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Steven Lowenstam Collection
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Attic (Mainland Greek pottery styles)
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Red-figure
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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
- 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
- Description
- Pottery: red-figured stamnos. (a) Departure of a warrior. In the centre a bearded warrior stands en face, with helmet, short chiton, ornamented cuirass, and greaves, sword at waist, shield on arm, and holding a spear upright in left hand; his cuirass is decorated with a star on each shoulder-piece, and a band of key pattern; the strings are fastened upon a stud in the centre of this band, which is formed like an eight-spoked wheel, with dots between the spokes. He looks to left, grasping the hand of a bearded man, in long chiton and mantle, who holds upright in his left hand a staff. On the right, a woman, with bordered Doric chiton with apoptygma undertied, and hair looped up with fillet, stands with a phiale in her left, and an oinochoe hanging at her side in her right hand. Behind the warrior a hound stands in the background to left: around its neck is a collar with bead (?) attached. (b) Similar scene. In the centre, a beardless warrior as in (a), but with his body mostly hidden by his shield (device, a Pegasos springing to left), with helmet tilted back and with a mantle over his arms, stands en face, holding out to left a phiale to be filled from the oinochoe of a woman with Doric chiton schistos, and hair looped up with radiated fillet. On the right stands a bearded man, as in a. Large style. Purple fillets, brown inner markings and edge of hair. Eye in profile. Below, pairs of maeanders separated by dotted cross squares. Above, tongue pattern; round lip, egg pattern. Below and above handles, a pattern of four palmettes. The helmet in both cases overlaps the border. --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
- 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
5. 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
6. Hermes
- Description
- Pottery: red-figured neck-amphora, with twisted handles. (a) Anacreon type. A bearded reveller walking to right, wreathed in ivy and playing on the chelys: his head hangs forward to left, with eyes upturned as if partly drunk. The nose is curiously squat and broad, like that of a bearded satyr. His mantle flies back with the motion; and he has a staff under his left shoulder. (b) Ephebos, wreathed, walking to right, holding in his right hand horizontally a crutch staff, and extending his left on a level with his shoulder, holding on the palm upright a kylix: a mantle, rolled up, flies back from both arms. Extremities carefully drawn. Purple wreaths, tuning pegs, and cord of plectrum. Elaborate brown inner markings: the beard and the edge of the hair in a are indicated throughout in carefully traced-brown lines, which are also used for the knuckles of the bent hand and nostril in b and the hair on the cheek. Eye in archaic type, with inner angle open. Edge of hair dotted: and a dotted rosette for the left breast. Below a, a strip, alternate maeander and dotted cross squares: below b, a strip of key 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; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
7. Warrior
- Description
- Pottery: red-figured neck-amphora, with twisted handles. (a) Departure of warrior. Young warrior with long hair, short chiton with studded sleeves, mantle at back over arms, decorated with crosses, crestless helmet tilted back, cuirass, greaves, sword with twisted snake round scabbard hanging from a cross-belt, stands en face, looking to right, with shield on left arm, left hand holding spear upright, right holding out phiale to left towards (b) A woman in undertied chiton with apoptygma, with long hair fastened at ends in a club, radiated stephane, earrings, moves to right with oinochoe (silhouette against body), and raising the left edge of her dress from her shoulder, towards an altar in form of Ionic capital with volutes and necking of acanthus, on which is placed a high thymiaterion with wire cap, forming an acorn-shaped head (καλύπτρα), probably perforated. Brown inner markings, upper folds of chiton, edge of hair, and hair on cheek: also toe-nails of the foot en face. Eye archaic. Below, a strip of pattern, alternate dotted cross and maeander. --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
8. 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
9. Warrior
- Description
- Pottery: red-figured neck-amphora, with twisted handles. (a) Departure of warrior. Young warrior with long hair, short chiton with studded sleeves, mantle at back over arms, decorated with crosses, crestless helmet tilted back, cuirass, greaves, sword with twisted snake round scabbard hanging from a cross-belt, stands en face, looking to right, with shield on left arm, left hand holding spear upright, right holding out phiale to left towards (b) A woman in undertied chiton with apoptygma, with long hair fastened at ends in a club, radiated stephane, earrings, moves to right with oinochoe (silhouette against body), and raising the left edge of her dress from her shoulder, towards an altar in form of Ionic capital with volutes and necking of acanthus, on which is placed a high thymiaterion with wire cap, forming an acorn-shaped head (καλύπτρα), probably perforated. Brown inner markings, upper folds of chiton, edge of hair, and hair on cheek: also toe-nails of the foot en face. Eye archaic. Below, a strip of pattern, alternate dotted cross and maeander. --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
- Description
- Reclining on a couch, an older balding man tilts his head back and sings, accompanying himself on the lyre. Several features of the scene, such as the couch, the pillow, and especially the wreath the man wears, reveal that he is a participant at a symposion or drinking party. Many Greek vases, especially elaborate cups, were designed for use at such parties. Therefore, vase-painters frequently decorated these vessels with scenes of revelry and drinking. The circular area or tondo on the interior of a cup presented problems for Greek vase-painters. It was difficult to fit upright figures in this limited, curving space. Artists devised different solutions for this problem: some drew a line across the circle to create an artificial ground-line for their figures. On this vase, Epiktetos came up with a creative solution. He drew a line across the circle but made it the man's couch, rather than a ground-line. The edge of the man's mantle slipping down behind and below the line, creates the impression of depth and space. Epiktetos also used the circular frame of the tondo as part of the composition: it supports the man's pillow, and he props his foot on it. --J. Paul Getty Museum ; Bareiss Loan Number: S.80.AE.252
- 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
- Description
- Pottery: red-figured stamnos. (a) Judgment of Paris. Beneath the left handle of the vase a rough irregular mass of the same height as the figures is left red, and marked with brown brush-marks, indicating Mount Ida. At the foot of it a ram stands to right. Towards this, Paris, a wreathed youth in bordered himation, with chelys in left hand and right hand pressed to side, moves rapidly; he turns to look at Hermes, who strides forward and seizes him by the right shoulder, touching his back with the caduceus, of which the spiked butt-end only is seen; Hermes is bearded and wreathed, and has long hair looped up behind, with one hanging lock (parotis), a short chiton, bordered chlamys, petasos hanging at his back, and talaria laced and winged; on the heel of each is a dotted circle. Behind him come the goddesses; first, Hera, wearing sleeved chiton, a mantle fastened on her left shoulder, on her head a calathos decorated with four horizontal patterns: she carries her sceptre (the ends not shown) on her left arm, and raises her open right with a gesture of encouragement to Paris. Next, Athene, in long chiton with apoptygma, mantle, aegis dotted, with fringe of snakes, and dotted taenia tied in a bow at the back of her head; her long hair hangs loose like that of Hera, but the ends are passed through a knotted cloth (?); she carries her spear horizontally in her left; her right hand, passing across her body, is missing; she turns to look at Aphrodite, whose body is cut in two by the space left under the handle; she wears a long sleeved chiton, a mantle, and a radiated stephane, and holds up in her right a flower towards her face. Her long hair hangs loose down her back. (b) Poseidon, Nike and Dionysos. Poseidon on the left, with a long sleeved chiton and mantle, long beard and hair falling to his shoulders, holding dolphin in left and a long trident resting against his left shoulder, holds out in his right a phiale to be filled by Nike, who moves towards him, holding up an oinochoe in her right; in her left hand is a circular disk, shaded in thinned brown (probably a phiale). Her wings are spread on each side, and she has a long Ionic chiton with apoptygma, undertied, a necklace with cruciform pendant, and a fillet looping up her hair behind. On the right Dionysos, bearded, wreathed with ivy, with long wavy hair, long sleeved chiton and mantle, moves away to right, looking back; on his left arm he holds a thyrsos, in his left hand a cantharos (part destroyed) which he carries by one handle in a horizontal position. Dionysos and Poseidon have the lips parted, as if they were speaking. The design curves up over the shoulder. Later stage of large style. Purple wreaths, fillet of Nike, and flower of Aphrodite. Brown inner markings, and shading of Mount Ida: the sheep is sketched in the roughest manner in thinned black. The hair of Hera and Athene is drawn in long wavy lines of thinned black. Eye in transition type (three varieties of form). Below, pairs of maeander set alternate ways, separated by dotted cross squares and red cross squares, with inner cross of dots; on shoulder, tongue; around lip, 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; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
13. Singer
- Description
- Reclining on a couch, an older balding man tilts his head back and sings, accompanying himself on the lyre. Several features of the scene, such as the couch, the pillow, and especially the wreath the man wears, reveal that he is a participant at a symposion or drinking party. Many Greek vases, especially elaborate cups, were designed for use at such parties. Therefore, vase-painters frequently decorated these vessels with scenes of revelry and drinking. The circular area or tondo on the interior of a cup presented problems for Greek vase-painters. It was difficult to fit upright figures in this limited, curving space. Artists devised different solutions for this problem: some drew a line across the circle to create an artificial ground-line for their figures. On this vase, Epiktetos came up with a creative solution. He drew a line across the circle but made it the man's couch, rather than a ground-line. The edge of the man's mantle slipping down behind and below the line, creates the impression of depth and space. Epiktetos also used the circular frame of the tondo as part of the composition: it supports the man's pillow, and he props his foot on it. --J. Paul Getty Museum ; Bareiss Loan Number: S.80.AE.252
14. 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
- Description
- Pottery: red-figured stamnos. (a) Departure of a warrior. In the centre a bearded warrior stands en face, with helmet, short chiton, ornamented cuirass, and greaves, sword at waist, shield on arm, and holding a spear upright in left hand; his cuirass is decorated with a star on each shoulder-piece, and a band of key pattern; the strings are fastened upon a stud in the centre of this band, which is formed like an eight-spoked wheel, with dots between the spokes. He looks to left, grasping the hand of a bearded man, in long chiton and mantle, who holds upright in his left hand a staff. On the right, a woman, with bordered Doric chiton with apoptygma undertied, and hair looped up with fillet, stands with a phiale in her left, and an oinochoe hanging at her side in her right hand. Behind the warrior a hound stands in the background to left: around its neck is a collar with bead (?) attached. (b) Similar scene. In the centre, a beardless warrior as in (a), but with his body mostly hidden by his shield (device, a Pegasos springing to left), with helmet tilted back and with a mantle over his arms, stands en face, holding out to left a phiale to be filled from the oinochoe of a woman with Doric chiton schistos, and hair looped up with radiated fillet. On the right stands a bearded man, as in a. Large style. Purple fillets, brown inner markings and edge of hair. Eye in profile. Below, pairs of maeanders separated by dotted cross squares. Above, tongue pattern; round lip, egg pattern. Below and above handles, a pattern of four palmettes. The helmet in both cases overlaps the border. --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
- Description
- Pottery: red-figured hydria: Centauromachy, with Kaineus. In the centre is Kaineus, armed with cuirass and shield, his body visible as far as the hips and holding out his sword. A Centaur, carrying a branch, seizes him by the left hand round the neck. On the right another Centaur gallops up, about to throw a rock on Kaineus. Behind him advances a warrior in a Persian cap and tunic of skin, carrying a shield with device of a rectangular object. On the left, a Greek warrior, carrying a shield with device of a cock (?) and apron on which an eye is painted, strides forward against an unseen opponent, brandishing a spear (?). --The British Museum
17. Singer/Reveler
- Description
- Reclining on a couch, an older balding man tilts his head back and sings, accompanying himself on the lyre. Several features of the scene, such as the couch, the pillow, and especially the wreath the man wears, reveal that he is a participant at a symposion or drinking party. Many Greek vases, especially elaborate cups, were designed for use at such parties. Therefore, vase-painters frequently decorated these vessels with scenes of revelry and drinking. The circular area or tondo on the interior of a cup presented problems for Greek vase-painters. It was difficult to fit upright figures in this limited, curving space. Artists devised different solutions for this problem: some drew a line across the circle to create an artificial ground-line for their figures. On this vase, Epiktetos came up with a creative solution. He drew a line across the circle but made it the man's couch, rather than a ground-line. The edge of the man's mantle slipping down behind and below the line, creates the impression of depth and space. Epiktetos also used the circular frame of the tondo as part of the composition: it supports the man's pillow, and he props his foot on it. --J. Paul Getty Museum ; Bareiss Loan Number: S.80.AE.252
- Description
- Pottery: red-figured neck-amphora, with twisted handles. (a) Departure of warrior. Young warrior with long hair, short chiton with studded sleeves, mantle at back over arms, decorated with crosses, crestless helmet tilted back, cuirass, greaves, sword with twisted snake round scabbard hanging from a cross-belt, stands en face, looking to right, with shield on left arm, left hand holding spear upright, right holding out phiale to left towards (b) A woman in undertied chiton with apoptygma, with long hair fastened at ends in a club, radiated stephane, earrings, moves to right with oinochoe (silhouette against body), and raising the left edge of her dress from her shoulder, towards an altar in form of Ionic capital with volutes and necking of acanthus, on which is placed a high thymiaterion with wire cap, forming an acorn-shaped head (καλύπτρα), probably perforated. Brown inner markings, upper folds of chiton, edge of hair, and hair on cheek: also toe-nails of the foot en face. Eye archaic. Below, a strip of pattern, alternate dotted cross and maeander. --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
- Description
- Pottery: red-figured stamnos. (a) Judgment of Paris. Beneath the left handle of the vase a rough irregular mass of the same height as the figures is left red, and marked with brown brush-marks, indicating Mount Ida. At the foot of it a ram stands to right. Towards this, Paris, a wreathed youth in bordered himation, with chelys in left hand and right hand pressed to side, moves rapidly; he turns to look at Hermes, who strides forward and seizes him by the right shoulder, touching his back with the caduceus, of which the spiked butt-end only is seen; Hermes is bearded and wreathed, and has long hair looped up behind, with one hanging lock (parotis), a short chiton, bordered chlamys, petasos hanging at his back, and talaria laced and winged; on the heel of each is a dotted circle. Behind him come the goddesses; first, Hera, wearing sleeved chiton, a mantle fastened on her left shoulder, on her head a calathos decorated with four horizontal patterns: she carries her sceptre (the ends not shown) on her left arm, and raises her open right with a gesture of encouragement to Paris. Next, Athene, in long chiton with apoptygma, mantle, aegis dotted, with fringe of snakes, and dotted taenia tied in a bow at the back of her head; her long hair hangs loose like that of Hera, but the ends are passed through a knotted cloth (?); she carries her spear horizontally in her left; her right hand, passing across her body, is missing; she turns to look at Aphrodite, whose body is cut in two by the space left under the handle; she wears a long sleeved chiton, a mantle, and a radiated stephane, and holds up in her right a flower towards her face. Her long hair hangs loose down her back. (b) Poseidon, Nike and Dionysos. Poseidon on the left, with a long sleeved chiton and mantle, long beard and hair falling to his shoulders, holding dolphin in left and a long trident resting against his left shoulder, holds out in his right a phiale to be filled by Nike, who moves towards him, holding up an oinochoe in her right; in her left hand is a circular disk, shaded in thinned brown (probably a phiale). Her wings are spread on each side, and she has a long Ionic chiton with apoptygma, undertied, a necklace with cruciform pendant, and a fillet looping up her hair behind. On the right Dionysos, bearded, wreathed with ivy, with long wavy hair, long sleeved chiton and mantle, moves away to right, looking back; on his left arm he holds a thyrsos, in his left hand a cantharos (part destroyed) which he carries by one handle in a horizontal position. Dionysos and Poseidon have the lips parted, as if they were speaking. The design curves up over the shoulder. Later stage of large style. Purple wreaths, fillet of Nike, and flower of Aphrodite. Brown inner markings, and shading of Mount Ida: the sheep is sketched in the roughest manner in thinned black. The hair of Hera and Athene is drawn in long wavy lines of thinned black. Eye in transition type (three varieties of form). Below, pairs of maeander set alternate ways, separated by dotted cross squares and red cross squares, with inner cross of dots; on shoulder, tongue; around lip, 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; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
20. 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
- Description
- Pottery: red-figured neck-amphora, with twisted handles. (a) Departure of warrior. Young warrior with long hair, short chiton with studded sleeves, mantle at back over arms, decorated with crosses, crestless helmet tilted back, cuirass, greaves, sword with twisted snake round scabbard hanging from a cross-belt, stands en face, looking to right, with shield on left arm, left hand holding spear upright, right holding out phiale to left towards (b) A woman in undertied chiton with apoptygma, with long hair fastened at ends in a club, radiated stephane, earrings, moves to right with oinochoe (silhouette against body), and raising the left edge of her dress from her shoulder, towards an altar in form of Ionic capital with volutes and necking of acanthus, on which is placed a high thymiaterion with wire cap, forming an acorn-shaped head (καλύπτρα), probably perforated. Brown inner markings, upper folds of chiton, edge of hair, and hair on cheek: also toe-nails of the foot en face. Eye archaic. Below, a strip of pattern, alternate dotted cross and maeander. --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
- 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
- Description
- Pottery: red-figured stamnos. (a) Judgment of Paris. Beneath the left handle of the vase a rough irregular mass of the same height as the figures is left red, and marked with brown brush-marks, indicating Mount Ida. At the foot of it a ram stands to right. Towards this, Paris, a wreathed youth in bordered himation, with chelys in left hand and right hand pressed to side, moves rapidly; he turns to look at Hermes, who strides forward and seizes him by the right shoulder, touching his back with the caduceus, of which the spiked butt-end only is seen; Hermes is bearded and wreathed, and has long hair looped up behind, with one hanging lock (parotis), a short chiton, bordered chlamys, petasos hanging at his back, and talaria laced and winged; on the heel of each is a dotted circle. Behind him come the goddesses; first, Hera, wearing sleeved chiton, a mantle fastened on her left shoulder, on her head a calathos decorated with four horizontal patterns: she carries her sceptre (the ends not shown) on her left arm, and raises her open right with a gesture of encouragement to Paris. Next, Athene, in long chiton with apoptygma, mantle, aegis dotted, with fringe of snakes, and dotted taenia tied in a bow at the back of her head; her long hair hangs loose like that of Hera, but the ends are passed through a knotted cloth (?); she carries her spear horizontally in her left; her right hand, passing across her body, is missing; she turns to look at Aphrodite, whose body is cut in two by the space left under the handle; she wears a long sleeved chiton, a mantle, and a radiated stephane, and holds up in her right a flower towards her face. Her long hair hangs loose down her back. (b) Poseidon, Nike and Dionysos. Poseidon on the left, with a long sleeved chiton and mantle, long beard and hair falling to his shoulders, holding dolphin in left and a long trident resting against his left shoulder, holds out in his right a phiale to be filled by Nike, who moves towards him, holding up an oinochoe in her right; in her left hand is a circular disk, shaded in thinned brown (probably a phiale). Her wings are spread on each side, and she has a long Ionic chiton with apoptygma, undertied, a necklace with cruciform pendant, and a fillet looping up her hair behind. On the right Dionysos, bearded, wreathed with ivy, with long wavy hair, long sleeved chiton and mantle, moves away to right, looking back; on his left arm he holds a thyrsos, in his left hand a cantharos (part destroyed) which he carries by one handle in a horizontal position. Dionysos and Poseidon have the lips parted, as if they were speaking. The design curves up over the shoulder. Later stage of large style. Purple wreaths, fillet of Nike, and flower of Aphrodite. Brown inner markings, and shading of Mount Ida: the sheep is sketched in the roughest manner in thinned black. The hair of Hera and Athene is drawn in long wavy lines of thinned black. Eye in transition type (three varieties of form). Below, pairs of maeander set alternate ways, separated by dotted cross squares and red cross squares, with inner cross of dots; on shoulder, tongue; around lip, 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; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
- Description
- Pottery: red-figured stamnos. (a) Judgment of Paris. Beneath the left handle of the vase a rough irregular mass of the same height as the figures is left red, and marked with brown brush-marks, indicating Mount Ida. At the foot of it a ram stands to right. Towards this, Paris, a wreathed youth in bordered himation, with chelys in left hand and right hand pressed to side, moves rapidly; he turns to look at Hermes, who strides forward and seizes him by the right shoulder, touching his back with the caduceus, of which the spiked butt-end only is seen; Hermes is bearded and wreathed, and has long hair looped up behind, with one hanging lock (parotis), a short chiton, bordered chlamys, petasos hanging at his back, and talaria laced and winged; on the heel of each is a dotted circle. Behind him come the goddesses; first, Hera, wearing sleeved chiton, a mantle fastened on her left shoulder, on her head a calathos decorated with four horizontal patterns: she carries her sceptre (the ends not shown) on her left arm, and raises her open right with a gesture of encouragement to Paris. Next, Athene, in long chiton with apoptygma, mantle, aegis dotted, with fringe of snakes, and dotted taenia tied in a bow at the back of her head; her long hair hangs loose like that of Hera, but the ends are passed through a knotted cloth (?); she carries her spear horizontally in her left; her right hand, passing across her body, is missing; she turns to look at Aphrodite, whose body is cut in two by the space left under the handle; she wears a long sleeved chiton, a mantle, and a radiated stephane, and holds up in her right a flower towards her face. Her long hair hangs loose down her back. (b) Poseidon, Nike and Dionysos. Poseidon on the left, with a long sleeved chiton and mantle, long beard and hair falling to his shoulders, holding dolphin in left and a long trident resting against his left shoulder, holds out in his right a phiale to be filled by Nike, who moves towards him, holding up an oinochoe in her right; in her left hand is a circular disk, shaded in thinned brown (probably a phiale). Her wings are spread on each side, and she has a long Ionic chiton with apoptygma, undertied, a necklace with cruciform pendant, and a fillet looping up her hair behind. On the right Dionysos, bearded, wreathed with ivy, with long wavy hair, long sleeved chiton and mantle, moves away to right, looking back; on his left arm he holds a thyrsos, in his left hand a cantharos (part destroyed) which he carries by one handle in a horizontal position. Dionysos and Poseidon have the lips parted, as if they were speaking. The design curves up over the shoulder. Later stage of large style. Purple wreaths, fillet of Nike, and flower of Aphrodite. Brown inner markings, and shading of Mount Ida: the sheep is sketched in the roughest manner in thinned black. The hair of Hera and Athene is drawn in long wavy lines of thinned black. Eye in transition type (three varieties of form). Below, pairs of maeander set alternate ways, separated by dotted cross squares and red cross squares, with inner cross of dots; on shoulder, tongue; around lip, 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; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
- Description
- Pottery: red-figured kylix. INTERIOR: seated old man and man. On the left an old man with beard and receding hair is seated on a simple stool with a striped cushion. He is dressed in long chiton and himation and has a red wreath in his hair. He holds a plain stick in his left hand and gestures towards the bearded man facing him with his right hand. This man wears a himation and shoes and has a red wreath in his hair. He leans to the left on a knotty stick and is seen in three-quarter back view. His left arm, covered in drapery, is bent back to hold the top of his stick which supports him under his left armpit. He gestures with his right hand towards the seated man. Border: dotted cross square alternating with five units of running maeander (five-stroke, clockwise); irregularities at 7 o'clock (three and a half maeander units) and at 8 and 9 o'clock (only four units). EXTERIOR: Briseis. Side A (lower): Briseis being led away from Achilles. On the far left a bearded herald in short chiton, chlamys, pilos hat with red ties and boots with horizontal divisions (dilute glaze) starts to move away to the left but turns back his head and torso so that his right leg is also seen from the back (dilute glaze wash in hair and beard). He holds a kerykeion up in his left hand; his right hand grips the draped hand or wrist of a woman behind him. She is Briseis and wears a chiton and a himation pulled up over the back of her head, faces to the left, a double red band around her head. Behind her is a second bearded herald (dilute glaze wash for beard). He wears a pilos hat with red ties, horizontally striped boots (dilute glaze) and a chlamys that covers the short chiton that he is presumably wearing beneath it. In the centre a bearded man in a himation leans on a knotty stick to the right, his right hand on his hip, his left arm hidden in his drapery. He has a red fillet in his hair. He faces the tent of Achilles which takes the form of four (only two shown) plain posts with simple block bases with a large striped textile with a fringed edge draped over them. Up in the folds of this marquee are, on the left, a Corinthian helmet with a long crest on a square hook or shelf and, on the right, a scabbard with a red strap. Next to the scabbard is planted a spear. In the centre of the tent sits Achilles on an elaborate folding stool (animal legs) with a cushion decorated with zigzags. He wears shoes and a himation which envelops all but the upper part of his face. He has a red fillet in his hair and dilute wash in his wavy hair. His left arm is wrapped around a knotty stick. Behind the tent, on the extreme right, stands a bearded elder in long chiton, himation and shoes; he also has a red hair-band. He holds a staff or sceptre in his right hand. Side Β (upper): Briseis being led back. On the left a bearded man, wearing a himation pulled up over the back of his head and a red fillet, leans on a knotty stick, his right leg frontal: he is presumably Agamemnon. In front of him stands a bearded elder to the left. He is dressed in long chiton (dilute glaze border), himation, shoes and a red fillet and rests his right hand on top of a plain stick. Behind him stands a second bearded elder similarly dressed and accoutred but facing to the right. In the centre is a fluted column with a plain block base but a Doric capital with architrave above. To the right of the central column a herald in pilos hat with red ties, chlamys and red thonged high sandals moves to the right. In his right hand he holds a kerykeion; his left hand is raised inside his chlamys; at his hip is a scabbard. In front of him is Briseis in chiton (upper folds done with dilute glaze) and himation pulled up over the back of her head. She has a double red band around her head. In front of her is a second herald who leads her by the hand - hers within its drapery. He is moving right but has turned back to look at her, his head to the left, torso and right leg frontal. He is dressed in short chiton, chlamys and pilos hat with red ties and holds a kerykeion up in his left hand. In front of him, on the extreme right, is a second column, as the first. These two columns are probably intended to be the entrance porch to Agamemnon's more palatial tent, out through which the two heralds are leading Briseis. Under either handle: a solid stone seat with dilute glaze strokes. Ground line: single reserved line. Relief line contour throughout (except for hair); dilute glaze for minor interior markings; added red for inscriptions. --The British Museum, Williams, Dyfri, Corpus Vasorum Antiquorum: Great Britain 17, British Museum 9, London, BMP, 1993; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
- Description
- Pottery: red-figured kylix. INTERIOR: seated old man and man. On the left an old man with beard and receding hair is seated on a simple stool with a striped cushion. He is dressed in long chiton and himation and has a red wreath in his hair. He holds a plain stick in his left hand and gestures towards the bearded man facing him with his right hand. This man wears a himation and shoes and has a red wreath in his hair. He leans to the left on a knotty stick and is seen in three-quarter back view. His left arm, covered in drapery, is bent back to hold the top of his stick which supports him under his left armpit. He gestures with his right hand towards the seated man. Border: dotted cross square alternating with five units of running maeander (five-stroke, clockwise); irregularities at 7 o'clock (three and a half maeander units) and at 8 and 9 o'clock (only four units). EXTERIOR: Briseis. Side A (lower): Briseis being led away from Achilles. On the far left a bearded herald in short chiton, chlamys, pilos hat with red ties and boots with horizontal divisions (dilute glaze) starts to move away to the left but turns back his head and torso so that his right leg is also seen from the back (dilute glaze wash in hair and beard). He holds a kerykeion up in his left hand; his right hand grips the draped hand or wrist of a woman behind him. She is Briseis and wears a chiton and a himation pulled up over the back of her head, faces to the left, a double red band around her head. Behind her is a second bearded herald (dilute glaze wash for beard). He wears a pilos hat with red ties, horizontally striped boots (dilute glaze) and a chlamys that covers the short chiton that he is presumably wearing beneath it. In the centre a bearded man in a himation leans on a knotty stick to the right, his right hand on his hip, his left arm hidden in his drapery. He has a red fillet in his hair. He faces the tent of Achilles which takes the form of four (only two shown) plain posts with simple block bases with a large striped textile with a fringed edge draped over them. Up in the folds of this marquee are, on the left, a Corinthian helmet with a long crest on a square hook or shelf and, on the right, a scabbard with a red strap. Next to the scabbard is planted a spear. In the centre of the tent sits Achilles on an elaborate folding stool (animal legs) with a cushion decorated with zigzags. He wears shoes and a himation which envelops all but the upper part of his face. He has a red fillet in his hair and dilute wash in his wavy hair. His left arm is wrapped around a knotty stick. Behind the tent, on the extreme right, stands a bearded elder in long chiton, himation and shoes; he also has a red hair-band. He holds a staff or sceptre in his right hand. Side Β (upper): Briseis being led back. On the left a bearded man, wearing a himation pulled up over the back of his head and a red fillet, leans on a knotty stick, his right leg frontal: he is presumably Agamemnon. In front of him stands a bearded elder to the left. He is dressed in long chiton (dilute glaze border), himation, shoes and a red fillet and rests his right hand on top of a plain stick. Behind him stands a second bearded elder similarly dressed and accoutred but facing to the right. In the centre is a fluted column with a plain block base but a Doric capital with architrave above. To the right of the central column a herald in pilos hat with red ties, chlamys and red thonged high sandals moves to the right. In his right hand he holds a kerykeion; his left hand is raised inside his chlamys; at his hip is a scabbard. In front of him is Briseis in chiton (upper folds done with dilute glaze) and himation pulled up over the back of her head. She has a double red band around her head. In front of her is a second herald who leads her by the hand - hers within its drapery. He is moving right but has turned back to look at her, his head to the left, torso and right leg frontal. He is dressed in short chiton, chlamys and pilos hat with red ties and holds a kerykeion up in his left hand. In front of him, on the extreme right, is a second column, as the first. These two columns are probably intended to be the entrance porch to Agamemnon's more palatial tent, out through which the two heralds are leading Briseis. Under either handle: a solid stone seat with dilute glaze strokes. Ground line: single reserved line. Relief line contour throughout (except for hair); dilute glaze for minor interior markings; added red for inscriptions. --The British Museum, Williams, Dyfri, Corpus Vasorum Antiquorum: Great Britain 17, British Museum 9, London, BMP, 1993; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
- Description
- Pottery: red-figured kylix. INTERIOR: seated old man and man. On the left an old man with beard and receding hair is seated on a simple stool with a striped cushion. He is dressed in long chiton and himation and has a red wreath in his hair. He holds a plain stick in his left hand and gestures towards the bearded man facing him with his right hand. This man wears a himation and shoes and has a red wreath in his hair. He leans to the left on a knotty stick and is seen in three-quarter back view. His left arm, covered in drapery, is bent back to hold the top of his stick which supports him under his left armpit. He gestures with his right hand towards the seated man. Border: dotted cross square alternating with five units of running maeander (five-stroke, clockwise); irregularities at 7 o'clock (three and a half maeander units) and at 8 and 9 o'clock (only four units). EXTERIOR: Briseis. Side A (lower): Briseis being led away from Achilles. On the far left a bearded herald in short chiton, chlamys, pilos hat with red ties and boots with horizontal divisions (dilute glaze) starts to move away to the left but turns back his head and torso so that his right leg is also seen from the back (dilute glaze wash in hair and beard). He holds a kerykeion up in his left hand; his right hand grips the draped hand or wrist of a woman behind him. She is Briseis and wears a chiton and a himation pulled up over the back of her head, faces to the left, a double red band around her head. Behind her is a second bearded herald (dilute glaze wash for beard). He wears a pilos hat with red ties, horizontally striped boots (dilute glaze) and a chlamys that covers the short chiton that he is presumably wearing beneath it. In the centre a bearded man in a himation leans on a knotty stick to the right, his right hand on his hip, his left arm hidden in his drapery. He has a red fillet in his hair. He faces the tent of Achilles which takes the form of four (only two shown) plain posts with simple block bases with a large striped textile with a fringed edge draped over them. Up in the folds of this marquee are, on the left, a Corinthian helmet with a long crest on a square hook or shelf and, on the right, a scabbard with a red strap. Next to the scabbard is planted a spear. In the centre of the tent sits Achilles on an elaborate folding stool (animal legs) with a cushion decorated with zigzags. He wears shoes and a himation which envelops all but the upper part of his face. He has a red fillet in his hair and dilute wash in his wavy hair. His left arm is wrapped around a knotty stick. Behind the tent, on the extreme right, stands a bearded elder in long chiton, himation and shoes; he also has a red hair-band. He holds a staff or sceptre in his right hand. Side Β (upper): Briseis being led back. On the left a bearded man, wearing a himation pulled up over the back of his head and a red fillet, leans on a knotty stick, his right leg frontal: he is presumably Agamemnon. In front of him stands a bearded elder to the left. He is dressed in long chiton (dilute glaze border), himation, shoes and a red fillet and rests his right hand on top of a plain stick. Behind him stands a second bearded elder similarly dressed and accoutred but facing to the right. In the centre is a fluted column with a plain block base but a Doric capital with architrave above. To the right of the central column a herald in pilos hat with red ties, chlamys and red thonged high sandals moves to the right. In his right hand he holds a kerykeion; his left hand is raised inside his chlamys; at his hip is a scabbard. In front of him is Briseis in chiton (upper folds done with dilute glaze) and himation pulled up over the back of her head. She has a double red band around her head. In front of her is a second herald who leads her by the hand - hers within its drapery. He is moving right but has turned back to look at her, his head to the left, torso and right leg frontal. He is dressed in short chiton, chlamys and pilos hat with red ties and holds a kerykeion up in his left hand. In front of him, on the extreme right, is a second column, as the first. These two columns are probably intended to be the entrance porch to Agamemnon's more palatial tent, out through which the two heralds are leading Briseis. Under either handle: a solid stone seat with dilute glaze strokes. Ground line: single reserved line. Relief line contour throughout (except for hair); dilute glaze for minor interior markings; added red for inscriptions. --The British Museum, Williams, Dyfri, Corpus Vasorum Antiquorum: Great Britain 17, British Museum 9, London, BMP, 1993; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
- Description
- Pottery: red-figured kylix. INTERIOR: seated old man and man. On the left an old man with beard and receding hair is seated on a simple stool with a striped cushion. He is dressed in long chiton and himation and has a red wreath in his hair. He holds a plain stick in his left hand and gestures towards the bearded man facing him with his right hand. This man wears a himation and shoes and has a red wreath in his hair. He leans to the left on a knotty stick and is seen in three-quarter back view. His left arm, covered in drapery, is bent back to hold the top of his stick which supports him under his left armpit. He gestures with his right hand towards the seated man. Border: dotted cross square alternating with five units of running maeander (five-stroke, clockwise); irregularities at 7 o'clock (three and a half maeander units) and at 8 and 9 o'clock (only four units). EXTERIOR: Briseis. Side A (lower): Briseis being led away from Achilles. On the far left a bearded herald in short chiton, chlamys, pilos hat with red ties and boots with horizontal divisions (dilute glaze) starts to move away to the left but turns back his head and torso so that his right leg is also seen from the back (dilute glaze wash in hair and beard). He holds a kerykeion up in his left hand; his right hand grips the draped hand or wrist of a woman behind him. She is Briseis and wears a chiton and a himation pulled up over the back of her head, faces to the left, a double red band around her head. Behind her is a second bearded herald (dilute glaze wash for beard). He wears a pilos hat with red ties, horizontally striped boots (dilute glaze) and a chlamys that covers the short chiton that he is presumably wearing beneath it. In the centre a bearded man in a himation leans on a knotty stick to the right, his right hand on his hip, his left arm hidden in his drapery. He has a red fillet in his hair. He faces the tent of Achilles which takes the form of four (only two shown) plain posts with simple block bases with a large striped textile with a fringed edge draped over them. Up in the folds of this marquee are, on the left, a Corinthian helmet with a long crest on a square hook or shelf and, on the right, a scabbard with a red strap. Next to the scabbard is planted a spear. In the centre of the tent sits Achilles on an elaborate folding stool (animal legs) with a cushion decorated with zigzags. He wears shoes and a himation which envelops all but the upper part of his face. He has a red fillet in his hair and dilute wash in his wavy hair. His left arm is wrapped around a knotty stick. Behind the tent, on the extreme right, stands a bearded elder in long chiton, himation and shoes; he also has a red hair-band. He holds a staff or sceptre in his right hand. Side Β (upper): Briseis being led back. On the left a bearded man, wearing a himation pulled up over the back of his head and a red fillet, leans on a knotty stick, his right leg frontal: he is presumably Agamemnon. In front of him stands a bearded elder to the left. He is dressed in long chiton (dilute glaze border), himation, shoes and a red fillet and rests his right hand on top of a plain stick. Behind him stands a second bearded elder similarly dressed and accoutred but facing to the right. In the centre is a fluted column with a plain block base but a Doric capital with architrave above. To the right of the central column a herald in pilos hat with red ties, chlamys and red thonged high sandals moves to the right. In his right hand he holds a kerykeion; his left hand is raised inside his chlamys; at his hip is a scabbard. In front of him is Briseis in chiton (upper folds done with dilute glaze) and himation pulled up over the back of her head. She has a double red band around her head. In front of her is a second herald who leads her by the hand - hers within its drapery. He is moving right but has turned back to look at her, his head to the left, torso and right leg frontal. He is dressed in short chiton, chlamys and pilos hat with red ties and holds a kerykeion up in his left hand. In front of him, on the extreme right, is a second column, as the first. These two columns are probably intended to be the entrance porch to Agamemnon's more palatial tent, out through which the two heralds are leading Briseis. Under either handle: a solid stone seat with dilute glaze strokes. Ground line: single reserved line. Relief line contour throughout (except for hair); dilute glaze for minor interior markings; added red for inscriptions. --The British Museum, Williams, Dyfri, Corpus Vasorum Antiquorum: Great Britain 17, British Museum 9, London, BMP, 1993; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
- Description
- Bothmer, Dietrich von. "Aspects of a Collection," Metropolitan Museum of Art Bulletin 27, June 1969. pp. 424-436. p. 427; fig. 11.; Bothmer, Dietrich von, and J. Bean. Greek Vases and Modern Drawings from the Collection of Mr. and Mrs. Walter Bareiss. Exh. checklist, The Metropolitan Museum of Art. New York: 1969. p. 7, no. 87.; B0eazley, J. D. Paralipomena. Additions to Attic Black-figure Vase-painters and to Attic Red-figure Vase-painters. 2nd ed. Oxford: 1971. p. 367, no. 1 bis.; Shefton, Brian. "Agamemnon or Ajax," Revue Archeologique 24 (1973), pp. 203-218. fig. 1.; Davies, Mark I. "Ajax and Tekmessa. A Cup by the Brygos Painter in the Bareiss Collection," Antike Kunst 16, 1 (1973), pp. 60-70. pls. 9.1, and 10.; Boardman, John. Athenian Red Figure Vases: The Archaic Period. London: 1975. fig. 246.; Williams, Dyfri. "Ajax, Odysseus, and the Arms of Achilles," Antike Kunst 23 (1980), pp. 137-145. p. 137, n. 5; pls. 33, 7 and 36.1-2.; Touchefeu, Odette. "Aias I," Lexicon Iconographicum Mythologiae Classicae (1981), pp. 312-336. pp. 325, no. 72, and 332, no. 140 (as L.69-11.35).; True, Marion, and Jiri Frel. Greek Vases. Molly and Walter Bareiss Collection. The J. Paul Getty Museum. Malibu: 1983. pp. 44-45, no. 30, figs. 30a-c; p. 79, no. 152.; Burow, Johannes. Corpus Vasorum Antiquorum. Tubingen 5 (Germany 54). Munich: 1986. Beilage 1, fig. 4.; Wescoat, Bonna D., ed. Poets and Heroes: Scenes of the Trojan War. Exh. cat, Emory University Museum of Art and Archaeology. Atlanta: 1986. pp. 52-57, no. 14.; Schefold, Karl. "Sophokles' Aias auf einer Lekythos," Antike Kunst 19 (1976). p. 72, n. 3.; "Acquisitions/1986." The J. Paul Getty Museum Journal 15 (1987), pp. 160 - 161, no. 7.; Beazley Addenda: Additional References to ABV, ARV2, and Paralipomena. 2nd ed. Compiled by T. Carpenter with T. Mannack and M. Mendonca. Oxford: 1989. p. 224.; Immerwahr, Henry. Attic Script. A Survey. Oxford and New York: 1990. p. 89, n. 37, no. 553; The J. Paul Getty Museum Handbook of the Collections. 3rd ed. (Malibu: J. Paul Getty Museum, 1991), p. 47.; Williams, Dyfri. "Onesimos and the Getty Iliupersis," Greek Vases in the J. Paul Getty Museum 5. Occasional Papers on Antiquities 7 (1991), pp. 41-64. p. 44, and p. 63, n. 33.; Touchefeu-Meynier, Odette. "Odysseus," Lexicon Iconographicum Mythologiae Classicae VI (1992), pp. 943-970.; Robertson, Martin. The Art of Vase Painting in Classical Athens. Cambridge: 1992. p. 95; fig. 88 (wrongly cited as 81.AE.26).; March, J. R. Bulletin of the Institute of Classical Studies 38 (1991-1993), pp. 1-36. pp. 5-6; pl. 2a.; Shapiro, H. A. Myth into Art: Poet and Painter in Classical Greece. London and New York: 1994. p. 153, fig. 108, and p. 154, fig. 109.; Buxton, Richard. Imaginary Greece: The Contexts of Mythology. Cambridge: 1994 p. 126, fig. 14.; Buxton, Richard. La Grece de l'imaginaire. Les contextes de la mythologie. Paris: 1996. p. 189; fig. 14; Towne Markus, Elana. Masterpieces of the J. Paul Getty Museum: Antiquities. (Los Angeles: J. Paul Getty Museum, 1997) p. 40.; Moore, Mary B. Corpus Vasorum Antiquorum. The J. Paul Getty Museum 8 (USA 33). Malibu: 1998. p. 33-35, no. 49; fig. 13; pls. 418-420.; March, Jenny. Cassell Dictionary of Classical Mythology. London: 1998. p. 368, s.v. Tecmessa; fig. 136.; Brinkman, Vinzenz. "Aias der Telamonier," Der Torso, Ruhm und Raetsel (exh. cat.), Glyptotek Muenchen, January 21-March 29, 1998. Munich: 1998. Pp. 127-133. p. 132; fig. 194; Boardman, John. The History of Greek Vases. London: 2001. p. 243; fig. 268.; Hedreen, Guy. Capturing Troy: The Narrative Functions of Landscape in Archaic and Early Classical Greek Art. Ann Arbor: 2001. fig. 28, pp. 104-105, 107, 108, 110, 111, 115, 117, n. 92, 143, nn. 73,74, 178, 221, 224, 234.; The J. Paul Getty Museum Handbook of the Collections. 6th ed. (Los Angeles: J. Paul Getty Museum, 2001), p. 47.; Immerwahr, Henry. R. A Corpus of Attic Vase Inscriptions. Preliminary Edition. Part VI: Supplement. 2001. no. 5015.; Tsingarida, Athena. "Soif d'emotions. La representation des sentiments dans la ceramique attique des VI et V siecles av. n. ere." Revue Belge de Philologie et D'Histoire 79. Brussels, 2001. p. 16, fig. 7.; The J. Paul Getty Museum Handbook of the Antiquities Collection (Los Angeles: J. Paul Getty Museum, 2002) p. 69.; Zwierlein, Otto. Hippolytus und Phaidra: Von Euripides bis D'Annunzio (Paderborn: Verlag Ferdinand Schoningh, 2005), pp. 26-27, abb. 5.; Sacks, David. Encyclopedia of the Anciet Greek World (New York: Facts on File, Inc, 2005) p. 17, illus.l; Neils, Jennifer. "The 'Unheroic' Corpse: Re-reading the Sarpedon Krater". In Athenian Potters and Painters, vol. 2. John H. Oakley and Olga Palagia, eds. (Oxford: Oxbow Books, 2009) 212-219 p.215, fig.6 , He must not be seen! I will cover his body, I will wrap him completely in my mantle. No one who loved him could bear to see the dark blood pouring from his nostrils and the raw wound in his breast. So declared Tekmessa when she discovered the body of her dead lover Ajax in an Athenian tragedy by the playwright Sophokles. Ajax was one of the greatest of the Greek heroes in the Trojan War. The matter of his suicide was recounted in epic poetry now lost to us, but Athenian vase-painters in the early 400s B.C. frequently drew on this tradition in showing his death. The interior of this red-figure cup attributed to the Brygos Painter shows Ajax impaled on his sword and Tekmessa running to cover the body. In a unique representation of the suicide, the sword enters through his back rather than the more natural position through the stomach. Beneath Ajax, the Brygos Painter attempted to convey the texture of the pebble beach where Ajax went to die. The exterior of the cup presents the events leading to Ajax's suicide. When Achilles was killed, Ajax saved his body from the Trojans, expecting to be rewarded with Achilles' armor. However, Odysseus also claimed the armor. One side of this cup shows the two heroes quarreling; on the other side, the Greek leaders cast votes in the form of stones piled in front of the opponents. The despondent Ajax clutches his bowed head, having lost by one vote. --J. Paul Getty Museum; Bareiss Loan Number: S.82.AE.27
- Description
- He must not be seen! I will cover his body, I will wrap him completely in my mantle. No one who loved him could bear to see the dark blood pouring from his nostrils and the raw wound in his breast. So declared Tekmessa when she discovered the body of her dead lover Ajax in an Athenian tragedy by the playwright Sophokles. Ajax was one of the greatest of the Greek heroes in the Trojan War. The matter of his suicide was recounted in epic poetry now lost to us, but Athenian vase-painters in the early 400s B.C. frequently drew on this tradition in showing his death. The interior of this red-figure cup attributed to the Brygos Painter shows Ajax impaled on his sword and Tekmessa running to cover the body. In a unique representation of the suicide, the sword enters through his back rather than the more natural position through the stomach. Beneath Ajax, the Brygos Painter attempted to convey the texture of the pebble beach where Ajax went to die. The exterior of the cup presents the events leading to Ajax's suicide. When Achilles was killed, Ajax saved his body from the Trojans, expecting to be rewarded with Achilles' armor. However, Odysseus also claimed the armor. One side of this cup shows the two heroes quarreling; on the other side, the Greek leaders cast votes in the form of stones piled in front of the opponents. The despondent Ajax clutches his bowed head, having lost by one vote. --J. Paul Getty Museum; Bareiss Loan Number: S.82.AE.27
31. Love-Making
- Description
- Dorig, Jose, ed. Art Antique. Collections Privees de Suisse Romande. Exh, cat., Musee d'art et d'histoire, Geneve. Editions archeologiques de l'Universite de Geneve: 1975. cat. no. 205; figs. 205a-e.; Buitron, Diana. Douris. Ph.D. diss., Institute of Fine Arts, New York University: 1976. p. 48, no. 36.; "Acquisitions/1984." The J. Paul Getty Museum Journal 13 (1985), pp. 168-169, no. 19.; Kurtz, D. C. "Two Athenian White-ground Lekythoi," Greek Vases in the J. Paul Getty Museum 4. Occasional Papers in Antiquities 5 (1989). pp. 113-130. figs. 1a-e; Immerwahr, Henry. Attic Script. A Survey. Oxford and New York: 1990. p. 85 (no cat. number); The J. Paul Getty Museum Handbook of the Collections. 3rd ed. (Malibu: J. Paul Getty Museum, 1991), p. 48.; Buitron-Oliver, Diana. Douris: A Master-Painter of Athenian Red-Figure Vases. Kerameus 9. Mainz: P. von Zabern, 1995. pp. 18, 44, 51-53, 64-65, and 75, cat. no. 45; p. 95, fig. 6E; pls. 28-29.; The J. Paul Getty Museum Handbook of the Collections. 4th ed. (Los Angeles: J. Paul Getty Museum, 1997), p. 47.; Towne Markus, Elana. Masterpieces of the J. Paul Getty Museum: Antiquities. (Los Angeles: J. Paul Getty Museum, 1997) p. 37.; Immerwahr, Henry. R. A Corpus of Attic Vase Inscriptions. Preliminary Edition. Part VI: Supplement. 2001. no. 4978.; The J. Paul Getty Museum Handbook of the Collections. 6th ed. (Los Angeles: J. Paul Getty Museum, 2001), p. 47.; The J. Paul Getty Museum Handbook of the Antiquities Collection (Los Angeles: J. Paul Getty Museum, 2002) p. 70.; Cohen, Beth, ed. The Colors of Clay: Special Techniques in Athenian Vases, exh. cat. (Los Angeles: The J. Paul Getty Museum, 2006) pp. 213-215, cat. no. 58, figs. 58.1-58.3.; The J. Paul Getty Museum Handbook of the Collections. 7th ed. (Los Angeles: J. Paul Getty Museum, 2007), p. 29, ill.; Green, Christopher, and Jens M. Daehner. Modern Antiquity: Picasso, de Chirico, Leger, and Picabia (Los Angeles: J. Paul Getty Museum, 2011) 46, 152, no. 6; pl. 8 , On the interior of this Athenian red-figure kylix or cup, a seated youth pulls his older male lover down toward him for a kiss. In Athenian aristocratic circles in the Archaic period, older men often courted youths. Such homosexual relationships were viewed as a key element in the socialization of youths, involving strong elements of mentoring as well as eroticism. The exterior of the cup depicts youths and bearded men training in various athletic activities, including the javelin, discus, and long jump. The youth in the long robe playing the flutes provides music for the training. Greek vases of the Archaic period frequently depict favorite pursuits of the aristocratic patrons who used the vessels; scenes of athletic training, another key element in the socialization of Athenian youths, are among the most common.--J.Paul Getty Museum
32. Symposium
- Description
- Pottery: red-figured kylix (drinking-cup) showing boys serving wine. INTERIOR: komast. A bearded komast moves to the right with head turned back to left. He wears a chlamys over his upper arms and a red apicate fillet in his hair. He holds a cup back in his right hand and a knotty stick across his body in his left. Relief line for vertical strokes of fringe over forehead and for horizontal lines of hair tied up at back (relief line fringe for beard); dilute glaze line above and below eye. Preliminary sketch indicates that the chlamys was intended to be longer on the right. Border: alternating false maeander (twelve-stroke, alternately clockwise and anticlockwise) and blackened cross-square. EXTERIOR: symposium. Side A (lower): three banqueters on couches attended by two boys. On the couch on the left a bearded man reclines to the left, his head turned back to the right. He wears a himation over his left shoulder and around his waist and legs and a red apicate fillet in his hair. He rests against a folded cushion decorated with pairs of stripes, while he grips a cup in his left hand and holds out his right hand palm upward as if holding another. Above him hang two cups, seen from underneath, and a flat-bottomed oinochoe. His couch rests on a dais, the corner of which is visible on the left, and in front of it (ie. alongside) is a three-legged table on which are three red garlands. In front of the left hand end of the central couch stands a naked boy with a red fillet in his hair. He holds an oinochoe in his right hand and stretches out his left hand towards the symposiast on the central couch. Here a bearded man reclines to the left (cushion decorated with a pair of stripes and a stripe flanked by pairs of lines). He holds out a cup high in his right hand; his left hand is empty. He wears a himation in the same manner as the first symposiast, but has a thick reserved fillet (alternately vertical line and rows of dots at each bunching) in his hair. Above him and the boy hang two footless oinochoai and a cup seen from underneath. Alongside his couch is a three-legged table over which hang three red garlands. The couch on the right is seen in end view from the back. On it reclines a bearded man with a himation round his waist and a red apicate fillet in his hair. He is seen from the back, his left elbow resting on his cushion and his raised right knee splayed out to the right. He holds a cup up to his lips in his left hand and gestures with his right to the boy who stands between him and the central couch. Either side of the end of the couch project the ends of his striped cushion. Alongside the couch is a three-legged table, also seen from the end, the two legs in profile in the foreground, the third in back view beyond. The naked boy attendant who stands on the left of the couch, behind the table, has a frontal torso and left leg. His hair has a long straight fringe of relief lines over his neck. He holds an oinochoe in his left hand, tipped down so that the trefoil mouth is shown foreshortened. He gestures with his right hand as he looks at the symposiast. Above these two figures are two cups seen from underneath and a small foodess oinochoe. Side Β (upper): three couches and one boy attendant. The couch and its occupant on the left repeats the form of the central couch on side A, although the symposiast's himation has a line border and his cushion pairs of lines. As on the first couch on side A, the corner of the dais is visible. Above this couch hang two cups seen from underneath and a footed oinochoe. At the left hand end of the central couch stands a naked boy with a red hair-band, holding a small chytra in his right hand as he holds up his left hand. The bearded man on this couch repeats the scheme of the central couch on side A, save that here he holds a cup in his left hand and extends his right arm out towards the boy. From the fingers of his right hand hangs a red circlet. Above hang a footless oinochoe, a cup seen from underneath and a small chytra. The couch on the right is seen from behind, as on side A. The man here, however, holds a cup in his left hand as he leans on his left elbow, and his right hand is held out further to the left (no hair-band). The corner of the dais is visible and there is a three-legged table alongside the couch, but no attendant, nor are there any red garlands on the table and the cushion is plain. Above hang two cups seen from underneath and a small footless oinochoe. At either handle: floral complex with a circumscribed palmette either side of the handles and a large and a small palmette addorsed under the handles; spiral terminals and dots. Ground line: single reserved line. Graffiti under foot Relief line contours throughout (double for hair, except on AI); dilute glaze for minor interior markings; reserved line inside and outside lip; added red for inscriptions. --The British Museum, Williams, Dyfri, Corpus Vasorum Antiquorum: Great Britain 17, British Museum 9, London, BMP, 1993; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
33. Death of Prokris
- Description
- Pottery: red-figured column-krater. (a) The death of Procris. Procris, in a short chiton which leaves her right shoulder bare, falls wounded to right, with her left hand and knee on raised ground with her right she vainly tries to pull out the spear which has pierced her beside the right breast; her head, en face, falls on her right shoulder, and her eyes are closed above her to the left, a Harpy (?) waiting for her soul. On the left, Kephalos with chlamys and petasos at back, resting right on a club, stands en face, looking on, beating his forehead with his left with a gesture of sorrow. His hound, which he holds by a cord round its neck, stands with nose raised, sniffing at Procris. On the right Erechtheus, the father of Procris, rushes forward, extending his right arm with a gesture of dismay; he is bearded and wreathed and has a mantle, and a sceptre along his left arm. (b) Three draped ephebi conversing: the central one looks to right, the two others staff in hand. Late stage of large style. Purple cord and ground-line. Brown inner marking and edge of hair. Eye in profile. On each side of each design, ivy pattern; above, tongue pattern; forming panel. Round the neck and on the upper surface of the lip, linked lotus-buds; round lip, ivy pattern; on the upper surface of each handle, a palmette. All these patterns black on red. --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. Youth Departing
- Description
- Pottery: red-figured pelike: Youth leaving home (back: youths). --The British Museum
35. Youth departing
- Description
- Pottery: red-figured pelike: Youth leaving home (back: youths). --The British Museum
36. Symposium
- Description
- Pottery: red-figured kylix (drinking-cup) showing boys serving wine. INTERIOR: komast. A bearded komast moves to the right with head turned back to left. He wears a chlamys over his upper arms and a red apicate fillet in his hair. He holds a cup back in his right hand and a knotty stick across his body in his left. Relief line for vertical strokes of fringe over forehead and for horizontal lines of hair tied up at back (relief line fringe for beard); dilute glaze line above and below eye. Preliminary sketch indicates that the chlamys was intended to be longer on the right. Border: alternating false maeander (twelve-stroke, alternately clockwise and anticlockwise) and blackened cross-square. EXTERIOR: symposium. Side A (lower): three banqueters on couches attended by two boys. On the couch on the left a bearded man reclines to the left, his head turned back to the right. He wears a himation over his left shoulder and around his waist and legs and a red apicate fillet in his hair. He rests against a folded cushion decorated with pairs of stripes, while he grips a cup in his left hand and holds out his right hand palm upward as if holding another. Above him hang two cups, seen from underneath, and a flat-bottomed oinochoe. His couch rests on a dais, the corner of which is visible on the left, and in front of it (ie. alongside) is a three-legged table on which are three red garlands. In front of the left hand end of the central couch stands a naked boy with a red fillet in his hair. He holds an oinochoe in his right hand and stretches out his left hand towards the symposiast on the central couch. Here a bearded man reclines to the left (cushion decorated with a pair of stripes and a stripe flanked by pairs of lines). He holds out a cup high in his right hand; his left hand is empty. He wears a himation in the same manner as the first symposiast, but has a thick reserved fillet (alternately vertical line and rows of dots at each bunching) in his hair. Above him and the boy hang two footless oinochoai and a cup seen from underneath. Alongside his couch is a three-legged table over which hang three red garlands. The couch on the right is seen in end view from the back. On it reclines a bearded man with a himation round his waist and a red apicate fillet in his hair. He is seen from the back, his left elbow resting on his cushion and his raised right knee splayed out to the right. He holds a cup up to his lips in his left hand and gestures with his right to the boy who stands between him and the central couch. Either side of the end of the couch project the ends of his striped cushion. Alongside the couch is a three-legged table, also seen from the end, the two legs in profile in the foreground, the third in back view beyond. The naked boy attendant who stands on the left of the couch, behind the table, has a frontal torso and left leg. His hair has a long straight fringe of relief lines over his neck. He holds an oinochoe in his left hand, tipped down so that the trefoil mouth is shown foreshortened. He gestures with his right hand as he looks at the symposiast. Above these two figures are two cups seen from underneath and a small foodess oinochoe. Side Β (upper): three couches and one boy attendant. The couch and its occupant on the left repeats the form of the central couch on side A, although the symposiast's himation has a line border and his cushion pairs of lines. As on the first couch on side A, the corner of the dais is visible. Above this couch hang two cups seen from underneath and a footed oinochoe. At the left hand end of the central couch stands a naked boy with a red hair-band, holding a small chytra in his right hand as he holds up his left hand. The bearded man on this couch repeats the scheme of the central couch on side A, save that here he holds a cup in his left hand and extends his right arm out towards the boy. From the fingers of his right hand hangs a red circlet. Above hang a footless oinochoe, a cup seen from underneath and a small chytra. The couch on the right is seen from behind, as on side A. The man here, however, holds a cup in his left hand as he leans on his left elbow, and his right hand is held out further to the left (no hair-band). The corner of the dais is visible and there is a three-legged table alongside the couch, but no attendant, nor are there any red garlands on the table and the cushion is plain. Above hang two cups seen from underneath and a small footless oinochoe. At either handle: floral complex with a circumscribed palmette either side of the handles and a large and a small palmette addorsed under the handles; spiral terminals and dots. Ground line: single reserved line. Graffiti under foot Relief line contours throughout (double for hair, except on AI); dilute glaze for minor interior markings; reserved line inside and outside lip; added red for inscriptions. --The British Museum, Williams, Dyfri, Corpus Vasorum Antiquorum: Great Britain 17, British Museum 9, London, BMP, 1993; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
37. Embassy
- Description
- Pottery: red-figured cup. INTERIOR: Achilles and Odysseus. On the left Achilles sits on a plain stool, closely wrapped in a himation that covers the back of his head, and with head bent forward, his left hand supporting his forehead (relief lines for forehead hair and lower fringe of beard). Behind him his sword in its striped scabbard is suspended from a red loop and above him is his shield wrapped in its cover (sagma). On the right stands Odysseus clad in a himation and leaning on a knotty stick. He has a red fillet in his hair and gestures with the thumb and fingers of his right hand as he speaks to Achilles: his mouth is shown slightly open. Behind him on the ground is the corner of a stool with a plain cushion. There is a large reserved exergue. Border: stopt maeanders (five-stroke, clockwise) interrupted at irregular intervals by nine dotted cross-squares. EXTERIOR: departure of warriors and conversation scene. Side A (upper): departure of three warriors. On the left a bearded warrior moves away to the left, but turns his head back to the right (relief strokes on beard). He wears an Attic type helmet with the cheek flaps up (crest holder decorated with zigzag and triangles), cuirass, greaves and a himation and carries a spear in his left hand. Behind him an elderly bearded man with thinning hair (and relief strokes on beard and hair over neck) stands to the left. He wears a himation and shoes, and has a red fillet in his hair. His right hand rests on the top of a plain stick; his left is under his cloak. In the centre a woman stands to the left but turns her head back to the right. She wears a chiton (upper folds in dilute glaze), a himation and a headscarf and holds an oinochoe with a black foot out in her right hand and a bossed phiale (lobes in dilute glaze) low in her left. On the right stands a young warrior in an Attic type helmet with the cheek flaps up (dotted crest holder), cuirass and himation. He holds out a bossed phiale (lobes in dilute glaze) in his right hand, while his left grips a spear against his body. Behind him is a second young warrior, similarly clad and accoutred, but gesturing with his right hand. On the far right is a woman in chiton and himation and with a red fillet in her hair (wavy relief lines over forehead) and a bun at the back. She has her right hand up as if holding a flower, her left is hidden in her drapery. Side Β (lower): men and youths in conversation, together with a young warrior. On the left is a bearded man in himation, seen in three-quarter back view, to the right. He holds a knotty stick on the far side of his body and gestures with his right hand. There is a thick reserved fillet in his hair. In front of him a bearded man in himation and with a red fillet in his hair (relief line fringe in beard and hair, both over brow and neck) stands to the right but turns his head back to the left, so that his chest is frontal. His left hand rests near the top of a knotty stick. In the centre, a youth dressed in cuirass and himation, stands to the right, his head turned back. His left hand holds a staff (perhaps a sceptre) and there is a red fillet in his fringed hair (relief lines). On the right is a bearded man in three-quarter back view, wearing a himation that is caught up under his left armpit. He also has a red fillet in his hair (relief lines over brow). His right hand reaches out towards and behind the young warrior in the centre, his left arm hangs down. To the right of this man a youth in himation stands to the left but turns back to the right. His right hand is raised and he has a red fillet in his hair. Behind him, on the far right, is a bearded man in a himation who holds out his right hand. He too has a red fillet in his hair. At either handle: floral complex with a circumscribed palmette either side of the handles and a large and a small palmette addorsed under them; spiral terminals and dots. Ground line: single reserved line. Relief line contours throughout (inner hair contour only); dilute glaze for minor interior markings; added red for inscriptions; reserved line inside and outside lip. --The British Museum, Williams, Dyfri, Corpus Vasorum Antiquorum: Great Britain 17, British Museum 9, London, BMP, 1993; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
38. Embassy
- Description
- Pottery: red-figured cup. INTERIOR: Achilles and Odysseus. On the left Achilles sits on a plain stool, closely wrapped in a himation that covers the back of his head, and with head bent forward, his left hand supporting his forehead (relief lines for forehead hair and lower fringe of beard). Behind him his sword in its striped scabbard is suspended from a red loop and above him is his shield wrapped in its cover (sagma). On the right stands Odysseus clad in a himation and leaning on a knotty stick. He has a red fillet in his hair and gestures with the thumb and fingers of his right hand as he speaks to Achilles: his mouth is shown slightly open. Behind him on the ground is the corner of a stool with a plain cushion. There is a large reserved exergue. Border: stopt maeanders (five-stroke, clockwise) interrupted at irregular intervals by nine dotted cross-squares. EXTERIOR: departure of warriors and conversation scene. Side A (upper): departure of three warriors. On the left a bearded warrior moves away to the left, but turns his head back to the right (relief strokes on beard). He wears an Attic type helmet with the cheek flaps up (crest holder decorated with zigzag and triangles), cuirass, greaves and a himation and carries a spear in his left hand. Behind him an elderly bearded man with thinning hair (and relief strokes on beard and hair over neck) stands to the left. He wears a himation and shoes, and has a red fillet in his hair. His right hand rests on the top of a plain stick; his left is under his cloak. In the centre a woman stands to the left but turns her head back to the right. She wears a chiton (upper folds in dilute glaze), a himation and a headscarf and holds an oinochoe with a black foot out in her right hand and a bossed phiale (lobes in dilute glaze) low in her left. On the right stands a young warrior in an Attic type helmet with the cheek flaps up (dotted crest holder), cuirass and himation. He holds out a bossed phiale (lobes in dilute glaze) in his right hand, while his left grips a spear against his body. Behind him is a second young warrior, similarly clad and accoutred, but gesturing with his right hand. On the far right is a woman in chiton and himation and with a red fillet in her hair (wavy relief lines over forehead) and a bun at the back. She has her right hand up as if holding a flower, her left is hidden in her drapery. Side Β (lower): men and youths in conversation, together with a young warrior. On the left is a bearded man in himation, seen in three-quarter back view, to the right. He holds a knotty stick on the far side of his body and gestures with his right hand. There is a thick reserved fillet in his hair. In front of him a bearded man in himation and with a red fillet in his hair (relief line fringe in beard and hair, both over brow and neck) stands to the right but turns his head back to the left, so that his chest is frontal. His left hand rests near the top of a knotty stick. In the centre, a youth dressed in cuirass and himation, stands to the right, his head turned back. His left hand holds a staff (perhaps a sceptre) and there is a red fillet in his fringed hair (relief lines). On the right is a bearded man in three-quarter back view, wearing a himation that is caught up under his left armpit. He also has a red fillet in his hair (relief lines over brow). His right hand reaches out towards and behind the young warrior in the centre, his left arm hangs down. To the right of this man a youth in himation stands to the left but turns back to the right. His right hand is raised and he has a red fillet in his hair. Behind him, on the far right, is a bearded man in a himation who holds out his right hand. He too has a red fillet in his hair. At either handle: floral complex with a circumscribed palmette either side of the handles and a large and a small palmette addorsed under them; spiral terminals and dots. Ground line: single reserved line. Relief line contours throughout (inner hair contour only); dilute glaze for minor interior markings; added red for inscriptions; reserved line inside and outside lip. --The British Museum, Williams, Dyfri, Corpus Vasorum Antiquorum: Great Britain 17, British Museum 9, London, BMP, 1993; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
39. Embassy
- Description
- Pottery: red-figured cup. INTERIOR: Achilles and Odysseus. On the left Achilles sits on a plain stool, closely wrapped in a himation that covers the back of his head, and with head bent forward, his left hand supporting his forehead (relief lines for forehead hair and lower fringe of beard). Behind him his sword in its striped scabbard is suspended from a red loop and above him is his shield wrapped in its cover (sagma). On the right stands Odysseus clad in a himation and leaning on a knotty stick. He has a red fillet in his hair and gestures with the thumb and fingers of his right hand as he speaks to Achilles: his mouth is shown slightly open. Behind him on the ground is the corner of a stool with a plain cushion. There is a large reserved exergue. Border: stopt maeanders (five-stroke, clockwise) interrupted at irregular intervals by nine dotted cross-squares. EXTERIOR: departure of warriors and conversation scene. Side A (upper): departure of three warriors. On the left a bearded warrior moves away to the left, but turns his head back to the right (relief strokes on beard). He wears an Attic type helmet with the cheek flaps up (crest holder decorated with zigzag and triangles), cuirass, greaves and a himation and carries a spear in his left hand. Behind him an elderly bearded man with thinning hair (and relief strokes on beard and hair over neck) stands to the left. He wears a himation and shoes, and has a red fillet in his hair. His right hand rests on the top of a plain stick; his left is under his cloak. In the centre a woman stands to the left but turns her head back to the right. She wears a chiton (upper folds in dilute glaze), a himation and a headscarf and holds an oinochoe with a black foot out in her right hand and a bossed phiale (lobes in dilute glaze) low in her left. On the right stands a young warrior in an Attic type helmet with the cheek flaps up (dotted crest holder), cuirass and himation. He holds out a bossed phiale (lobes in dilute glaze) in his right hand, while his left grips a spear against his body. Behind him is a second young warrior, similarly clad and accoutred, but gesturing with his right hand. On the far right is a woman in chiton and himation and with a red fillet in her hair (wavy relief lines over forehead) and a bun at the back. She has her right hand up as if holding a flower, her left is hidden in her drapery. Side Β (lower): men and youths in conversation, together with a young warrior. On the left is a bearded man in himation, seen in three-quarter back view, to the right. He holds a knotty stick on the far side of his body and gestures with his right hand. There is a thick reserved fillet in his hair. In front of him a bearded man in himation and with a red fillet in his hair (relief line fringe in beard and hair, both over brow and neck) stands to the right but turns his head back to the left, so that his chest is frontal. His left hand rests near the top of a knotty stick. In the centre, a youth dressed in cuirass and himation, stands to the right, his head turned back. His left hand holds a staff (perhaps a sceptre) and there is a red fillet in his fringed hair (relief lines). On the right is a bearded man in three-quarter back view, wearing a himation that is caught up under his left armpit. He also has a red fillet in his hair (relief lines over brow). His right hand reaches out towards and behind the young warrior in the centre, his left arm hangs down. To the right of this man a youth in himation stands to the left but turns back to the right. His right hand is raised and he has a red fillet in his hair. Behind him, on the far right, is a bearded man in a himation who holds out his right hand. He too has a red fillet in his hair. At either handle: floral complex with a circumscribed palmette either side of the handles and a large and a small palmette addorsed under them; spiral terminals and dots. Ground line: single reserved line. Relief line contours throughout (inner hair contour only); dilute glaze for minor interior markings; added red for inscriptions; reserved line inside and outside lip. --The British Museum, Williams, Dyfri, Corpus Vasorum Antiquorum: Great Britain 17, British Museum 9, London, BMP, 1993; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
- Description
- Pottery: red-figured stamnos (jar) with lid: Herakles and the Lernian Hydra. --The British Museum
- Description
- Pottery: red-figured vessel in the form of a knucklebone (astragalos), showing a male figure, perhaps Aeolus at the mouth of his cave, directing the dance of the clouds. The design occupies the two long flat sides (a and c), and three figures are drawn on the upper side, and three on the end (b). The surface has been injured in parts (e.g. the figure of the man, the right hand of the foremost girl, &c). At one end of the long side (a) is an opening in the form of an archaic eye; beside this the design starts. Finest style. The hair over the forehead is usually arranged in rows of dots. Dance of girls, (a) A bearded man, beside the opening of the vase, with mantle wrapped around his waist, gesticulates with both arms to a band of three girls who dance from the right towards him with joined hands. The foremost looks at him, the second looks back at the third, who is only half seen, her figure being cut off by the edge of the vase. Each has a long sleeved chiton; the two foremost wear a mantle fastened on the left shoulder, and a saccos, which in the case of the foremost is black. (b) Two groups, each of three girls floating in air; in the lower group, the central figure, to left, has a sphendone, her arms covered to the hands in her sleeves; the left-hand one, to right, raises her skirt in both hands so as to form a lap; she has a saccos; the third, to right, extends one arm on each side, looking back at her companions; she wears a stephane with dentated edge. In the upper group the foremost, wearing a sphendone, raises the edge of the skirt with her left and extends her right. The second has her arms covered with her sleeves, and looks back at the third, whose arms are covered by her himation; the second and third have a saccos; that of the second is dotted with minute trefoils. (c) Reverse of (a): Four girls floating in air to left. The foremost has her arms in her sleeves and looks back; the second holds over the first in her right a long tendril with flower, and raises the edge of her skirt with her left hand; the third extends her right; the fourth raises her skirt with her right hand and looks back; her drapery is dotted with minute trefoils; all but the first have a saccos; the second and fourth have no girdle. --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; Hoffmann, H, Sotades: Symbols of Immortality on Greek Vases, Oxford, Clarendon Press, 1997
- Description
- Pottery: red-figured vessel in the form of a knucklebone (astragalos), showing a male figure, perhaps Aeolus at the mouth of his cave, directing the dance of the clouds. The design occupies the two long flat sides (a and c), and three figures are drawn on the upper side, and three on the end (b). The surface has been injured in parts (e.g. the figure of the man, the right hand of the foremost girl, &c). At one end of the long side (a) is an opening in the form of an archaic eye; beside this the design starts. Finest style. The hair over the forehead is usually arranged in rows of dots. Dance of girls, (a) A bearded man, beside the opening of the vase, with mantle wrapped around his waist, gesticulates with both arms to a band of three girls who dance from the right towards him with joined hands. The foremost looks at him, the second looks back at the third, who is only half seen, her figure being cut off by the edge of the vase. Each has a long sleeved chiton; the two foremost wear a mantle fastened on the left shoulder, and a saccos, which in the case of the foremost is black. (b) Two groups, each of three girls floating in air; in the lower group, the central figure, to left, has a sphendone, her arms covered to the hands in her sleeves; the left-hand one, to right, raises her skirt in both hands so as to form a lap; she has a saccos; the third, to right, extends one arm on each side, looking back at her companions; she wears a stephane with dentated edge. In the upper group the foremost, wearing a sphendone, raises the edge of the skirt with her left and extends her right. The second has her arms covered with her sleeves, and looks back at the third, whose arms are covered by her himation; the second and third have a saccos; that of the second is dotted with minute trefoils. (c) Reverse of (a): Four girls floating in air to left. The foremost has her arms in her sleeves and looks back; the second holds over the first in her right a long tendril with flower, and raises the edge of her skirt with her left hand; the third extends her right; the fourth raises her skirt with her right hand and looks back; her drapery is dotted with minute trefoils; all but the first have a saccos; the second and fourth have no girdle. --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; Hoffmann, H, Sotades: Symbols of Immortality on Greek Vases, Oxford, Clarendon Press, 1997
- Description
- Pottery: red-figured stamnos. (a) The ship of Odysseus passing the Sirens. The sea is represented by a narrow space in the foreground shaded in thinned black, and with a wavy outline of the same colour. In this the ship moves to left, propelled by oars, of which six are seen on the port side; the heads and shoulders of five bearded rowers are visible above the gunwale; the fourth and fifth are seated on the same thwart: the stroke oar looks round to left at no. 2; the rowers of the second and fifth oars are not shown, and there is a seventh port near the bows which is not occupied by an oar. High up in the stern seat sits the steersman between the two steering-oars (πηδάλια), which work on cords attached to the ship's side; with his left hand he steers, his right is extended, and his mouth open, as if he were encouraging the rowers; he is bearded and has an himation around the lower part of his body. This figure and the first two rowers are wreathed, the other rowers have a fillet. Over the aphlaston a fringed piece of drapery decorated with crosses is hung (as ensign or σημείου?). The fore part of the hull is formed like the snout of a boar, with a large eye of archaic form painted in black; above it is a raised platform or forecastle formed of crossed spars, which reaches to the mast. Near the top of the mast is the καρχήσιον, probably of metal, as it is shaded differently from the mast, with two projecting eyelet holes (τροχίλίαί) in which the halyards (ιμάντες) run. The yard, with sail attached to it by a rope (coloured brown), is hoisted to the top of the mast, in a position oblique to the keel, and is kept in position by two braces (ύπέραι), of which one is attached at the bows, the other at the stern, immediately in front of the steersman. The sail is brailed up along its whole length, the brailing ropes (μηρνματα καλωδίων) indicated by brown lines here and there on the sail, and attached on deck within the steersman's reach. Odysseus, wreathed and bearded, is fastened against the bottom of the mast, facing the stern, with his arms behind his back lashed to it. His head is thrown back, looking upwards towards the Sirens. On each side of the scene a rocky promontory projects over the sea, with a Siren standing on the top. The Sirens are represented as birds with woman's heads, their hair looped up with a dotted stephane, a single tress hanging beside the ear (parotis): their lips are parted as though singing. The one on the left flaps her wings: over her is inscribed ΗΙΜEPΟΠΑ, Ίμερόπα. The one on the right stands still with folded wings. In front of her a third Siren flings herself down from the edge of the cliff, and falls headlong with closed eyes, as though already dead. (b) Three Erotes flying over the sea. The sea is represented as in a. The Erotes fly in single file to right, the foremost inscribed HIMEPOΣ, Ιμερος, carrying in both hands a long taenia decorated with key pattern and fringed ends; he looks round at the others, who carry a long tendril and a hare respectively. Their type is that of a full-grown boy, with long hair coiled above the neck (cf. Ε67) and hanging over the ear, and a fillet. Beside each of the second and third figures is inscribed KAΛΟΣ, καλός. At the bottom of the foot an incised character. Purple rigging of ship, wreaths, fillets, and inscriptions. Brown inner markings, shading of the sea and sails, gunwale of boat, feathers of Sirens, earth in b, pinions of wings, and skin of hare. Eye in archaic form (both angles slightly open). Each design is enclosed in a panel, formed by (below) sets of three maeanders separated by chequer squares, (above) tongue surmounting egg pattern, (at sides) net pattern. In b the design partly cuts and is partly cut by the border at the top. --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
- Description
- Pottery: red-figured hydria. (1) Menelaos pursuing Helen. Menelaos, a bearded warrior with cuirass, helmet with raised cheek-pieces, and himation, pursues to right with drawn sword and outstretched left arm Helen, who with left on bosom turns as she flees, extending her right towards him with a gesture of supplication. She wears a Doric chiton with border of zigzags and a row of dots near each edge, and apoptygma, undertied, an himation over her shoulders, earrings and sphendone: her hair hangs down her back. On right a woman in long sleeved chiton, mantle and earrings, and head-dress like that of Helen, moves to left, extending both arms as if to protect Helen. In the field above Helen, καλή. On left of her, ό παις; on right of the woman, KAΛΟΣ, καλός. (2) On shoulder: Symposion. Three wreathed figures wearing himation covering the legs and left shoulder recline to left, leaning each against a folded striped cushion. The one on right is bearded, and looks to right, extending to left on his right palm a cotyle: the central one also looks to right with his right resting on his breast; the third looks to left and twirls aloft on his right forefinger a kylix (κοτταβίζων); between these two hangs a basket. In the field, ό παϊς καλός. Strong style. Purple inscriptions, wreaths, cords of baskets. Eye archaic. The design on the body (1) is enclosed within a border formed by, below, pairs of maeanders separated by red cross squares; above, zigzag pattern; at sides, net pattern, which also forms the sides of the design 2; above 2, tongue. The lower part of the body is encircled by two thin lines of purple, and below, by a band of rays, black on red. The lip is left red. --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; Forsdyke, E J, Corpus Vasorum Antiquorum: Great Britain 7, British Museum 5, London, BMP, 1930
- Description
- Pottery: red-figured hydria. (1) Menelaos pursuing Helen. Menelaos, a bearded warrior with cuirass, helmet with raised cheek-pieces, and himation, pursues to right with drawn sword and outstretched left arm Helen, who with left on bosom turns as she flees, extending her right towards him with a gesture of supplication. She wears a Doric chiton with border of zigzags and a row of dots near each edge, and apoptygma, undertied, an himation over her shoulders, earrings and sphendone: her hair hangs down her back. On right a woman in long sleeved chiton, mantle and earrings, and head-dress like that of Helen, moves to left, extending both arms as if to protect Helen. In the field above Helen, καλή. On left of her, ό παις; on right of the woman, KAΛΟΣ, καλός. (2) On shoulder: Symposion. Three wreathed figures wearing himation covering the legs and left shoulder recline to left, leaning each against a folded striped cushion. The one on right is bearded, and looks to right, extending to left on his right palm a cotyle: the central one also looks to right with his right resting on his breast; the third looks to left and twirls aloft on his right forefinger a kylix (κοτταβίζων); between these two hangs a basket. In the field, ό παϊς καλός. Strong style. Purple inscriptions, wreaths, cords of baskets. Eye archaic. The design on the body (1) is enclosed within a border formed by, below, pairs of maeanders separated by red cross squares; above, zigzag pattern; at sides, net pattern, which also forms the sides of the design 2; above 2, tongue. The lower part of the body is encircled by two thin lines of purple, and below, by a band of rays, black on red. The lip is left red. --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; Forsdyke, E J, Corpus Vasorum Antiquorum: Great Britain 7, British Museum 5, London, BMP, 1930
46. Troilos Polyxene
- Description
- Pottery: red-figured hydria: Troilos and Polyxena. Design curving up over shoulder, with maeander and plain black and oblique cross-squares below; round the lip, egg-pattern. Troilos rides at full speed to the right, thrusting a goad into his horse's crupper; at his side is a second led horse. On the right Polyxena runs away at full speed, holding a sash in both hands over her head. Her hydria has fallen beneath the horse and is broken in two, water gushing out from the mouth and from the fracture. --The British Museum
47. Troilos
- Description
- Pottery: red-figured hydria: Troilos and Polyxena. Design curving up over shoulder, with maeander and plain black and oblique cross-squares below; round the lip, egg-pattern. Troilos rides at full speed to the right, thrusting a goad into his horse's crupper; at his side is a second led horse. On the right Polyxena runs away at full speed, holding a sash in both hands over her head. Her hydria has fallen beneath the horse and is broken in two, water gushing out from the mouth and from the fracture. --The British Museum
48. Nike and Warrior
- Description
- Pottery: red-figured pelike. (a) Nike pouring libation before young warrior. On the left Nike, in a long sleeved chiton with apoptygma, her hair looped up with a fillet, flies to right, holding downwards in her left hand a blazing torch; from an oinochoe in her right she pours wine into a phiale which the warrior holds sloping downwards, so that the wine falls on the ground. He stands en face, but looks towards Nike, holding a spear upright in his left hand. He wears a short chiton, a cuirass decorated with stars on the shoulders, and a wreath of laurel; over his left forearm hangs a mantle. (b) An ephebos, closely draped, confronted on right by a woman in himation and sleeved chiton, who holds out in her right a long taenia; below, a square box decorated with a rosette. Refined execution, but proportions heavy. Purple wine, flame, wreath, fillets, and ends of taenia. Brown inner markings, markings of torch and wings, and for relieving the folds of drapery in a. Eye in profile. Below a, the strip of groups of three maeanders separated by chequer squares; in b they are separated by red cross squares; above each side, egg pattern. A splash of black paint has fallen on the cuirass of the warrior. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
49. Troilos Polyxene
- Description
- Pottery: red-figured hydria: Troilos and Polyxena. Design curving up over shoulder, with maeander and plain black and oblique cross-squares below; round the lip, egg-pattern. Troilos rides at full speed to the right, thrusting a goad into his horse's crupper; at his side is a second led horse. On the right Polyxena runs away at full speed, holding a sash in both hands over her head. Her hydria has fallen beneath the horse and is broken in two, water gushing out from the mouth and from the fracture. --The British Museum
50. Zeus and Nike
- Description
- Pottery: red-figured pelike: Zeus and Nike at an altar (back: Hera and Hebe). --The British Museum
