Based on the analysis of the decorative program of an Etruscan amphora dating from the first quarter of the 5th century BC, preserved in Würzburg, which includes an unpublished representation of an episode of the Iliad in which Aphrodite comes to shield her son Aeneas from the gazes and blows of his enemies, one can wonder about the modalities of reception of the Homeric story and in particular on the attention paid to the members of the Trojan camp.The introduction of Homeric themes—from the Odyssey but also from the Cyprian Songs and the Iliad—is noticeable very early in Etruria in the figurative arts. It manifests itself through a selection of characters and episodes which have points in common with the visual imagination developed elsewhere on other Etruscan productions and through other subjects: warlike exploits, symbolism of human sacrifice, lineage value.It is thus interesting to note that the figures of Hector, Aeneas or Paris, warrior, hero, prince and Trojan herdsman have a particular echo that should be considered within a system of aristocratic values specific to the Etruscan elites, conditioning the local control.