III.

1 ALCMENA

Red-figured wine bowl (bell-krater), signed by the painter Python

Greek, about 350-340 BC
Made in Paestum, Campania, Italy; from Sant'Agata de' Goti, Campania, Italy
http://www.britishmuseum.org/explore/highlights/highlight_objects/gr/r/wine_bowl,_camp
ania.aspx
ltima consulta 12 de septiembre del 2013.
Password pandora123

Thank you for your order

Order number: FI-000582999

GR 1890.2-10.1 (Vases F 149) AN34742001

This image will be emailed to stellarglez@hotmail.com .
You will receive the email within two working days. Please be aware that the image
file size sent from this service may be up to 5 MB, which may cause problems if you
are using dial-up internet access or if your email service has a limited attachment size
or storage capacity.
Our original 'master' digital images vary in size and quality. If the image you receive
is less than 2,500 pixels along the longest edge, it is because the master image is
smaller.
If the image is not of high enough quality, we recommend you commission new
photography, which will be of a guaranteed high quality.
If you have not heard from us, or you receive the wrong image or have any other
enquiries, please email web@britishmuseum.org with as much information about
your order as possible
Alkmene on the pyre
To seduce the virtuous Alkmene, Zeus assumed the form of her husband Amphitryon, who was
away from home. When he returned, Amphitryon was so angry that his wife had welcomed a lover
in his absence, that he tried to burn her alive on the altar where she fled for refuge. But Zeus sent
the Clouds to extinguish the flames, Amphitryon relented, and in due course Alkmene gave birth to
twin boys: Herakles, who was the son of Zeus, and Iphikles, fathered by Amphitryon.
Alkmene's narrow escape from death is vividly depicted on this wine bowl. Torches are put to a
neat pile of logs laid in front of the altar, where Alkmene waves frantically upwards towards Zeus.
Fortunately the Clouds are on hand to drench the flames, and the rainbow over Alkmene signals that
all will be well.
The details of the drapery have been beautifully executed in this highly decorative design. This and
the meticulous care taken over each individual rain drop are typical of vases produced in the
Paestan workshop of Python. The dramatic qualities of the scene suggest the influence of the
theatre, perhaps a reproduction of Euripides' Alkmene.
L. Burn, Greek myths (London, The British Museum Press, 1990)
A.D. Trendall, Red figure vases of South Ital (New York, Thames and Hudson, 1989)
D. Williams, Greek vases (London, The British Museum Press, 1999)
L. Burn, The British Museum book of G-1, revised edition (London, The British Museum Press,
1999)

South Italian - Paestan

Python's Alkmene
Photograph: M. Tiverios, Elliniki Techni
Museum: London, British Museum
Size: 56.5cm (bell-crater)
Function: ?
Technique: red-figure with modest amounts of white and red paint
Style: South Italian, Paestan
Subject: Alkmene sits on a pyre being lit by Amphitryon and Antenor. She
gestures to Zeus who has throw his thunderbolts and sent clouds to 'rain on'
the pyre. The clouds pour water. On the far right Eos watches.
Date: later 4th c.
Analysis: the elaborate costumes and a near loggia effect of gods and
personifications above suggest a scene from the theatre. Euripides wrote
about Alkmene giving birth to Herakles.

http://www.beazley.ox.ac.uk/tools/pottery/painters/keypieces/paestan/python.htm
Password 892553 Consulta: 12/09/2013.

Stamnos attique figures rouges

Le Peintre de Berlin est considr comme un des plus grands matres de la technique des
figures rouges et est actif dans le premier tiers du Ve sicle av. J.-C. Ce vase nous propose
non seulement la premire image connue de lpisode dHracls enfant tuant les serpents
mais aussi un exemple de la production de la fin de la carrire du peintre, marque par des
tendances maniristes.

La haine de Hra
La face A de ce stamnos illustre lpisode le plus clbre de la petite enfance dHracls.
Les sources nous apprennent que Zeus navait pas trouv mieux pour sduire Alcmne, que
de se faire passer pour son mari, le roi Amphitryon. Cest donc sous cette forme quil sunit
elle, la mme nuit que le roi. Ainsi naquirent les jumeaux Hracls, fils du dieu, et
Iphicls, fils dAmphitryon. Ds sa conception, Hracls fut poursuivi par la haine dHra,
lpouse lgitime de Zeus. Aprs avoir intrigu pour que son cousin, Eurysthe, devienne
roi dArgos sa place, la desse envoya deux normes serpents dans le berceau du hros
qui les trangla.

Un enfant pas comme les autres

Nous avons, ici, la premire image connue de cet pisode des serpents. Hracls et Iphicls,
sous la forme de petits jeunes hommes, sont reprsents dans un lit trs luxueux. Nous
reconnaissons le hros ses cheveux blonds mais surtout son attitude courageuse. En
effet, il vient de saisir les serpents importuns sans la moindre trace de peur contrairement
son frre mortel qui se jette dans les bras maternels. Prs dHracls se tient Athna, sa
protectrice dessence divine, tandis que les extrmits de la scne sont occupes par une
servante et Amphitryon qui sappuie sur un bton.

Le Peintre de Berlin : sa fin de carrire

Certains des grands peintres du dbut du Ve sicle av. J.-C., comme le Peintre de Berlin,
sont actifs jusque vers 470 av. J.-C. On constate alors que leur style se relche et se modifie
pour suivre les tendances maniristes de lpoque : les gestes sont thtraux et les figures,
aux petites ttes, particulirement allonges (ces tendances sont particulirement visibles
sur la face B qui reprsente Zeus entre les deux messagers divins, Herms et Iris). De
mme, la forme tonnement lance du stamnos trahit cette tendance qui abandonne la
rigueur caractristique du dbut de la carrire du peintre.

Bibliographie
- DENOYELLE Martine, Chefs-duvre de la cramique grecque, Editions de la Runion
des muses nationaux, 1994, p. 116, n 53.
- LISSARRAGUE F., Vases grecs, 1999, p. 158,159, figs 117, 118.
- PHILIPPAKI B., The Attic Stamnos, 1967, p. 60 62, pl. 62,3 et 63,1
Peintre de Berlin
Stamnos figures rouges
Vers 480 - 470 avant J.-C.
Provenance : Vulci
Athnes
H. : 51 cm. ; D. : 33,80 cm. ; L. : 41,50 cm.
Collection Durand, 1836
G 192

Pagina del museo de Louvre