The vase has been beautifully conceived as a whole. The plain black areas of the
neck and the lower half offset the central band encompassing the painting. The light
background of the handles links well with the light background on which the figures
are painted. A more subtle link is provided by the pale band at the base broken by a
dark upward pointing spearhead motif. The design of the painting itself is simple and
clear and beautifully proportioned to the contours and shape of the vase. The curves
of the bending heroes’ backs reflect the curves of the vase, as do the diminishing
rectangles of the seats, which are almost curved when compared to the central square
on which the game is being played. From the baseline on either side, the curve of the
foreshortened shield is carried to the base of the handle, continues through the handle
to be picked up by the point of the spears, whence it is carried to the focal point of
the square upon which all the attention is concentrated. The square is perfectly
situated in relation to the vase as a whole. The two figures are almost mirror images
of each other in their posture, costume and armour, but the artist has avoided the
rigidity of too symmetrical a scheme. First, the two sets of spears form a central
triangle within which are framed the two heads and the playing hands, the focus of
concentration, and this central triangle gives the composition a tripartite structure
rather than an exact bipartite symmetry. Although it is possible to see a geometric
pattern, the lines of it are not rigid and the elements are sufficiently varied to impart
naturalism.
The two spears of the helmeted figure (Achilles) cross and so seem to be slightly
curved, softening the straight lines and giving a lifelike touch. The two sets of spears
meet at an imaginary point off-centre, not immediately below the playing hands and
just below the focal point. The most obvious asymmetrical feature is in the position
of the two helmets. It is not only that Achilles is wearing his while Ajax is not, but also
that the curving lines of the helmet and plume (reflecting the curves of the vase’s
handles) depart from the symmetry by both facing the same way. One effect of the
helmet on the head is to enhance the stature and status of Achilles. But with both
heroes wearing their helmets the composition would have been radically different.
As it is, the helmet on the head makes a canopy of curves above the game board and
the curving plume is directly central. The effect is to unify the composition by linking
the top of the picture to the square at the bottom. At the same time the helmet breaks
the symmetry within the central triangle and also punctures the precision of the
semicircle made by the two bowed figures. Also, the ‘eye’ of the helmet acts as a third
eye; it reflects the eye of Achilles, and the imaginary line of its vision is directed
towards the head of Ajax. The third eye therefore functions as a link between the two
heroes while breaking the symmetry. The position of the helmet also enables the artist
to unify the sweep of the figure in a series of downward-pointing lines from the
pointed end of the plume, the nose-guard and the end of the helmet itself, and the
corresponding nose and beard of Achilles, and also the pointed end of his cloak near
ART 225