Figura 1:
Attic black-figure amphora, ca, 540 BC (Boston, Museum of Fine Arts 63.952), with Dionysus amidst vines.
Figura 2 A
: Attic white-ground lekythos, ca. 440 BC (Munich, Antikensammlung S 80), with cithara-playing woman (a muse?) and the inscription “ΗΛΙΚΟΝ” (Helikon).
Figura 3:
Attic black-figure amphora, ca. 520 BC (Rome, Villa Giulia 2609 (106463)), with Dionysus amidst vines growing both from the ground and from his hand.
Figura 4:
Archaic torso of a cuirassed warrior, from Samos, ca. 520-510 BC (Berlin, Antikensammlung 1752)
Figura 5:
Early Classical torso of an archer, with a cuirass totally ‘fused’ to the body, from the Athenian Acropolis (Athens, Acropolis Museum 599), ca. 470 BC.
Figura 6:
Attic black-figure amphora, ca. 520-500 BC (Rhodes, Archaeological Museum 301637), with Heracles fighting the Amazons. The cuirass of the kneeling Amazon is shown in profile in its lower part, and frontally in its upper part, as if it were an elastic garment clinging to her body.
Figura 7:
Attic red-figure cup by Euphronios, ca. 510-500 BC (Munich, Antikensammlung 2620), Heracles fighting Geryon, with the lion skin doubling his head.
Figura 8:
Attic black-figure amphora, ca 530-520 BC (Boston, Museum of Fine Arts 01.8027), the arming of Achilles.
Figura 9:
Attic black-figure amphora, ca. 520-500 BC (Munich, Antikensammlung 1557), Heracles and the Lion, the hero’s attributes spread over the picture field.
Figura 10:
Attic black-figure eye cup, ca. 530-520 BC (Munich, Antikensammlung 2052), with a dancing maenad holding vines.
Figura 11:
Attic black-figure amphora, ca. 520-510 BC by Psiax (Madrid, Museo Arqueologico Nacional 11008), Dionysus with satyrs and maenads, and ivy sprigs spreading from the central figure of the god all over the picture field.
Figura 12:
Attic black-figure cup, ca. 500-490 BC (Paris, Cabinet des Médailles 330), Achilles pursuing Troilos. Branches emphasize the movement and action by the direction of their growth.
Figura 13 A
: Attic black-figure amphora, ca. 520-510 BC (Reiss-Museum Cg 343), a ship sailing on well-delimited ‘stripe of water’.
Figura 14:
Attic black-figure skyphos, ca. 500-490 BC (Naples, Museo Nazionale 81154), with Heracles reclining on a stripe of rocky ground well-fitted to the length of his body.
Figura 15
A: Helios emerging from the sea with his chariot, from the left corner of the eastern pediment of the Parthenon (London, British Museum).
Figura 16:
An Athenian youth holding back a bull in the sacrificial procession of the Parthenon south frieze (slab XXXIX - London, British Museum). In doing this, he sets one foot on a small rocky elevation.
Figura 17:
Attic red-figure cup, ca. 440-420 BC (London, British Museum E 84), with the deeds of Theseus. The hero’s stance with a foot set on a rock in the Marathonian Bull-scene closely corresponds to fig. 16.
Figura 18:
Metope of the Parthenon (South XXX - London, British Museum, from plaster cast) with a centaur and a Lapith fighting. The defeated Lapith fell on a small rock.
Figura 19:
Tondo of an Attic red-figure cup, ca. 460-450 BC (Florence, Museo Archeologico 3909), with fighting warriors. Just as on fig. 18, the defeated fell on a rock.
Figura 20:
Olympia metope East III (plaster cast); Heracles hands over the Stymphalian Birds to Athena, sitting on a rock. Its peculiar form has closes parallels in contemporary Attic vase painting.
Figura 21:
Attic red-figure hydria , ca. 460-450 BC (Museo Gregoriano Etrusco 16506), with Apollo and the Muses. One is sitting on a rock closely related to the rock on Olympia metope east III (
fig. 20).
Figura 22
A: Head of one of Selene’s horses, sinking into the sea in the Parthenon eastern pediment’s right corner (London, British Museum AN 254914). Although it should correspond to “sea level,” the horses muzzle reaches conspicuously under the level of the pediment’s base.
Figura 23:
Figure from left corner of the eastern pediment of the Aphaia Temple in Aigina (Munich, Glyptothek). While trying in vain to rise up again, the dying warrior is about to literally fall out of the pediment triangle.
Figura 24:
Olympia east metope IV (plaster cast); Atlas brings the Hesperides’ apples to Heracles who is holding up the firmament with Athena’s help. The temple’s marble roof functions as a substitute for the firmament.
Figura 25:
Attic black-figure lekythos, ca. 490-480 BC (Athens, National Museum 1132), with Heracles and Atlas. Just as on the Olympia metope, the picture field’s “ceiling” functions as a substitute for the vault of the Heavens. Stars were painted on the architrave Heracles holds up.
Figura 26:
Attic red-figure crater, ca. 450 BC (Metropolitan Museum 07.286.84), with an amazonomachy. One Amazon deadly wounded by a Greek’s spear is about to fall out of the picture field, just as the dying warrior in the Aigina east pediment (
fig. 23)