Hydria in the context of "Busiris (king of Egypt)"

Asteas (active between 350 and 320 BC in Paestum, Southern Italy) was one of the more active ancient Greek vase painters in Magna Graecia, practicing the red-figure style. He managed a large workshop, in which above all hydriai and kraters were painted. He painted mostly mythological and theatrical scenes. He is one of the few vase painters of the Greek colonies whose name comes down to us.

In Greek mythology, Cerberus (/ˈsɜːrbərəs/ or /ˈkɜːrbərəs/; Ancient Greek: Κέρβερος Kérberos [ˈkerberos]), often referred to as the hound of Hades, is a multi-headed dog that guards the gates of the underworld to prevent the dead from leaving. He was the offspring of the monsters Echidna and Typhon, and was usually described as having three heads, a serpent for a tail, and snakes protruding from his body. Cerberus is primarily known for his capture by Heracles, the last of Heracles' twelve labours.

Mystery religions, mystery cults, sacred mysteries or simply mysteries (Greek: μυστήρια), were religious schools of the Greco-Roman world for which participation was reserved to initiates (mystai). The main characteristic of these religious schools was the secrecy associated with the particulars of the initiation and the ritual practice, which may not be revealed to outsiders. The most famous mysteries of Greco-Roman antiquity were the Eleusinian Mysteries, which predated the Greek Dark Ages. The mystery schools flourished in Late Antiquity; Emperor Julian, of the mid-4th century, is believed by some scholars to have been associated with various mystery cults—most notably the mithraists. Due to the secret nature of the schools, and because the mystery religions of Late Antiquity were persecuted by the Christian Roman Empire from the 4th century, the details of these religious practices are derived from descriptions, imagery and cross-cultural studies.

Justin Martyr in the 2nd century explicitly noted and identified them as "demonic imitations" of the true faith; "the devils, in imitation of what was said by Moses, asserted that Proserpine was the daughter of Jupiter, and instigated the people to set up an image of her under the name of Kore" (First Apology). Through the 1st to 4th century, Christianity stood in direct competition for adherents with the mystery schools.

Typhon (/ˈtaɪfɒn, -fən/ ; Ancient Greek: Τυφῶν, romanized: Typhôn, [tyːpʰɔ̂ːn]), also Typhoeus (/taɪˈfiːəs/; Τυφωεύς, Typhōeús), Typhaon (Τυφάων, Typháōn) or Typhos (Τυφώς, Typhṓs), was a monstrous serpentine giant and one of the deadliest creatures in Greek mythology. According to Hesiod, Typhon was the son of Gaia and Tartarus. However, one source has Typhon as the son of Hera alone, while another makes Typhon the offspring of Cronus. Typhon and his mate Echidna were the progenitors of many famous monsters.

Typhon attempted to overthrow Zeus for the supremacy of the cosmos. The two fought a cataclysmic battle, which Zeus finally won with the aid of his thunderbolts. Defeated, Typhon was cast into Tartarus, or buried underneath Mount Etna, or in later accounts, the island of Ischia.

The Amykos Painter (active around 430–400 BC in Lucania) was the name given to a South Italian vase painter who worked in the ancient Greek red-figure pottery technique. His exact date of birth and death are unknown.

As with any of the artisans working during the (late) fifth century BC, very little is understood about the Amykos Painter's life. It is generally agreed by scholars that the Amykos Painter learned his trade in Athens. He owes his name to a depiction on a Lucanian hydria depicting Amykos, who was the featured subject in one of his surviving works which currently resides at the Cabinet des Médailles, Paris. Among countless other vases, there is also a red-figure bell-krater depicting Silenus and two maenads which has been attributed to him.

Campanian vase painting is one of the five regional styles of South Italian red-figure vase painting fabricated in Magna Graecia. It forms a close stylistic community with Apulian vase painting.

Campania produced red-figure vases in the 5th and 4th centuries BC. The sand-coloured to light brown clay (lighter than other South Italian clays) of Campania was covered with a slip that developed a pink or red tint after firing, creating an appearance very similar to that of Attic vases. The popular white or bright paints were visually especially striking on this. Women are usually by the use of white paint to depict their skin. The Campanian painters preferred smaller vessel types, but also hydriai and bell kraters. The most popular shape is the bail-amphora. Many typical Apulian vessel shapes, like volute kraters, column kraters, loutrophoroi, rhyta and nestoris amphorae are absent, pelikes are rare. The repertoire of motifs is limited. Subjects include youths, women, thiasos scenes, birds and animals, and often native Samnite warriors. The backs often show cloaked youths. Mythological scenes and depictions related to burial rites play a subsidiary role. Naiskos scenes, ornamental elements and polychromy are adopted after 340 BC under Lucanian influence. The bell-shaped flowers used as ornaments are very different from the ornaments used in other South Italian styles. At 4,000 known vases, the Campanian style is the second most common in the region (after Apulian).

The Dardanoi (Greek: Δάρδανοι; its anglicized modern terms being Dardanians or Dardans) were a legendary people of the Troad, located in northwestern Anatolia. The Dardanoi were the descendants of Dardanus, the mythical founder of Dardanus, an ancient city in the Troad. A contingent of Dardanians figures among Troy's allies in the Trojan War. Homer makes a clear distinction between the Trojans and the Dardanoi, however, "Dardanoi"/"Dardanian" later became essentially metonymous–– or at least is commonly perceived to be so–– with "Trojan", especially in the works of Vergil such as the Aeneid.