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Douris
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Steven Lowenstam Collection
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Style Period
Attic (Mainland Greek pottery styles)
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- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
2. Warrior
- Description
- On this Athenian white-ground lekythos attributed to Douris, two young warriors put on their armor, assisted by a woman and a young boy. The main lines of the bodies and clothing are drawn in black glaze, and the rest of the drawing is rendered with a brownish line made from diluted glaze. The words written between the figures are kalos inscriptions, praising Athenian youths. Large, white-ground lekythoi with outline drawing like this one are unusual in the early 400s B.C., yet three such lekythoi can be attributed to Douris. In the late 500s B.C., Athenian potters began to paint over the natural reddish color of their pottery with a highly purified clay that turned white when fired. Initially artists applied this technique to a variety of shapes. However, because the white slip was rather fragile, by the mid- 400s B.C. artists limited the use of this technique to leykthoi used in funerary ritual. --J. Paul Getty Museum
3. Symposium
- Description
- Pottery: red-figured kylix (drinking-cup) showing boys serving wine. INTERIOR: komast. A bearded komast moves to the right with head turned back to left. He wears a chlamys over his upper arms and a red apicate fillet in his hair. He holds a cup back in his right hand and a knotty stick across his body in his left. Relief line for vertical strokes of fringe over forehead and for horizontal lines of hair tied up at back (relief line fringe for beard); dilute glaze line above and below eye. Preliminary sketch indicates that the chlamys was intended to be longer on the right. Border: alternating false maeander (twelve-stroke, alternately clockwise and anticlockwise) and blackened cross-square. EXTERIOR: symposium. Side A (lower): three banqueters on couches attended by two boys. On the couch on the left a bearded man reclines to the left, his head turned back to the right. He wears a himation over his left shoulder and around his waist and legs and a red apicate fillet in his hair. He rests against a folded cushion decorated with pairs of stripes, while he grips a cup in his left hand and holds out his right hand palm upward as if holding another. Above him hang two cups, seen from underneath, and a flat-bottomed oinochoe. His couch rests on a dais, the corner of which is visible on the left, and in front of it (ie. alongside) is a three-legged table on which are three red garlands. In front of the left hand end of the central couch stands a naked boy with a red fillet in his hair. He holds an oinochoe in his right hand and stretches out his left hand towards the symposiast on the central couch. Here a bearded man reclines to the left (cushion decorated with a pair of stripes and a stripe flanked by pairs of lines). He holds out a cup high in his right hand; his left hand is empty. He wears a himation in the same manner as the first symposiast, but has a thick reserved fillet (alternately vertical line and rows of dots at each bunching) in his hair. Above him and the boy hang two footless oinochoai and a cup seen from underneath. Alongside his couch is a three-legged table over which hang three red garlands. The couch on the right is seen in end view from the back. On it reclines a bearded man with a himation round his waist and a red apicate fillet in his hair. He is seen from the back, his left elbow resting on his cushion and his raised right knee splayed out to the right. He holds a cup up to his lips in his left hand and gestures with his right to the boy who stands between him and the central couch. Either side of the end of the couch project the ends of his striped cushion. Alongside the couch is a three-legged table, also seen from the end, the two legs in profile in the foreground, the third in back view beyond. The naked boy attendant who stands on the left of the couch, behind the table, has a frontal torso and left leg. His hair has a long straight fringe of relief lines over his neck. He holds an oinochoe in his left hand, tipped down so that the trefoil mouth is shown foreshortened. He gestures with his right hand as he looks at the symposiast. Above these two figures are two cups seen from underneath and a small foodess oinochoe. Side Β (upper): three couches and one boy attendant. The couch and its occupant on the left repeats the form of the central couch on side A, although the symposiast's himation has a line border and his cushion pairs of lines. As on the first couch on side A, the corner of the dais is visible. Above this couch hang two cups seen from underneath and a footed oinochoe. At the left hand end of the central couch stands a naked boy with a red hair-band, holding a small chytra in his right hand as he holds up his left hand. The bearded man on this couch repeats the scheme of the central couch on side A, save that here he holds a cup in his left hand and extends his right arm out towards the boy. From the fingers of his right hand hangs a red circlet. Above hang a footless oinochoe, a cup seen from underneath and a small chytra. The couch on the right is seen from behind, as on side A. The man here, however, holds a cup in his left hand as he leans on his left elbow, and his right hand is held out further to the left (no hair-band). The corner of the dais is visible and there is a three-legged table alongside the couch, but no attendant, nor are there any red garlands on the table and the cushion is plain. Above hang two cups seen from underneath and a small footless oinochoe. At either handle: floral complex with a circumscribed palmette either side of the handles and a large and a small palmette addorsed under the handles; spiral terminals and dots. Ground line: single reserved line. Graffiti under foot Relief line contours throughout (double for hair, except on AI); dilute glaze for minor interior markings; reserved line inside and outside lip; added red for inscriptions. --The British Museum, Williams, Dyfri, Corpus Vasorum Antiquorum: Great Britain 17, British Museum 9, London, BMP, 1993; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
4. Symposium
- Description
- Pottery: red-figured kylix (drinking-cup) showing boys serving wine. INTERIOR: komast. A bearded komast moves to the right with head turned back to left. He wears a chlamys over his upper arms and a red apicate fillet in his hair. He holds a cup back in his right hand and a knotty stick across his body in his left. Relief line for vertical strokes of fringe over forehead and for horizontal lines of hair tied up at back (relief line fringe for beard); dilute glaze line above and below eye. Preliminary sketch indicates that the chlamys was intended to be longer on the right. Border: alternating false maeander (twelve-stroke, alternately clockwise and anticlockwise) and blackened cross-square. EXTERIOR: symposium. Side A (lower): three banqueters on couches attended by two boys. On the couch on the left a bearded man reclines to the left, his head turned back to the right. He wears a himation over his left shoulder and around his waist and legs and a red apicate fillet in his hair. He rests against a folded cushion decorated with pairs of stripes, while he grips a cup in his left hand and holds out his right hand palm upward as if holding another. Above him hang two cups, seen from underneath, and a flat-bottomed oinochoe. His couch rests on a dais, the corner of which is visible on the left, and in front of it (ie. alongside) is a three-legged table on which are three red garlands. In front of the left hand end of the central couch stands a naked boy with a red fillet in his hair. He holds an oinochoe in his right hand and stretches out his left hand towards the symposiast on the central couch. Here a bearded man reclines to the left (cushion decorated with a pair of stripes and a stripe flanked by pairs of lines). He holds out a cup high in his right hand; his left hand is empty. He wears a himation in the same manner as the first symposiast, but has a thick reserved fillet (alternately vertical line and rows of dots at each bunching) in his hair. Above him and the boy hang two footless oinochoai and a cup seen from underneath. Alongside his couch is a three-legged table over which hang three red garlands. The couch on the right is seen in end view from the back. On it reclines a bearded man with a himation round his waist and a red apicate fillet in his hair. He is seen from the back, his left elbow resting on his cushion and his raised right knee splayed out to the right. He holds a cup up to his lips in his left hand and gestures with his right to the boy who stands between him and the central couch. Either side of the end of the couch project the ends of his striped cushion. Alongside the couch is a three-legged table, also seen from the end, the two legs in profile in the foreground, the third in back view beyond. The naked boy attendant who stands on the left of the couch, behind the table, has a frontal torso and left leg. His hair has a long straight fringe of relief lines over his neck. He holds an oinochoe in his left hand, tipped down so that the trefoil mouth is shown foreshortened. He gestures with his right hand as he looks at the symposiast. Above these two figures are two cups seen from underneath and a small foodess oinochoe. Side Β (upper): three couches and one boy attendant. The couch and its occupant on the left repeats the form of the central couch on side A, although the symposiast's himation has a line border and his cushion pairs of lines. As on the first couch on side A, the corner of the dais is visible. Above this couch hang two cups seen from underneath and a footed oinochoe. At the left hand end of the central couch stands a naked boy with a red hair-band, holding a small chytra in his right hand as he holds up his left hand. The bearded man on this couch repeats the scheme of the central couch on side A, save that here he holds a cup in his left hand and extends his right arm out towards the boy. From the fingers of his right hand hangs a red circlet. Above hang a footless oinochoe, a cup seen from underneath and a small chytra. The couch on the right is seen from behind, as on side A. The man here, however, holds a cup in his left hand as he leans on his left elbow, and his right hand is held out further to the left (no hair-band). The corner of the dais is visible and there is a three-legged table alongside the couch, but no attendant, nor are there any red garlands on the table and the cushion is plain. Above hang two cups seen from underneath and a small footless oinochoe. At either handle: floral complex with a circumscribed palmette either side of the handles and a large and a small palmette addorsed under the handles; spiral terminals and dots. Ground line: single reserved line. Graffiti under foot Relief line contours throughout (double for hair, except on AI); dilute glaze for minor interior markings; reserved line inside and outside lip; added red for inscriptions. --The British Museum, Williams, Dyfri, Corpus Vasorum Antiquorum: Great Britain 17, British Museum 9, London, BMP, 1993; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
5. Satyrs
- Description
- Pottery: red-figured psykter (wine-cooler). Revels of bearded satyrs. The central figure appears to be that of a bearded satyr, dressed as a herald, in chlamys (Thracian ?) with heavy horizontal patterns, petasos at back, and high endromides with flaps, turned over, of skin; he moves to left looking back, with caduceus inverted in his left hand, and holding up his right in surprise. The rest of the figures fall into four groups, proceeding to the right as follows: (i) Two bearded satyrs, advancing from each side towards one who has fallen backwards to right on fingers and toes, with a cantharos balanced on his phallos; the satyr on the right pours wine from an oinochoe into the cantharos, the other holds forward with both hands a second cantharos. (ii) Two bearded satyrs dancing on each side of a cantharos on the ground; the one on the left, resting on his left leg, has thrown his right foot back and upward, as if to kick his back with his heel; his body is en face, and this right foot is a bold attempt at foreshortening; with body and arms bent to right, his attitude seems to suggest plunging head first into the cantharos. The other, who is wreathed with ivy, balances himself, with arms extended behind him, on his left leg, and flourishes his right foot over the cantharos. (iii) A bearded satyr, with legs in air, supports himself on right hand and left forearm, and lowers his mouth into a kylix resting on the ground. The other (ithyphallic) strides towards him from right, holding a kylix by the foot in his left, and extending his right with a gesture of admiration. (iv) A bearded satyr has fallen backwards to left upon his hands, with his left leg bent under him (foot in foreshortening), and into his open mouth has wine poured from a wine-skin by a bearded satyr on left, and from an oinochoe by another. Above group (ii) is inscribed ΑΡΙΣΤΑΛΟPΑΣ KAΛΟΣ, 'Άρισταλόρας καλός. Below it, ΔΟΡΙΣ ΕΛΡΑΦΣΕΝ, Δόυρις ἔγραφσεν. All the satyrs, except the herald and the one last described, are bald on the crown; and all except the one wreathed have a fillet fastening the hair in a knot behind; in the case of the reclining figure in (iv) the hair is knotted, but the fillet is omitted. The tumbler in (iii) has the end of his beard recurved in a small tuft. The design forms a frieze around the shoulder and body of the vase. Purple fillets, wreath, wine, inscriptions, and cord of petasos. Brown inner markings and hair up centre of body; edge of hair in thinned black. Eye, with dotted pupil against inner angle, smaller than usual. Round the flat part of the shoulder, a band of tongue pattern; below the design, a band of alternate key and red cross square. At the junction of the base to the body, a band of alternate palmette and flower (silhouette) laid horizontally. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 8, British Museum 6, London, BMP, 1931
6. Satyrs
- Description
- Pottery: red-figured psykter (wine-cooler). Revels of bearded satyrs. The central figure appears to be that of a bearded satyr, dressed as a herald, in chlamys (Thracian ?) with heavy horizontal patterns, petasos at back, and high endromides with flaps, turned over, of skin; he moves to left looking back, with caduceus inverted in his left hand, and holding up his right in surprise. The rest of the figures fall into four groups, proceeding to the right as follows: (i) Two bearded satyrs, advancing from each side towards one who has fallen backwards to right on fingers and toes, with a cantharos balanced on his phallos; the satyr on the right pours wine from an oinochoe into the cantharos, the other holds forward with both hands a second cantharos. (ii) Two bearded satyrs dancing on each side of a cantharos on the ground; the one on the left, resting on his left leg, has thrown his right foot back and upward, as if to kick his back with his heel; his body is en face, and this right foot is a bold attempt at foreshortening; with body and arms bent to right, his attitude seems to suggest plunging head first into the cantharos. The other, who is wreathed with ivy, balances himself, with arms extended behind him, on his left leg, and flourishes his right foot over the cantharos. (iii) A bearded satyr, with legs in air, supports himself on right hand and left forearm, and lowers his mouth into a kylix resting on the ground. The other (ithyphallic) strides towards him from right, holding a kylix by the foot in his left, and extending his right with a gesture of admiration. (iv) A bearded satyr has fallen backwards to left upon his hands, with his left leg bent under him (foot in foreshortening), and into his open mouth has wine poured from a wine-skin by a bearded satyr on left, and from an oinochoe by another. Above group (ii) is inscribed ΑΡΙΣΤΑΛΟPΑΣ KAΛΟΣ, 'Άρισταλόρας καλός. Below it, ΔΟΡΙΣ ΕΛΡΑΦΣΕΝ, Δόυρις ἔγραφσεν. All the satyrs, except the herald and the one last described, are bald on the crown; and all except the one wreathed have a fillet fastening the hair in a knot behind; in the case of the reclining figure in (iv) the hair is knotted, but the fillet is omitted. The tumbler in (iii) has the end of his beard recurved in a small tuft. The design forms a frieze around the shoulder and body of the vase. Purple fillets, wreath, wine, inscriptions, and cord of petasos. Brown inner markings and hair up centre of body; edge of hair in thinned black. Eye, with dotted pupil against inner angle, smaller than usual. Round the flat part of the shoulder, a band of tongue pattern; below the design, a band of alternate key and red cross square. At the junction of the base to the body, a band of alternate palmette and flower (silhouette) laid horizontally. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 8, British Museum 6, London, BMP, 1931
7. Satyrs
- Description
- Pottery: red-figured psykter (wine-cooler). Revels of bearded satyrs. The central figure appears to be that of a bearded satyr, dressed as a herald, in chlamys (Thracian ?) with heavy horizontal patterns, petasos at back, and high endromides with flaps, turned over, of skin; he moves to left looking back, with caduceus inverted in his left hand, and holding up his right in surprise. The rest of the figures fall into four groups, proceeding to the right as follows: (i) Two bearded satyrs, advancing from each side towards one who has fallen backwards to right on fingers and toes, with a cantharos balanced on his phallos; the satyr on the right pours wine from an oinochoe into the cantharos, the other holds forward with both hands a second cantharos. (ii) Two bearded satyrs dancing on each side of a cantharos on the ground; the one on the left, resting on his left leg, has thrown his right foot back and upward, as if to kick his back with his heel; his body is en face, and this right foot is a bold attempt at foreshortening; with body and arms bent to right, his attitude seems to suggest plunging head first into the cantharos. The other, who is wreathed with ivy, balances himself, with arms extended behind him, on his left leg, and flourishes his right foot over the cantharos. (iii) A bearded satyr, with legs in air, supports himself on right hand and left forearm, and lowers his mouth into a kylix resting on the ground. The other (ithyphallic) strides towards him from right, holding a kylix by the foot in his left, and extending his right with a gesture of admiration. (iv) A bearded satyr has fallen backwards to left upon his hands, with his left leg bent under him (foot in foreshortening), and into his open mouth has wine poured from a wine-skin by a bearded satyr on left, and from an oinochoe by another. Above group (ii) is inscribed ΑΡΙΣΤΑΛΟPΑΣ KAΛΟΣ, 'Άρισταλόρας καλός. Below it, ΔΟΡΙΣ ΕΛΡΑΦΣΕΝ, Δόυρις ἔγραφσεν. All the satyrs, except the herald and the one last described, are bald on the crown; and all except the one wreathed have a fillet fastening the hair in a knot behind; in the case of the reclining figure in (iv) the hair is knotted, but the fillet is omitted. The tumbler in (iii) has the end of his beard recurved in a small tuft. The design forms a frieze around the shoulder and body of the vase. Purple fillets, wreath, wine, inscriptions, and cord of petasos. Brown inner markings and hair up centre of body; edge of hair in thinned black. Eye, with dotted pupil against inner angle, smaller than usual. Round the flat part of the shoulder, a band of tongue pattern; below the design, a band of alternate key and red cross square. At the junction of the base to the body, a band of alternate palmette and flower (silhouette) laid horizontally. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 8, British Museum 6, London, BMP, 1931
8. Music lesson
- Description
- Scenes of the daily lives of Athenian schoolboys decorate this red-figure cup. In addition to basic literacy and mathematics, Greek boys were trained in athletics and music. On the interior of the cup, a boy holding a lyre stands in front of a bearded man, who must be his music teacher. On the outside, men and boys form similar scenes. The imagined walls of the schoolroom are hung with musical instruments and athletic equipment: lyres, string bags with knucklebones, sponges, and aryballoi. The scenes on this cup are not purely educational, however. On one side of the vase, a boy holds a hare on his lap, while on the other, a man offers a hare to another boy. In addition to serving as a classroom, the gymnasion in its role as the center of Greek physical and intellectual life was also the center of romantic courtship. Hares were popular love gifts in the homosexual relationships between older men and boys favored by the Athenian aristocracy in the early 500s B.C. --J. Paul Getty Museum Bareiss Loan: S.82.AE.36, May, Helmut, ed. Weltkunst aus Privatbesitz, exh. cat. (Cologne: Kunsthalle Köln, 1968), cat. no. A 31; fig. 13.; Bothmer, Dietrich von.
9. Music Lesson
- Description
- Scenes of the daily lives of Athenian schoolboys decorate this red-figure cup. In addition to basic literacy and mathematics, Greek boys were trained in athletics and music. On the interior of the cup, a boy holding a lyre stands in front of a bearded man, who must be his music teacher. On the outside, men and boys form similar scenes. The imagined walls of the schoolroom are hung with musical instruments and athletic equipment: lyres, string bags with knucklebones, sponges, and aryballoi. The scenes on this cup are not purely educational, however. On one side of the vase, a boy holds a hare on his lap, while on the other, a man offers a hare to another boy. In addition to serving as a classroom, the gymnasion in its role as the center of Greek physical and intellectual life was also the center of romantic courtship. Hares were popular love gifts in the homosexual relationships between older men and boys favored by the Athenian aristocracy in the early 500s B.C. --J. Paul Getty Museum Bareiss Loan: S.82.AE.36, May, Helmut, ed. Weltkunst aus Privatbesitz, exh. cat. (Cologne: Kunsthalle Köln, 1968), cat. no. A 31; fig. 13.; Bothmer, Dietrich von.
10. Music Lesson
- Description
- Scenes of the daily lives of Athenian schoolboys decorate this red-figure cup. In addition to basic literacy and mathematics, Greek boys were trained in athletics and music. On the interior of the cup, a boy holding a lyre stands in front of a bearded man, who must be his music teacher. On the outside, men and boys form similar scenes. The imagined walls of the schoolroom are hung with musical instruments and athletic equipment: lyres, string bags with knucklebones, sponges, and aryballoi. The scenes on this cup are not purely educational, however. On one side of the vase, a boy holds a hare on his lap, while on the other, a man offers a hare to another boy. In addition to serving as a classroom, the gymnasion in its role as the center of Greek physical and intellectual life was also the center of romantic courtship. Hares were popular love gifts in the homosexual relationships between older men and boys favored by the Athenian aristocracy in the early 500s B.C. --J. Paul Getty Museum Bareiss Loan: S.82.AE.36, May, Helmut, ed. Weltkunst aus Privatbesitz, exh. cat. (Cologne: Kunsthalle Köln, 1968), cat. no. A 31; fig. 13.; Bothmer, Dietrich von.
