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This is the goal of this essay, which will focus on Athenian red-figure vases, where these images occur most frequently.

This has often gone unnoticed, and no overview or analysis of the use of wedding imagery in non-wedding scenes of myth has ever been written. But wedding motifs are also employed in scenes of myth where no wedding proper takes place, lending these images more than one layer of meaning, just as metaphor, simile, and other literary devices do in literature. 1 That elements of wedding iconography were used in depictions not only of human weddings but also of mythological ones should not be a surprise, since the Greek gods are anthropomorphic and human in most of their customary behavior. Recent studies have helped us to perceive more clearly the parts of the ceremony shown on individual vases and to understand the formal pictorial language developed by vase-painters for wedding depictions. Hanks to the evidence preserved on Athenian painted pottery we have a much better understanding of the ancient Greek wedding ceremony, for the scenes found on some of these vessels not only provide pictures of events referred to in literary sources, but they sometimes fu rnish evidence for those not mentioned. His homeland for burial.NUPTIAL NUANCES: WEDD I NG I MAGES IN NON-WEDDING SCENES OF MYTH Sleep (Hypnos) and Death (Thanatos) to carry the fallen away to Sarpedon's death, the god Hermes directs the personifications of Shows a contemporary scene of Athenian youths from the sixthĬentury BC arming themselves before battle. Shown on the obverse this illustration depicts the death of The style of the vase is red-figure pottery.The krater isĭecorated with two scenes.

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Our vase is a copy of the famous ancient Greek terra cotta calyx-krater known as «The Euphronios Krater (or Sarpedon krater)» (515 BC), which is exhibited in the Archaeological Museum of Cerveteri in Italy.

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