Pottery Pitcher. Clay: orange-buff clay, white grits, semilustrous brown-black paint. Shape: Flaring lip, near-vertical neck, plump ovoid body with two mastoi on the shoulder, ring foot; broad strap handle rising above rim, linked to the neck by a strut. Decoration: Neck: double meander between dotted lozenge chains; at either side, columns of check pattern between diagonal bars. Shoulder: central metope with kneeling goat, head reverted , above latticed triangles; at each side, columns of diagonal bars and mastos panel containing bird, dots and latticed triangle; eight-point star within circle on each mastos. In the long lateral panels, hatched zigzags with latticed triangles in the spaces, each bordered by columns of latticing. Dotted lozenge chain. Figured zone around belly: alternating with rows of female mourners, four prothesis scenes, on front, back, and each flank. All four share the following details, although with some variations and omissions: a four-legged bier and, below, a kneeling goat with reverted head; a shroud in double outline, usually hatched, and drawn upward to reveal the corpse; and a latticed pillow near the head of the deceased. Variations: (a) in front, to the right of the bier, a latticed tongue with double outline; (b), on one flank, the shroud is omitted; (c) on the back, a second goat to the left of the bier, and the shroud is filled with a zigzag; and (d), on the other flank, the corpse has no hands or pillow and, to the right of the bier, is a smaller mourner, perhaps an adolescent female, with breasts shown. Filling ornaments: standing and pendent latticed triangles, dotted circles, columns of chevron flanked by dots between mourners. Lower body: lozenge chain, small dotted triangles with prolonged and curved apices, dots in the field; vertical wavy lines, paint on foot. Handle: serpent flanked by dots, dotted ovals in the field, between vertical lines; above, panel with twelve-point star, between bars. Groups of nine bars on rim, band inside. --The British Museum
Marble slab from the ornamental band (epicranitis) running round the top of the outside walls of the Erechtheion. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892
Fragment of a bronze scabbard: Achilles and Briseis. The lower of the two scenes on the fragment shows Briseis led away between two heralds. The subject of the upper scene is uncertain, but it may represent Patroklos asking Achilles to lend him his armour. --The British Museum, Walters, H B, Catalogue of the Bronzes in the British Museum. Greek, Roman & Etruscan., I-II, London, BMP, 1899
Pottery: black-figured amphora. On the neck, double honeysuckle. (a) Aeneas carrying off Anchises from Troy: In the centre is Aeneas to right, fully armed, with Boeotian shield and two spears, carrying Anchises on his shoulders; the latter has white hair and beard, long embroidered chiton, and sceptre. In front of them is Creusa (?) advancing to right and looking back at them, veiled in an embroidered himation. On the right is an old man to left, partly bald, with white hair and beard, long chiton and himation, holding a staff. Behind Aeneas is Aphrodite (?) retreating to left and looking back, with long hair, fillet, long chiton, and embroidered himation. On the left is an archer to right, beardless, with high-peaked cap, cuirass, short purple chiton, and quiver. (b) Combat of three warriors (perhaps Achilles defending Antilochos against Memnon): On the left is a bearded warrior, fully armed, with short white chiton and embroidered chlamys, thrusting with spear at a retreating warrior also fully armed, who looks back at him; he has two white plumes on his helmet, short purple chiton, Boeotian shield with device of a thunderbolt and defends himself with spear. On the right is another warrior defending the latter, fully armed, with short purple chiton, and shield with device of a dolphin to left, thrusting with spear. --The British Museum, 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; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 5, British Museum 4, London, BMP, 1929
The Nereid Monument takes its name from the Nereids, sea-nymphs whose statues were placed between the columns of this monumental tomb. It was built for Erbinna (Greek Arbinas), ruler of Lycian Xanthos, south-west Turkey. Although he was not Greek, Erbinna chose to be buried in a tomb that resembles a Greek temple of the Ionic order. --The British Museum
The Nereid Monument takes its name from the Nereids, sea-nymphs whose statues were placed between the columns of this monumental tomb. It was built for Erbinna (Greek Arbinas), ruler of Lycian Xanthos, south-west Turkey. Although he was not Greek, Erbinna chose to be buried in a tomb that resembles a Greek temple of the Ionic order. --The British Museum
erracotta relief plaque ('Melian relief') with Peleus and Thetis. A lion indicates one of Thetis's transformations. --The British Museum, Burn, Lucilla; Higgins, Reynold; Walters, H B; Bailey, D M, Catalogue of Terracottas in the British Museum, I-IV, London, BMP, 1903
Pottery: black-figured amphora. Designs black on red panels, with borders of lotus-buds along the top; accessories of white and purple. (a) Departure of Aeneas from Troy: In the centre is Aeneas to right, bearded, with visored helmet and short chiton, carrying two spears; on his shoulders is Anchises, whose legs he supports with his hands. The latter has white beard and tresses, and wears a himation; in left hand he holds a sceptre. In front of them is a female figure, either Creusa, or Aphrodite, hastening to right, and looking back as if encouraging them. She wears a long embroidered chiton and himation with purple stripes; her right hand holds up her dress, her left is raised. On the left is a Trojan archer running to left and looking back; he wears a pointed cap, close-fitting jerkin and shoulder-belt, his hair is looped up under a fillet, and a quiver, with a wing attached to it, hangs at his left side. (b) Acamas and Demophon conducting Aithra: In the centre is Aithra to right, in long chiton and himation over her head, both embroidered with white rosettes; with left hand she draws forward the edge of the himation. On the right is Demophon, moving to right, and looking back at her; he has a short embroidered chiton, chlamys, helmet, sword at side, spear, and shield with ΑΘΕ painted on it. On the left is Acamas, departing to left and looking back; he has a short embroidered chiton, cuirass, visored helmet, sword at left side, two spears in right hand, and shield with three crescents painted round the rim. --The British Museum, 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; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
Pottery: black-figured hydria. Design in black on a red panel, with maeander and palmettes above, and borders of dots down the sides; coarsely incised lines. No marked distinction in shape between neck, shoulder, and body. Peleus seizing Thetis: On the left is a blazing altar, with entablature above. On the right is Peleus to right, nude and beardless, armed with a sword, stooping forward and seizing Thetis round the waist. She has long hair, long chiton and himation, arms extended. Behind her, wings indicating one of her metamorphoses. On the right, part of a palmette. --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