HESPERIA 76 (2OO7) NOTTWINS AT ALL Pages 717-730 The Agora Oinochoe

Reinterpreted

ABSTRACT

on a A unique double figure Late Geometric vessel known as the Agora oinochoe (P 4885) has been interpreted in a variety of ways. In this article the author explores problems with previous interpretations and offers new readings of the figure, the scene, and the frieze. The figure should not be as as interpreted the conjoined Molione-Aktorione twins or, indeed, conjoined case at all, in which there is little to connect the scene with Homeric epic. The scene can be viewed more as an in convincingly experiment narrative, simultaneously showing two moments in time. The frieze in its entirety might even as an be regarded ingenious optical trick.

INTRODUCTION

most common The interpretation of the famous double figure depicted on a well-known oinochoe (P 4885) found in 1935 in a grave near the Tholos in the Athenian Agora is that it represents Eurytos and Kteatos, the conjoined Molione-Aktorione twins.1 There are several difficulties with this interpretation, which I explore below before presenting alterna scene tive readings for the figure, the inwhich it occurs, and the frieze and oinochoe as a whole. scene on The central the "Agora oinochoe," as it ismost often repre seems a sented, to depict double figure attacked from the left by two figures a a armed with spear and sword (Fig. 1). The double figures square shield covers its body (or bodies), and the helmet crests of the figure appear to

1. For full and a sum a detailed of the vessel is Bollen. I also thank the editors bibliography description Hesperia on on mary of previous scholarship given pp. 67-71, figs. 43,44. and anonymous reviewers for their see I would like to comments. P 4885, Papadopoulos 1999. See express my gratitude recommendations and For also Coldstream no. to several scholars and for assistance in 1968, p. 55, 9; colleagues providing photographs, their and for this to 2003, pp. 353-354; Ahlberg-Cornell suggestions support my thanks go Sylvie Dumont, Rosa 32. For a discussion of the Alastair Ken 1992, p. paper: Blanshard, Sheedy, Proskynitopoulou, Brigitte Tailliez, and excavation the oino Sonia Anne and findspot of Angie Morton, Puttock, Ioulia Tzonou-Herbst. see Ted and Elizabeth choe, Young 1939, pp. 6-20; Mackay, Nixon,

? The American School of Classical Studies at 7i8 MURRAY K. DAHM

one 1.Detail of watercolor Piet be connected. The figure has foot in the two-horse chariot to its right, Figure by it is unclear or de Jong of the projected frieze on the although if it ismounting dismounting.2 The figure carries oinochoe P 4885. Photo a a scene Agora courtesy sword in its right hand and the reins and whip in its left. This is Agora Excavations shown flanked by two chariots. The approximate date of the vessel, 735-720 b.c., places it inAttic Late Geometric lib.3 Aside from the enigmatic double figure, another unusual feature of the frieze is the presence of four exit points for crossed ceramic tubes that would originally have been inside the vessel (Fig. 2). This design feature was the focus of much attention soon after the oinochoe was discovered.4 are to While the ceramic tubes integral the design of the vessel, it is impor tant to note were was that they added after the pot decorated: the painted across areas design continues the where the tubes intersect the frieze (the exit points).5 scene as The has long been interpreted representing the battle involv ing , his Pylians, and the twins described in book 11 of the .6 no In 's account, mention is made of the twins being conjoined, although Hesiod, Pindar, and Apollodoros, among others, suggest that they were.7 Nicholas Coldstream that the an aristeia argues scene, portraying a one performed by the hero Nestor, "looks like family crest."8 That of the

2. than the were for libations extends above an exit I thank King (1977, p. 34) argues that it body, liquid just point. "is a safe that are that "trickled out over an one of the reviewers assumption they pre gradually Hesperia for this to paring withdraw." extended period of time." Fraser (1940, observation. See below, pp. 726-727. an 3. See Ahlberg-Cornell 1992, p. 33; p. 462) proposed that the tubes had 6. See //. 11.670-761, esp. 709-710 634. Coldstream function associated with Papadopoulos 1999, p. apotropaic and 750-752. Hampe (1936, pp. 87 a was to scene (1991, p. 51) argues for date around Siamese twins, since all the other exit 88) the first identify the b.c. occur 730 points in neutral ground; while with the Iliad passage. 4. See 636 he is correct Papadopoulos 1999, pp. about the placement of the 7. Hes. fr. 17b (Merkelbach-West); 638. exit it would as we will Pind. 01. Bibl. Payne's hypothesis (1935, p. 150) points, seem, 10.22-39; Apollod. that the tubes were a see not part of cooling below, that the design does 2.7.2. an system and that the vessel represented perfectly fit such argument. Papa 8. Coldstream (1991, p. 51) also a most notes primitive remains the dopoulos (1999, p. 638) argues that the that Neleus, Nestor's father, but other oinochoe is a to popular interpretation, possi so-called trick vase, "a moved Athens after leaving Pylos, bilities have been vessel for holes thus the scene's proposed. Young pouring wine, withy

2. Two views of the Figure Agora the of isNestor himself is since he should then be oinochoe, showing location attacking figures problematic, as "heroic" with the and T. B. L. the exit points for the crossed tubes. represented typical dipylon-shaped body, Photos courtesy Agora Excavations Webster's argument that Nestor's shield was omitted because he was so as fighting offensively is hardly convincing.9 Indeed, Webster goes far to scene an argue that the whole is interpolation into the series of three chariots celebrating the funeral of Amarynkeus, king of Bousprasion, and scene to that the also alludes another episode, Nestor being bested by the brothers in a chariot race at Iliad23.638-642. Evidence for an allusion to con this chariot race, the argument continues, is provided by the explicit one nection of of the twin's legs to the chariot. While most interpretations connect the scene in some way with the to Iliad, alternatives have been suggested. According Bernhard Schweitzer, scene a the origins of the story behind the lie in Peloponnesian poem war that described the of Neleus against the Elians.10 Anthony Snodgrass scene to suggested that the may be related the twins' other adversary in the the and 9.Webster 203. is Alkmoneonides, Paionides, 1958, p. There complication is usually ignored, and the the Medontides?and the to so, argument also the second attacking figure combatants with the twins in later de assumes the No combatant in the Iliad is are (p. 56), piece represents explain. pictions also armed with both spear Neleid-clan and comes armed with a and a sword simul family pride spear and sword. It is worth remembering from a of one of these families. to grave taneously. Webster attempts explain that in the Iliad account, by the time A crest of what amounted to this that the family anomaly by suggesting Nestor joins combat with the twins, he a seems more a a defeat, however, than spear is reference to the spear battle is in fact mounted in a chariot. little see n. 43. odd; below, that preceded the sword battle. This 10. Schweitzer 1969, p. 56. 720 MURRAY K. DAHM mythology, Herakles.11 But the "Nestor-twins" interpretation has remained popular; in part that may be because the scene, if it does represent the story narrated in the Iliad, would rank among the earliest representations a in Greek art of specific incident from Greek myth.12 However one the its unusualness seems to interprets scene, encourage a the belief that it refers to specific incident. Nevertheless, there are several scene problems with the interpretation that this depicts the Moliones. John Boardman has warned against the readiness with which Homer has on been used to identify scenes Late Geometric vessels,13 and it is useful to we a remind ourselves that know of only fraction of the cultural refer ences or sources on which artists could draw. Nonetheless, as the scene can involves chariot combat, references to Homer be used to give an idea or sense an of the kind of material artist might use, without its source being specifically Homeric.

PROBLEMS WITH PREVIOUS INTERPRETATIONS

on The depiction of the double figure the Agora oinochoe differs from all other extant examples of conjoined twins in Late Geometric art. There are as as or many 17 full fragmentary depictions known of twins.14 In all to of these (where it is possible determine), the twins are depicted either as a set a having four legs generating from single of hips with single waist, or as two arms on torso having each side of the (e.g., Figs. 3, 4). None of the other examples carry shields. One of the four examples depicted on a in the Metropolitan Museum of Art (Fig. 4) may have two lower 3. Krater a Figure fragment from bodies, while Phrygian statuette in the has two bodies b.c. the Argive Heraion, 720-700 joined at the lower back.15 National some Athens, Archaeological What these examples show is that, despite similarities, no consis Museum 29983. Photo courtesy Hellenic tent exists for bodies in Late Geometric iconography depicting conjoined Ministry of Culture, Archaeological art. This not come as a Fund should surprise, since Classical-period artists had Receipts

11. Snodgrass (1998, pp. 31-32) mythological theme in Geometric art." Ahlberg-Cornell (1992, p. 34), who that the of a on See argues presence quiver also Coldstream 1991, p. 56. maintains that the artist of Metropoli a Boiotian fibula tan Museum krater (p. 32, fig. 12) sug 13. Boardman 1998, p. 54. Against 14.130.15 (Fig. 4), Herakles as the twins' see which gests opponent, this, Snodgrass (1980, p. 52): "such shows conjoined figures, but Coldstream counters as "misunderstood" his own (2003, p. 353) legendary interests early Greek epic tradition. encounter that the twins' with Herakles artists possess must be derived from 14.Ahlberg-Cornell (1992, p. 32) was better known outside of Attica in for a maximum of 11 epic general, and Homer in particu argues such fig than the Nestor and hence lar." On ures or and one. episode, p. 53, however, Snodgrass him fragments, rejects their on the Boiotian fibula. self that "we no counts 14 appearance argues should longer be Snodgrass (1998, p. 30) Herakles encountered the twins when in our identification of all "six from confined, possi depictions, early: Athens, he war on of waged King Augeias Elis. ble subjects, by the limits imposed by four from Boiotia (Hesiod's homeland), The twins defeated Herakles' and can and one army Homeric epic_We entertain the each from Argos, Corinth, Ar wounded his brother to Iphikles. Later, possibility of the artists seeking por kadia and Lakonia." King (1977, p. 30) Herakles ambushed and killed the a identifies 17 or tray stories which have very obscure depictions fragments. twins on their to the Isthmian status in even 15. way epic, and perhaps the New York, Metropolitan festival. occasional story which has not survived Museum of Art 14.130.15; London, 12. and source Agora Guide, pp. 230-231, in any written of whatever date." British Museum 1905.10-24.5. For statement seems to me a the see fig. 121. Schweitzer (1969, p. 56) is This cautious Phrygian statuette, Ahlberg more it "is the earliest categorical: much better position than that of Cornell 1992, p. 286, fig. 43. THE AGORA OINOCHOE REINTERPRETED 721

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4. Detail of frieze on an Attic no Figure consistent iconography for portraying the conjoined Geryon of Her ca. 725 b.c. New dipylon krater, akles' 10th labor either. The three-bodied Geryon is depicted variously York, Metropolitan Museum of Art, as one having body with two legs, three heads, and six arms; three bodies 1914 Rogers Fund, (14.130.15). one arms with three heads and six legs and arms; body with six legs and Photo ? The Metropolitan Museum of Art one arms and three heads; and body with two legs and and three heads.16 seem no These inconsistencies would to provide barrier to regarding the scene as a Agora depicting conjoined twin, although for the Late Geometric we assume period should not that any arguably conjoined body must be or a must conjoined, that such figure represent the Moliones. on Another argument that has been made is that the double figure the one Agora piece represents two figures hiding behind shield.17 Those who favor the Moliones interpretation reject this suggestion, arguing that it is are am clear that the shoulders and lower bodies joined.181 unconvinced, are however, and do not think it is at all certain that the two figures joined. The placement of the exit points of the crossed tubes in the vessel compli one area cates matters; in particular, of the holes obscures the of the hips (see Fig. 1), making it impossible to determine if the double figure has only one set seem of hips. Given the angles of the legs, however, itwould that there must be some not in other separation depicted examples.19 scene Another argument that this depicts conjoined bodies is derived from the iconography of the joined helmet crests, but this feature is hardly conclusive either. In most depictions of the twins for which the heads same survive, the figures face the direction, and thus their helmet crests

16. See Harvard the and an a neat Cambridge, Mass., "Perge sarcophagus"; unpub but it does look like remarkably Art Museums lished Athenian vase: L3.6 two University 1972.42; black-figure way of conveying the fact that the at Munich, Antikensammlungen 1379, www.theoi.com/Gallery/L3.6.html are, quite literally, inseparable." See 2620, and J81; , Mus?e du Louvre (accessed September 22,2007). below, pp. 724-725. F 17. See Fraser Ahl 53 and F 55; London, British Muse 1940, p. 460; 19. The projected frieze presented um B155 ("Chalkidian" ) and berg-Cornell 1992, p. 33. by Nefedkin (2001, p. 200) cleans up 1865.7-20.17 Protocorinthian 18. 33. (Middle Ahlberg-Cornell 1992, p. the image and omits all geometric Cabinet des M?dailles de out that as as ); Paris, Snodgrass (1998, p. 31) points decoration well the exit points. la nationale de France "to be this vital is not are two sets Biblioth?que fair, detail quite The twins depicted with so visible on the 202; Alanya, Archaeological Museum, clearly original jug; of hips uninterrupted by the exit point. 722 MURRAY K. DAHM

worn on a Figure 5. Detail of frieze from Corinth, 720-700 b.c. Corinth Museum Archaeological C-1966-216. Photo I. Ioannidou and L. Bartzioti, courtesy Corinth Excavations, neg. 2007-5-3

do not as touch; in examples where the twins face opposite directions, they do in P not at 4885, they may be wearing helmets all (see Fig. 5).20 There are several incidents in extant literature where helmet crests do indeed are we are touch, but these in instances where it is obvious that dealing with to one separate individuals very close another in combat.21 Touching crests not as an helmet should therefore be regarded iconographie indicator of conjoined bodies.

ALTERNATIVE INTERPRETATIONS

to Alternatives the event-specific interpretation involving the Moliones can scene be proposed. First, it is possible that the simultaneously represents two moments two a in time involving figures, rather than single moment as involving four (or, indeed, three). An alternative reading for the frieze a whole is also possible. Before exploring these options, however, we must scene a consider several other factors. If the does represent specific incident we can or we (whether confidently identify it not), might consider, since it involves chariot combat, that it depicts an event akin to that described in or //zWll.423-42522 13.131-133 and 16.215-217.23The particular inci dent shown cannot come from the Iliad, however, since the details of the not image do match any of the epic's descriptions of chariot combat.

Alternative 1: Two Moments in Time

It a vase is commonplace that Geometric painting lacks any specific in or dication of time, and that instead it depicts typical timeless episodes.24 some one This position is unassailable inmany cases, but in examples may vase argue that the painter experimented in narrative. One such example is an now in Attic krater Paris (Fig. 6)25 that depicts many figures, including

20. See also on the Ahlberg-Cornell 1992, bright helmet-ridges touched down from his chariot. as men p. 285, fig. 40. each other, the moved their 23. See n. 21, above. 21. See fr. 11.32. See also in such close stood Tyrtaios heads, array they 24. See, e.g., Snodgrass 1980, p. 51, //. 13.131-133 where one n. (= 16.215-217) by another" (trans. A. T. Murray, and 4. the same formula is used: "buckler Cambridge, Mass., 1925). 25. Mus?e du Louvre A 519; see also on helm 22. In this kills pressed buckler, upon helm, passage, Ahlberg-Cornell 1992, p. 282, fig. 35. and man on man. The horse-hair crests Chersidamas as just Chersidamas leaps THE AGORA OINOCHOE REINTERPRETED 723

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6. Attic 750 b.c. Figure krater, Paris, can or conjoined twins, and it hardly be considered typical timeless.26 An Mus?e du Louvre A 519. The twins' other vessel that shows narratives and creates and torso can be seen at the multiple interesting parallels legs for the Agora oinochoe is the Iliupersis from Mykonos,27 which is extreme bottom left. Photo courtesy to b.c. Mus?e du Louvre dated the first half of the 7th century and simultaneously shows as several moments in time, such the Achaians inside the at same as on the time Greek warriors are the march (identified by Karsten Friis Johansen as the Greeks setting out from ).28 scene Another that has been argued to depict several moments in time same on a in the image is the blinding of Polyphemos well-known Proto attic amphora from Eleusis (ca. 670-650 B.c.).29 The combination of Poly a uncon phemos holding skyphos, having his eye open (and thus not being scious), and being blinded argue for the representation of what Mark Stans as bury-O'Donnell describes "different moments into the composition."30 scenes The existence of early-7th-century showing multiple moments in means time that it is not improbable that similar visual experiments took can seen as an place in the late 8th century. The Agora oinochoe be such

experiment.

were at 26. Snodgrass 1980, p. 52; Cold possibly work earlier in Attica: (CorinthMuseum CP 2096). stream to a see 2003, p. 113. It is interesting fragment from the Agora dated On narrative in Geometric art, note b.c. on see that the three types of warriors between 720 and 700 also depicts pp. 35-49, and the twins, see 46-47. shown (unarmored, and with dipylon the death of ; Brann 1962, pp. no. Friis 30. and rectangular shields) match those p. 66, 311, pi. 18; Johansen Stansbury-O'Donnell 1999, on the Agora oinochoe. 1967, p. 31, fig. 2b, and discussion p. 3. He argues that this would be the 27. Mu n. 38. It is that these case if this were an illustration of Mykonos, Archaeological p. 30, possible only seum. are scenes account in Even See Friis Johansen 1967, pp. 26 metopes generic of mayhem, the Od. 9.382-397. scene can to 31, and notes; Osborne 1998, p. 54, although they could also represent if it is not, the be argued a moments in time from ill. 25. multiple incidents from lost epic. combine several as one 28. Below this scene, metopes rep 29. Eleusis, Archaeological the story. Other examples, such resent the meeting of and Museum. See Stansbury-O'Donnell from Argos (Athens, Archaeological n. Helen and the death of Astyanax. The 1999, p. 2, fig. 1, and 4; also pp. 23 Museum C 149), differ by depicting seems to a on one moment. whole be selected narrative 26, figs. 7, 8, the narrative(s) pre only See Stansbury on 2. of the sacking of . These themes sented the Middle Protocorinthian O'Donnell 1999, pp. 2-3, fig. 724 MURRAY K. DAHM

The Attic krater in New York illustrated above (Fig. 4) has also been a argued to represent continuing narrative.31 Twins occur four times on this more frieze, and it is likely that they represent part of a narrative than that or they occurred in four timeless typical scenes?or, indeed, that there were same scene. are four pairs of conjoined twins in the Two pairs in adjacent a chariots. J.M. Cook cautioned against mythological interpretation of the occurrences same twin figures because of the multiple in the frieze. Instead, noting that they disappear after the Geometric period, he argued that they a to a a represent figure used fill space too broad for single figure and too narrow two. are are for Thus, twins like the horses that drawn according to the same convention.32 a scene on Such scenario could be argued for the the Agora oinochoe, seem are as as although these twins flattened and not close together other was depictions of twins. If the figure forced into the space, itwould explain the interference of the exit point with the figure. The spacing between the seem double figure and the second attacking figure does cramped, with only three chevrons and not the four or five is 31. between the previous figures. It Ahlberg-Cornell 1992, p. 33, scene as or n. 8. Coldstream in possible that the became cramped the painter planned it, even (2003, p. 354), as contrast, maintains that MMA he painted it, him to decrease the space between the figures. forcing 14.130.15 is and that the It was above that Iliad 11.423-425 be in in timeless, suggested might helpful twin motif represented repeatedly the scene. Here kills Chersidamas as he dismounts terpreting Odysseus just occurs in the context of the funeral from his chariot. There are other incidents in the Iliad inwhich awarrior of Amarynkeus. as or or 32. Cook 206. is attacked he mounts dismounts his chariot, in which he springs 1938, p. are 33. See also //. 3.28-29; 4.419 off his chariot into combat.33 Such attacks, however, always made with 6.103 never vast 421; 5.45-46,297,494-497; spears and with swords. In the majority of examples of Homeric 106; 7.13-16; 11.94-96,211-214; combat a charioteer ismentioned or named in addition to the but warrior, 13.748-750; 16.342-343,426-427, art chariots in Late Geometric overwhelmingly show single occupants. 733-734, 755; 17.483; 20.401-402. vase not one 34. artists were able Late Geometric painters do often depict charioteers (unless Subgeometric as an to warrior and charioteer considers the twin figures attempt to show warrior and charioteer).34 depict sepa rated on the same chariot, as on a This does not efforts to match any scene to a incident from help specific vase cen Boiotian from the early 7th the Iliad, where, in most cases, the charioteer is named. tury (Munich, Antikensammlungen The artistic convention of chariots have come about one-occupant may 2234) reproduced by Greenhalgh because wanted to avoid the illusion that chariot contained painters every (1973, p. 13, fig. 4). Rare examples of Attic Late Geometric vessels conjoined twins. It is possible that the Late Geometric depictions of "twins" depicting are both charioteer and warrior include the in chariots in fact depictions of several two-occupant chariots, especially Borowski as once on amphora (Greenhalgh 1973, when they appear in adjacent chariots they do theMetropolitan p. 35, fig. 27) and Sydney, Nicholson Museum krater (Fig. 4). Museum 46.41 (Coldstream and Reade was an con Boardman suggests that the twin motif ingenious artistic 1997). men vention used to show two fighting together in proximity.35 Boardman did 35. Boardman 1983, pp. 25-26. See an also Powell 1997, 192. Boardman not examine the Agora oinochoe, but it fits perfectly such idea, and taking p. as a we can scene a new (1998, p. 54), however, argues that the this suggestion starting point, read the in way. twins, at best, reflect on the The twin on the oinochoe are so close that "might figures Agora together common in pairing of heroes life and their crests touch and the (see above, Fig. 1), recalling passages inTyrtaios the battlefield, or of hero and chari Iliad m which individuals in close are described.36 The which is the case where proximity similarly oteer, clearly as two such on painter has gone further and depicted the figures fighting from behind pairs appear adjacent same to chariots in a frieze." the shield; to adopt this convention, however, he has had sacrifice 36. See n. above. one a 21, arm of each. One figure may therefore be dismounting chariot in 37. See above, and, e.g., to is two armed Snodgrass very close another who attacked The twins are proximity by figures. 1998, p. 31: the "evidently traditional holds that the double is the a retreat to interpretation figure mounting making fighting their chariot to escape the combat.37 The figure to the left, however, faces his chariot." THE AGORA OINOCHOE REINTERPRETED 725

attacker and is arguably defending himself. Alternatively, this figure may represent a nearby warrior who is covering the retreat of his companion to the chariot. scene Another possible reading is that this involves only two figures (rath er than four), and should be read from the outside in as two moments in as a an time. First, figure dismounts from his chariot he is attacked by a a as assailant armed with spear and sword from the left. Then, just he on has dismounted he is reached by his assailant, who strikes him his body or his shield. us on are Let begin with the two figures the left (Fig. 1). They iden tically armed, the only difference between them being the number of on on we their helmet crests: three the left and four the right. If read the as a figure in this way, part of continuing narrative, then the change in can as a position of his sword be read slashing motion toward the double

figure.38 on In this "outside-in" interpretation, the two figures the right present more one difficulties: their crests join and their shield is surface.39 There is also the problem that the figure is shown swapping his shield from his arm as right to his left he dismounts.40 This may have been necessary in order to make the double figured movements fit with those of the attack moves to ing figure(s). As the attacking figure from left right, the double to so figure must be read from right left that the figures match up in the scene. can as middle of the Thus, the double figure be read dismounting from the chariot and then turning to meet his attacker. scene as a The may be looked at depiction of rapid movement, al assumes use a though this reading the of technique that iswell known from seems 20th-century cartoons, but unattested in Greek art. It plausible to a suggest, however, that iconographically the change from dismounting to a were figure defending figure would be achievable if certain sacrifices are common made. Similar sacrifices and discrepancies in perspective in are seen on as Late Geometric art, and elsewhere the Agora oinochoe, for example when the hooves of horses that are clearly behind one another are on same we nevertheless depicted the plane (Fig. 1). If ignore for the moment two the fact that the parts of the double figure swap their shield arm and their rein-and-sword arm (which can be attributed to a similar sacrifice), the only difference between the double figures appears to be in their helmet crests.41

38. This is consistent with sword this which have been which be design, might (see Fig. 1), may significant. wounds described in the Iliad if the tube had an To is (see, e.g., expected apotropaic my knowledge, this the only II. association with the of a extant of 13.605-619,16.339-341,20.463 deformation depiction four-crested are it in the center rather or helmets 472, 478-483); they always slashing twin, piercing (tetraphalos tetraphaleros) never ones than it" the in Greek art. This is wounds, piercing (Saunders merely "winging through description used See Fraser 462. 2003, p. 135). hips. 1940, p. by Homer four times (//. 5.743,11.41, can 40. of 39. The double shield itself be The member the double 12.384,22.315) and twice by considered the most item on the left holds his shield on nios problematic figure Rhodios (Argon.2.919,3.1228). in it was correct arm un this scenario, for clearly the for combat; it is Even if there is little significance in as a It is also the that a warrior would ever be the use of the rare painted single entity. likely term, the depiction on on boldest design the whole vessel, and depicted carrying his shield his of these four-crested helmets in art the Geometric arm. perhaps patterning right is noteworthy. The number of helmet too to to a proved attractive the artist 41. Two of the heads in the frieze crests may have been deliberate way break. The exit does not are shown with four-crested helmets of point pierce differentiating figures. 726 MURRAY K. DAHM

or As noted above, later Greek painters did show two more moments same in time simultaneously in the image and, if read in the same way, the can seen as an a Agora oinochoe be early experiment in such technique. can An incident from the Iliad easily be fitted into this way of reading the at image: Iliad 16.733-734 Sarpedon springs from his chariot and ad vances toward Patroklos, who, seeing Sarpedon advancing, also leaps to the ground and into combat with him. Although not all details of this on particular incident fit the image the Agora oinochoe, it is suggestive of a similar scene.

Alternative 2: An Optical Trick

we are Perhaps getting ahead of ourselves, however, and need to return to we the basics of how the Agora oinochoe might have been used. When look at the vessel as a whole and consider how it may have functioned, we can see that the double figure is located immediately below the han dle (Fig. 7).42 Below the spout of the vessel, and therefore visible to the are recipient of the poured wine, the two chariots (Fig. 2, above). In pub are lished depictions of the frieze, the chariots usually presented at the were extreme left and right. Only if the vessel turned handle first to the seen as seems viewer would the double figure be complete. This action course we ac unlikely in the of the vessels use, although must take into as a a as as count its possible function painted item and grave good well a vessel.43 pouring a Robin Osborne has taken similar perspective, arguing that the po scene an sition of the "Odysseus" shipwreck directly below the spout of can oinochoe inMunich is significant.44 Another spout-centered figure be seen on tamer the "horse tamer" oinochoe in Copenhagen, where the is a on flanked by horse either side.45We would certainly expect this position to be the most important if the viewer is assumed to be the recipient of was the poured wine?that is, if the vessel intended to be viewed primar saw ily from the front. Even if other viewers the vessel from the side, they see was would only (at most) half of the double figure. While the wine jug being carried, the double figure would be at least partially obscured from

any viewing angle. we In this respect, return to the issue of the tubes in the Agora oinochoe as an integral part of the vessel's design. The painter must have known where these would be located and where they would exit, and it is highly most unlikely that he would place the important figure where it would

also makes that the is National 42. King (1977, p. 34) however, image separated 45. Copenhagen, Mu this observation, but does not comment from the "main scene" of the action. sem 1628; Osborne 1998, p. 39, Fraser's that 17. further. argument (1940, p. 462) ill. See also Cambridge, Fitzwil 43. is a as attention is drawn to the If the figure family crest, purposely liam Museum GR-1-1935 (Coldstream it double has influenced argued by Coldstream (1991, p. 51), figure certainly 1968, pi. 13:e, f); Berlin, Staatliche is a location. how the has been certainly given strange figure approached Museen VI 3374 (Schweitzer 1969, an emblem would be and how the frieze has been Surely such projected pi. 56); and Boston, Museum of more positioned far prominently? reproduced. Fine Arts 25.43 (Schweitzer 1969, under the spout rather than under the 44. Munich, Antikensammlungen pi. 57). handle. Coldstream does recognize, 8696; Osborne 1998, pp. 35-37, ill. 14. THE AGORA OINOCHOE REINTERPRETED 727

Figure 7. The Agora oinochoe, showing the location of the double under the Photo figure handle. courtesy Agora Excavations

an even were meant to be partially obscured by exit point, if it be below the handle. This placement of the double figure argues against its being to no compared the other extant examples of double figures, since other double figure is similarly placed. The painter of the Agora oinochoe may have been experimenting one see were with his medium, since what would if the oinochoe presented or one spout first with side showing would be, at most, half of the double see figure. The only person to the double figure complete and unobscured or would be the carrier pourer before they first picked up the vessel.46 Apart from that instance, we can assume that half of the double figure would be obscured from view. on Revising the way inwhich the frieze the Agora oinochoe is usually a we we projected creates different narrative (Fig. 8).What see, then, if read the image from left to right beginning with the right-hand half of as a the double figure the starting point of the frieze, is procession of three a different chariots. The first, two-horse chariot depicted in profile with 46. This be one wheel is mounted a a point might particularly only showing, being by figure carrying rectangular relevant if the tubes functioned as part shield; the second, a "flattened" two-horse chariot with two wheels showing, a of cooling system. a two a is driven by dipylon warrior with spears; and the third, single-horse 47. A with a round shield is figure chariot shown in is driven a with no armor aside not are again profile, by figure shown, although these relatively from the sword he wears. The vase is his whole rare in Geometric art. See, however, painter deploying reper toire of different and of in a Greenhalgh 1973, p. 35, fig. 27 (Bo chariots, perspectives, types figures compact rowski and 38. a an inclusion amphora), p. 65, fig. space.47 The third chariot is depicted with pole, unnecessary 728 MURRAY K. DAHM

Figure 8. Revised projection of for a chariot. If two horses were to be it is single-horse depicted, however, the Agora oinochoe frieze in Piet that the second horse would have been the exit de likely interrupted by point Jongs watercolor, showing the to the a two of the double at immediately right.48 The possible omission of second horse for this parts figure and in either end of the frieze. Photo reason, the third chariot particular, demonstrate that the painter's courtesy in were Agora Excavations choices decoration deliberate. The four exit points divide the frieze into four separate panels that were filled in different ways. arrive at We finally, then, the last three figures. Rather than another mounted chariot (were the painter's options exhausted, or had he run out we are a of space?), shown combat involving three figures: two men without armed a shields, with swords and spears, attack third figure armed with a and a sword rectangular shield. This last figure then melds seamlessly (albeit obscured by the pourer's arm) into the first figure of the scene, and scene the whole begins again. The an double figure, coming where it does and interrupted by exit feature that can point (the marks the end of each of the three chariot panels), now as be understood being part of two panels rather than one. In the com bat the of on panel, spear the attacking figure the left is also interrupted by an exit point, which suggests that the limitations of space did not fit the intended scheme. This possibility is supported by the fact that the at extreme figure the right of that panel (the left-hand half of the double figure) is cramped within the limited remaining space?so much so that the painter may have solved this spatial shortage by melding him into the first figure of the first panel. in scene an Read this way, the suggests ingenious optical trick and an a ingenious artistic solution?appropriate for wine jug, and understandable as a favorite item to be a included in grave. This interpretation comple ments a John Papadopoulos's idea that the Agora oinochoe is "trick vase," am a although I suggesting different kind of trick. Indeed, trick vases most seem to often be connected with the potter's art rather than the decoration, although there is no reason to rule out a decorative trick.49

48. The seems to have dates to the 8th b.c. potter figs. 1, 2) century worship. The exterior of the Byrgos solved this far and the decoration as well as the a possible spatial problem design Painter (p. 30) shows group more with the first two is to its trick. Visual tricks can a successfully integral carousing, and the interior shows chariots. be seen to have continued in later man over young being sick (from 49. For Greek art as see Beard on Papadopoulos's suggestion, well; 1991, indulging). These visual jokes vessels see n. above. For of trick 8. The exterior the 4, examples pp. 28-30, figs. 7, of presumably intended for symposia may vases, see Noble 1968; Vickers 1975, kylix (fig. 7) depicts hetairai have their antecedents in earlier works 1981. The a as 1980;Turnure triple sky being paid, while the interior (fig. 8) (probably for similar purpose) such described Noble shows an wife in phos by (1968, p. 371, Athenian religious the Agora oinochoe. THE AGORA OINOCHOE REINTERPRETED 729

as Other oinochoai arguably include similar artistic experiments, such an or oinochoe showing the execution of prisoners50 another with the earli as est Athenian alphabetic inscription, translated "whoever of all the dancers now new plays most friskily."51 Perhaps potters wishing to try techniques over more favored oinochoai larger, traditional vessels. Such experiments, one can argue, bore fruit in subsequent periods of Greek art. were It is possible that the two halves of the double figure differenti ated by the number of their helmet crests, although the scene, read in this can norm way, loses its specificity and be fitted into the "timeless" of Late an Geometric art, albeit with impressively inventive visual device. Read in an this fashion, the double figure becomes expression of wit and not the depiction of conjoined twins, and the problematic differences between this double figure and other known examples melt away.

CONCLUSION

on In the above pages I have suggested that the double figure depicted the not as Agora oinochoe P 4885 does represent the Moliones twins, often or previously believed, indeed conjoined twins at all. It is thus difficult to scene even maintain that the isHomeric, though it appears to depict combat involving a chariot and there are passages in the Iliad that suggest related two new scenarios. I have proposed instead ideas to explain the presence on of the problematic double figure the Agora oinochoe. The frieze on the an vessel may reflect early experiment in simultaneously presenting two 50. Mus?e du Louvre moments a Paris, in time, technique known to have been used from the early CA 2509; see 1998, B.c. most Snodgrass 7th century onward. But the attractive and least problematic 7. pp. 20-22, and fig. interpretation of the scene?indeed, of the frieze and pot as a whole?is 51.0sbornel998,p.35.See that the double is of a trick that accommodates also figure part witty Papadopoulos 1999, p. 637, optical both the vessel's function as awine and pi. CXXXVIx, d. For the inscrip jug previous arguments regarding tion, see IG I2 919. trickery in Greek art. 73o MURRAY K. DAHM

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K. Dahm Murray

University of Sydney

department of classics and ancient history

SCHOOL OF PHILOSOPHICAL AND HISTORICAL INQUIRY

NEW SOUTH WALES 20o6

AUSTRALIA

[email protected]