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1. Departure

Description: Pottery: red-figured lekythos. Woman pouring wine for a warrior. On the right stands a bearded warrior en face, with left foot turned to right, with short tied chiton, mantle over shoulders, helmet with raised cheek-pieces, greaves, spear held upright in right, and shield (device, an ithyphallic satyr standing to left with right leg advanced, body thrown back, right hand on hip, blowing a long trumpet; in black silhouette, resting on a thin black ground-line). From the shield hangs an apron attached to the rim by three black studs, with a border of zigzags between them; the lower edge is fringed with tabs in form of spear-heads; above this is an embattled line, and then a large human left eye and eyebrow, with eyelashes above and below, indicated in thinned black. The warrior looks to left at a woman in long Ionic chiton and mantle, hair looped up with fillet, who offers him with her right a phiale filled from an oinochoe in her left hand. Late stage of large style. Brown inner markings and edge of hair. Below and above, maeander. On shoulder, central inverted palmette with two side palmettes and two flowers (partly broken away); round neck, egg pattern. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893

2. Potter attaches handle to kylix

Potter attaches handle to kylix

Description: Pottery: black-figure kylix. Rough style. Interior, in a medallion: A potter, nude and beardless, with drapery over left shoulder, seated to right before a wheel, on which is a kylix of archaic shape, the handle of which he is moulding; on a shelf above him are four kylikes, in two piles, and an oinochoe. Exterior: (a) Gigantomachia: Athene advancing to right, with high-crested helmet, long chiton and himation, both embroidered, aegis on left arm, attacks Enkelados with spear; he has fallen back with right leg drawn up; he has an embroidered chlamys over his shoulder. On either side, eyes, black, with a white ring round the pupil. In the field, branches and bunches of grapes. (b) The same design. Under each handle, a dolphin to right. --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; Smith, A H; Pryce, F N, Corpus Vasorum Antiquorum: Great Britain 2, British Museum 2, London, BMP, 1926

3. Peleus and Thetis

Peleus and Thetis

Description: 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

4. Symposium

Description: Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.

5. Odysseus and Nausikaa

Odysseus and Nausikaa

Description: Pottery: red-figured covered kantharos, with closed-in top, at one side of which is an aperture 3.2 cm long by 1.9 cm, communicating with the centre of the bottom by means of a shaft walled off from the interior. The lid is painted black and decorated with concentric mouldings: in its centre is a moulded Gorgon mask (3.2 cm diameter) painted white with black hair and red tongue. (a) Odysseus and Nausicaa. On the left Odysseus, nude, with rough hair and beard, stands as if in astonishment, holding a long beaded fillet (the credemnon) in both hands: he gazes at Nausicaa, who sinks away on the right, looking back at him; she wears a Doric chiton with apoptygma, and her hair is knotted behind with a fillet wound thrice round it. Beside Odysseus is inscribed his name, ΟΔΥΣΕΥΣ, Όδυσεύς. Beside Nausicaa, KAΛΕ, καλή. (b) Oedipus and the Sphinx. On a high rock on the left, drawn in purple outline, the Sphinx is seated to right, her long hair knotted behind with a fillet, which has a vertical piece over the forehead: her fore and hind legs join on to her body like the arms and legs of a woman. In front of her stands Oedipus, beardless, en face, but looking towards her, his left hand on his hip, his right holding two spears: he wears a chlamys, fillet, a petasos hanging at his back, and high endromides. Purple inscriptions, fillet, belt, and rock. Brown markings. Eye in profile. --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 5, British Museum 4, London, BMP, 1929

6. Odysseus under ram

Odysseus under ram

Description: Attic Black Figure pottery lip cup with added plaster and one handle restored; interior: reserved band around top of rim and glazed black below; reserved tondo with small black central circle (marked with small pits, which were part of ancient repair); exterior: narrow black band around rim and below offset of lip; handle black, reserved on inside; on lip between handles (sides A and B), black figure decoration consisting of Odysseus (added red hair and beard; head, neck, shoulder, buttocks with incised arc, legs from below knee and feet protruding) bound by two cords under ram (faded added white horn, red neck, and red mark on haunch), to left; lower part of bowl glazed black with reserved band; stem and foot glazed black; concave edge and underside of foot reserved; several ancient repair holes (3 on lowest part of bowl, 1 through centre of tondo, 4 at top of stem). --The British Museum, Villing, Alexandra, Naukratis: Greeks in Egypt, London, BM, 2012; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Smith, A H; Pryce, F N, Corpus Vasorum Antiquorum: Great Britain 2, British Museum 2, London, BMP, 1926; Möller, Astrid, Naukratis, Trade in Archaic Greece, Oxford, Oxford University Press, 2000; Venit, M.S., Painted Pottery from the Greek Mainland found in Egypt, 640-450 BC, PhD New York University, UMI, 1982

7. Peleus wrestling with Thetis

Peleus wrestling with Thetis

Description: Pottery lekythos showing Peleus wrestling with Thetis. Black figure on white ground. --The British Museum

8. Six Technique

Description: Pottery lekythos decorated in the Six Technique with Eos and the body of Memnon. --The British Museum

9. Battle Scene

Description: Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.

10. Winged figure liberating before warrior

Winged figure liberating before warrior

Description: Bronze casket (cista) engraved with a scene of Bellerophon (Melerpanta) holding Pegasus by the reins. The handle is cast in the form of a girl holding a perfume bottle, and a young man with oil-flask and scraper (strigil). The feet have lion's paws surrounded by sphinxes. Ladies' toilet articles were kept in such caskets. --The British Museum, Walters, H B, Catalogue of the Bronzes in the British Museum. Greek, Roman & Etruscan., I-II, London, BMP, 1899

11. Winged figure liberating before warrior

Winged figure liberating before warrior

Description: Bronze cista or container for cosmetic articles; engraving perhaps re-cut in the 19thC, possibly over an existing image. Main scene perhaps represents a parody of the Judgement of Paris; the figures forming the handle are a young satyr and a maenad. --The British Museum, Walters, H B, Catalogue of the Bronzes in the British Museum. Greek, Roman & Etruscan., I-II, London, BMP, 1899

12. Winged figure liberating before warrior

Winged figure liberating before warrior

Description: Bronze cista or container for cosmetic articles; engraving perhaps re-cut in the 19thC, possibly over an existing image. Main scene perhaps represents a parody of the Judgement of Paris; the figures forming the handle are a young satyr and a maenad. --The British Museum, Walters, H B, Catalogue of the Bronzes in the British Museum. Greek, Roman & Etruscan., I-II, London, BMP, 1899

13. Stele

Description: Marble tombstone showing a beardless, muscular youth taking an oil flask (lekythos) from a boy attendant. The scene is framed within an architectural setting and on the side of one of the pilasters is an inscription. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892

14. Ambush of Troilos

Ambush of Troilos

Description: Pottery: black-figured amphora: the ambush of Troilos; as Achilles attacks Troilos, Polyxena drops her water-jar and flees in terror. --The British Museum

15. Two warriors leaving

Two warriors leaving

Description: Pottery: red-figured hydria. Thersites insulting Agamemnon. On the right stands Thersites, an old, bald-headed man with hooked nose and grotesque features, and peculiarly shaped head; he leans on a staff and wears a long chiton and an himation, which is passed over the back of his head. He looks at Agamemnon, who moves away with bearded face to front, carrying his spear sloped over his right shoulder, and shield (device, a lion to left) seen edgewise on his left arm; he wears a broad fillet, short chiton, cuirass, and a mantle hangs over his arms. On the left a bearded figure in a chlamys and a hemispherical helmet (Nestor?), with a spear over his right shoulder, moves away, looking back; the action of his left hand is not certain; he may possibly be touching the arm of Agamemnon. The cuirass of Agamemnon seems to be made in narrow vertical slips overlapping each other, and is decorated with a star on the shoulder-piece. Late stage of good period; drawing careless. Eye in profile. Below, a strip of maeander; above, of alternate palmette and lotus; round lip and handles, egg pattern. --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; Forsdyke, E J, Corpus Vasorum Antiquorum: Great Britain 7, British Museum 5, London, BMP, 1930

16. Leave-taking

Description: Design red on a black background. 1. Farewell scene: a youthful male figure, attired for the chase, stands before a female figure, who holds out to him in her hand a phiale; she has her hair bound with a opisthosphendone, and wears a talaric chiton with sleeves and a peplos; the youthful male figure wears a petasus hanging at his back, and a chlamys fastened by a perone on the breast; in his right hand he holds two spears; behind him stands a youthful male figure leaning on his staff and advancing his right hand as if conversing; he wears a diadem and a mantle; both males are young and beardless., A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851

17. Lyre

Description: Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.

18. Pygmy and Crane

Pygmy and Crane

Description: Pottery skyphos decorated in the 'Kabirion' style. Designs black on deep buff ground, with incised lines. On the top of the handles, a zigzag pattern; below the designs a double wave-pattern. (a) Centaur to right, with shaggy hair, beard, and tail, holding a crooked staff in right hand, and a tree in left, confronts two grotesque beardless male figures in himatia, carrying sticks, that of the front one knotted; behind them, a tree. (b) Pigmy to left with hump-back, attacking a crane; the crane retreats to left, looking back. Behind, a vine with large bunches of grapes. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893

19. Linear B Script

Linear B Script

Description: Clay tablet inscribed with Linear B script, recording offerings of oil to a number of religious personnel and deities. --The British Museum, Ventris, M; Chadwick, J, Documents in Mycenaean Greek, Cambridge, Cambridge University Press, 1956; Chadwick, J; Godart, L; Killen, J T; Olivier, J-P; Sacconi, A; Sakellarakis, I A, Corpus of Mycenaean Inscriptions from Knossos, I, I, Cambridge/Rome, Cambridge University Press/Edizioni dell'Ateneo, 1986

20. Suicide of Ajax

Suicide of Ajax

Description: Pottery: red-figured calyx-krater (wine-bowl). Designs red on black ground, with white accessories; Etruscan style. Below the designs, palmettos. (a) Suicide of Ajax (Aivas): Ajax, nude and bearded, wearing a wreath, is fallen on his knees to left over his sword, which comes out through his body by his left shoulder; blood is visible round the wound and the handle of the sword. On the left is his shield; above, a garment with border of dots suspended on two pegs. On the right are a large sheath suspended by a white band, a tree-stump, and a garment suspended on two pegs. The scene takes place in Ajax's tent; the ground is indicated below. Above Ajax is painted a retrograde inscription in white. (b) Actaeon devoured by his hounds: Actaeon is nude and bearded, with wreath and white endromides; he moves away to right, turning back and endeavouring to drive back the hounds with a crook held in right hand; two attack him on either side, and one seizes his right thigh in his teeth. Below him is inscribed as before, in Etruscan characters: NVIATA, ‘Α(κ)ταίων. --The British Museum

21. Achilles and Aias Play

Achilles and Aias Play

Description: Pottery: black-figured lekythos. Designs: on shoulder, black on red, with purple and white accessories; on body, black on drab, with purple accessories. 1. On the shoulder: A Satyr on all-fours to right, with face to front, pursuing a Maenad, who runs away, looking back at him; she has a long chiton with diploidion, and hair knotted up. In the field, vine-branches, with grapes. 2. On the body: Heroes casting lots at the statue of Athene: In the centre is the statue of Athene to right looking to left, with long hair, high-crested helmet with fillet, long chiton and striped himation, spear in right hand, left raised. Behind her is a table, on either side of which is a bearded warrior crouching down on one knee; the one on the left has a helmet with fillet, short striped chiton, chlamys, greaves, shield and two spears; his right hand is stretched out to the table. The other has long hair with fillet, greaves, Boeotian shield, and spear. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893

22. Mycenaean Bird and Bull

Mycenaean Bird and Bull

Description: Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.

23. Suicide of Ajax

Suicide of Ajax

Description: Pottery: red-figured calyx-krater (wine-bowl). Designs red on black ground, with white accessories; Etruscan style. Below the designs, palmettos. (a) Suicide of Ajax (Aivas): Ajax, nude and bearded, wearing a wreath, is fallen on his knees to left over his sword, which comes out through his body by his left shoulder; blood is visible round the wound and the handle of the sword. On the left is his shield; above, a garment with border of dots suspended on two pegs. On the right are a large sheath suspended by a white band, a tree-stump, and a garment suspended on two pegs. The scene takes place in Ajax's tent; the ground is indicated below. Above Ajax is painted a retrograde inscription in white. (b) Actaeon devoured by his hounds: Actaeon is nude and bearded, with wreath and white endromides; he moves away to right, turning back and endeavouring to drive back the hounds with a crook held in right hand; two attack him on either side, and one seizes his right thigh in his teeth. Below him is inscribed as before, in Etruscan characters: NVIATA, ‘Α(κ)ταίων. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893

24. Bearded man, woman with lyre'

Bearded man, woman with lyre'

Description: Terracotta relief plaque ('Melian relief'): a man with a female lyre-player; he grasps the lyre (barbiton) as though demanding her attention. --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

25. Animals

Description: Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.

26. Departure

Description: Pottery: red-figured lekythos. Woman pouring wine for a warrior. On the right stands a bearded warrior en face, with left foot turned to right, with short tied chiton, mantle over shoulders, helmet with raised cheek-pieces, greaves, spear held upright in right, and shield (device, an ithyphallic satyr standing to left with right leg advanced, body thrown back, right hand on hip, blowing a long trumpet; in black silhouette, resting on a thin black ground-line). From the shield hangs an apron attached to the rim by three black studs, with a border of zigzags between them; the lower edge is fringed with tabs in form of spear-heads; above this is an embattled line, and then a large human left eye and eyebrow, with eyelashes above and below, indicated in thinned black. The warrior looks to left at a woman in long Ionic chiton and mantle, hair looped up with fillet, who offers him with her right a phiale filled from an oinochoe in her left hand. Late stage of large style. Brown inner markings and edge of hair. Below and above, maeander. On shoulder, central inverted palmette with two side palmettes and two flowers (partly broken away); round neck, egg pattern. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893

27. Eos carrying Memnon (?)

Eos carrying Memnon (?)

Description: Pottery lekythos decorated in the Six Technique with Eos and the body of Memnon. --The British Museum

28. [No Caption] Steven Lowenstam Collection

[No Caption] Steven Lowenstam Collection

Description: Mycenaean pottery Pictorial Style krater, Furumark Shape 53; wheel-made; piriform body on a stem with a flat foot; short, slightly concave neck with an everted rim; pair of opposing handles vertical handles from shoulder to rim; fine cream clay, with lustrous brown-purple painted decoration: on each side is a large octopus with big eyes whose wavy tentacles cover the entire field; parallel bands below the creature; solid paint on the foot and neck. --The British Museum

29. [No Caption] Steven Lowenstam Collection

[No Caption] Steven Lowenstam Collection

Description: Tall pottery stirrup jar (or false-necked jar); thick, coarse clay with buff slip and black-red paint; decorated on each side with a large painted octopus occupying most of the vessel, framed on top and bottom by parallel lines; restored from fragments; each handle is incised with a ￂ sign; Late Minoan fabric from Crete. --The British Museum, Kiely, Thomas, Kourion, 2011; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Furumark, A, The Mycenaean Pottery. Analysis and Classification., Stockholm, Kungl. Vitterhets Historie och Antikvitets Adademien, 1941; Åström, Paul, The Swedish Cyprus Expedition vol. IV. Part IC. The Late Cypriot Bronze Age. Architecture and pottery, Lund, Swedish Cyprus Expedition, 1972; Murray, A S; Smith, A H; Walters, H B, Excavations in Cyprus, London, BMP, 1900

30. Weighing of Souls

Weighing of Souls

Description: Pottery: black-figured lekythos: the Weighing of Souls. Design black on drab ground, with purple accessories. On the shoulder, lotus-buds; on the body, above, an ivy-wreath. Contest of Achilles and Memnon (or Hector): On either side is a warrior, bearded and fully armed, thrusting with spear, each having a short chiton with purple spots; the one on the left has a Boeotian shield, the other has the device of a crab (?). In the centre Hermes Pyschopompos to right, bearded, with petasos, short chiton and chlamys, both with purple spots, and endromides, holds out a pair of scales in left hand, each scale containing a small winged male figure, representing the souls of the two heroes. In the field, imitation inscriptions. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893

31. Odysseus and Sirens

Odysseus and Sirens

Description: Panel from a painted wall: Ulysses resists the songs of the Sirens. Ulysses is tied to the mast of his ship. The Sirens perch on high rocks, with the bones of earlier victims around them. The painting shows one siren playing the twin pipes, another the lyre, and the third presumably singing. This painting is a companion to 1867.5-8.1355. --The British Museum, Hinks, R P, Catalogue of the Greek, Etruscan & Roman Paintings & Mosaics in the British Museum: Paintings, London, BMP, 1933

32. Nen Kheftka

Description: Painted limestone statue of Nenkheftka; damage to feet. --The British Museum, Jones, Mark; Craddock, Paul; Barker, Nicolas, Fake? The Art of Deception, London, BMP, 1990; Strudwick, Nigel, Masterpieces of ancient Egypt, London, BMP, 2006

33. Athletics

Description: Pottery: black-figured 'Tyrrhenian' amphora: Designs black on red ground; no accessories. (a) Combat of warriors over a fallen warrior: The prostrate man has helmet, cuirass, greaves, sword, and shield by his side; over him strides a fully-armed warrior with short bound-up chiton, parameridia (armour on thighs), and Boeotian shield, defending him with spear. On the left a warrior to right (helmet, short chiton, greaves, sword-belt, shield, and spear), is about to transfix another, with long hair, high-crested helmet, short chiton, greaves, shield, and sword, whom he has beaten down on his knees. On the right is a warrior fleeing to right and looking back, with helmet, short embroidered chiton, greaves, sword, and shield; next, a similar warrior moving to right, thrusting with spear at a warrior prostrate to right, of whom the legs and part of the body (in a short chiton) are alone visible. On the extreme right the head of another warrior is visible, with high-crested helmet. (b) Athletic contests: On the left is a brabeus (arbitrator), bearded, in a himation; next to him, two wrestlers about to engage, the one on the left bearded; a bearded athlete to right with two leaping-poles, or spears for throwing, a similar athlete to right with halteres (weights used to aid momentum), leaping over eskammena (pegs fixed in the ground to mark the distance); a paidotribes (trainer) to left, bearded, in long chiton and himation, with staff, directing the movements of the last with right hand; a diskobolos (discus thrower) to right, bearded, with diskos in right hand, which he is about to throw. All the athletes are nude. Below, three friezes of animals: (1) Two Sirens confronted, each having one wing advanced; between them a palmette- and lotus-pattern, of Corinthian type (cf. B 24-25) behind each Siren a panther; at the back, a group of two swans flanked by panthers; on the left a swan to right preening itself, on the right a goat to left. (2) Sphinx to right, with one wing advanced, flanked by a cock and panther on either side; at the back a panther and ram confronting a similar pair. (3) Goat to right, on either side a lion; at the back a panther to right, on either side a ram; before the panther, a rosette. --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

34. Demeter of Cnidus Acropolis

Demeter of Cnidus Acropolis

Description: Marble statue of Demeter seated on a throne (the back part and arm-rails of the throne have broken away and are missing); her lower arms and hands are missing, but probably held a torch or libation bowl. The head was carved separately from the body and socketed into the neck. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892

35. Ionic frieze, Parthenon

Ionic frieze, Parthenon

Description: Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892; enkins, Ian, The Parthenon Frieze, London, BMP, 1994

36. Tjayasetimo, 26th dynasty

Tjayasetimo, 26th dynasty

Description: Limestone standing figure of Tjayasetimu: in archaising dress, based on the conventional standing mortuary figures of the Old Kingdom, wearing short wig and kilt; the waist-band of the kilt, the base and the dorsal pillar are inscribed with hieroglyphs. Curator's comments Jones 1990 [Information relating to registration nos. 1897,1009.1 (a) and 1921,0507.1 (b)] The period from about 700 BC to the Roman conquest witnessed a remarkable revival in Egyptian art, seemingly stimulated by the Nubian rulers who gained control of Egypt towards the end of the eighth century BC. One of the most influential factors in this revitalisation of art was the so-called 'archaising tendency', a harking back to the glories of what were regarded as the 'golden ages' of Egypt's past - the Old, Middle and New Kingdoms. The monuments of those periods were studied in detail and those qualities considered to be their finest were imitated in contemporary art, architecture, writing and religion. This was not done with any intention to deceive, but rather out of respect and admiration for the great achievements of the past, and out of a desire to identify the present more closely with those earlier epochs. Nowhere is this tendency more apparent than in private sculpture. The statue of the priest Tjayasetimu (b), which would have been placed in a temple to enable the owner's spirit to partake of the offerings, is clearly copied from the tomb statues made for private individuals in the Old Kingdom. That of Nenkheftka from Deshasha (a), is an excellent example of such a figure. The sculptor of the late statue has copied both the stiff formal pose, with left foot advanced and arms held rigidly at the sides, and the simple costume, reproducing carefully the short curled wig, fashionable in the Old Kingdom but not usual in the Late Period. Archaising sculptures of the 25th and 26th Dynasties are sometimes such successful imitations of earlier works that dating would be difficult were it not for the inscriptions, which provide essential clues. Since there is no reason to suppose that the texts of the present statue were later additions, the name of the owner, Tjayasetimu - not attested before the Late Period - is a reliable guide, while among his titles is that of Priest of the statues of King Psammetichus I (664-610 BC), demonstrating that the figure cannot be dated earlier than the middle of the seventh century BC. --The British Museum, Russmann, Edna R, Eternal Egypt: Masterworks of Ancient Art from the British Museum, London, BMP, 2001; Jones, Mark; Craddock, Paul; Barker, Nicolas, Fake? The Art of Deception, London, BMP, 1990

37. The Judgment of Paris

The Judgment of Paris

Description: Pottery: black-figured amphora. Designs black on red panels, with lotus and honeysuckle borders along the top; accessories of white and purple. (a) Judgment of Paris: On the right is Paris seated to left on a rock, bearded, with long hair looped up by a fillet, long chiton and himation, both embroidered with white rosettes, in left hand a lyre. Hermes, who is leading the three goddesses to him, is bearded, with long tresses, petasos, short white chiton, embroidered chlamys, and endromides, caduceus in right hand, left hand extended towards Paris. Behind him advance the three goddesses, each raising left hand. First, Hera, wearing long chiton and embroidered himation; next Athene, with high-crested helmet with cheek-pieces, long embroidered chiton with diploidion, and aegis, of which only the borders of snakes are visible, in right hand a spear; Aphrodite comes last, in long chiton and embroidered himation; all three have long hair, fillets, and necklaces. (b) Departure of a warrior: In the centre is the warrior to left, bearded, with visored helmet with fillet, chlamys, greaves, shield with device of a pellet, and two spears; facing him is a nude youth, wearing a fillet, who is receiving a garment (?) from the warrior. On the left an old man advances to right; he has a white beard and long white tresses with fillet, long purple chiton and striped himation, embroidered with white rosettes; his right hand leans on a knotted staff, and his left is extended to the warrior. On the right is a female figure to left, in a long chiton and striped embroidered himation drawn over her head; behind her is a youth to left, with fillet, long chiton, and striped himation embroidered with white rosettes. --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

38. New Arms for Achilles

New Arms for Achilles

Description: Pottery: red-figured pelike. (a) Thetis and a Nereid bringing arms, made by Hephaistos, to Achilles who mourns Patroclus. In the centre Achilles is seated in a chair to left in a dejected attitude, closely wrapped in his mantle, which is passed over the back of his head; he holds on his left arm a knotted staff, and wears a fillet with a vertical piece over the forehead, and sandals; on the chair is a fringed and embroidered cloth; beside his head, KAΛΟΣ, καλός. Thetis, approaching from left, has thrown her arms around his neck; she wears an Ionic chiton with dotted sleeves and embroidered diploidion, bracelets, and earrings, and her hair is looped up with a radiated stephane. Behind her a Nereid stands (similar dress, large brooch fastening diploidion on right shoulder, saccos with crosses, dotted fillet, bracelets), holding a spear and a high crested helmet. On left is Athene, who from the gesture of her right appears to be speaking. She carries a spear on her left arm and wears an Ionic chiton, tied, and a himation over her shoulders, aegis with scaly surface reaching to below waist, bracelets, and a helmet with raised cheek-pieces. The cheek-pieces of this helmet are decorated with a snake moving upwards; those of the other helmet have scale pattern; and in both the crest is supported by the arched back of a snake, whose head and tail project in front and at back. On right of Achilles a woman stands to front, holding the shield which Thetis has brought (device, in silhouette, a woman to front in chiton with apoptygma, looking to left, and holding at full extent of both arms a festooned taenia); she covers her face with her right at the sight of the goddesses. She wears sleeved chiton, himation, bracelets and earrings, and an opisthosphendone. On right stands a bearded old man looking on, leaning on his staff, draped in a mantle. The earrings have triple pendants. (b) Nereids with arms, and a Greek. The Greek, wreathed, stands to left with right resting on spear, closely draped in a mantle, which passes over the back of his head. Facing him are two Nereids, one holding a cuirass (side view), the other, holding a sword in her right (the scabbard decorated with zigzags), raises with her left the edge of her chiton; the alternate flaps of the cuirass and the chape of the scabbard are black. On right a third Nereid stands to left, holding up in her right a helmet of different form; in her left a sword, hanging by its belt, drawn entirely in silhouette, and against her left arm a spear; all three wear sleeved chiton and himation; the one on left wears a radiated fillet, the next one a dotted saccos and bracelets, and the one on right a radiated fillet and bracelets. On right ΚΑΛΟΣ, καλός. Beneath the handle on left of a, an altar in form of an Ionic capital, with volutes and necking. Beneath the other handle, a square base, on which is a helmet to left, the crest ornamented with a snake in light brown. Purple fillets, inscriptions, and wreaths in b. Brown upper folds of chiton of Thetis and of two Nereids. The hair and beard of the old man and his fillet are indicated in brown outline; the hair of Achilles, in single wavy brown lines. Eye in transition type. Below, a continuous band of key pattern; above each side, a strip of linked lotus buds. On the lower part of each handle, an inverted palmette. Around the neck, and below the design, a thin line of purple. The spears overlap the border. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893

39. Suicide of Ajax

Suicide of Ajax

Description: Pottery: red-figured calyx-krater (wine-bowl). Designs red on black ground, with white accessories; Etruscan style. Below the designs, palmettos. (a) Suicide of Ajax (Aivas): Ajax, nude and bearded, wearing a wreath, is fallen on his knees to left over his sword, which comes out through his body by his left shoulder; blood is visible round the wound and the handle of the sword. On the left is his shield; above, a garment with border of dots suspended on two pegs. On the right are a large sheath suspended by a white band, a tree-stump, and a garment suspended on two pegs. The scene takes place in Ajax's tent; the ground is indicated below. Above Ajax is painted a retrograde inscription in white. (b) Actaeon devoured by his hounds: Actaeon is nude and bearded, with wreath and white endromides; he moves away to right, turning back and endeavouring to drive back the hounds with a crook held in right hand; two attack him on either side, and one seizes his right thigh in his teeth. Below him is inscribed as before, in Etruscan characters: NVIATA, ‘Α(κ)ταίων. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893

40. Achilles and Ajax Playing

Achilles and Ajax Playing

Description: Pottery: black-figured lekythos. Designs: on shoulder, black on red, with purple and white accessories; on body, black on drab, with purple accessories. 1. On the shoulder: A Satyr on all-fours to right, with face to front, pursuing a Maenad, who runs away, looking back at him; she has a long chiton with diploidion, and hair knotted up. In the field, vine-branches, with grapes. 2. On the body: Heroes casting lots at the statue of Athene: In the centre is the statue of Athene to right looking to left, with long hair, high-crested helmet with fillet, long chiton and striped himation, spear in right hand, left raised. Behind her is a table, on either side of which is a bearded warrior crouching down on one knee; the one on the left has a helmet with fillet, short striped chiton, chlamys, greaves, shield and two spears; his right hand is stretched out to the table. The other has long hair with fillet, greaves, Boeotian shield, and spear. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893

41. [No Caption] Steven Lowenstam Collection

[No Caption] Steven Lowenstam Collection

Description: Pottery neck-handled amphora; the shape suggests that it was probably used for a male burial. Clay: orange-buff clay, white grits, lustrous brown-black paint. Shape: torus lip, tall concave neck, ovoid body, disc foot; strap handles. Decoration: Light ground. Bands inside and outside lip, and at base of neck. Shoulder: two sets of nine compass-drawn concentric circles; band between lines below. Three lines around lower body. Handles: intersecting diagonal lines, rings around lower roots. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893

42. Symposium

Description: Pottery: red-figured column-krater. (a) Symposion. Two bearded men recline to left on two couches, leaning left arm on striped cushions; the one on the right has a broad radiated band (ampyx?) tied in a bow behind the ear, with end hanging down; he raises on his right a phiale, addressing his companion, who turns towards him, holding up in his right by the stem a large kylix; this one is wreathed, and has his left arm wrapped in his mantle; both have the legs draped. In the foreground between the two a flute-player stands, to right, playing on flutes; she wears a long chiton with apoptygma, and her hair is looped up with a radiated fillet. In the background hang a taenia (on left) and a ring-shaped object (wreath ?). In front of each couch is a table, on which is a dish with flowers. (b) Three draped ephebi. The one on left moves away to left, looking back at the other two; his right arm projects over the border of the design. The central one holds a staff. In the field hangs a pair of halteres (jumping-weights). Style late and careless. Yellowish-white is used for wreath and fillet of flute-player and flowers. Round the lip, in black silhouette on red, two pairs of animals, a lion and boar, stepping towards each other. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893

43. Bearded man, woman with lyre'

Bearded man, woman with lyre'

Description: Terracotta relief plaque ('Melian relief'): a man with a female lyre-player; he grasps the lyre (barbiton) as though demanding her attention. --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

44. Ionic Freeze

Description: Marble relief (Block XLVII) from the North frieze of the Parthenon. The frieze shows the procession of the Panathenaic festival, the commemoration of the birthday of the goddess Athena. Like the southern branch of the procession, the northern branch comprises mounted horsemen, chariots, elders, musicians, pitcher-bearers, tray-bearers and figures leading sacrificial victims. As in the South frieze, so in the North the cavalcade comprised sixty riders. Whereas in the South these are carved over twenty-four blocks, in the North they are compressed into nineteen blocks. The groups of riders are not divided equally, as they are in the South. Dress varies from figure to figure. Some are heavily draped in mantle and tunic, while others are all but naked. Some ride bareheaded, while others wear a distinctive form of cap or a helmet. Metal reins, which are now lost, were inserted in drill-holes. Block XLVII shows a scene of preparation for the cavalcade that lies ahead, echoing the major theme of the West frize. Its return on the West side is carved with a marshal. On the right a boy, wearing drapery over his shoulder, is tying a girdle around the waist of the waiting horseman, dressed in a tunic. The heads of the youth and the boy are both dipped, just as the head of the horse, waiting patiently by. On the left a figure, wearing a cloak, stands by his horse, which he restrains with his right arm, while his left is raised to the head with the index finger extended. His head is turned back to his unprepared companions. A fragment, the horse’s head, is in the Acropolis Museum, Athens. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892; enkins, Ian, The Parthenon Frieze, London, BMP, 1994

45. Rosetta Stone

Description: Part of grey and pink granodiorite stela bearing priestly decree concerning Ptolemy V in three blocks of text: Hieroglyphic (14 lines), Demotic (32 lines) and Greek (53 lines). Curator's comments Compass text: The Rosetta Stone From Fort St Julien, el-Rashid (Rosetta), Egypt Ptolemaic Period, 196 BC The inscription on the Rosetta Stone is a decree passed by a council of priests, one of a series that affirm the royal cult of the 13-year-old Ptolemy V on the first anniversary of his coronation. In previous years the family of the Ptolemies had lost control of certain parts of the country. It had taken their armies some time to put down opposition in the Delta, and parts of southern Upper Egypt, particularly Thebes, were not yet back under the government's control. Before the Ptolemaic era (that is before about 332 BC), decrees in hieroglyphs such as this were usually set up by the king. It shows how much things had changed from Pharaonic times that the priests, the only people who had kept the knowledge of writing hieroglyphs, were now issuing such decrees. The list of good deeds done by the king for the temples hints at the way in which the support of the priests was ensured. The decree is inscribed on the stone three times, in hieroglyphic (suitable for a priestly decree), demotic (the native script used for daily purposes), and Greek (the language of the administration). The importance of this to Egyptology is immense. Soon after the end of the fourth century AD, when hieroglyphs had gone out of use, the knowledge of how to read and write them disappeared. In the early years of the nineteenth century, some 1400 years later, scholars were able to use the Greek inscription on this stone as the key to decipher them. Thomas Young, an English physicist, was the first to show that some of the hieroglyphs on the Rosetta Stone wrote the sounds of a royal name, that of Ptolemy. The French scholar Jean-François Champollion then realized that hieroglyphs recorded the sound of the Egyptian language and laid the foundations of our knowledge of ancient Egyptian language and culture. Soldiers in Napoleon's army discovered the Rosetta Stone in 1799 while digging the foundations of an addition to a fort near the town of el-Rashid (Rosetta). On Napoleon's defeat, the stone became the property of the English under the terms of the Treaty of Alexandria (1801) along with other antiquities that the French had found. The Rosetta Stone has been exhibited in the British Museum since 1802, with only one break. Towards the end of the First World War, in 1917, when the Museum was concerned about heavy bombing in London, they moved it to safety along with other, portable, 'important' objects. The Rosetta Stone spent the next two years in a station on the Postal Tube Railway fifty feet below the ground at Holborn. --The British Museum, Newton, C T; Hicks, E L; Hirschfeld, Gustav; Marshall, F H, The Collection of Ancient Greek Inscriptions in the British Museum, I-IV, London, British Museum, 1874; Strudwick, Nigel, Masterpieces of ancient Egypt, London, BMP, 2006

46. Rosetta Stone

Description: Part of grey and pink granodiorite stela bearing priestly decree concerning Ptolemy V in three blocks of text: Hieroglyphic (14 lines), Demotic (32 lines) and Greek (53 lines). Curator's comments Compass text: The Rosetta Stone From Fort St Julien, el-Rashid (Rosetta), Egypt Ptolemaic Period, 196 BC The inscription on the Rosetta Stone is a decree passed by a council of priests, one of a series that affirm the royal cult of the 13-year-old Ptolemy V on the first anniversary of his coronation. In previous years the family of the Ptolemies had lost control of certain parts of the country. It had taken their armies some time to put down opposition in the Delta, and parts of southern Upper Egypt, particularly Thebes, were not yet back under the government's control. Before the Ptolemaic era (that is before about 332 BC), decrees in hieroglyphs such as this were usually set up by the king. It shows how much things had changed from Pharaonic times that the priests, the only people who had kept the knowledge of writing hieroglyphs, were now issuing such decrees. The list of good deeds done by the king for the temples hints at the way in which the support of the priests was ensured. The decree is inscribed on the stone three times, in hieroglyphic (suitable for a priestly decree), demotic (the native script used for daily purposes), and Greek (the language of the administration). The importance of this to Egyptology is immense. Soon after the end of the fourth century AD, when hieroglyphs had gone out of use, the knowledge of how to read and write them disappeared. In the early years of the nineteenth century, some 1400 years later, scholars were able to use the Greek inscription on this stone as the key to decipher them. Thomas Young, an English physicist, was the first to show that some of the hieroglyphs on the Rosetta Stone wrote the sounds of a royal name, that of Ptolemy. The French scholar Jean-François Champollion then realized that hieroglyphs recorded the sound of the Egyptian language and laid the foundations of our knowledge of ancient Egyptian language and culture. Soldiers in Napoleon's army discovered the Rosetta Stone in 1799 while digging the foundations of an addition to a fort near the town of el-Rashid (Rosetta). On Napoleon's defeat, the stone became the property of the English under the terms of the Treaty of Alexandria (1801) along with other antiquities that the French had found. The Rosetta Stone has been exhibited in the British Museum since 1802, with only one break. Towards the end of the First World War, in 1917, when the Museum was concerned about heavy bombing in London, they moved it to safety along with other, portable, 'important' objects. The Rosetta Stone spent the next two years in a station on the Postal Tube Railway fifty feet below the ground at Holborn. --The British Museum, Newton, C T; Hicks, E L; Hirschfeld, Gustav; Marshall, F H, The Collection of Ancient Greek Inscriptions in the British Museum, I-IV, London, British Museum, 1874; Strudwick, Nigel, Masterpieces of ancient Egypt, London, BMP, 2006

47. Mirror with Aias, Telis (Thetis?) and Alomena

Mirror with Aias, Telis (Thetis?) and Alomena

Description: Bronze mirror engraved with Aiax (Aivas) arming, helped by Telis (Thetis). Alcumena plays a lyre. The three names are inscribed. --The British Museum, Walters, H B, Catalogue of the Bronzes in the British Museum. Greek, Roman & Etruscan., I-II, London, BMP, 1899

48. Linear B Script

Linear B Script

Description: Clay tablet inscribed with Linear B script, recording offerings of oil to a number of religious personnel and deities. --The British Museum, Ventris, M; Chadwick, J, Documents in Mycenaean Greek, Cambridge, Cambridge University Press, 1956; Chadwick, J; Godart, L; Killen, J T; Olivier, J-P; Sacconi, A; Sakellarakis, I A, Corpus of Mycenaean Inscriptions from Knossos, I, I, Cambridge/Rome, Cambridge University Press/Edizioni dell'Ateneo, 1986

49. [No Caption] Steven Lowenstam Collection

[No Caption] Steven Lowenstam Collection

Description: Alabastron; pottery; decorated in the Six technique on white ground: youths and horses under a tree. --The British Museum

50. The Judgment of Paris

The Judgment of Paris

Description: Pottery: black-figured amphora. Designs black on red panels, with lotus and honeysuckle borders along the top; accessories of white and purple. (a) Judgment of Paris: On the right is Paris seated to left on a rock, bearded, with long hair looped up by a fillet, long chiton and himation, both embroidered with white rosettes, in left hand a lyre. Hermes, who is leading the three goddesses to him, is bearded, with long tresses, petasos, short white chiton, embroidered chlamys, and endromides, caduceus in right hand, left hand extended towards Paris. Behind him advance the three goddesses, each raising left hand. First, Hera, wearing long chiton and embroidered himation; next Athene, with high-crested helmet with cheek-pieces, long embroidered chiton with diploidion, and aegis, of which only the borders of snakes are visible, in right hand a spear; Aphrodite comes last, in long chiton and embroidered himation; all three have long hair, fillets, and necklaces. (b) Departure of a warrior: In the centre is the warrior to left, bearded, with visored helmet with fillet, chlamys, greaves, shield with device of a pellet, and two spears; facing him is a nude youth, wearing a fillet, who is receiving a garment (?) from the warrior. On the left an old man advances to right; he has a white beard and long white tresses with fillet, long purple chiton and striped himation, embroidered with white rosettes; his right hand leans on a knotted staff, and his left is extended to the warrior. On the right is a female figure to left, in a long chiton and striped embroidered himation drawn over her head; behind her is a youth to left, with fillet, long chiton, and striped himation embroidered with white rosettes. --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

51. Prothesis

Description: 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

52. Erechtheion

Description: 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

53. Taking Away Briseis

Taking Away Briseis

Description: 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

54. Aeneas carrying Anchises

Aeneas carrying Anchises

Description: 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

55. Nereid Monument

Nereid Monument

Description: 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

56. Nereid Monument

Nereid Monument

Description: 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

57. Cored glass bottles

Cored glass bottles

Description: Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.

58. Peleus and Thetis (terracotta)

Peleus and Thetis (terracotta)

Description: 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

59. Removal of Helen

Removal of Helen

Description: 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

60. Peleus and Thetis

Peleus and Thetis

Description: 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

61. Peleus and Thetis

Peleus and Thetis

Description: 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

62. Juno and Jupiter, Parthenon Frieze (Hera and Zeus?)

Juno and Jupiter, Parthenon Frieze (Hera and Zeus?)

Description: Marble relief (Block V) from the East frieze of the Parthenon. The frieze shows the procession of the Panathenaic festival, the commemoration of the birthday of the goddess Athena. This Block shows five gods and five figures involved in a ritual. On the left of the Block stands Iris, who arranges her hair. The surviving fragment of her head is in the Acropolis Museum, Athens. Hera sits in front of Iris and makes the bridal gesture of holding out her veil. By the side of Hera, Zeus leans over the back of a throne. In his right hand he holds a sceptre or thunderbolt. As father of gods, his seat is distinguished from those of the other gods, who occupy simple stools. The arm-rest is supported by a miniature sphinx. On the extreme right of the Block, Athena is shown seated with Hephaestus. In her lap can be seen the snake fringe of the aegis, which the goddess wore for protection. Drill-holes on her right side indicate the line of her spear. Hephaestus is heavily muscled but supports his right side with a crutch under the arm. Between the two ranks of seated gods a group of five figures is involved in a ritual which has to do with the piece of cloth held up by a man and a child. This is thought to be the peplos of Athena, dedicated on the occasion of the Panathenaic festival. The man wears the long unbelted tunic of a priest and is usually identified with the chief magistrate and overseer of Athenian state religion, Archon Basileus. The child is probably a boy and may be identified as a temple-server. The woman with her back to the priest is likely to be the priestess of Athena Polias, goddess of the city. She is about to receive the cushioned stool carried by the girl approaching her. Another girl approaches behind the first, carrying both a stool and, on her left arm, a footstool. This last is much damaged but the unmistakable paw-shaped foot of one leg is preserved. The central Block of the East frieze was placed over the approach to the East doorway of the temple that gave access to the statue of the goddess within. The Block was removed during the Christian re-use of the Parthenon as a church. It was not destroyed, however, and survived on the Acropolis built into a wall, where it was found and rescued by Lord Elgin’s men. For more information on the pedestrian-procession see East frieze Block III. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892; Jenkins, Ian, The Parthenon Frieze, London, BMP, 1994

63. Aias and Hektor

Aias and Hektor

Description: Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.

64. Nike

Description: Pottery: red-figured amphora, type B. (a) Nike pouring a libation. On the right a thymiaterion with cover rests on the ground; towards it Nike, in a long sleeved chiton and bordered himation fastened on her right shoulder, flies down, turning her head towards a phiale extended in her right, so that her body is en face, with a wing extended on either side. In her left is a trefoil oinochoe with high handle. She wears bracelets and a radiated stephane: around her neck is a thin cord, to which is attached a cruciform (?) pendant; her long hair is fastened at the ends in a roll. The cover of the thymiaterion is indicated in crossed brown lines as if it were of wire network; over and around this are purple dots indicating smoke of the incense (?). (b) A wreathed, draped youth standing to left, holding up his right hand. His whiskers are rendered in faint brown. On the bottom of the foot, incised characters. End of strong style. Purple bracelets, smoke(?), and wreath. Brown inner markings of wings, edge of drapery, whiskers, and anatomy. The hair of Nike has a fringe of four rows of dots in thinned black; the treatment of her wings is peculiar: the upper part of her left wing is covered with cross-hatched brown lines: that of her right wing has the usual V-shaped marks indicating feathers. The eye is of the archaic type, with inner angle slightly opened and large pupil. Below each side, a strip, alternate maeanders and dotted cross squares. --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 8, British Museum 6, London, BMP, 1931

65. Nereides Mourning (Beginning of Book 18)

Nereides Mourning (Beginning of Book 18)

Description: Pottery: red-figured pelike. (a) Thetis and a Nereid bringing arms, made by Hephaistos, to Achilles who mourns Patroclus. In the centre Achilles is seated in a chair to left in a dejected attitude, closely wrapped in his mantle, which is passed over the back of his head; he holds on his left arm a knotted staff, and wears a fillet with a vertical piece over the forehead, and sandals; on the chair is a fringed and embroidered cloth; beside his head, KAΛΟΣ, καλός. Thetis, approaching from left, has thrown her arms around his neck; she wears an Ionic chiton with dotted sleeves and embroidered diploidion, bracelets, and earrings, and her hair is looped up with a radiated stephane. Behind her a Nereid stands (similar dress, large brooch fastening diploidion on right shoulder, saccos with crosses, dotted fillet, bracelets), holding a spear and a high crested helmet. On left is Athene, who from the gesture of her right appears to be speaking. She carries a spear on her left arm and wears an Ionic chiton, tied, and a himation over her shoulders, aegis with scaly surface reaching to below waist, bracelets, and a helmet with raised cheek-pieces. The cheek-pieces of this helmet are decorated with a snake moving upwards; those of the other helmet have scale pattern; and in both the crest is supported by the arched back of a snake, whose head and tail project in front and at back. On right of Achilles a woman stands to front, holding the shield which Thetis has brought (device, in silhouette, a woman to front in chiton with apoptygma, looking to left, and holding at full extent of both arms a festooned taenia); she covers her face with her right at the sight of the goddesses. She wears sleeved chiton, himation, bracelets and earrings, and an opisthosphendone. On right stands a bearded old man looking on, leaning on his staff, draped in a mantle. The earrings have triple pendants. (b) Nereids with arms, and a Greek. The Greek, wreathed, stands to left with right resting on spear, closely draped in a mantle, which passes over the back of his head. Facing him are two Nereids, one holding a cuirass (side view), the other, holding a sword in her right (the scabbard decorated with zigzags), raises with her left the edge of her chiton; the alternate flaps of the cuirass and the chape of the scabbard are black. On right a third Nereid stands to left, holding up in her right a helmet of different form; in her left a sword, hanging by its belt, drawn entirely in silhouette, and against her left arm a spear; all three wear sleeved chiton and himation; the one on left wears a radiated fillet, the next one a dotted saccos and bracelets, and the one on right a radiated fillet and bracelets. On right ΚΑΛΟΣ, καλός. Beneath the handle on left of a, an altar in form of an Ionic capital, with volutes and necking. Beneath the other handle, a square base, on which is a helmet to left, the crest ornamented with a snake in light brown. Purple fillets, inscriptions, and wreaths in b. Brown upper folds of chiton of Thetis and of two Nereids. The hair and beard of the old man and his fillet are indicated in brown outline; the hair of Achilles, in single wavy brown lines. Eye in transition type. Below, a continuous band of key pattern; above each side, a strip of linked lotus buds. On the lower part of each handle, an inverted palmette. Around the neck, and below the design, a thin line of purple. The spears overlap the border. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893

66. Libation

Description: Pottery: White-ground lekythos. Sacrifice. On the right is an altar of rough outline, as if of hewn stone, from which flames arise. On the left stands a bearded, wreathed man (a priest ?) in an himation, leaning forward against a staff, and holding out in his right over the flames a phiale; in his left he holds a sprig of myrtle, probably for lustration (purification). Above hang a lock of hair and a wreath, probably votive. The vase has received a blow while the clay was soft, which has left a vertical indentation in the centre of the design. Early fine period. Drawing in black outline; hair and staff, black silhouette; dress, pink, with folds in brown. Eye in profile. Above, a strip, closed at each end, of maeander, with two white cross squares, on white. On shoulder, a pattern of five palmettes, black on red. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893

67. Taking away Briseis

Taking away Briseis

Description: 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

68. Odysseus under ram

Odysseus under ram

Description: Attic Black Figure pottery lip cup with added plaster and one handle restored; interior: reserved band around top of rim and glazed black below; reserved tondo with small black central circle (marked with small pits, which were part of ancient repair); exterior: narrow black band around rim and below offset of lip; handle black, reserved on inside; on lip between handles (sides A and B), black figure decoration consisting of Odysseus (added red hair and beard; head, neck, shoulder, buttocks with incised arc, legs from below knee and feet protruding) bound by two cords under ram (faded added white horn, red neck, and red mark on haunch), to left; lower part of bowl glazed black with reserved band; stem and foot glazed black; concave edge and underside of foot reserved; several ancient repair holes (3 on lowest part of bowl, 1 through centre of tondo, 4 at top of stem). --The British Museum, Villing, Alexandra, Naukratis: Greeks in Egypt, London, BM, 2012; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Smith, A H; Pryce, F N, Corpus Vasorum Antiquorum: Great Britain 2, British Museum 2, London, BMP, 1926; Möller, Astrid, Naukratis, Trade in Archaic Greece, Oxford, Oxford University Press, 2000; Venit, M.S., Painted Pottery from the Greek Mainland found in Egypt, 640-450 BC, PhD New York University, UMI, 1982

69. The Portland Vase

The Portland Vase

Description: Amphora in translucent dark cobalt blue and opaque white cameo glass. The cylindrical neck widens out to a sloping shoulder and ovoid body, whose squatness is emphasized by the lack of a foot. Everted mouth with rounded rim which is cut very unevenly on the upper side so that it is not horizontal; below this the neck curves out smoothly to the carination of the shoulder. Handles from the centre of the neck to the shoulder. The disc base (1945.9-27.2) is discussed separately. A separate Registration Number (1948.10-18.1) was assigned to approximately forty small fragments, most of which were incorporated during the most recent restoration. Broken and mended; the bottom is missing, and the underside of the vessel has been roughly trimmed and the edge left grozed, perhaps in antiquity. Slight iridescence in patches all over the inside of the vessel, slight pitting on exterior and red streaks and bubbles in the blue glass. Grinding all over the inside of the vessel, probably achieved by a filling of grit. The white design may have been reworked after its rediscovery in the sixteenth century. The inside of the rim is decorated with asymmetrical grooves either side of a ridge. The handles are vertically ridged on the outside and cut in v-shaped wedge sections. Figured design carved in the white glass, divided into two portions by a bearded and perhaps horned head below the lower attachment of each handle. One group of four persons shows a young man emerging from a rustic shrine behind which grows a shrub. His right arm held behind him clasps his cloak that is draped around the pillar of the shrine; his left arm stretched before him clasps the right arm of a half-draped lady seated on the ground turning back towards him and caressing a serpent-like creature that rises up towards her face. Eros flies to the right, above the lady, holding a bow in the left hand, a torch in his right. To the right stands a bearded man resting his chin on his right arm that itself rests on his right bent knee, the foot supported by a ledge below a tree that spreads out its branches; behind him is another tree. On the other side, at the extreme left, is a rectangular column beside which is a young man seated to the left on a rock shown in a series of steps with his head turned back towards a half-draped girl reclining to the right on the same rock with her right arm raised up to her head that is turned back to look towards the floor behind her; from her left hand hangs a burning torch. To her right, seated to the right on another rock and looking back towards the scene, sits another half-draped girl holding a sceptre in her left hand. The scene is closed by the shrub that grows from the back of the rustic shrine described above. --The British Museum, Tatton-Brown, Veronica A; Gudenrath, W; Roberts, Paul C; Whitehouse, D, Roman Cameo Glass, Vol. II, London, BMP, 2007; Walters, H B, Catalogue of Engraved Gems & Cameos, Greek, Etruscan & Roman in the British Museum, London, BMP, 1926; Jenkins, Ian; Sloan, Kim, Vases and Volcanoes - Sir William Hamilton and his collection, London, BMP, 1996; Tait, Hugh (editor), Five Thousand Years of Glass, London, BMP, 1991

70. Paris

Description: A disc in translucent blue and opaque white cameo glass. The disc has been cut down from a larger composition. The decoration, in white, shows the upper part of a young man in profile, gazing to the right; the forefinger of his right hand is raised towards the chin expressing doubt or consternation. --The British Museum, Tatton-Brown, Veronica A; Gudenrath, W; Roberts, Paul C; Whitehouse, D, Roman Cameo Glass, Vol. II, London, BMP, 2007; Tait, Hugh (editor), Five Thousand Years of Glass, London, BMP, 1991

71. Homer, copy of 2nd century BCE statue

Homer, copy of 2nd century BCE statue

Description: Hellenistic (original); Marble terminal portrait bust of the blind poet Homer, with Greek letters carved on each side. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892

72. The Portland Vase

The Portland Vase

Description: Amphora in translucent dark cobalt blue and opaque white cameo glass. The cylindrical neck widens out to a sloping shoulder and ovoid body, whose squatness is emphasized by the lack of a foot. Everted mouth with rounded rim which is cut very unevenly on the upper side so that it is not horizontal; below this the neck curves out smoothly to the carination of the shoulder. Handles from the centre of the neck to the shoulder. The disc base (1945.9-27.2) is discussed separately. A separate Registration Number (1948.10-18.1) was assigned to approximately forty small fragments, most of which were incorporated during the most recent restoration. Broken and mended; the bottom is missing, and the underside of the vessel has been roughly trimmed and the edge left grozed, perhaps in antiquity. Slight iridescence in patches all over the inside of the vessel, slight pitting on exterior and red streaks and bubbles in the blue glass. Grinding all over the inside of the vessel, probably achieved by a filling of grit. The white design may have been reworked after its rediscovery in the sixteenth century. The inside of the rim is decorated with asymmetrical grooves either side of a ridge. The handles are vertically ridged on the outside and cut in v-shaped wedge sections. Figured design carved in the white glass, divided into two portions by a bearded and perhaps horned head below the lower attachment of each handle. One group of four persons shows a young man emerging from a rustic shrine behind which grows a shrub. His right arm held behind him clasps his cloak that is draped around the pillar of the shrine; his left arm stretched before him clasps the right arm of a half-draped lady seated on the ground turning back towards him and caressing a serpent-like creature that rises up towards her face. Eros flies to the right, above the lady, holding a bow in the left hand, a torch in his right. To the right stands a bearded man resting his chin on his right arm that itself rests on his right bent knee, the foot supported by a ledge below a tree that spreads out its branches; behind him is another tree. On the other side, at the extreme left, is a rectangular column beside which is a young man seated to the left on a rock shown in a series of steps with his head turned back towards a half-draped girl reclining to the right on the same rock with her right arm raised up to her head that is turned back to look towards the floor behind her; from her left hand hangs a burning torch. To her right, seated to the right on another rock and looking back towards the scene, sits another half-draped girl holding a sceptre in her left hand. The scene is closed by the shrub that grows from the back of the rustic shrine described above. --The British Museum, Tatton-Brown, Veronica A; Gudenrath, W; Roberts, Paul C; Whitehouse, D, Roman Cameo Glass, Vol. II, London, BMP, 2007; Walters, H B, Catalogue of Engraved Gems & Cameos, Greek, Etruscan & Roman in the British Museum, London, BMP, 1926; Jenkins, Ian; Sloan, Kim, Vases and Volcanoes - Sir William Hamilton and his collection, London, BMP, 1996; Tait, Hugh (editor), Five Thousand Years of Glass, London, BMP, 1991

73. The Portland Vase

The Portland Vase

Description: Amphora in translucent dark cobalt blue and opaque white cameo glass. The cylindrical neck widens out to a sloping shoulder and ovoid body, whose squatness is emphasized by the lack of a foot. Everted mouth with rounded rim which is cut very unevenly on the upper side so that it is not horizontal; below this the neck curves out smoothly to the carination of the shoulder. Handles from the centre of the neck to the shoulder. The disc base (1945.9-27.2) is discussed separately. A separate Registration Number (1948.10-18.1) was assigned to approximately forty small fragments, most of which were incorporated during the most recent restoration. Broken and mended; the bottom is missing, and the underside of the vessel has been roughly trimmed and the edge left grozed, perhaps in antiquity. Slight iridescence in patches all over the inside of the vessel, slight pitting on exterior and red streaks and bubbles in the blue glass. Grinding all over the inside of the vessel, probably achieved by a filling of grit. The white design may have been reworked after its rediscovery in the sixteenth century. The inside of the rim is decorated with asymmetrical grooves either side of a ridge. The handles are vertically ridged on the outside and cut in v-shaped wedge sections. Figured design carved in the white glass, divided into two portions by a bearded and perhaps horned head below the lower attachment of each handle. One group of four persons shows a young man emerging from a rustic shrine behind which grows a shrub. His right arm held behind him clasps his cloak that is draped around the pillar of the shrine; his left arm stretched before him clasps the right arm of a half-draped lady seated on the ground turning back towards him and caressing a serpent-like creature that rises up towards her face. Eros flies to the right, above the lady, holding a bow in the left hand, a torch in his right. To the right stands a bearded man resting his chin on his right arm that itself rests on his right bent knee, the foot supported by a ledge below a tree that spreads out its branches; behind him is another tree. On the other side, at the extreme left, is a rectangular column beside which is a young man seated to the left on a rock shown in a series of steps with his head turned back towards a half-draped girl reclining to the right on the same rock with her right arm raised up to her head that is turned back to look towards the floor behind her; from her left hand hangs a burning torch. To her right, seated to the right on another rock and looking back towards the scene, sits another half-draped girl holding a sceptre in her left hand. The scene is closed by the shrub that grows from the back of the rustic shrine described above. --The British Museum, Tatton-Brown, Veronica A; Gudenrath, W; Roberts, Paul C; Whitehouse, D, Roman Cameo Glass, Vol. II, London, BMP, 2007; Walters, H B, Catalogue of Engraved Gems & Cameos, Greek, Etruscan & Roman in the British Museum, London, BMP, 1926; Jenkins, Ian; Sloan, Kim, Vases and Volcanoes - Sir William Hamilton and his collection, London, BMP, 1996; Tait, Hugh (editor), Five Thousand Years of Glass, London, BMP, 1991

74. The Portland Vase

The Portland Vase

Description: Amphora in translucent dark cobalt blue and opaque white cameo glass. The cylindrical neck widens out to a sloping shoulder and ovoid body, whose squatness is emphasized by the lack of a foot. Everted mouth with rounded rim which is cut very unevenly on the upper side so that it is not horizontal; below this the neck curves out smoothly to the carination of the shoulder. Handles from the centre of the neck to the shoulder. The disc base (1945.9-27.2) is discussed separately. A separate Registration Number (1948.10-18.1) was assigned to approximately forty small fragments, most of which were incorporated during the most recent restoration. Broken and mended; the bottom is missing, and the underside of the vessel has been roughly trimmed and the edge left grozed, perhaps in antiquity. Slight iridescence in patches all over the inside of the vessel, slight pitting on exterior and red streaks and bubbles in the blue glass. Grinding all over the inside of the vessel, probably achieved by a filling of grit. The white design may have been reworked after its rediscovery in the sixteenth century. The inside of the rim is decorated with asymmetrical grooves either side of a ridge. The handles are vertically ridged on the outside and cut in v-shaped wedge sections. Figured design carved in the white glass, divided into two portions by a bearded and perhaps horned head below the lower attachment of each handle. One group of four persons shows a young man emerging from a rustic shrine behind which grows a shrub. His right arm held behind him clasps his cloak that is draped around the pillar of the shrine; his left arm stretched before him clasps the right arm of a half-draped lady seated on the ground turning back towards him and caressing a serpent-like creature that rises up towards her face. Eros flies to the right, above the lady, holding a bow in the left hand, a torch in his right. To the right stands a bearded man resting his chin on his right arm that itself rests on his right bent knee, the foot supported by a ledge below a tree that spreads out its branches; behind him is another tree. On the other side, at the extreme left, is a rectangular column beside which is a young man seated to the left on a rock shown in a series of steps with his head turned back towards a half-draped girl reclining to the right on the same rock with her right arm raised up to her head that is turned back to look towards the floor behind her; from her left hand hangs a burning torch. To her right, seated to the right on another rock and looking back towards the scene, sits another half-draped girl holding a sceptre in her left hand. The scene is closed by the shrub that grows from the back of the rustic shrine described above. --The British Museum, Tatton-Brown, Veronica A; Gudenrath, W; Roberts, Paul C; Whitehouse, D, Roman Cameo Glass, Vol. II, London, BMP, 2007; Walters, H B, Catalogue of Engraved Gems & Cameos, Greek, Etruscan & Roman in the British Museum, London, BMP, 1926; Jenkins, Ian; Sloan, Kim, Vases and Volcanoes - Sir William Hamilton and his collection, London, BMP, 1996; Tait, Hugh (editor), Five Thousand Years of Glass, London, BMP, 1991

75. Roman dogs from Egypt

Roman dogs from Egypt

Description: On left is a rag doll by an unknown Ancient Roman artist from the 1st-5th century CE, measuring 19.05 cm in Height. Doll was created in Egypt, discovered in Oxyrhynchus, Al Bahnasā, Egypt, and is housed at British Museum, London, England, United Kingdom under Repository ID: 1905,1021.13. Rag-doll made from linen stuffed with rags and papyrus. The arms are made from a long roll of linen attached at the back. Coloured wool, now faded, was applied to parts of the face and body. The presence of a small blue glass bead attached to the proper left side of the head suggests a hair ornament. –The British Museum; On center-left is a doll by an unknown Ancient Roman artist. Doll was discovered at Ephesus, Aegean Region, Turkey and is housed at British Museum, London, England, United Kingdom under Repository ID: 1872,0405.173. Bone doll with articulated arms and legs (now missing). –The British Museum; On center-right is Terracotta 930, created by an unknown Corinthian artist in ca. 450 BCE and measuring 15.05 cm in Height (including legs). Doll was discovered in Athens, Periféreia Protevoúsis, Greece and is housed at British Museum, London, England, United Kingdom under Repository ID: 1930,1217.5. Terracotta dancing doll representing a 'Pyrrhic Dancer' in helmet and cuirass. –The British Museum; On right is Terracotta 937, created by an unknown Corinthian artist in ca. 350 BCE and measuring 18 cm in Height (including legs). Doll was created in Corinth, Peloponnese, Greece, discovered in Greece and housed at British Museum, London, England, United Kingdom under Repository ID: 1865,1720.35. Terracotta dancing doll holding castanets. –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

76. Achilles drags Hektor

Achilles drags Hektor

Description: Pierced handle from a mould-made pottery lamp with a triangular ornament depicting Achilles dragging the body of Hector behind his chariot; Hecuba and Priam watch from the walls of Troy. Drab buff, micacaeous, covered with patchy red-brown slip. Plaster mould. --The British Museum, Bailey, Donald Michael, Catalogue of the Lamps in the British Museum, I-IV, London, BMP, 1975; Walters, H B, Catalogue of Greek and Roman Lamps in the British Museum, London, BMP, 1914; Brommer, Frank, Denkmälerlisten zur griechischėn Heldensage, II, Marsburg, Elwert, 1974

77. Mithras

Description: Marble statue of Mithras slaying the bull. Mithras is shown in eastern costume, including trousers and a Phrygian cap. A dog and snake are shown trying to lick the blood and a scorpion is attacking the bull's genitals. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892

78. Latrine from Baths of Caracalla

Latrine from Baths of Caracalla

Description: Pavonazetto marble latrine in the form of a chariot. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892

79. Paris carries off Helen? (terracotta)

Paris carries off Helen? (terracotta)

Description: Stucco relief: Paris abducting Helen in chariot (horses are restoration). --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

80. Dragging Priam

Description: Pierced handle from a mould-made pottery lamp with a triangular ornament depicting Achilles dragging the body of Hector behind his chariot; Hecuba and Priam watch from the walls of Troy. Drab buff, micacaeous, covered with patchy red-brown slip. Plaster mould. --The British Museum, Bailey, Donald Michael, Catalogue of the Lamps in the British Museum, I-IV, London, BMP, 1975; Walters, H B, Catalogue of Greek and Roman Lamps in the British Museum, London, BMP, 1914; Brommer, Frank, Denkmälerlisten zur griechischėn Heldensage, II, Marsburg, Elwert, 1974

81. Portland Vase

Description: A disc in translucent blue and opaque white cameo glass. The disc has been cut down from a larger composition. The decoration, in white, shows the upper part of a young man in profile, gazing to the right; the forefinger of his right hand is raised towards the chin expressing doubt or consternation. --The British Museum, Tatton-Brown, Veronica A; Gudenrath, W; Roberts, Paul C; Whitehouse, D, Roman Cameo Glass, Vol. II, London, BMP, 2007; Tait, Hugh (editor), Five Thousand Years of Glass, London, BMP, 1991

82. Decorative relief on bronze cup

Decorative relief on bronze cup

Description: Bronze patera: relief decoration in the centre of the dish showing the sea-demon Scylla attacking the companions of Ulysses. Scylla towers above the ship and seizes one crewman, while the dogs that form her lower body savage several others. The eyes of the men and dogs are inlaid with silver. The handle is ancient, but not made for this dish. --The British Museum, Walters, H B, Catalogue of the Bronzes in the British Museum. Greek, Roman & Etruscan., I-II, London, BMP, 1899

83. Taking away Briseis

Taking away Briseis

Description: 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

84. Erechtheion

Description: Pentelic marble caryatid from the Erechtheion. This is one of six caryatids that held up the roof of the Erechtheion. She wears a peplos pinned on each shoulder. Her hair is braided and falls in a thick rope down her back. She probably held a sacrificial vessel in one of the missing hands. The figure strongly resembles the women of the east frieze of the Parthenon, which had just been completed when work on the Erechtheion began. She carries an architectural capital like a basket on her head. The weight she bears is taken on the right leg, encased in perpendicular folds. The other leg is flexed with the drapery moulded to it. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892

85. Enthroned Man

Description: Seated, over life-sized marble statue of a youth. The features are much worn, the nose being rubbed flat and only traces of eyes and mouth being visible. The face was full and beardless, the lips thick and bowed; the nose was short and the eyes straight and small. The left ear is much injured, but the right is large and powerfully formed. The hair is drawn back in long straight tresses with rows of thin bead-like locks, separated by grooves; four pointed plaits fall on each shoulder. The hands rest on the knees. The scale is over life-size and the proportions are heavy and rounded with massive chest and curving shoulders. The folds of drapery are in very low relief and the projection of the legs in front of the throne is shallow. The legs are not separately indicated underneath the mantle. The drapery consists of a sleeved Ionic chiton and a mantle; the latter passes over the left shoulder, round the back to the right shoulder, then in a loop under the right arm across to the left shoulder, both ends falling at the left side, where they are kept in place by a weight. The edge across the breast is turned over. The drapery is treated in very flat planes; two such are shown on the front of the mantle. The lower chiton is a plain splayed surface; there are no folds between the feet, over which the edge is arched. The throne is a simple rectangular structure, without indication of mortising; it is unfinished on the back, which is high, reaching almost to the crown of the head. No cushion is shown, the line of the drapery being continued on the underside of the arm-rests. Several crosses are scratched on the lap. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892; Tuchelt, Klaus, Die Archaischen Skulpturen von Didyma, Volume 27, Berlin, Verlag Gebr. Mann, 1970

86. Enthroned Man

Description: Seated, over life-sized marble statue of a youth. The features are much worn, the nose being rubbed flat and only traces of eyes and mouth being visible. The face was full and beardless, the lips thick and bowed; the nose was short and the eyes straight and small. The left ear is much injured, but the right is large and powerfully formed. The hair is drawn back in long straight tresses with rows of thin bead-like locks, separated by grooves; four pointed plaits fall on each shoulder. The hands rest on the knees. The scale is over life-size and the proportions are heavy and rounded with massive chest and curving shoulders. The folds of drapery are in very low relief and the projection of the legs in front of the throne is shallow. The legs are not separately indicated underneath the mantle. The drapery consists of a sleeved Ionic chiton and a mantle; the latter passes over the left shoulder, round the back to the right shoulder, then in a loop under the right arm across to the left shoulder, both ends falling at the left side, where they are kept in place by a weight. The edge across the breast is turned over. The drapery is treated in very flat planes; two such are shown on the front of the mantle. The lower chiton is a plain splayed surface; there are no folds between the feet, over which the edge is arched. The throne is a simple rectangular structure, without indication of mortising; it is unfinished on the back, which is high, reaching almost to the crown of the head. No cushion is shown, the line of the drapery being continued on the underside of the arm-rests. Several crosses are scratched on the lap. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892; Tuchelt, Klaus, Die Archaischen Skulpturen von Didyma, Volume 27, Berlin, Verlag Gebr. Mann, 1970

87. East pediment of Parthenon

East pediment of Parthenon

Description: The East pediment showed the miraculous birth of the goddess Athena from the head of her father Zeus. Many of the figures from the central scene are now fragmentary or entirely lost. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892; Jenkins, Ian, The Parthenon Frieze, London, BMP, 1994

88. East pediment Parthenon

East pediment Parthenon

Description: The East pediment showed the miraculous birth of the goddess Athena from the head of her father Zeus. Many of the figures from the central scene are now fragmentary or entirely lost. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892; Jenkins, Ian, The Parthenon Frieze, London, BMP, 1994

89. Artemis and Apollo Slaying Niobids, copy of Artemis work of 440-430 BCE

Artemis and Apollo Slaying Niobids, copy of Artemis work of 440-430 BCE

Description: Circular marble relief: Apollo and Artemis slaying Niobids. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892

90. E 575 (left), Painter of Yale Lekythos (right)

E 575 (left), Painter of Yale Lekythos (right)

Description: On left is Lekythos, Vase E575 by an unknown Ancient Greek (vase painter) in ca. 470 BCE measuring 39.37 cm in Height. Vase was created in Attica, Central Greece and Euboea, Greece, discovered Gela, Sicily, Italy, and housed at British Museum, London, England, United Kingdom under Repository ID: 1863,0728.97. Pottery: red-figured lekythos. Woman pouring wine for a warrior. On the right stands a bearded warrior en face, with left foot turned to right, with short tied chiton, mantle over shoulders, helmet with raised cheek-pieces, greaves, spear held upright in right, and shield (device, an ithyphallic satyr standing to left with right leg advanced, body thrown back, right hand on hip, blowing a long trumpet; in black silhouette, resting on a thin black ground-line). From the shield hangs an apron attached to the rim by three black studs, with a border of zigzags between them; the lower edge is fringed with tabs in form of spear-heads; above this is an embattled line, and then a large human left eye and eyebrow, with eyelashes above and below, indicated in thinned black. The warrior looks to left at a woman in long Ionic chiton and mantle, hair looped up with fillet, who offers him with her right a phiale filled from an oinochoe in her left hand. Late stage of large style. Brown inner markings and edge of hair. Below and above, maeander. On shoulder, central inverted palmette with two side palmettes and two flowers (partly broken away); round neck, egg pattern. --The British Museum; On right is Lekythos, Vase E576 by Painter of the Yale Lekythos in 470-450 BCE measuring 35.56 cm in Height. Vase was created in Attica, Central Greece and Euboea, Greece, discovered Gela, Sicily, Italy, and housed at British Museum, London, England, United Kingdom under Repository ID: 1863,0728.348. Pottery: red-figured lekythos. Nike pouring wine for a warrior. On the right a youthful warrior stands en face, with short chiton, cuirass (decorated with panther's mask in outline on shoulder-piece), helmet with raised cheek-pieces, greaves and shield (device, a lion lying to left, black silhouette on black ground-line), holding spear upright in right hand; he looks to left at Nike, who pours wine from an oinochoe into a phiale; she wears a long Ionic chiton, mantle and sphendone, and her hair is looped up. Late stage of large style. Brown inner markings and edge of hair. Below and above, maeander. On shoulder, central inverted palmette with two side palmettes and two flower; round neck, egg pattern. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893

91. Aphrodite and Pan playing dice

Aphrodite and Pan playing dice

Description: Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.

92. Herakles receives shirt of Nessos

Herakles receives shirt of Nessos

Description: Pottery: red-figured pelike: The Shirt of Nessos. (a) Heracles receiving the poisoned robe. Heracles (short, curly hair and beard, nude) has removed his lion's skin and dropped his club, and steps forward from left to receive a rolled up robe which a figure standing on right offers him. This figure appears from the hair to be male (Lichas?), although wearing a sleeved talaric chiton and a bordered mantle covering the left arm: the hair falls only to the neck in short wavy curls. The forehead of this figure is marked with two wrinkles. (b) A woman, Deianeira (?), exactly in the same position and dress as Lichas in a: but with long hair looped up and confined with a fillet wound twice round it each way. Surface slightly decayed. Purple fillet. Brown inner markings. Drawing minute and careful, but figures heavy, the heads being very long in proportion to their width. The hair and beard of Heracles are in raised dots. The muscle on the thigh is curiously indicated. Below and above each side, a strip of egg pattern. --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

93. Sacrifice to Athena

Sacrifice to Athena

Description: Pottery: black-figure lekane (bowl); wheel-made; low conical body on a ring base; short rim, slifgrly concave; pair of opposing strap handles; made of buff clay and slip, decorated with figures in reddish-black paint inside and out, some details incised; vessel mostly intact but repaired from fragments, with slight restoration on the rim. In the interior, three male figures are represented in a tondo with border of tongue-pattern. At the left a nude, bearded man facing right grips the arms of a bearded opponent in the centre and forces him down. This central figure, dressed in a short chiton with a sheath at his side, attempts to flee to the right and brandishes a sword in his right hand. In his left hand he holds a cord to which an object may be attached. At the right a third man, nude and bearded, retreats, looking back. In the field are a branch, a flower, and a tendril. On the outside of the lekane, under a frieze of ivy leaves below the rim, we see on side A a sacrificial procession moving toward the altar of the goddess Athena and on side B, seven men, a he-goat, and a bird. The two scenes are probably connected and linked to a rural festival. On side A, at the far right underneath one of the handles, Athena is represented facing to the left. She wears a peplos and a helmet. In her right hand she brandishes a spear, and she holds a shield on her left arm. Behind her is a snake coiled on a pedestal and a Doric column, which may suggest a temple or a sanctuary. In front of Athena is a two-stepped flaming altar with a flame-guard; at the left, a bird is on top of the altar, which is approached by a priestess in a peplos carrying a sacrificial tray on her head. Behind her, a man in a short tunic who is holding a wreath leads a bull to sacrifice. He is followed by an aulas (double-pipe) player and five men. They all seem to be nude, except for the aulos player, who wears a short garment, and the last figure, who has some drapery over his arm. The first in line holds two cords attached to the bull's hind legs; the second carries a wreath and the third a jug; the fourth has a short staff or perhaps a knife; and the fifth carries a staff (or a knife) and a wreath. Behind them, underneath the other handle, the procession is concluded by a cart, which is pulled by two mules and carries four draped figures. One is the driver, who holds a two-thonged whip; two others stand and one is seated at the back, holding a wreath. On side B seven bearded, nude male figures, a he-goat, and a bird are represented. The bird, at the far left, faces right. Next are two men, holding wreaths, who move to the right; the one in front looks back at his companion. Further to the right, two men are busy with a he-goat, who stands between them facing right with his head turned back. The man at the right holds the goat by a horn. Behind him are two men facing left and gesticulating. A third man, at the far right, faces right; he holds a stick in his hand, and a small piece of drapery hangs from his left arm. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893

94. Menelaos and Helen

Menelaos and Helen

Description: Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.

95. Thetis bringing Armor

Thetis bringing Armor

Description: Terracotta figure of Nereid sitting on the arching tail of a hippocamp that moves to viewer's right, she is holding a large Corinthian helmet in her arms, modeled in great detail. Orange clay, white coating, rose-madder on tail, red on hair of Nereid, blue on hippocamp's body. Thetis riding on a sea-horse, holding the helmet she will give to her son Achilles. --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

96. Votive relief to Bendis

Votive relief to Bendis

Description: Marble votive relief dedicated to the goddess Bendis, a Thracian goddess akin to the Greek Artemis. Bendis, standing to the right, is approached by a group of mortal votaries, eight naked athletes led by two bearded and draped officials, perhaps trainer and sponsor. The first official carries a torch and so identifies the athletes as members of a torch race relay team. The athletes wear wreaths in their hair. Bendis is dressed in a sleeved tunic hitched up so as to form a short skirt. An animal skin is draped over one shoulder, while an outer cloak pinned at the neck falls over her shoulders and down her back. Her legs are clad in knee-length boots, and she wears a Phrygian cap with a pointed crown. She holds a libation bowl (phiale). --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892

97. The Judgment of Paris

The Judgment of Paris

Description: Pottery: red-figured hydria (water-jar). Judgment of Paris. On the right Paris, a beardless youth with long hair, a fringe of wavy locks around his forehead, a fillet, and an himation, is seated on Mount Ida playing on the chelys; at the foot of the mountain a ram is drawn in outline, standing to the right; its wool is indicated by <-shaped marks. To him the three goddesses advance in single file: first comes Hera in a bordered chiton with long sleeves and v-shaped marks, an himation, a saccos with flap beside the ear, and earrings; on her right arm her sceptre, surmounted with a honeysuckle flower, and in her left the Golden Apple of Discord. Next comes Athene, in long chiton, mantle hanging in pteryges, aegis dotted and bordered, with a fringe of snakes, a fillet, hair passed through a circular object, and earrings; on her right she carries her spear; her left is hidden behind the back of Hera. She turns her head to look at Aphrodite, who wears a long chiton, a mantle which covers her arms and the back of her head, and a dotted fillet. Each of the goddesses has a wavy loop of hair brought forward over the temples. Later stage of severe style; characteristic features are the full, nearly semicircular chin, the pouting lips, and the eye sloping downward towards the outer angle. Purple (nearly white) tuning-pegs of lyre. Brown wavy lines for hair against face, for markings of rock, and entire drawing of sheep. On the left the vase has received a large semicircular crack, which has been (anciently?) painted over with a thin line of purple. The design curves up over the shoulder. Above and below it, strips of pairs of maeander separated by red cross squares. Around the lip, egg pattern. --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; Forsdyke, E J, Corpus Vasorum Antiquorum: Great Britain 7, British Museum 5, London, BMP, 1930

98. Suicide of Aias

Suicide of Aias

Description: Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.

99. Suicide of Aias

Suicide of Aias

Description: Pottery: red-figured calyx-krater (wine-bowl). Designs red on black ground, with white accessories; Etruscan style. Below the designs, palmettos. (a) Suicide of Ajax (Aivas): Ajax, nude and bearded, wearing a wreath, is fallen on his knees to left over his sword, which comes out through his body by his left shoulder; blood is visible round the wound and the handle of the sword. On the left is his shield; above, a garment with border of dots suspended on two pegs. On the right are a large sheath suspended by a white band, a tree-stump, and a garment suspended on two pegs. The scene takes place in Ajax's tent; the ground is indicated below. Above Ajax is painted a retrograde inscription in white. (b) Actaeon devoured by his hounds: Actaeon is nude and bearded, with wreath and white endromides; he moves away to right, turning back and endeavouring to drive back the hounds with a crook held in right hand; two attack him on either side, and one seizes his right thigh in his teeth. Below him is inscribed as before, in Etruscan characters: NVIATA, ‘Α(κ)ταίων. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893

100. Boreas takes Oreithyia

Boreas takes Oreithyia

Description: Bronze repoussé relief from the handle of a vessel: Boreas carrying off Oreithyia. --The British Museum, Walters, H B, Catalogue of the Bronzes in the British Museum. Greek, Roman & Etruscan., I-II, London, BMP, 1899