About This Artwork

Greek; Athens
Attributed to the Painter of Berlin 1686 or the Painter of Tarquinia RC 3984

Belly-Amphora (Storage Jar), About 550/540 B.C.

Terra-cotta, black-figure technique
28.2 x 21.6 x 19 cm (10 3/4 x 8 1/2 x 7 1/2 in.)

Katherine K. Adler Memorial Fund, 1978.114

Ancient artists frequently depicted events from the life of the demigod Herakles, especially the Twelve Labors he had to complete to attain immortality. On this amphora (storage jar) the great hero completes his first assignment—to kill a lion with an invincible hide that was terrorizing the village of Nemea. Here the contest has been decided; Herakles strangles the lion, whose jaws he has pried open with his bare hands. To one side stand Athena and Hermes; on the other stand a pair of balancing figures. In subsequent episodes, Herakles often wears the lion’s head as a helmet and either wears or carries its pelt as a protective cloak.

These vases were used for the transport and storage of items such as wine and olives, and they were given as prizes in athletic competitions. Many vases have been broken, either in antiquity or in modern times, and repaired. However, this amphora remains intact, with only a few losses, like the chips on the rim, and some surface abrasion. The vivid white gloss that highlights the women’s skin and the shield is especially well preserved.

— Entry, Essential Guide, 2013, p. 68.


The scenes painted on Greek vases provide a wealth of detail about life in antiquity. For example, here the painter depicted the inner side of two shields, allowing the modern viewer to understand how ancient soldiers maneuvered them in hand-to-hand combat. A soldier would slip his forearm between the wall of the shield and a stabilizing strap—here rendered in white—that extends from the upper to the lower edge, and grip a fixed handle, allowing him to quickly move it at will.

Permanent collection label

Exhibition, Publication and Ownership Histories

Exhibition History

The Art Institute of Chicago, Ancient Art Galleries, Gallery 155, April 20, 1994 - February 6, 2012.

The Art Institute of Chicago, Of Gods and Glamour: The Mary and Michael Jaharis Galleries of Greek, Roman, and Byzantine Art, Gallery 151, November 11, 2012 - present.

Publication History

Jody Maxmin, "A New Amphora by the Painter of Berlin 1686," in Studien zur Mythologie und Vasenmalerei: Konrad Schauenburg zum 65. Geburtstag am 16. April 1986 (Philipp von Zabern, 1986), p. 39.

The Art Institute of Chicago. The Junion Museum-Family Programs. March-April. (Illus. only). 1984.

Classical Philology. Vol. 91, no. 3 (July 1997), cover (ill.)

Greek Vases from Hirschmann Collection. Ed. Harris jorg. Bloesch. No. 24. 1982.

James N. Wood, Treasures from the The Art Institute of Chicago (The Art Institute of Chicago, 2000), p. 71, (ill.)

Bulletin of A.I.C. , Jan-Feb-March, 1980, Vol. 74, No. 1, p. 8.

Lexicon Iconographicum Mythologiae Classicae, 1989, vol. I, no. 1831, pl. 40.

Dietrich von Bothmer, The Amasis Painter and His World: Vase-Painting in Sixth-Century B.C. Athens (The J. Paul Getty Museum, 1985), p. 49, 51, fig. 50 (ill.).

A.W. Johnston, “Amasis and the Vase Trade”, in M. True (ed.), Papers on the Amasis Painter and his World (1987), pp. 151-3.

John Griffiths Pedley, Ancient Art at the Art Institute of Chicago, The Art Institute of Chicago Museum Studies, Vol. 20, No. 1 (1994), pp. 38-39, no. 20 (ill.).

Warren G. Moon and Louise Berge, eds. Greek Vase-Painting in Midwestern Collections (Art Institute of Chicago, 1979), pp. 52-53, no. 31.

A.W. Johnston, Trademarks on Greek Vases: Addenda (Oxford 2006) 117 5D no. 3a and 86 16Bno. 29a.

M.D. Stansbury-O'Donnell, Vase Painting, Gender, and Social Identity in Archaic Athens (Cambridge, 2006), p. 14, fig. 4.

Karen B. Manchester, Recasting the Past: Collecting and Presenting Antiquities at the Art Institute of Chicago (Art Institute of Chicago/Yale University Press, 2012), p. 32, 59, fig. 9.1.

The Art Institute of Chicago. The Essential Guide. (Art Institute of Chicago, 2013), p. 68.




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