Michael Sloman
CLAS 1020H
Francois Krater
The Francois Krater has an amazing array of mythological scenes depicted on its façade.
These scenes include among them the wedding of Peleus and Thetis, the Calydonian Boar hunt,
celebration of Theseus and his fellow Athenians youths from their escape from Crete, Patrocles’
funeral games, the Centauromachy, the ambush of Troilos, a scene depicting Hephaestus’ and
Dionysus’ ascents into Olympus, some frivolities, and finally, the death of Achilles. This entire
krater is an impressive undertaking, displaying so acutely the details of so many mythological
stories. However, there seems to be some disconnect in how the krater was organized- no
overarching plan. Yet, instead, all scenes actually support the importance of the lives of Peleus
and Achilles, with the wedding between Thetis and Peleus comprising the central scene.
Many of the scenes depicted here concern Peleus and Achilles. The scenes begin with the
wedding of Peleus and end with his son’s death. In between the two, the Calydonian Boar hunt
(of which Peleus was a part), Patrocles’ funeral (organized by Achilles), and the ambush of
Troilos (instigated by Achilles) all appear, giving a sense of organization and unity. However,
amongst all those are scenes concerning Theseus and ones of the gods. These by themselves
make no sense, but these scenes were chosen for a specific reason, either to enhance the
importance of the prominent story, or rather to convey an overall theme, perhaps triumph. A
chronological interpretation could be taken, but this is very obviously incorrect given the scene
solely concerned with the gods.
In this scene, titled the “Return of Hephaestus,” Hephaestus, led by Dionysus, returns to
Olympus having settled a dispute with Hera to marry Aphrodite. As the mythological story goes,
Hephaestus, in return for his mother casting him from Olympus, sent her a golden throne. Much
like the seat in Hades where Theseus was trapped, Hera was stuck to the throne and could only
be released by Hephaestus. He refused, however, until Dionysus made him drunk. As a reward
for releasing his mother, Hephaestus married Aphrodite. Dionysus, as well, was allowed into
Olympus as an Olympian god for his successful ploy. This scene, although mentioned by
Pausanias, is not widely told in classical mythology, at least in the sources that we have.
However, this particular scene adds deeper meaning to the overall iconographic agenda of the
vase.
First, it assures us that the scenes are not depicted chronologically. Though given the
Theseus scenes this can be guessed, the presence of a scene that solidifies two gods’ place in
Olympus who are then shown in the wedding scene above, confirms that this scene occurred
prior to the wedding. Therefore, we can disregard any notion of chronology that may be
discussed concerning the overall artistic agenda. But second, this scene provides a two-fold
meaning that should enhance the central subject. First, it depicts the beginning of a marriage, that
of Hephaestus to Aphrodite. In the scene, Aphrodite is shown giving herself, however unwilling,
to her new husband. This mirrors the wedding of Peleus and Thetis, as Thetis also had no
intention of wedlock with her groom. Instead, she was forced into matrimony, as was the
goddess of love. This scene just echoes and reinforces that sentiment. But it also shows the
solidification of Dionysus and Hephaestus as Olympians, which is greatly important to the death
of Achilles and Patrocles, both referenced on the vase. Hephaestus made a golden amphora
which he gave to Dionysus. Dionysus then presented it as a present to Thetis and Peleus, and it
was later used to hold the ashes of the two fallen heroes. Dionysus and Hephaestus have a huge
role in the funerals of the two, and in the central scene on the krater, the wedding, Dionysus is
scene carrying an amphora.
But first, it must be proven that the frieze depicting the wedding of Peleus and Thetis is
truly the central scene. This isn’t too much of a stretch. First, it is the largest and longest scene
depicted, and it fills the most prominent space on the face. Resting on the shoulders, it
immediately takes precedence over any other scene. Also, it entirely enwraps the vase, while
many other scenes only have one side to fill. Moreover, the “ending” to the wedding is the death
of Achilles, which is depicted on a handle, representing that the story came full circle. Finally,
the wedding involves a procession of the gods. This cannot be overstated, as the prominence of
the scene gives the idea that the gods are the center of attention and governing everything. Even
though they have depictions elsewhere, they all still appear in the central scene.
Now the scenes concerning Theseus must be examined. They are obviously not meant to
display any inherent greatness to Theseus, as for one they only depict two scenes. Furthermore,
there are no depictions of other typical scenes of his (Minotaur, Amazonomachy, 6 labors) that
are used to laud him, so they probably fit into the artistic program that deals with the lives of
Peleus and Achilles. The Centauromachy has a fairly simple explanation, it seems. In the
wedding scene, Chiron is seen leading Peleus to his bride. Chiron was Peleus’, and later
Achilles’, teacher, and had great influence in their lives. But he is also a centaur, though not of
the race of centaurs in the Centauromachy. This scene seems to be there to contrast the great
teacher from the evil centaurs, and shows how he is righteousness in the face of their chaos. The
other scene with Theseus, however, his celebration of escape, is more puzzling.
It’s possible that the depiction of the dancing youths and maidens is just a prelude to the
Centauromachy, but this seems very out of place for the rest of the vase, as everything is rather a
prelude to the Trojan War. It is possible that this is referencing Achilles’ shield, which depicts
maidens and youths dancing. Furthermore, another scene, that of a lion attacking a bull, is also
on the vase and on the shield. On other depiction on the shield is that of the world-encircling
Ocean. On the vase, the war of the Pygmies and Cranes is depicted, and in myth this war was
supposed to occur around the body Ocean. It could also reinforce the dance of the Athenians, as
they dance the Crane Dance, insinuating that somehow the two are connected. While the shield is
possible as an explanation, it is obscure and highly unlikely given that only two or three scenes
are referenced, and seemingly at random. Also, the scene with the lion is depicted on the vase
with other scenes of animal violence and hunting, so this is probably not true.
The other possible interpretation of the dancing scene is its symbolic meaning. Again,
there is an impending marriage, as Ariadne is seen with Theseus. This marriage, of course,
doesn’t occur, but the entire scene reflects that of a wedding: happy, festive, holy. In this union,
there is impending doom. Soon, Aegeus will throw himself into the sea, and soon Phaedra will
learn of her sister’s abandonment, which will eventually lead to Hippolytus’ death. Likewise, the
wedding of Peleus and Thetis will lead to the death of thousands, as it sparks the Trojan War,
and it is even foreshadowed in the scene with Dionysus’ presentation of the amphora. Or
perhaps, because the vase was Athenian, the artist felt the need to include Theseus, but this is
probably not true as the Centauromachy would have fulfilled this requirement. So rather, there
must be some importance to this particular scene, whether in its similarity to the central wedding
or its association with the shield of Achilles.
The other designs on the vase are easily explained. At the foot of the krater, scenes
depicting a panther attacking a stag, a panther attacking a bull, a lion attacking a bull, a lion
attacking a boar, griffons, and sphinxes are all shown. The violence can be connected to the Iliad
where the warriors are often depicted as beasts hunting prey. The Greeks, including Achilles, are
often equated to lions, and Paris is often depicted wearing a panther skin. The scene on the
handle showing a woman holding back lions, a panther, and a stag also fits this explanation.
Finally, the depictions of the gorgons conjure up feelings of war, as Medusa’s head was
implanted in the Aegis and therefore was a tool of war.
Although the mythological program is confusing at first, it becomes clear viewing the
marriage of Peleus and Thetis as the central scene. The other scenes concerning the Trojan War,
those of Ajax lifting a dead Achilles, the funeral of Patrocles, and the ambush of Troilus, are all
easily reconciled with the artistic agenda. Also, the depiction of the Calydonian Boar hunt serves
to give background to the life of Peleus. The Return of Hephaestus gives foreshadowing to the
central scene, and the extraneous scenes imply war. The Centauromachy shows contrast between
base centaurs and Chiron, who prominently displayed in the central scene, guided both Peleus
and Achilles. The largest question mark still is that of the dancing Athenians, but it may also
offer foreshadowing just like the Return of Hephaestus.