To the right of Herakles, all these figures are arranged on an uneven groundline. These figures show the influence of the wall-painter Polygnotos. They are the finest figures shown on the vase. These two figures are both shown in a combination of frontal, ¾ and profile views. His head is ¾ view and, while appears to be looking at Theseus, he looks bored. Naked, he sits on his himation, with his sword slung around his chest. Peirthoos? Peirthoos sits to the right of Herakles. His sword is slung across his chest on a strap, while he wears a petassos – a travelling hat – around the back of his neck. His right foot is turned outward in frontal view. His pose is very natural and balanced, with his straight right arm, and bent left leg.

Theseus? Theseus pulls himself up using the spears he holds in his left hand.

He also carries his trademark club and a bow. He is naked except for his lionskin (over his left shoulder), but wears a beard and a wreath, and looks to his right at the warriors. Herakles Herakles stands in the centre of the frieze, attracting the viewer’s attention. Another suggestion is “Herakles’ Voyage into the Underworld to Rescue Theseus”. “The Gathering of the Argonauts” is another possibility. The story of “The Seven Against Thebes” is one possibility. Side A - Interpretation Niobid Painter did not name any of his figures, so art historians have suggested different interpretations for the scene on Side A. Neither the potter or the painter signed the vase, and none of the figures are named. Inscriptions There are no inscriptions on this vase. Painter:Niobid Painter Potter:unknown Technique:red figure Date:c.470-450 B.C Shape:Calyx krater Function:mixing bowl for wine and water. He was influenced by the wall painter Polygnotos, though he would have been familiar with other painters, like Mikon in Athens The Niobid Painter The Niobid Painter is named after the scene on Side B of this vase the killing of the Niobids (the children of Queen Niobe). The Niobid PainterCalyx Krater White text: p.59-61 Black text: p.75-78

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