The François Vase, (or François Krater), is a large Attic volute krater decorated in the black-figure style. It stands at 66 centimetres (26 in) in height and was inspired by earlier bronze vases. It was used for wine. A milestone in the development of ancient Greek pottery due to the drawing style used as well as the combination of related stories depicted in the numerous friezes,[1] it is dated to circa 570/560 BCE. The François Vase was discovered in 1844 in Chiusi where an Etruscan tomb in the necropolis of Fonte Rotella was found located in central Italy. It was named after its discoverer Alessandro François,[2] and is now in the Museo Archeologico in Florence. It remains uncertain whether the krater was used in Greece or in Etruria, and whether the handles were broken and repaired in Greece or in Etruria. The François Vase may have been made for a symposium given by a member of an aristocratic family in Solonian Athens (possibly for a special occasion, such as a wedding), then broken and, after being carefully repaired, sent to Etruria, perhaps as an instance of elite-gift exchange.[3] It bears the inscriptions Ergotimos mepoiesen and Kleitias megraphsen, meaning ‘Ergotimos made me’ and ‘Kleitias painted me’.[4] It depicts 270 figures, 121 of which have accompanying inscriptions.[5] It is highly unusual for so many to be identifiable: the scenes depicted represent a number of mythological themes.
The uppermost frieze, on the neck of the krater, depicts on side A[7] the Calydonian boar hunt, including the heroes Meleager, Peleus, and Atalanta. The scene is flanked by two sphinxes which are separated from it by a band of lotus blossoms and palmettes. On the other side of the vessel, this zone features the dance of Athenian youths led by Theseus who is playing the lyre, standing opposite Ariadne and her nurse.
Detail: the Calydonian boar hunt
The second band on side A shows the chariot race which is part of the funeral games for Patroclus, instituted by his friend Achilles, in the last year of the Trojan War. Here, Achilles is standing in front of a bronze tripod, which would have been one of the prizes, while the participants include the Greek heroes Diomedes and Odysseus. On side B, the painted scene depicts a battle of the Lapiths and Centaurs. The most famous of these conflicts took place at the wedding party of Pirithous and Hippodamia, which is probably depicted here, as the hero Theseus is found among the combatants, a friend of Pirithous who himself was not a Lapith, but said to be among the wedding guests. The scene also includes the demise of the Lapith hero Caeneus.
The vase is signed by Ergotimos (potter) and Kleitias (painter)
The third frieze on both sides, the highest and also most prominent one because of its location on the top of the body vessel, depicts the procession of the gods to the wedding of Peleus and Thetis. Because of its large number of figures, the procession is a suitable topic to decorate the long band. The end of the procession shows Peleus between an altar and the house where Thetis can be seen sitting inside. He is greeting his teacher, the centaur Chiron, who is heading the procession together with the divine messenger Iris, followed by many other deities.
The fourth frieze on side A depicts the ambush of Troilus by Achilles. Side B shows the return of Hephaestus to Olympus; sitting on a mule, he is led to the Olympian gods by Dionysus, followed by a group of silens and nymphs.
The fifth frieze shows sphinxes and griffins flanking lotus blossom and palmettes ornaments and panthers and lions attacking bulls, a boar, and a deer.
On the foot of the vessel, there is on both sides a depiction of the battle between Pygmies and cranes.
The handles are decorated as well, showing on their outer sides the so-called Mistress of Animals above a vignette showing Ajax carrying the dead Achilles. The fields on the inner sides of the handles above the rim of the pot each feature a Gorgon in motion.
It is dated to circa 570/560 BCE.
Florence – Italy.
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