Theseus, Hero of Athens

See works of art
  • Terracotta amphora (jar)
  • Terracotta kylix: eye-cup (drinking cup)
  • Terracotta lekythos (oil flask)
  • Terracotta kylix (drinking cup)
  • Terracotta calyx-krater (bowl for mixing wine and water)
  • Terracotta Nolan neck-amphora (jar)
  • Terracotta lekythos (oil flask)
  • Marble sarcophagus with garlands and the myth of Theseus and Ariadne

Works of Art (9)


In the ancient Greek world, myth functioned as a method of both recording history and providing precedent for political programs. While today the word “myth” is almost synonymous with “fiction,” in antiquity, myth was an alternate form of reality. Thus, the rise of Theseus as the national hero of Athens, evident in the evolution of his iconography in Athenian art, was a result of a number of historical and political developments that occurred during the sixth and fifth centuries B.C.

Myth surrounding Theseus suggests that he lived during the Late Bronze Age, probably a generation before the Homeric heroes of the Trojan War. The earliest references to the hero come from the Iliad and the Odyssey, the Homeric epics of the early eighth century B.C. Theseus’s most significant achievement was the Synoikismos, the unification of the twelve demes, or local settlements of Attica, into the political and economic entity that became Athens.

Theseus’s life can be divided into two distinct periods, as a youth and as king of Athens. Aegeus, king of Athens, and the sea god Poseidon (53.11.4) both slept with Theseus’s mother, Aithra, on the same night, supplying Theseus with both divine and royal lineage. Theseus was born in Aithra’s home city of Troezen, located in the Peloponnese, but as an adolescent he traveled around the Saronic Gulf via Epidauros, the Isthmus of Corinth, Krommyon, the Megarian Cliffs, and Eleusis before finally reaching Athens. Along the way he encountered and dispatched six legendary brigands notorious for attacking travelers.

Upon arriving in Athens, Theseus was recognized by his stepmother, Medea, who considered him a threat to her power. Medea attempted to dispatch Theseus by poisoning him, conspiring to ambush him with the Pallantidae Giants, and by sending him to face the Marathonian Bull (56.171.48).

Likely the most famous of Theseus’s deeds was the slaying of the Minotaur (64.300; 47.11.5; 09.221.39). Athens was forced to pay an annual tribute of seven maidens and seven youths to King Minos of Crete to feed the Minotaur, half man, half bull, that inhabited the labyrinthine palace of Minos at Knossos. Theseus, determined to end Minoan dominance, volunteered to be one of the sacrificial youths. On Crete, Theseus seduced Minos’s daughter, Ariadne, who conspired to help him kill the Minotaur and escape by giving him a ball of yarn to unroll as he moved throughout the labyrinth (90.12a,b). Theseus managed to flee Crete with Ariadne, but then abandoned her on the island of Naxos during the voyage back to Athens. King Aegeus had told Theseus that upon returning to Athens, he was to fly a white sail if he had triumphed over the Minotaur, and to instruct the crew to raise a black sail if he had been killed. Theseus, forgetting his father’s direction, flew a black sail as he returned. Aegeus, in his grief, threw himself from the cliff at Cape Sounion into the Aegean, making Theseus the new king of Athens and giving the sea its name.

There is but a sketchy picture of Theseus’s deeds in later life, gleaned from brief literary references of the early Archaic period, mostly from fragmentary works by lyric poets. Theseus embarked on a number of expeditions with his close friend Peirithoos, the king of the Lapith tribe from Thessaly in northern Greece. He also undertook an expedition against the Amazons, in some versions with Herakles, and kidnapped their queen Antiope, whom he subsequently married (31.11.13; 56.171.42). Enraged by this, the Amazons laid siege to Athens, an event that became popular in later artistic representations.

There are certain aspects of the myth of Theseus that were clearly modeled on the more prominent hero Herakles during the early sixth century B.C. Theseus’s encounter with the brigands parallels Herakles’s six deeds in the northern Peloponnese. Theseus’s capture of the Marathonian Bull mirrors Herakles’s struggle with the Cretan Bull. There also seems to be some conflation of the two since they both partook in an Amazonomachy and a Centauromachy. Both heroes additionally have links to Athena and similarly complex parentage with mortal mothers and divine fathers.

However, while Herakles’s life appears to be a string of continuous heroic deeds, Theseus’s life represents that of a real person, one involving change and maturation. Theseus became king and therefore part of the historical lineage of Athens, whereas Herakles remained free from any geographical ties, probably the reason that he was able to become the Pan-Hellenic hero. Ultimately, as indicated by the development of heroic iconography in Athens, Herakles was superseded by Theseus because he provided a much more complex and local hero for Athens.

The earliest extant representation of Theseus in art appears on the François Vase located in Florence, dated to about 570 B.C. This famous black-figure krater shows Theseus during the Cretan episode, and is one of a small number of representations of Theseus dated before 540 B.C. Between 540 and 525 B.C., there was a large increase in the production of images of Theseus, though they were limited almost entirely to painted pottery and mainly showed Theseus as heroic slayer of the Minotaur (09.221.39; 64.300). Around 525 B.C., the iconography of Theseus became more diverse and focused on the cycle of deeds involving the brigands and the abduction of Antiope. Between 490 and 480 B.C., interest centered on scenes of the Amazonomachy and less prominent myths such as Theseus’s visit to Poseidon’s palace (53.11.4). The episode is treated in a work by the lyric poet Bacchylides. Between 450 and 430 B.C., there was a decline in representations of the hero on vases; however, representations in other media increase. In the mid-fifth century B.C., youthful deeds of Theseus were placed in the metopes of the Parthenon and the Hephasteion, the temple overlooking the Agora of Athens. Additionally, the shield of Athena Parthenos, the monumental chryselephantine cult statue in the interior of the Parthenon, featured an Amazonomachy that included Theseus.

The rise in prominence of Theseus in Athenian consciousness shows an obvious correlation with historical events and particular political agendas. In the early to mid-sixth century B.C., the Athenian ruler Solon (ca. 638–558 B.C.) made a first attempt at introducing democracy. It is worth noting that Athenian democracy was not equivalent to the modern notion; rather, it widened political involvement to a larger swath of the male Athenian population. Nonetheless, the beginnings of this sort of government could easily draw on the Synoikismos as a precedent, giving Solon cause to elevate the importance of Theseus. Additionally, there were a large number of correspondences between myth and historical events of this period. As king, Theseus captured the city of Eleusis from Megara and placed the boundary stone at the Isthmus of Corinth, a midpoint between Athens and its enemy. Domestically, Theseus opened Athens to foreigners and established the Panathenaia, the most important religious festival of the city. Historically, Solon also opened the city to outsiders and heightened the importance of the Panathenaia around 566 B.C.

When the tyrant Peisistratos seized power in 546 B.C., as Aristotle noted, there already existed a shrine dedicated to Theseus, but the exponential increase in artistic representations during Peisistratos’s reign through 527 B.C. displayed the growing importance of the hero to political agenda. Peisistratos took Theseus to be not only the national hero, but his own personal hero, and used the Cretan adventures to justify his links to the island sanctuary of Delos and his own reorganization of the festival of Apollo there. It was during this period that Theseus’s relevance as national hero started to overwhelm Herakles’s importance as Pan-Hellenic hero, further strengthening Athenian civic pride.

Under Kleisthenes, the polis was reorganized into an even more inclusive democracy, by dividing the city into tribes, trittyes, and demes, a structure that may have been meant to reflect the organization of the Synoikismos. Kleisthenes also took a further step to outwardly claim Theseus as the Athenian hero by placing him in the metopes of the Athenian treasury at Delphi, where he could be seen by Greeks from every polis in the Aegean.

The oligarch Kimon (ca. 510–450 B.C.) can be considered the ultimate patron of Theseus during the early to mid-fifth century B.C. After the first Persian invasion (ca. 490 B.C.), Theseus came to symbolize the victorious and powerful city itself. At this time, the Amazonomachy became a key piece of iconography as the Amazons came to represent the Persians as eastern invaders. In 476 B.C., Kimon returned Theseus’s bones to Athens and built a shrine around them which he had decorated with the Amazonomachy, the Centauromachy, and the Cretan adventures, all painted by either Mikon or Polygnotos, two of the most important painters of antiquity. This act represented the final solidification of Theseus as national hero.

Andrew Greene
Department of Greek and Roman Art, The Metropolitan Museum of Art

August 2009


Greene, Andrew. “Theseus, Hero of Athens.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. (August 2009)

Further Reading

Barber, Elizabeth Wayland, and Paul T. Barber. When They Severed Earth from Sky: How the Human Mind Shapes Myth. Princeton: Princeton University Press, 2005.

Boardman, John "Herakles." In Lexicon Iconographicum Mythologicae Classicae, vol. V, 1. Zürich: Artemis, 1981.

Camp, John McK. The Archaeology of Athens. New Haven: Yale University Press, 2001.

Gehrke, Hans-Joachim. "Myth, History, and Collective Identity: Uses of the Past in Ancient Greece and Beyond." In The Historian's Craft in the Age of Herodotus, edited by Nino Luraghi, pp. 286–313. New York: Oxford University Press, 2001.

Harrison, Evelyn B. "Motifs of the City Siege of Athena Parthenos." American Journal of Archaeology 85, no. 3 (July 1981), pp. 281–317.

Hornblower, Simon, and Antony Spawforth, eds. The Oxford Classical Dictionary. 3d ed., rev. New York: Oxford University Press, 2003.

Neils, Jenifer. "Theseus." In Lexicon Iconographicum Mythologicae Classicae, vol. VII, 1, pp. 922–51. Zürich: Artemis, 1981.

Servadei, Cristina. La figura di Theseus nella ceramica attica: Iconografia e iconologia del mito nell'Atene arcaica e classica. Bologna: Ante Quem, 2005.

Shapiro, H. A. "Theseus: Aspects of the Hero in Archaic Greece." In New Perspectives in Early Greek Art, edited by Diana Buitron-Oliver, pp. 123–40. Washington, D.C.: National Gallery of Art, 1991.

Shapiro, H. A. Art and Cult under the Tyrants in Athens. Mainz am Rhein: Philipp von Zabern, 1989.

Simon, Erika. Festivals of Attica. Madison: University of Wisconsin Press, 1983.