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scheme.
The Greek vase painters knew exactly how to shape their panels and their figures within those panels so that the total effect would achieve a triumph of unity. Many involved theories have been propounded during the last two centuries in an effort to explain this “system", but none of them have been thoroughly convincing.
The VI Century B. C. black figured amphora in the Virginia Museum of Fine Arts, purchased in 1960 through the Glasgow Fund, is a vase which is noble both in shape and decoration. The panel on the obverse depicts the birth of Athena, the protectress of Athens where her special rites were celebrated during the Panathenaea, a process which carried the new robes nf the goddess through the city and which is especially well known to; us through the sculptured frieze of the Parthenon.
On the vase Athena may be seen emerging, full grown and fully armed, from the head of the enthroned Zeus who had swallowed her mother because of a prophecy that the child would become stronger than he. Hephaestus split the skull of Zeus in order to facilitate the birth of Athena and she fulfilled the prophecy by becoming the goddess of war, of counsel, and the protectress of many Greek Continued on page ten
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