Hoplites were citizen-soldiers of Ancient Greek city-states who were primarily armed with spears and shields. Hoplite soldiers utilized the phalanx formation to be effective in war with fewer soldiers. The formation discouraged the soldiers from acting alone, for this would compromise the formation and minimize its strengths. The hoplites were primarily represented by free citizens – propertied farmers and artisans – who were able to afford a linen armour or a bronze armour suit and weapons. Most hoplites were not professional soldiers and often lacked sufficient military training. Some states maintained a small elite professional unit, known as the epilektoi ("chosen") since they were picked from the regular citizen infantry. These existed at times in Athens, Argos, Thebes, and Syracuse, among others. Hoplite soldiers made up the bulk of ancient Greek armies.
In Greek and Roman Mythology, the Giants, also called Gigantes, were a race of great strength and aggression, though not necessarily of great size. They were known for the Gigantomachy, their battle with the Olympian gods. According to Hesiod, the Giants were the offspring of Gaia (Earth), born from the blood that fell when Uranus (Sky) was castrated by his Titan son Cronus.
An aulos or tibia (Latin) was an ancient Greek wind instrument, depicted often in art and also attested by archaeology.
A peltast was a type of light infantryman, originating in Thrace and Paeonia, and named after the kind of shield he carried. The peltast often served as a skirmisher in Hellenic and Hellenistic armies. In the Medieval period, the same term was used for a type of Byzantine infantryman.
Black-figure pottery painting, also known as the black-figure style or black-figure ceramic is one of the styles of painting on antique Greek vases. It was especially common between the 7th and 5th centuries BC, although there are specimens dating as late as the 2nd century BC. Stylistically it can be distinguished from the preceding orientalizing period and the subsequent red-figure pottery style.
The phalanx was a rectangular mass military formation, usually composed entirely of heavy infantry armed with spears, pikes, sarissas, or similar pole weapons. The term is particularly used to describe the use of this formation in Ancient Greek warfare, although the ancient Greek writers used it to also describe any massed infantry formation, regardless of its equipment. Arrian uses the term in his Array against the Alans when he refers to his legions. In Greek texts, the phalanx may be deployed for battle, on the march, or even camped, thus describing the mass of infantry or cavalry that would deploy in line during battle. They marched forward as one entity.
The formation of a shield wall is a military tactic that was common in many cultures in the Pre-Early Modern warfare age. There were many slight variations of this tactic among these cultures, but in general, a shield wall was a "wall of shields" formed by soldiers standing in formation shoulder to shoulder, holding their shields so that they abut or overlap. Each soldier benefits from the protection of his neighbours' shields as well as his own.
The army of the Kingdom of Macedon was among the greatest military forces of the ancient world. It was created and made formidable by King Philip II of Macedon; previously the army of Macedon had been of little account in the politics of the Greek world, and Macedonia had been regarded as a second-rate power.
Warfare occurred throughout the history of Ancient Greece, from the Greek Dark Ages onward. The Greek 'Dark Age' drew to an end as a significant increase in population allowed urbanized culture to be restored, which led to the rise of the city-states (Poleis). These developments ushered in the period of Archaic Greece. They also restored the capability of organized warfare between these Poleis. The fractious nature of Ancient Greek society seems to have made continuous conflict on this larger scale inevitable.
Lydos was an Attic vase painter in the black-figure style. Active between about 560 and 540 BC, he was the main representative of the '’’Lydos Group’’’. His signature, ό Λυδός, ho Lydos, the Lydian, inscribed on two vases, is informative regarding the cultural background of the artist. Either he immigrated to Athens from the Lydian empire of King Kroisos, or he was born in Athens as the son of Lydian parents. In any case, he learned his trade in Athens.
The pottery of ancient Greece has a long history and the form of Greek vase shapes has had a continuous evolution from Minoan pottery down to the Hellenistic era. As Gisela Richter puts it, the forms of these vases find their "happiest expression" in the 5th and 6th centuries BC, yet it has been possible to date vases thanks to the variation in a form’s shape over time, a fact particularly useful when dating unpainted or plain black-gloss ware.
The dory or doru is a spear that was the chief spear of hoplites in Ancient Greece. The word "dory" was first attested by Homer with the meanings of "wood" and "spear". Homeric heroes hold two dorata. In the Homeric epics and in the classical period the dory was a symbol of military power, possibly more important than the sword, as can be inferred from expressions like "Troy conquered by dory" and words like "doryktetos" (spear-won) and "doryalotos" (spear-taken).
The Chigi vase is a Proto-Corinthian olpe, or pitcher, that is the name vase of the Chigi Painter. It was found in an Etruscan tomb at Monte Aguzzo, near Veio, on Prince Mario Chigi’s estate in 1881. The vase has been variously assigned to the middle and late Proto-Corinthian periods and given a date of ca. 650–640 BC; it is now in the National Etruscan Museum, Villa Giulia, Rome. The vase stands 26 cm tall, which is modest compared to other Greek vases. Some three-quarters of the vase is preserved. It was found amidst a large number of potsherds of mixed provenance, including one bucchero vessel inscribed with five lines in two early Etruscan alphabets announcing the ownership of Atianai, perhaps also the original owner of the Chigi vase.
The Lysippides Painter worked in Athens in the second half of the 6th century BC. He was a black-figure painter of a classic style. He most probably trained with Exekias in his workshop until moving to the Andokides workshop where he mainly painted large, expensive vases and did some work on bilingual vases with Andokides P being the red-figure painter. He was named, after much debate ensuring he was not the Andokides Painter using red-figure, after a Kalos found on one of his vases.
Ancient Greek weapons and armor were primarily geared towards combat between individuals. Their primary technique was called the phalanx, a formation consisting of massed shield wall, which required heavy frontal armor and medium-ranged weapons such as spears. Soldiers were required to provide their own panoply, which could prove expensive, however the lack of any official peace-keeping force meant that most Greek citizens carried weapons as a matter of course for self-defence. Because individuals provided their own equipment, there was considerable diversity in arms and armour among the Hellenistic troops.
The Dinos of the Gorgon Painter is an important example of ancient Greek pottery, produced at Athens around 580 BC. It entered the Louvre's collection in 1861, with the purchase of Giampietro Campana's collection.
The Judgement of Paris Amphora is an Attic black-figure amphora named for the scene depicted on it. It is held by the Musée des beaux-arts de Lyon with the inventory number E 581-c and is attributed to the London B76 Painter, who was active at Athens in the second quarter of the sixth century BC.
Warfare was a common occurrence in Greece from the Neolithic Period through its conquest by Alexander the Great and until its conquest by the Roman Empire. Because of this, warfare was a typical theme in many pieces of ancient Greek art. Many works of art, like the Doryphoros or the chryselephantine statue of Athena Parthenos, used military objects in their composition, and many others, like the Chigi vase, had warfare as their main subject. Ancient Greek art is an important aspect of not just the history of art, but the history of warfare as well, due to its frequent spot on many works of ancient Greek art. As each different period in Greek history occurred, more and more types of art formed, as well as differing depictions of warfare.
The bilingual eye-cup by the Andokides painter in the Museo Archeologico Regionale, Palermo, is a prime example of the transition from black-figure vase painting to the red-figure style in the late 6th century to early 5th century that commonly resulted in "bilingual" vases, using both styles. The Andokides painter created the red-figure style of pottery as we know it today during his working years from 530–515 BC. Starting around 530 BC the Andokides painter produced red-figure amphorae and a bilingual kylix. Fewer than 20 vases survive by the Andokides painter but they span 30-40 years of his career, allowing historians to trace the development of his painting styles. One of the earliest mentions of the Andokides painter was on a black-figure hydria by Timagoras around 550 BC, when the Andokides painter must have been an apprentice.
The Arezzo 1465 vase is an Attic volute krater attributed to Euphronios, that dates to the Late Archaic period. It is a red-figure style vase, which became popular during the time of its making, and it was found in Arezzo, Italy in the Etruria region in 1465 due to the vast trade network stemming from Athens. The vase is currently housed in Arezzo, in the Museo Archeologico Nazionale.
