The enlightening scene of battle found in the Vase Oinochoe Chigi is designated as reference, dated corntia part of about 650-40 B.C., that in the aid to visualize a scene of combat between two armies, whose warriors seem to advance in set. It is clearly the hopltica phalanx that we can detect almost contemporarily in this representation, done to verses of Tirteu and Calinos of that we occupy in them here, and where marking elements of the warlike individuality between members of the same army are practically null or absolutely secondary. Attention calls us it, in the represented scene, the existence of a man without weapons in the center of the combat, differentiated of the others for the suits and the fact to be touching a flute. It means to say that the chords of this instrument of blow would have to mark the rhythm of the march of the warriors, being kept the cohesion of the integrant ones of the phalanx and stirring up them for the imminent battle. this because it would fit to them to fight together, instructed in disciplines of group and encouraged by the merit of the valorosas battles, for one rewards that it is not the enobrecedora glory of the heroes: ' ' it is a good that in common belongs to the city and the people inteiro' ' (Tirteu, I break up 1213-1220 (= 9 Diehl)). Despite the defeat supervenes, that it I fight of the losses and the suffering reach all the combatants (and the suffering of a man of ' ' soul forte' ' the people reaches all, according to Calinos, showing that the identity of ' ' heri' ' she is collective), ' will reveal; ' glorious honroso and that a man fights/For its country, its children and its loved wife ' '. The style of the homrica war, style that we see to dissolve itself above before the pointed modifications, can offer the contrastabilidade possibilities to us enters two so distinct times.