
Greece. The front scene of Herakles uses symmetry and rhythm to illustrate him as the focus of the image.
In addition, the context of him carrying the boar identifies this story as one of Herakless Twelve Labors.
The composition of Dionysos appropriately frames the cup of wine as the center focus of the image, while
Dionysos is identified by the presence of satyrs. Both of these images illustrate very important aspects of
Greek culture. One, the concept of a hero being determined by his physical strength and abilities above all
else, and the importance wine in connection with rituals and festivals in Greek culture.

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Works Cited
Adkins, Lesley, and Roy A. Adkins. "Heracles." Handbook to Life in Ancient Greece (2005).
Ancient and Medieval History Online. Web.
Daly, Kathleen N. Heracles. Greek and Roman Mythology A to Z, Revised Edition (2004).
Ancient and Medieval History Online. Web.
Sacks, David. "Dionysus." Encyclopedia of the Ancient Greek World, Revised Edition (2005).
Ancient and Medieval History Online. Web.
Stokstad, Marilyn. Art History. Upper Saddle River: Pearson, 2011. Print
The Walters Art Museum, Museum label for Herakles and the Erymanthian Boar, 48.253,
Baltimore.
Albersmeier, Sabine, ed. The Art of Ancient Greece. London: Philip Wilson Publishers, 2008. Print
Willis, Roy, ed. World Mythology The Illustrated Guide. New York: Oxford University Press,
2006. Print.