EXEKIAS’ “SUICIDE OF AJAX” AND THE PROBLEM OF SOCIO-POLITICAL SYMBOLISM IN GREEK VASE-PAINTING Joseph J. Basile “hie are i dec eo dhe merry f Pro. Tony Hackers, and ro it end and calle Prof Rone Holloway Ic based, prt on {paper rade he 9th Anal Mecting of he Arcaceopal astute of Ameria New You City in December of 96 (the Gold Medal Callogaiun honaing Poor Helloway ence Img and Media in Ancien Arad Coinage) aed on tease “Beka, Aas, andthe ‘Ghat Tron” polsed im Fores (he fly journal ofthe Marland Inti, allege fA), Seng 996.7 Exekias was one of several ancient Gree arises who must bbe numbered among the great geniuses of the Western tra- dition, Some ae bistorians have considered him to be one of che fe artists from any period who so excelled in his particular medium thar he may bave played 2 role in ies ‘obsolescence (for his skill could not be excesded); recently ‘thas been suggested by others that he also excelled in the creation of art thar had complex political and social con tent. In many ways, Exekias resembles the great pioneers of modern act, not only challenging the artistic climate of his day bur ako, perhaps, conventional political views. This paper will exarine the supposed political nature of some of Exekias’ work, and relate these “theories of mean- ing” to one of his most famous vases: the Boulogne am- phora depicting the suicide of Telamonian Ajax. “The frse aspect of Exekias talent ~ thar he was one of the greatest artists in his medium, the black figure syle of Archaic Attic vase painting been beld by cermain art historians. In the black figure style, limited as i was by the necessity of depicting form ‘and ornament essentially as two-dimensional silhouette, is an opinion thar has long Exckias achieved neatly all there was to achieve. By the end of his relatively shore career Athenian antists had for the most part abandoned the black figure style in favor of red figure, atochnique which allowed greater deal of de- piction. Some believe that che clens exhibired by Fxekias bad in many ways rendered the black figute style obsolete, and hastened the advent of red figure ~ indeed, many scholars suspect the innovator ofthe red figure cechnique to be the Andokides Painter, 2 student of Exckias who learned his lessons all coo well.) None could hope to sus- pe Exekias’ accomplishments in the old soy, so artists like che Andokides Painter left it in favor of the new. Derails of Exckia’ career can be found in a number of sources? — we will only summarize the key points here. His oeuvre includes some 12 vases which he signed as painter, and a doven other fragments areributed to his hhand on a sylstc basis, chough he also painted plaques and was a talented potter signing six vases in chs capaci 12 Indeed, although Exekias! “monumental” figures, at tention to deeal, and concern with potential (as opposed "J, Boardman, Athenian Black Figure Vases, 1974p: 103-105 (herefier ABEV); J Hurwit, The Art and Culeute of Bly reser, 700-80 BC, 1985; hereafes Hrwit 985) p. 282 2 See LD, Bearley, Ane Black Figure: A Sktch, Prosedings of he Brio Academy 1 198, p37-2t and 29-30 hea ter feed to a8 ABES}; W. Techn, Exch, Bilder Grechncher Ves, Hes 1986 p.7 83 ).0. Braey, The Deselopmens of Ati Blick Figice, 19, p. 63-73, 13, and 9 (here refed to a8 Developmen J, Boar tan, Psinced Farry Paquet and Some Remarks on Pro- thei, BSA 50, 95, p. 3-65 P. Clement, Geran and Others in Loe Angeles, Hesperia 24,1955, p- 8 8 JD. Bear dey, Aric Black Figure Vase Pincers 1956, p19 H-14. (46-64, an 714 sear tfc a8 ABV) P- As A Hisory of Greek Vise Pancingtansated ad revi by Sion. 96x p 300 pb x8, an ip. 39-65 HL Cabo, fragment, AnsK 1962 9.77 Me Moore, Horses by Bekins AJA 73,1964 p 397s J. Bemey,Paralpome- ta 197 p. 6 Gceafer refed to as Pulpomena: ABEV, p 6-3 ill 96-106 and fontapzce;. Boardman, Takin, AJA 8,197 1 Hs Mz Moore, Enea and Te lamonian Ajox, AIA, 1980p. 7 fs 2 Development, p. 70-715 ABV, 143-147 Pralipomera p. 6 15Bchias? Suicide of Mine” and the Problem of Socio-Plitical Symbolism in Greek Vase-Painsing tw over action must place him among the greate of the lak figure paincrs ie has been azgued chat he was ually imporean ata porter, eponsible perhaps for dhe carly development ofthe Type A cup. che Type A belly aumphors, and the Type B arophors, as well a che inven- sion of che ely crater Exelias achieved all ofthis de- spite « relatively shore exer in the Athenian power’s quarter his pated vases are pically dated between 545 and 530 BCS— and was probably the most influential ofall che Archaie Artic Black Figue vase painters ‘Thar Exist contained subse political and socal searemens, of sophistication and complesty not often seen in ancient at ishowever an idea thachas only recent= ly been explored. The Briss clasicit and art historian john Boardman was among the fst begin analyzing Achat Greek at, especialy Athenian arc and che painted vases of Exel, for poitcl concen. [nthe 1960s, Board- ‘man and other scholars, such as Martin Roberson, began to express concer fo the field oF vse paineer suds, in the generation afer Beazley.” Could che discipline main- tain is vitality with is focus still mainly on areibution? ‘The response was an atempt to define "..painters as art ist the fle sense ofthe word.” by seeking w arcve at che meaning of thei art In his 2978 artile “Exckias® far the American Journal of Archaeology, Boardman ex- amined the subject mater of Exch’ paintd soenes, ug gesting thatthe statin regularity with which certain ‘ones appeared like those dealing with Heras, the Di- 4 ABEV, p. 96-56: HL. Fowles, The Centaurs Smile: Pindar and the Archaic Aehetc, Andent Greek Arc and Iconogrt~ physed. W. Moon, 98, p. 165 Hlurwit 1985, p-259-262and 0, Bronce A Celysckracr by Frekias, Hespeia 61937. 469 fF; Development, 70-7: ABV, 145-147; Paripomena, p. 6%; ABFY, p. 56-58 and fi. 105: EE. Bell, An Exekian PPazele in Portland: Further Lighe In he Relationship be- ‘ovcen Exckiasand Group B, Ancient Grek Are and Teonog saphy, 0. W.G. Moon, 19, p. 75 and 84: W.G. Moon, "The Priam Fsiter: Some loooographic and Style Con- Sderations, Ancient Greek Arc and loonography, of. W.G. Moony 1985p 98 S-Technas, cit in nota, p. 7: BES, p. 6: ABEV, p. 57, For an aremipe to exablish a relative chronology forthe major ‘ases and fiagmencs arsed ro Exckins, see Moore 968, 357-368 (specially p. 36 7, Boardman, Bxekias, AIA, 1978 pts 5 tide. 16 coskouroi, Theseus and his sons, and the ‘Trojan War scenes of Achilles and Ajax ~ represented allusions to con- temporary evense? In Exekia’ time, the erant Peissta- tos wat orice rerumed to power in Athens by means of seratager. This meant the supplanting of the wactonal power elite (the aristocratic faction) and the establishment ‘of a new and untested orders in the language of Aristotle, this new order was an extra-consttutionl tyranny, whore ‘constituency was essentially che hoplites and lower asses, continuing the inexorable march ofthe Athenians towards class egalitarianism and democracy." Herodotus, who was closer to the event chronologically, depicts the srug- ele rather asa repional/fxctional one berween the “plains” party of Lycurgs, the “shore” party of Megakles the Alk- ‘maeonid, and Peisistatos’ own people from “beyond the tills”)! Wherever the euch may lie, many of Athens’ atis- tocritic families found themselves deprived of traditional rights and prerogatives, and people of ll classes soon came co live in « pois with a developing bureaucracy and now governmental structures which demanded more ofits cit- izens. This then is the crtcal historical context surround- ing the artistic career of Fxekas, a Sir John Boardman suggests chat atleast some of his painted vases reflect these carbulene ies. Eackias’ own political leanings ~if he had any — are not at fie cleat in Boardman's interpretation. Originally, Exekias may have been a supporter ofthe Pessiatd fac~ tions Boardman sees Exekas’ scenes of Herakes as pos- itive allusion tothe tyranny of Peisstratos, who becomes a kind of “new Herakles” in the arcof Athens. This era wwasa "golden age” of culture in Archaic Attica, and paint cs like Bxekias prospered under the restored regime.'® Pp mas. © auhensionPoiei33.4-5 3 00a R Seley, A History of the Grech Gig Stes 700-38 BC, 1976, ps 6-127 and neue 159-164 0a Sey p25-18, 12 Boardman cit n pte . 3-16. Eaticr, Boardman had a= od shat scenes of Athen introducing Heres vo Oly Fv on her chariot fered wo che ruse Peisingats employed {have himself esumed eo power afer the collps of the Tie grays sce Heras, Penisztos and Sons, KA972 5772s Hurwia985 p.247,m. 6. Cote see D. Wiis, ‘ies Odes and the Arms of Acie, ANE, 1986p 1a 8.35 Moon, cit in notes p. 97-8 "9 Hurwic 1985, p. 246-247 and 245-250.(On che painted vases of Fxekias, scenes of Herakles, The- seus and his sons, and even the Dicskoutoi reflect Athens’ new prosperity, increased feelings of patsotism and unity in Ata, and imporane Pesistasd reforms like those of the Flesinian mysreres (into which Herakles and the Di- coskouroi were incorporated as “coopted” Athenian he- sors). Taojan, War heroes may refer to Athens’ new connections to the performance of the Homeric epics in Athenian festivals, and Ajax may symbolize teritorial as sertions regarding the island of Salamis, that hero's home (as does, pechaps, the scene of Herakles battling Triton, which becomes popular in Athenian vase painting, and sculpeute at this time). He may have had 2 change of bart, however, with che chind Pesiscracd eyranny, born as ie was withthe violence at Pallene, and resulting ast did inthe increzed role of he less-than-popular sons of Pei siseatos, Hiippias and Hipparchos. Seemingly, Exekias was unsure of this new order, as were many other Athe- nians, and, according to Boardman's now-dassic argu- ment, chided the defenders of Athens by means of his painted images specifically, che Vatican Amphorashow- {ng Achilles and Ajax plying a board game (Fig. )°— for allowing the final plc to restore Pesistatos to unfold un- de their noses? The fll meaning of the scene on the ‘Vatican Amphore is unclear, and i is widely agreed that the theme of Achilles and Ajax ac play may very well be ‘one shat Fxckias invented out of whole coch.!* Kes also usually assumed, however, that the moment depicted here ‘sone of non-viglance~ he non-vigilance that resulted in ‘the succesful raid of the Trojans on the Achacan camp and che burning of thei ships. Thus, Boardman suggests ‘hat Exekis is making an allusion ~ one which would have been abundantly clear to is contemporary audience ~and his Varian Amphoraseene refer in facto the non "4 Boardman, Here, Péstaos and Beas 11895975, pet fs Hui p47 a6 "9 R Glyn, eae, Nereus, and Teton: A Sey of eoneg- raphy in Sith Ceneury Athens, AJA, 198.2 ffs Hur ‘e985 p78. 48. Cota sce Moore, Ens ct owe 2p 7 Wiliams, tin notes p-np-n44 36 ian 5448 ABV p45. 20.35 17 Boardman tin note 7, 38-24; Hur 1985p 259-260 sad 9.6 °F bem sggeacd, however, dat such an episode may tavebeen part of he soled “cyl” poems ee Willams, etd 25. Interpretatio Rerum. chalance ofthe aristocratic faction at Pallene (and its con- ‘omirant violence). If his eaeory isin fact correct then ‘Exekias i ¢ remarkable arise indeed — one innovating at both the technical and the iconographiclsymbolic level. ‘Boardman’ atempes to recover syrnbolic meaning in Archaic are were based in earlier work, and were not con- fined tothe painred vases of Exckias.” Indeed, an impor- anc early focus was on the monumental architecuural and sculpeural programs of Peisistraos and the symbolic value of the Pesistaid building program on the Athenian “Acropolis?” His arguments regarding pained seenes on vases ~ especially ones depicting Herakles and scenes of the Trojan War ~ have become the most well-known, however, and have engenderod a number of studies by cocher scholars which abo attempt to discern politcal con- ‘ene in the at of the Pesitati era, For instance, a study of che opus of the Priam Painter has been attempted, as has an examination of the evolution of scenes depiccing [Neréus and Triton, using che framework suggested by Boardman.” Similar approaches have been taken with the sculprural decoration of che Siphaian Treasury,” and posible allusions tothe ancestors of che Peisistratd Hine in painted vases and other sources” These attempts have been reeived by scholars with varying degress of accep ‘The limitations of Boardman’s approach — which must conzin speculative elements as itatemprts to recon- serace an ancient “raindset” —have prompted some 10 be cticical of his studies and those of his followers; hiss rea- sonable and only to be expected. While some detractors hhave questioned the whole enterprise as being too reliant com interpretation, others have concentrated on specific de- ‘als, axguing for instance thac Boardman does not make it ° Boardman tin noe 7, pat; Hurnesg,p. 260 and 6 Cone ne Willams, ct in M087, 9.144 5, 2 For inseance, “Hels, Delphi, and Kleinhenes of Sik on.” RAg78 2378 2 Boardman, cit in note, p57 is Boardman, cit n note sds. fls Hurwies985,p- 246-247 and m6. 2 Glyn, de in notes, pats LV. Watows, The Seulpeunl Progam of che Siphnian “Treaury, AJA85, 1982, .agpH072 214A, Shapiro, Paining, Politics and Genesogy: Peisiratos and the Neleds, Anciene Gree Art and leonogeapty, ed. WG, Moons 198, p 87-56 7Evxehias’ “Suicide of Mac” and the Problem of Socio-Polsical Spmboliom in Greck Vase-Painting ‘lear how and why certain scenes are meant to be read as in favor of or againsr the Peisstratid regime. Sell thers hhave argued chat vase painters could noe have had such lofty concerns as politcal commentary (or even an aware- 1nessas to which scenes would make vases desirable in cer ‘tain markers like Etruria), chat they never had significant control aver the production of ther painted scene, or ‘thatthe myths ofthe Grecks were coo “tragic” to beso ma nipulated.” All eis having been sad, the value of Board- ‘man’s approsch is just thar: it is a creative, innovative approach ~ just one of many ~ that makes an attempt arrive a symbolic meaning in Archaic Greek arc based on an interpretation of visual evidence in elation co dhe his- torial and politcal context. Ie needa’t provide us with corect answers, only wih possible answers. In this 1e- spect, the most reasonable reaction to Boardman’s ideas hhas probably been that of HLA. Skapiro, who has suggest~ ce thac we ean apply such theoretical amewors if we are careful and critical ~ we musta't envision a cadre of vase painters in the employ of the Athenian tyrants, churning ‘out their propaganda messages, but rchera selec number of thoughtful arts (principal of whom may have bean xekias) who were aware of the political and religious cli- ‘mate around thera and reflected that climate in their arc? ‘Taken inthis lighs, an attempt wo arrive ata “myth-sym- bolism” in certain pained scenes seems neither radical nor misguided: instead, ie constitutes just one way to look at the works of a significant aris ike Exekis. ‘Within che context of Boerdinan's approach, then, this paper will argue thar another illustation ofthe “dou- ble" aauure of Exekia’ artic genius is his amphora de- picting, on one side, the death of the hero Ajax by suicide, Tris carrendy a the Museé des Beaux-Arts et d’Archéolo- sic, Boulogne-surMer (Boulogne 558), (Fig. 2)°° and dares perhaps from the beginning of his carees2? Along with his senes of Dionysos and the Pirates (che Munich Kyi) 2° Achilles slaying the Amazon queen Penthesilea (the London Amphors),”" and Ajax and Achilles on the amphora in the Vatican, the Boulogne vase must be num- bbered among the great masterpieces of world ar. 7 Wiliams, ci in nove 1p. 144 and n. 55; Harwi 68s p ssoandn. 6: 26 Williams, cic in aote 1, p. 144, Moon, ct in note 5.9. 97- Cie in noters, p95 18 “The suicde'of Ajax was a mythological episode famil- iar co all Greeks. The mighty Ajax, son of Telamon and king of Salamis, was a Greck warsior in the expedition against Troy. In battle, he was second only vo Aches himself, bue he wat ako simple, stubborn, and proud. Upon the death of Achilles, Ajax (who had recovered the body of his friend only after fierce fighting) desired his comrade’s fantastic armor ~ crafed as it was by the god Hephaistos —as a spoil of war. However, clever Odysseus (ith the help of his patroness, Athena) beguiled che Greeks, and the armor wat awarded to the wily king of Tehace. Ajax hs pride injured, resorted tothe only course left co the shamed wartior-noble: he committed suicide, by jumping o0 his owa sword, While Ajax appears in Ar- chaic ar before Exekias,™ he was treated in a special way inthe a ofthis painter and appear in contexts in which hhe had never appeared befose. This fact is an importane ‘one to recognize before embarking upon any study of the images of Ajax on Exehias’ vases. okie’ artistic genius is fully relied in the Boulogne vase. The piece is type B amphora decorated with a group of youths in a chariot on side B. On side A we ce E. Pouier, Album atchéologiqne des muséas de province, 1890-1891, ph. 16, 5: G. Pere and Ch. Chie, Histoire de Tax dans Pantigieé 19914, vo. 0, p. 199: E. Pl, Malerei und Zeichoung der Grieehen, 1923, fig 239: ABS, pl.7y Tech ci innote2, p24 E. Buschor,Griechische ‘Vaten, 940, p19: Beazley Development, pls 1: ABY, p. 145, no. 1; Parclipomena, p. 60; F. Brommer, Vaxaliten aur gricchiscen Heldensage, 3, exweitee Aullage, 197, p 386, n- Aa (hereterelerred to as Vaselisten) ABEY, fig 2" Dated by vase shape, typeof ornament (opposed lonses nd pales, inked ina chain, and perhaps the horses (onside 3) to jase aie 440. a the beginning of sok career wen cerain apecs of his soe were doser to the so-alled “Group E® pains. See Moore, Horses cit. in not p 397-398, mo, and 367; Bell it in now 5p. 75 2 Munich 2044.39) see ABV, p. 146, no. 23 31 London Bat; see ABV, p. e207. 3° For insance on bronze shild-bands(E. Kanu, Archaische Sehldbander, Dewsches achislogices Inset, ben Pische Forschungen 2, 1950, p. 14-16), the famous Foce de Sele metopes (P. Zancani Montuoro, Heron alls foce de See I, Alte metope da Peimo Thesros Ari memorie dela Socecs Magna Grecia 5 1964, p. 73-79), Caria- tian Orientlsing porery (/E. Henle, Gresk Mss A Vase Paine’s Novebook, 1973, p44), and vasous black and red figure vases (Vasclien,p. 380-38)the famed scene of Aja’ suicide from the lost epic the Aishiopis~ notte gory morment of his death but 28 he prepares for death, seadyng his sword hile buried inthe sround.* His javelins, helmet, and shield are aid ovr be- {fore bit: behind, a palm tee ~ symbolic ofthe exotic se- ting of wosern Asia ~ seems to weep. Unbelivably, ckias was able to display, in a relatively small pictorial field, expession and emotion in che severly limiced ii- com of the Black Figure syle: Ajax is pensive, saddened, angered; but resolved.*9 He knows what he must do, what hhonor demands. No phony seniment or bloodied corpse hhere~ Excks’ syle is one of subslry and power a che ‘Asargued above. i has usualy been the Vatican Am- pho, which shows Ajax and Achilles engaged in aboard guime, that is cited as the “pia!” example of poiial consciousness in Bxekias’ pained vases. Boardman saw this scene at a statement on the inaction ofthe arinocraic class ~ the guardians of societal uadition ~ inthe face of the thd return of the raat Pisistratos and the uncer- tainfiurethis event seemed to usher in. Ajax and Achilles play games asthe Trojans stonm the beached Greek ships ~fdaling while Rome burned, ifwe ean be allowed co mia our metaphors. According 19 Herodotus, the forces oF che Achenian argescras were ding napping, and throwing dice when Pexitratos landed with his troops and over took them thas day in 546 BC. The mythological scene ofthe eno heroes gaming thus symbolically represents an historical evene—a model that many scholas would argue iscommon in Gresk a. Bue perhaps there is more here, nor merely statement bbue socal eomment In light ofhis esis Flerakles scenes, ‘which can be incerpreed as being complimentary wo the new regime, Exekias has now — seemingly ~ switched alle ances, pethaps supporting the aristocrat faction forthe seabilzing role it plays in Athenian sociery. Despite is many accomplishments, che third tyranny was bor in v- lence brought by foreign woops (the Pisisratids fought with Ange mercenaries and allied foxes from Exera).°7 2° Hlucwic pe acare 24), Hurwig "Palm Trees and the Pathetic allay in Archaic Geock Posy and Ar” CJ77, 198, p. 193-199; Fowler cit in note 4, p61; Hurwic 8s, p. 272 and. 76 55 Huritso8, p. 272 KLe, Inierpretatio Rerum and saw momentous changes and disruptions in conven- tional Athenian society. The process of enfranchisement of the non-aristocratie classes, decreased influence of che ‘old aristocratic Families, and increase in power of the new bureaucratic organs of the polis resulted in a radially dif ferent society, with ever increasing demands on individu- als ofall classes, Returning to the Boulogne amphory, it ‘an be argued thatthe seene of Ajan’s suicide can be ead 23s metaphor for these changes. An idea like this has al- ready been suggested, in fact in recent scholarship by the lasicst Berard Knox on the meaning of Ajax in Late Archaic and Farly Chssial lterarre* Knox. diseusses, ‘Ajax ase appears in Sophocles, and describes him as characte representing reaction against che increasing de- smands of te democratic poison is individual ciaens.” Sophocles’ Ajax isthe story ofthat hero's resistance, 2s an independent nobleman and watroc, othe (somewhat ar biteary) authority of Agamemnon, primus inver pares as king of Mycense, the most powerful of the Greek city- seates during Homer's heroic age. "The Aja of Sophoctes ie probably the earis: of thar playwright’s extant works, produced as carly as 442 BC.” ‘While che hero ofthe pieces depicted ina less than glam- ‘orous manner ~ maddened, a if seize bya furious dai- mon, he loses his senses and slangheer: the Achaeans! livestock (fooled by Athena into thinking, however, chat hae had killed the Achacans themselves) ~ Sophocles’ goal seems neverheles 9 juxtapose Ajax, as a symbol of dfi- sant kingshp,zgains the rle of law and pols as embodied ‘by Menelaos and Agamemnon.*! His final solution to the problem of bonar that confronts him isa powerful sate- sent inthis regard, but in fict che confi erween these position is played our aferwand, as aggrieved parties de- bare over his corpse. After the hero's bloody suicide, Me- elas, the king of Spare and member of the “council of 7 166s 2 Poot and Polis, in Ducking inzo the Paruse: The Clasial ‘Tradition and ts Renews, 194, p91 This ey org sally appeared asthe tex ofa eeure delivered forthe Fon- davon Hand ia Geneve and was Sit publsbed in the “nweriens XXIV, Sophoee idem, ps3. ©), Moot, troduction to Aja, The Complete Grek Tage ‘ies, Vol T: Sophocles, eds. D. Grene and R. Latimore, 2992, Ba 51 Knox, cit in note 38, p. 208-202, 19Evoke "Suicide of Se” and the Problem of Soio-Poliscal Symbolism in Greck Vase Painting generals” that, ostensibly, governs the Greek forces at ‘Troy, discovers Ajen's brother ‘Teucer beside the body, sand suggests to him that che Achacan generals will have thei revenge on Ajax by denying him an honorable buri~ al. Tn his monologue, he argues that fear of law must be rained, ane that the Greek camp is simply ¢tanspo- sigion of the state (pois) in ailtary form (sxatos), on foe- ign soil Lessers must obey their benters, or lack of 8 No less an authority than E.R. Dodds, in his 1957 ‘masterpiece The Greeks and the Irational called Sopho- cles “the last great exponent of the Archaic world view." Ajax was, in many ways, the very embodimentof this worldview in both literature and ari can be force- fully argued that Exekis' Boulogne amphora is yetanoth- er expression of his idea, with Ajax as its symbol. ® Thus, following Boardman's approsch, we see that this may indeed be Exekias’ Ajax, an Ajax who represents the Archaic ideals of the aristocracy in defiance ofa ryrant % Knox, cin note 38, p. 201 © thidem,p. 217-28, 25 Sophocles snot the only poet who has besn ascribed such rorives Pindar — who is tadionally descibed 2s a “mouthgiece" ofthe weakened aristocracy ofthe Fary Cls- sic period ~ deat with the heme of Aja'sshame and suicide in several of his famous odes (Nemean VIL.23-27 and VI- Thar-a7; Isthmian IVs2-s7). He cats Odyscas and the cncralcounel asthe villains ~ the are jealous ofthe prow- fs of anble Ajx and conspise agains him in “secret bal- lows? Thus, che organs of democracy ae again seca in 3 negative ight in the Aux say. Koo, cin note 38, p95. % Ibidem,p. 8 Sep. 4 Dodds also reminds us thc the Archaic period an nvelcaa era doesnot eal end in Athens un dhe do- ‘elopmene ofthe Sophistc movement hu Sophocles, and Pindas, fr char marr, ate uly “Archaic” poe p50. Interpretatio Rerwn ‘who consolidates his power with popular support ~ in- creasing the power ofthe bureaucracy and pois atthe ex- pense of traditional governance strvccures and individual prerogatives The inaction ofthis aristocracy, as syrbol- ined in the Vatican Amphora, ultimately results in is de~ rise. The suicide of Ajx isin fact the uleimate act of resistance, and an expression ofthe aristocratic mores that ‘grants and mobs could never hope co realize, Thus, we hhave come fllcirle, from the promise of a new order 0 uncertainty and disillusionment, and finaly w syrabolic resistance which nevertheless is doomed to failure. Not Jong afer the end of Exckia’ career a a vate painter, the Athens that he had known ~ its government, society, and artistic and cultural life - would change irrevocably. © This final connection beween literature and ate painting has bean explored in number of sources. Fowler ses Fes a8 depicion of Aja’ suicide ~ as well as other pained scenes such as those on the Vatican amphora ~ as indicative of chat ai’'s embodiment of the Archaic "sesthesie” and hi understanding of juxaporicin as used in Arca pocery (©. 160. lneed, in comparing Fxekias’ side of Ajax with Pindar’ desripcions ofthe same event, Fowler cit in noe suggest thar Bees. aicipats Pindar.” by creating 1 seene in which Ajax is somehow vindicated through bit Gonplied) actions (p. 16). Hurwit’sarempss ro show coa- nections bere art and other aspects of Grec cular ae probably the most well-known, however. He has argued shat ‘Exckias’ remarkable sensbiley and reylusonary syle — ia hich he sabe to convey aateipation and emotion, a on the Boulogne amphora ~ may suggest dat the ats was fi alia with the developmen of ely eragedy, and may have seen 2 play which desi withthe mick of Ajsx (985, p. 27 aBxekias’ “Suicide of Ajax" and she Problem of Soco- Political Symbol in Greck Vase-Painsing Fig. x. Blackfigare amphore by Exekias, Musei Vatican, photo after Albizeat, Vasi Antchi Dipioti del Vaticano, . Fig 2, Detail ofblack-figure amphora by Exekias, Boulogne sur-Mer. after Buschor, Griechisehe ‘Vasen. 22