A superb black-figure hydria, close to the style of Lysippides, depicting the departure of Herakles for Olympus. Athena prepares to mount the board of a four-horse chariot (quadriga), while Herakles, holding a club and wearing a lion-skin, appears to be conversing with her. Ivy-wreathed Dionysos and a youthful female figure, perhaps Hebe, stand behind the horses, while Hermes is busy with the horses’ reins. The shoulder panel features a battle scene observed by female figures and hoplites. Another panel below the main scene is decorated with a Siren flanked by felines and waterfowl. The subject of Herakles’ departure for Olympus symbolises the hero’s transition from the status of mortal to immortal. His reception on the mountain was completed by his reconciliation with Hera, his old rival and persecutor, and his marriage to her daughter Hebe (= youth). His union with Hebe reflects Herakles’ role as protector of eternal youth. Herakles was the most popular mythological figure in Attic blackfigure vase-painting from 580 BC onwards, particularly so in the period 560-510 BC. His popularity was probably due to the presence of Athena (the patron goddess of the city of Athens) in his labours. It is possible, however, that the frequency of such representations had also political connotations: artists may have been influenced by the well-known effort of the Athenian tyrant Peisistratos to identify himself with Herakles in order to claim the favour of the protectress of the city. This may explain why Herakles’ scenes decreased dramatically after the toppling of tyranny. By the end of the 6th c. BC, a new hero gained popularity in Athenian art, namely Theseus, who was to be the most emblematic figure of Athenian democracy.