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HOMER: THE ILIAD. Hectors body dragged behind the chariot of Achilles. Line engraving, 1805. after the drawing by John Flaxman

HOMER: THE ILIAD. Hectors body dragged behind the chariot of Achilles. Line engraving, 1805. after the drawing by John Flaxman


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HOMER: THE ILIAD. Hectors body dragged behind the chariot of Achilles. Line engraving, 1805. after the drawing by John Flaxman

Granger holds millions of images spanning more than 25,000 years of world history, from before the Stone Age to the dawn of the Space Age

Media ID 7521997

1805 Chariot Charioteer Dead Epic Flaxman Hector Homer Iliad Nude Poetry Trojan Hektor


EDITORS COMMENTS
This powerful line engraving, created in 1805 by John Flaxman after his own drawing, captures a haunting moment from Homer's epic poem "The Iliad". The scene depicts the body of Hector being dragged behind Achilles' chariot. In this ancient illustration, we witness the raw brutality and violence of war. Hector, portrayed here in his vulnerable nudity, represents the fallen hero of Troy. His lifeless form is left to suffer the ultimate indignity as it is mercilessly pulled across the battlefield. This image serves as a poignant reminder of the tragic consequences that accompany conflicts waged between nations. Flaxman's meticulous engravings bring to life Homer's timeless words and transport us back to an era long past. Through intricate details and careful composition, he captures both the physicality and emotional weight of this pivotal moment in Greek mythology. "The Iliad" remains one of humanity's greatest literary achievements—a testament to human courage and folly alike. It explores themes such as honor, fate, love, loss, and mortality with unparalleled depth. This print serves as a visual representation of these profound ideas—an invitation for contemplation on our shared human experience. As we gaze upon this print from The Granger Collection with reverence for its historical significance and artistic mastery, let us remember that art has always been a conduit for understanding our collective history—and perhaps even ourselves.

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