Scenes showing Achilles and Penthesilea first appeared in Greek art by the late seventh century-early sixth century BC, indicating that their story was already widely diffused and familiar. Penthesilea’s name is inscribed (in Argive and Doric Greek dialects) on three bronze shield-strap reliefs dedicated at Delphi and Olympia (early sixth century), showing her fighting Achilles. The first identifiable vase painting of the heroic duel of Penthesilea and Achilles is by Exekias (ca. 540 BC; fig. 18.2). Both their names are inscribed. Dressed in boots, a helmet, a richly patterned tunic, a sword belt, and a leopard skin, Penthesilea sinks down on one knee. The menacing Achilles, his face obscured by his helmet, leans in and plunges his spear into her neck. Penthesilea’s face is uncovered and her right spear arm is raised defensively—she is in the protective posture responsible for so many “nightstick” fractures
FiG. 18.3. Trojan war scene, Achilles spearing Penthesilea, as her Amazon companion rushes up. Lucanian hydria (water jug), ca. 400 BC, from the tomb of the Policoro Painter, Heraclaea, Italy, Siritide National Museum of Policoro 35294. Photo by Marie-Lan Nguyen.
Observed in the skeletons of real Scythian women with combat injuries (chapter 4). The star-crossed enemies seem to lock eyes.
The scene on the red-figure vase (Fig 18.1) shows Penthesilea in red trousers and a belted tunic with crossed chest straps, astride a yellow palomino stallion charging toward a Greek warrior on foot. He is about to be crowned with a victory wreath by a winged Nike, indicating that he is Achilles. Both Penthesilea’s and Achilles’s cloaks are blowing out behind them, suggesting that they are rushing toward each other. Between them is a dying Amazon, her axe and shield on the ground beside her; she bleeds from wounds in her side and head. Perhaps she is dark-eyed Harmothoe, the last of Penthesilea’s Amazons killed by Achilles. Penthesilea has the upper hand in another vase painting, which shows her shooting arrows while galloping away from Achilles on foot. Some vase scenes with no inscriptions can be identified as Achilles and Penthesilea by various clues: Achilles always uses a spear
FiG. 18.4. Achilles supports dying, nude Penthesilea; a mourning Amazon on left. Marble sarcophagus from Thessaloniki, ca. AD 180, inv. Ma 2119, Musde de Louvre, Paris. Photo I. Sh., 2013.
Or sword to kill Penthesilea, and unlike Heracles he never grips his opponent. The vase in figure 18.3 Shows Achilles viciously spearing Pen-thesilea, as her companion rushes to her defense and her horse rolls its eyes in terror or sympathy.
By the fifth century BC, it became popular to show Achilles supporting the dying or dead Penthesilea, as in the public painting in Olympia and in the temple at Aphrodisias. The tragic love angle was also featured in Roman-era sculptures and mosaics (Fig. 18.4).21
A remarkable black-figure vase of about 510-500 BC (Fig. 18.5) depicts Achilles carrying Penthesilea’s body away from the battlefield. The Amazon’s femininity is signaled by her white skin and her purple fillet, bracelet, and anklet. She wears a sword in a sheath decorated with a panther head. Penthesilea’s hands and feet dangle helplessly, her eye is closed in death, and her hair falls forward. Images of male warriors and Amazons carrying their dead companions are common, but a Greek warrior bearing the body of an enemy is unique. The painting evokes the pathos of Achilles’s sympathy and love for Penthesilea.22
FiG. 18.5. Achilles carrying the dead Penthesilea. Attic black-figure hydria (water jug), Leagros Group, ca. 510-500 BC, from Vulci, Italy, Inv. B323, British Museum. © The Trustees of the British Museum/Art Resource, NY.
World History
