- Helen Nagy –
of landscape in contemporary black-fi gure Greek vase painting: “Olive harvest” on a neck
amphora by the Antimenes Painter (London. British Musem B226; ABV 270.52) from
Vulci, and “bathing women” by the Priam Painter (Villa Giulia Museum, Inv. No. 106463).
Colonna 2003: 77, calls the walls of the back chamber a global landscape of the Elysian fi elds
with birds as the unifying elements.
20 Steingräber (ed.) 1986: No. 119, plates 153–156.
21 Outside and tondo of kylix in Munich, Antikensammlung 2645, ARV371, 15.
22 Steingräber 2006: 138–139.
23 Most recently: Colonna 2003: 63–77.
24 Similar approach in the Tomb of the Funeral Couch (460–450 bc). Infl uence of 5th century
bc. Attic vase painting noted here by Steingräber 1986: 320, especially in the rendering of
the youth leading the blue horse on the right.
25 The one on the left mostly destroyed, the one on the right similar to its counterpart in the
Tomb of Hunting and Fishing, with little plants growing on its edges.
26 Colonna 2003, 74–75, notes that this spatial arrangement calls to mind the innovations of
Polygnotos (Pausanias 10.25.1; the Knidian Lesche at Delphi), and the work of Agatharchos of
Samos. The latter was especially known for a form of linear perspective; see Vitruvius 7, praef.
11.
27 Apollodorus of Athens: Pliny NH 35.60 or Zeuxis of Herakleia, Pliny NH 61–66, according
to Pliny, both known for “representing appearances.”
28 For a description: Steingräber (ed.). 1986: 329–332; for context: Steingräber 2006: 185–206.
On the style: Brendel 1995: 337–339. For more on mythical and underworld characters, see
Chapter 25.
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