540-530 B.C.
Height: 61 cm

One of the most famous vase paintings of the mid-6th century B.C. is that of Mycenaeans Achilles and Ajax playing a game which might be dice. The vase is in the black figure style, by the Exekias. The most significant inscription is on the upper surface of the mouth, reads "EXEKIAS EGRAPSE K' APOISE ME" and means "Exekias painted and made me".

The figure on the left is Achilles, his name written upside down behind his bent head, and Ajax (Aondos- the possessive form for Aeas- Ajax) is on the right, his name appearing over his bent head near the decorating band encircling the neck of the vase. The two are at Troy, taking a break from battle.

There is an incredible story implied in this scene; a humanization of these legendary figures who could not live every moment of their lives heroically larger than life, but also needed to relax in such a homely and simple, even child-like way. The men, wearing incredibly detailed cloaks, have their spears and shields ready, and Ajax's helmet is resting on his shield behind him, ready to be donned swiftly should they come under attack. Holding the spears in one hand, and fingering the dice with the other, we sense the pent-up tension behind the scene as the men seem never to be able to let their guard down completely. The battle will commence, and both will die- Achilles in battle, and Ajax by his own hand. All ancient Greeks, knowing the story of the Illiad, would then look upon this bittersweet scene with the knowledge of what was to come for Achilles and Ajax, and confirmation of their belief that one can not escape one's fate.

To create a more naturalistic scene Exekias has included touches of naturalism, such as the tail of Achilles' horsehair crest trailing down the side of his helmet, extra glaze added to Ajax's snail-shell curls to give them more body, and the bulge of their leather corselets, sticking out the back of their cloaks. A unique feature is the symmetry: the composition of the central figures is triangular, while the spera they hold form a reverse triangle bisecting their necks and making their heads the focus. The heroes' gently curving backs follow the shape of the vase.
The reverse of the vase shows the return of the Dioskouroi, or the heavenly twins Castor and Pollux. Pollux, (Polydeuces) is on the far left behind his mother, Leda. Next is Castor, famed for his horsemanship, while on the right is the father Tyndareous, King of Sparta and a slave carrying a seat for the elderly king, clothes for the twins and an aryballos containing oil to cleanse and anoint the new arrivals. Now Leda was indeed mother to the Dioscouri (the twins), but they had different fathers who had both conceived children the same night. The father Pollux was Zeus, who had come to Leda in the form of a swan, and the father of Castor was King Tyndareus, Leda's rightful husband whose honeymoon was shortened by the swan. The twins had a famous sister, Helen, who became famous in the "Illiad". The scene might show the twins leaving to rescue Helen from Theseus, her first abductor. Castor is leading his horse with one hand and holding a spear with the other. He turns his head towards his mother to acknowledge her welcoming gesture, while Pollux, heroically nude, pats the family dog.

As with Achilles and Ajax, Exekias has attempted todetail the chlamys (short cloak) of Castor and the himation (long cloak) of Tyndareus with a number of folds of cloth, to imitate depth. The many lines of incision used to create this illusion are particularly evident on the figure of the king.