L’iconografia di Atena nella ceramica italiota

Continuity and originality distinguish the representation of Athena, warrior and polymetis, in South Italian red-figure pottery compared to Athenian models. Almost always armed, the goddess is engaged in combat essentially in the scenes of Gigantomachy which, starting from consolidated schemes, introduce interesting details both in the attributes of Athena and in the characterization of her antagonists. The few other 'dynamic' representations are contrasted by the much more numerous 'static' poses, according to a codification of schemes that, at times, recall statuary types. Finally, there are cases in which a real statue of Athena, seated or standing, on bases or inside buildings, seems to be represented. The second section of the paper is centred on the Italiote images of both the Palladium stolen by Diomedes and Odysseus from the Temple of Athena at Troy and the statue of Athena Iliaca to which the prophetess Cassandra clings in order to escape from Ajax of Oileus on the night when the Achaeans conquer the city of Priam. The aim is to highlight the characteristics, in iconographic terms, of these two famous simulacra that the South Italian vase-painters represent in a original narrative context and in a manner different from those of Attic production.