The pot was a natural one to choose for part of that seminar, because the scene depicted seems to relate quite closely to a great moment in book 16 of the poem: Zeus’ mortal son, Sarpedon, is killed by Achilles’ companion Patroclus, shortly before Patroclus comes to his own death at the hands of Apollo and Hector. I have been thinking about this recently because I included a seminar on ‘reception’ in my undergraduate module on the Homeric Iliad.
As we’ll see, we also know something of its history since it was made. We know the name of the potter (Euxitheos) and the painter (Euphronios), because both are named on the pot (one signature reads ‘Euxitheos made me’ and another ‘Euphronios painted me’). The pot in the picture is a big (about 45 cm tall) krater (mixing bowl for wine), manufactured in Athens in the late sixth century BC. The Parthenon Sculptures are another example.January 23, 2014, by Richard Rawles Sarpedon: Looking at the Past Examples are, for instance: the Koh-i-noor diamond, seized by the British East India company in 1849 and currently part of the British crown jewels the Benin Bronzes, looted from the capital of Benin (in modern Nigeria) by British soldiers in 1897 and now spread across several museums in Europe and America the Rosetta Stone, seized by British troops from the French army in Egypt in 1801 and today one of the most popular exhibits in the British Museum in London. However, the theft of a few especially valuable and/or important objects have proven unforgettable and the subject of frequent repatriation requests. These objects of beauty and esteem number in the many millions and most will likely be lost to their former owners forever. Throughout history, across the globe, powerful nations and empires have taken valuable objects, including cultural property, from those they have conquered and colonized. The vast majority of repatriation cases derive from colonial or imperial subjugation.
\): The Koh-i-Noor in the front cross of Queen Mary’s Crown ( Royal Collection Trust)
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