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101. Peleus and Thetis
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
102. Arming Satyr
- Description
- Pottery: red-figured pelike. (a) Bearded satyr arming, and Maenad. The satyr, on left, wearing a helmet with raised cheek-pieces, lifts his left leg, putting on it a greave; the other greave stands upright on the ground below. The Maenad stands ready with the other arms of the satyr, a thyrsos held upright in her right hand, and a pardalis (for his shield) hanging from her left forearm. She wears a sleeved chiton, a saccos, and earrings. The thyrsos has four shoots of ivy, three on the head and one on the stem. The phallos of the satyr is recurved. (b) Dionysos and a Maenad. Dionysos, on the left, stands pouring a libation from a cantharos in his right hand; in his left he holds a forked branch of ivy. He is bearded, with long hair looped up and wreathed with ivy; wears sleeved chiton and himation. The Maenad stands with a thyrsos, as in a; wears sleeved chiton and himation covering the left arm, and earrings; her hair is looped up with a fillet. Strong style. Purple leaves of ivy, and wine. Brown inner markings and upper folds of chiton in b. Eye in archaic type. Below and above, sets of two opposed maeanders separated by red cross squares. On the lower insertion of each handle, a double palmette. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
103. Altar Scene
- Description
- Pottery: red-figured cup. Foot now removed. INTERIOR: seated man at altar. A bearded man sits to the right on a plain stool clad in a himation (black border). With his right hand he pours a libation from a phiale over an altar, his left rests on the crutch of a plain stick. He wears a reserved apicate fillet and has high relief dots for the curls of his hair below it. His mouth is slightly open, suggesting the prayer that goes with a libation. The phiale is of the lobed or bossed type (relief line lobes, dilute glaze dashes within): the wine of the libation being poured is shown by a splash of red that covers the end of the phiale and the edge of the altar. The altar has two further splashes of red on it, presumably from an earlier sacrifice. Its top has an ovolo moulding above which is a volute-ended crown and a fire-brick. In the field on the right hangs a cup, seen from underneath. On the left of the man are hung a sponge, aryballos (circumscribed cross) and net bag with a loop at the bottom. Reserved exergue with a line at the top. Border: alternating false maeander (twelve-stroke, alternately clockwise and anticlockwise; repeated clockwise unit at three o'clock) and blackened cross-square. EXTERIOR: komos. Side A (upper): four dancing komasts and another. On the far left, a man moves to the right, but with his head turned back and down to the left. He wears a himation with a black border (as all the other komasts on the exterior) over his shoulders, his left hand holding up a bunch of folds above his left shoulder. His right hand must have held the plain stick (fragment with hand, shoulder and touch of forehead, with palmette, missing), which crosses his body. He, like all the other komasts, wears a thick reserved headband decorated with wavy dilute glaze lines and has relief dots over neck and forehead. The next komast moves to the right, but again looks back and down to the left. He has his himation over his shoulders and similarly picks at the folds on his left shoulder. He holds a large black skyphos in his right hand in front of his chest. It has a reserved lip and a reserved band below handle level. His right leg is shown in an awkward three-quarter view and his torso is frontal. In the centre a dancing man is shown in a particularly lively pose. He wears a himation over his shoulders and up over the back of his head. His legs are splayed, the right one bent up high; his torso frontal. His hands are clasped together on the right, the fingers and thumbs clearly entwined, index fingers raised. To the right of him a man moves to the left, head turned back to the right and up. His left arm and shoulder are covered with a himation; his right arm is bent up with the fingers slightly spread. His torso is frontal and his left foot seen in three-quarter frontal view. On the far right a man wearing a himation in the normal fashion moves to the left. He holds a cup in his left hand, handle towards the viewer. His right arm is raised, as if directing the dancers. Side Β (lower): five komasts, one with frontal head. On the far left is a man moving to the right, but with his head turned back and down to the left. He has a himation over his shoulders (his left shoulder is missing) and holds a cup by its handle in his left hand (index finger pointed). He puts his right hand up to his thick reserved headband. To the right of him a man moves to the right, seen fully in profile, with a himation over his right upper arm and left shoulder. He holds a cup out in his right hand. His left hand is also outstretched, as if to catch any drips. In the centre a man with a himation round his shoulders moves to the left. He holds a skyphos in his left hand, which he seems to look down at with intense concentration, and holds up his right hand. His penis is infibulated. On the right a man moves away to the right, but looks back and down to the left, his torso frontal. He holds a black cup in his left hand and holds his right up in the air. On the far right a man moves to the left, a himation round his shoulders. His head is fully frontal. He holds a cup in his left hand by the foot (handle outwards) and his right hand reaches up to his thick headband. At either handle: floral complex with a circumscribed palmette either side of the handles and a pair of addorsed palmettes under the handles; spiral terminals and dots. Ground line: single reserved line. Relief line contour throughout (double for hair); dilute glaze for minor interior markings; reserved line inside and outside lip; inscriptions in added red. --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
104. Cassandra?
- Description
- Pottery: red-figured neck-amphora. (a) Ajax seizing Cassandra (?). In place of the Palladion is an archaic image of Apollo, in the form of a long-haired, beardless youth, en face, with hands at sides and feet close together, a black line drawn horizontally across the waist; this figure stands on a square base, resting on a plinth on the left. Cassandra, in sleeved chiton with apoptygma tied, and himation over her shoulders, with hair flying loose in long wavy tresses, has fled to the statue; and with one foot on the plinth she is in the act of throwing both arms around its waist, but is dragged back by Ajax, who, with right foot raised, has seized her with his right hand by the hair. He is bearded, and has a helmet tilted back, shield (device, a lion in silhouette, springing to left), spear, and greaves decorated with spirals. Beneath his shield hangs an end of drapery which is not shown elsewhere. (b) Bearded man in himation, standing to right, resting right hand on a staff. Late stage of strong style. Brown inner markings and (very light yellowish) for hair of Apollo. Eyes of Apollo of archaic type. Greater part of figure of Ajax destroyed, only the head, right arm and shoulder, right knee and calf of leg being preserved, though the outline of the rest remains. Below a, sets of three maeanders separated by dotted crosses; below b, key 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
105. Cassandra?
- Description
- Pottery: red-figured neck-amphora. (a) Ajax seizing Cassandra (?). In place of the Palladion is an archaic image of Apollo, in the form of a long-haired, beardless youth, en face, with hands at sides and feet close together, a black line drawn horizontally across the waist; this figure stands on a square base, resting on a plinth on the left. Cassandra, in sleeved chiton with apoptygma tied, and himation over her shoulders, with hair flying loose in long wavy tresses, has fled to the statue; and with one foot on the plinth she is in the act of throwing both arms around its waist, but is dragged back by Ajax, who, with right foot raised, has seized her with his right hand by the hair. He is bearded, and has a helmet tilted back, shield (device, a lion in silhouette, springing to left), spear, and greaves decorated with spirals. Beneath his shield hangs an end of drapery which is not shown elsewhere. (b) Bearded man in himation, standing to right, resting right hand on a staff. Late stage of strong style. Brown inner markings and (very light yellowish) for hair of Apollo. Eyes of Apollo of archaic type. Greater part of figure of Ajax destroyed, only the head, right arm and shoulder, right knee and calf of leg being preserved, though the outline of the rest remains. Below a, sets of three maeanders separated by dotted crosses; below b, key 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
- Description
- Pottery: red-figured neck-amphora. (a) Ajax seizing Cassandra (?). In place of the Palladion is an archaic image of Apollo, in the form of a long-haired, beardless youth, en face, with hands at sides and feet close together, a black line drawn horizontally across the waist; this figure stands on a square base, resting on a plinth on the left. Cassandra, in sleeved chiton with apoptygma tied, and himation over her shoulders, with hair flying loose in long wavy tresses, has fled to the statue; and with one foot on the plinth she is in the act of throwing both arms around its waist, but is dragged back by Ajax, who, with right foot raised, has seized her with his right hand by the hair. He is bearded, and has a helmet tilted back, shield (device, a lion in silhouette, springing to left), spear, and greaves decorated with spirals. Beneath his shield hangs an end of drapery which is not shown elsewhere. (b) Bearded man in himation, standing to right, resting right hand on a staff. Late stage of strong style. Brown inner markings and (very light yellowish) for hair of Apollo. Eyes of Apollo of archaic type. Greater part of figure of Ajax destroyed, only the head, right arm and shoulder, right knee and calf of leg being preserved, though the outline of the rest remains. Below a, sets of three maeanders separated by dotted crosses; below b, key 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
- Description
- Pottery: red-figured bell-krater (wine-bowl). Designs in panels, red on black ground, with accessories of white and purple. Above the designs, (a) ivy-wreath and egg-moulding, (b) laurel-wreath; under the handles, palmette-patterns; below the designs, (a) maeander and chequer, (b) wave-pattern. (a) Alcmene appealing to Zeus against Amphitryon: In the centre is Alcmene, seated to left on an altar, which is painted white with egg-moulding along the top and an imitation of triglyphs below (markings in yellow); in front of it is erected a pyre of round logs. She has long curls, necklace and bracelets, an embroidered veil over her head, long chiton and apoptygma embroidered with chequer, palmettes, and other patterns, girdle with white studs, and sandals; her right hand is raised in supplication. Above the design is incised: ΑΛΚΜΗΝΗ, 'Αλκμήνη. On the right is Amphitryon to left setting fire to the pyre with a torch in each hand; he is bearded, with long hair, short embroidered chiton with engrailed and palmette patterns and border of white dots, embroidered chlamys with border of chequer over his arms, endromides, and purple cross-belt from which hangs a sheathed sword; above him is incised: ΑΜΦΙΤΡΥΩΝ, Άμφιτρύων. On the left is Antenor starting back to left, looking to right, beardless, with long curls, white pilos, short sleeved embroidered chiton with borders of engrailed and wave patterns, girdle and cross-belt with astragalus pattern, embroidered chlamys with border of dots, fastened with a fibula in front, and endromides; between his legs is a fallen yellow prochoos; above him is incised: ΑΝΤΗΝΩΡ, Άντήνωρ. Over the altar is a purple and white rainbow enclosing a black space which is filled with white dots, representing drops of the rain sent in answer to Alcmene's prayer; below the pyre are two white thunderbolts, as if cast by Zeus at Amphitryon and Antenor. On each side of the rainbow, on a higher level (indicated by a wavy white line ending in a palmette), is the upper half of a female figure pouring water out of a hydria, which is indicated by black and white streaks; these two figures are the Hyades. The one on the left has long hair, a broad purple fillet with white chevron pattern, necklace, long purple chiton embroidered with white dots, and white girdle; the other has her hair tied in a club with a purple fillet embroidered with white dots, which goes twice round her head; otherwise she is attired as the first. On the left, on the same level, is the upper part of Zeus to right, bearded, with long curls, wreath, and drapery over left shoulder with chequer border, in right hand a sceptre, left extended; he is inscribed ΙΕΥΣ, Ζέυς. On the right is Eos to left, with hair gathered in a knot at the back under a purple cap embroidered with white dots, earrings, necklace, long chiton and apoptygma, embroidered with palmettes and engrailed border; in right hand she holds up a mirror; above her is inscribed ΑΩΣ, (Ή)ώς. Under the lip of the vase is incised: ΠΥΘΩΝΕΓΡΑΦΕ, Πυθων έγραφε. (b) Dionysiac scene: In the centre is Dionysos, moving to right and looking to left, beardless, with long curls, round which is a taenia tied at the back, shoulder-belt with white dots, chlamys with border of dots over left arm, shoes, thyrsos in left hand, to which is tied a purple taenia; in right hand a wreath from which hangs a purple taenia. On either side is a Maenad dancing to right, the one on the right looking back. The one on the left has long curls, wreath, necklace, bracelets, long girt chiton and apoptygma reaching to the hips with borders of wave-pattern and dots, fastened with fibulae on the shoulders, shoes, thyrsos in right hand to which a purple taenia is tied, left hand raised. The one on the right has long curls, one of which hangs down in front of her face, wreath, necklace, bracelets, long transparent chiton embroidered with dots, which has slipped off her right shoulder, thyrsos in left hand with purple taenia tied to it, wreath in right at which she is looking. On a higher level are seen the upper parts of three figures: a youthful Satyr on the left, a youthful male figure in the centre, and Pan on the right. The Satyr wears wreath and shoulder-belt of white beads, and holds out a tympanon in left hand to the youth who faces him; he has a wreath, shoulder-belt as the Satyr, and thyrsos in left hand. Pan is to left, with small beard and moustache, wreath and shoulder-belt as the others; his body is stippled all over, and part of the goat-skin is visible; his hands are raised as if in astonishment. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Smith, A H; Pryce, F N, Corpus Vasorum Antiquorum: Great Britain 2, British Museum 2, London, BMP, 1926
- Description
- Pottery: red-figured bell-krater (wine-bowl). Designs in panels, red on black ground, with accessories of white and purple. Above the designs, (a) ivy-wreath and egg-moulding, (b) laurel-wreath; under the handles, palmette-patterns; below the designs, (a) maeander and chequer, (b) wave-pattern. (a) Alcmene appealing to Zeus against Amphitryon: In the centre is Alcmene, seated to left on an altar, which is painted white with egg-moulding along the top and an imitation of triglyphs below (markings in yellow); in front of it is erected a pyre of round logs. She has long curls, necklace and bracelets, an embroidered veil over her head, long chiton and apoptygma embroidered with chequer, palmettes, and other patterns, girdle with white studs, and sandals; her right hand is raised in supplication. Above the design is incised: ΑΛΚΜΗΝΗ, 'Αλκμήνη. On the right is Amphitryon to left setting fire to the pyre with a torch in each hand; he is bearded, with long hair, short embroidered chiton with engrailed and palmette patterns and border of white dots, embroidered chlamys with border of chequer over his arms, endromides, and purple cross-belt from which hangs a sheathed sword; above him is incised: ΑΜΦΙΤΡΥΩΝ, Άμφιτρύων. On the left is Antenor starting back to left, looking to right, beardless, with long curls, white pilos, short sleeved embroidered chiton with borders of engrailed and wave patterns, girdle and cross-belt with astragalus pattern, embroidered chlamys with border of dots, fastened with a fibula in front, and endromides; between his legs is a fallen yellow prochoos; above him is incised: ΑΝΤΗΝΩΡ, Άντήνωρ. Over the altar is a purple and white rainbow enclosing a black space which is filled with white dots, representing drops of the rain sent in answer to Alcmene's prayer; below the pyre are two white thunderbolts, as if cast by Zeus at Amphitryon and Antenor. On each side of the rainbow, on a higher level (indicated by a wavy white line ending in a palmette), is the upper half of a female figure pouring water out of a hydria, which is indicated by black and white streaks; these two figures are the Hyades. The one on the left has long hair, a broad purple fillet with white chevron pattern, necklace, long purple chiton embroidered with white dots, and white girdle; the other has her hair tied in a club with a purple fillet embroidered with white dots, which goes twice round her head; otherwise she is attired as the first. On the left, on the same level, is the upper part of Zeus to right, bearded, with long curls, wreath, and drapery over left shoulder with chequer border, in right hand a sceptre, left extended; he is inscribed ΙΕΥΣ, Ζέυς. On the right is Eos to left, with hair gathered in a knot at the back under a purple cap embroidered with white dots, earrings, necklace, long chiton and apoptygma, embroidered with palmettes and engrailed border; in right hand she holds up a mirror; above her is inscribed ΑΩΣ, (Ή)ώς. Under the lip of the vase is incised: ΠΥΘΩΝΕΓΡΑΦΕ, Πυθων έγραφε. (b) Dionysiac scene: In the centre is Dionysos, moving to right and looking to left, beardless, with long curls, round which is a taenia tied at the back, shoulder-belt with white dots, chlamys with border of dots over left arm, shoes, thyrsos in left hand, to which is tied a purple taenia; in right hand a wreath from which hangs a purple taenia. On either side is a Maenad dancing to right, the one on the right looking back. The one on the left has long curls, wreath, necklace, bracelets, long girt chiton and apoptygma reaching to the hips with borders of wave-pattern and dots, fastened with fibulae on the shoulders, shoes, thyrsos in right hand to which a purple taenia is tied, left hand raised. The one on the right has long curls, one of which hangs down in front of her face, wreath, necklace, bracelets, long transparent chiton embroidered with dots, which has slipped off her right shoulder, thyrsos in left hand with purple taenia tied to it, wreath in right at which she is looking. On a higher level are seen the upper parts of three figures: a youthful Satyr on the left, a youthful male figure in the centre, and Pan on the right. The Satyr wears wreath and shoulder-belt of white beads, and holds out a tympanon in left hand to the youth who faces him; he has a wreath, shoulder-belt as the Satyr, and thyrsos in left hand. Pan is to left, with small beard and moustache, wreath and shoulder-belt as the others; his body is stippled all over, and part of the goat-skin is visible; his hands are raised as if in astonishment. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Smith, A H; Pryce, F N, Corpus Vasorum Antiquorum: Great Britain 2, British Museum 2, London, BMP, 1926
109. Dancing Maenad
- Description
- Pottery: red-figured skyphos (cup). Designs red on black ground, with accessories. Above each design, egg-moulding; below, all round, wave-pattern; under the handles, palmettes. (a) Aegipan moving to left, beardless, with wreath, two short horns in front, string of beads over right shoulder; goat's legs and lower part of body covered with shaggy hair; in left hand a thyrsos with taenia tied round it, in right he holds out a rhyton. In the field, two rosettes of dots. (b) Female figure dancing to left, with head thrown right back, bushy hair, long chiton with a stripe down the front, sandals, bracelet on right arm which is extended, in left a staff. Behind her hang a taenia and a mirror; below is a rosette of dots. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Smith, A H; Pryce, F N, Corpus Vasorum Antiquorum: Great Britain 2, British Museum 2, London, BMP, 1926
![[No Caption] Steven Lowenstam Collection](/thumbnails/f/0/oregondigital-df692670f.jpg "[No Caption] Steven Lowenstam Collection")
- Description
- Pottery: red-figured squat lekythos (oil-bottle). Design red on black ground, with occasional white accessories. At the back, a palmette and tendrils. Thrush to right, on stony ground; in the field, a taenia. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Smith, A H; Pryce, F N, Corpus Vasorum Antiquorum: Great Britain 2, British Museum 2, London, BMP, 1926
111. Orestes at Delphi
- Description
- Smith, A H; Pryce, F N, Corpus Vasorum Antiquorum: Great Britain 2, British Museum 2, London, BMP, 1926, Pottery: red-figured bell-krater (wine-bowl) with Orestes kneeling beside the omphalos and tripod at Delphi, as he seeks sanctuary from the avenging Furies. Athena and Apollo intervene on his behalf and he is purified of the killing of his mother. --The British Museum
112. Orestes at Delphi
- Description
- Pottery: red-figured bell-krater (wine-bowl) with Orestes kneeling beside the omphalos and tripod at Delphi, as he seeks sanctuary from the avenging Furies. Athena and Apollo intervene on his behalf and he is purified of the killing of his mother. --The British Museum, Smith, A H; Pryce, F N, Corpus Vasorum Antiquorum: Great Britain 2, British Museum 2, London, BMP, 1926
![[No Caption] Steven Lowenstam Collection](/thumbnails/4/7/oregondigital-df6926674.jpg "[No Caption] Steven Lowenstam Collection")
- Description
- Pottery: red-figured neck-amphora (jar) with a seated woman. --The British Museum
114. 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
115. 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
116. Sack of Troy
- Description
- Pottery: red-figured volute-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Round the lip, egg-moulding; underneath, laurel-wreaths. Above the design, on the neck, ivy-wreath; at the back of the neck, ivy-wreath and palmettes. Below the handles, palmettes; above each design on the body, tongue-pattern, and below all round, maeander and crosses. The handles terminate in swans' heads below, and above in female masks with rams' horns, in front white with black hair and yellow markings, at the back black throughout. On the neck in front : Dionysiac thiasos: In the centre is Dionysos moving rapidly to right, looking back; he is beardless, with long hair, wreath, bordered chlamys over left arm held up in right hand, thyrsos in left. On either side of him is a Maenad moving to right, with hair gathered in a bunch behind, earrings, necklace, bracelets, and long girt chiton; the one on the left has a thyrsos in right hand and a blazing torch in left; in front of her is a tendril. The other has a radiated ampyx, chiton over left shoulder, and a tympanon in left hand; she looks upwards, and before her is an altar, on which is a fruit. On the body: (a) Iliupersis: (1.) In the centre is represented Ajax seizing Cassandra: In front of a xoanon of Athene is an altar with wave-pattern on the cornice and imitation triglyphs and metopes in front; the statue looks to right and has long hair, high-crested helmet, long chiton with a stripe of chevrons down the front bordered by wave-patterns, girdle with white studs, aegis at back with snake-border, double-pointed spear couched in right hand, shield on left arm. On the altar is Cassandra, seated to left with face to front, clasping the statue with both hands; she has long dishevelled hair, necklace, bracelets, long girt bordered chiton over right shoulder, with apoptygma. On the right stands Ajax to left with right foot slightly raised, beardless, with curly hair, white high-crested helmet, bordered chlamys over left shoulder confined by a belt with white spots, sword slung at side, long spear in left hand; in right hand is his shield (device of four-spoked wheel in white on black, surrounded by a broad white band, outer rim of white dots), which he is laying down before seizing Cassandra. Below the altar is a prochoos lying on its side. On the right is Hecuba, or an aged priestess, running away and looking back, with white hair and eyebrows, double yellow fillet, sandals, long chiton and apoptygma reaching to the knees, embroidered down the front, and himation wrapped round her, right hand raised, left extended. (2.) On the left, the sacrifice of Polyxena is represented. Polyxena is fallen to right at the foot of the statue, clasping it with both arms; she has long dishevelled hair, necklace, bracelets, long girt chiton with a stripe down the side. Behind her is Odysseus running up to carry her off, with left hand extended to seize her; he is beardless, with white pilos, bordered chlamys fastened with a fibula in front, sword slung at side, long double-pointed spear in right hand. Above the scene on the left is Athene seated to right, with hair in a knot at the back tied with a double fillet, earrings, necklace, bracelets, aegis spotted white with snakes in front and radiated border with white zigzags, long chiton and apoptygma with border as the aegis, spear in right hand. Behind her is an Ionic column, round which is a string of large beads ending in tassels. (3.) Above are Anchises and Ascanios departing to right; Anchises is partly bald, with white hair, beard, and eyebrows, bordered embroidered himation over left arm, and staff in left hand; with right hand he leads Ascanios, who has a bordered himation over left arm. Behind them is a laurel-tree, and above are seen the segments of two shields, white with a border of dots. The ground-lines are indicated by white dots. (b) Departure of a warrior (?): In the centre is a beardless warrior to left with right foot raised on a rock, pilos, endromides, bordered himation over left shoulder, and spear in right hand; his left hand rests on his shield, which has a four-spoked wheel as device, with dots round the rim. Facing him is a beardless warrior with pilos slung at back, fillet, chlamys over his arms, endromides, spear in right hand, two fingers of left hand raised, as if addressing the other. Behind on a slightly higher level is a female figure to right with hair in a knot behind, embroidered opisthosphendone, earrings, necklace, bracelets, long girt chiton with apoptygma reaching to the hips, sandals, situla in right hand; in left hand she holds out phiale. Behind her hangs an embroidered taenia; above the warriors is seen part of a shield with device of an eight-point star and border of dots, and an open window with double shutter on which are rows of white spots. On the right is a youth seated to right looking, back, with fillet, drapery under him, and spear in left hand; on a higher level is a female figure to right looking back, with hair in a knot, earrings, necklace, bracelets, long girt chiton with apoptygma; with right hand she draws forward her drapery from behind. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Trendall, A D; Cambitoglou, Alexander, The red-figured vases of Apulia, Volumes 1-2, Oxford, Clarendon press, 1978; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
117. Iphigenia
- Description
- Pottery: red-figured volute-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Round the lip, egg-moulding; underneath, laurel-wreaths. Above the design, on the neck, ivy-wreath; at the back of the neck, ivy-wreath and palmettes. Below the handles, palmettes; above each design on the body, tongue-pattern, and below all round, maeander and crosses. The handles terminate in swans' heads below, and above in female masks with rams' horns, in front white with black hair and yellow markings, at the back black throughout. On the neck in front : Dionysiac thiasos: In the centre is Dionysos moving rapidly to right, looking back; he is beardless, with long hair, wreath, bordered chlamys over left arm held up in right hand, thyrsos in left. On either side of him is a Maenad moving to right, with hair gathered in a bunch behind, earrings, necklace, bracelets, and long girt chiton; the one on the left has a thyrsos in right hand and a blazing torch in left; in front of her is a tendril. The other has a radiated ampyx, chiton over left shoulder, and a tympanon in left hand; she looks upwards, and before her is an altar, on which is a fruit. On the body: (a) Iliupersis: (1.) In the centre is represented Ajax seizing Cassandra: In front of a xoanon of Athene is an altar with wave-pattern on the cornice and imitation triglyphs and metopes in front; the statue looks to right and has long hair, high-crested helmet, long chiton with a stripe of chevrons down the front bordered by wave-patterns, girdle with white studs, aegis at back with snake-border, double-pointed spear couched in right hand, shield on left arm. On the altar is Cassandra, seated to left with face to front, clasping the statue with both hands; she has long dishevelled hair, necklace, bracelets, long girt bordered chiton over right shoulder, with apoptygma. On the right stands Ajax to left with right foot slightly raised, beardless, with curly hair, white high-crested helmet, bordered chlamys over left shoulder confined by a belt with white spots, sword slung at side, long spear in left hand; in right hand is his shield (device of four-spoked wheel in white on black, surrounded by a broad white band, outer rim of white dots), which he is laying down before seizing Cassandra. Below the altar is a prochoos lying on its side. On the right is Hecuba, or an aged priestess, running away and looking back, with white hair and eyebrows, double yellow fillet, sandals, long chiton and apoptygma reaching to the knees, embroidered down the front, and himation wrapped round her, right hand raised, left extended. (2.) On the left, the sacrifice of Polyxena is represented. Polyxena is fallen to right at the foot of the statue, clasping it with both arms; she has long dishevelled hair, necklace, bracelets, long girt chiton with a stripe down the side. Behind her is Odysseus running up to carry her off, with left hand extended to seize her; he is beardless, with white pilos, bordered chlamys fastened with a fibula in front, sword slung at side, long double-pointed spear in right hand. Above the scene on the left is Athene seated to right, with hair in a knot at the back tied with a double fillet, earrings, necklace, bracelets, aegis spotted white with snakes in front and radiated border with white zigzags, long chiton and apoptygma with border as the aegis, spear in right hand. Behind her is an Ionic column, round which is a string of large beads ending in tassels. (3.) Above are Anchises and Ascanios departing to right; Anchises is partly bald, with white hair, beard, and eyebrows, bordered embroidered himation over left arm, and staff in left hand; with right hand he leads Ascanios, who has a bordered himation over left arm. Behind them is a laurel-tree, and above are seen the segments of two shields, white with a border of dots. The ground-lines are indicated by white dots. (b) Departure of a warrior (?): In the centre is a beardless warrior to left with right foot raised on a rock, pilos, endromides, bordered himation over left shoulder, and spear in right hand; his left hand rests on his shield, which has a four-spoked wheel as device, with dots round the rim. Facing him is a beardless warrior with pilos slung at back, fillet, chlamys over his arms, endromides, spear in right hand, two fingers of left hand raised, as if addressing the other. Behind on a slightly higher level is a female figure to right with hair in a knot behind, embroidered opisthosphendone, earrings, necklace, bracelets, long girt chiton with apoptygma reaching to the hips, sandals, situla in right hand; in left hand she holds out phiale. Behind her hangs an embroidered taenia; above the warriors is seen part of a shield with device of an eight-point star and border of dots, and an open window with double shutter on which are rows of white spots. On the right is a youth seated to right looking, back, with fillet, drapery under him, and spear in left hand; on a higher level is a female figure to right looking back, with hair in a knot, earrings, necklace, bracelets, long girt chiton with apoptygma; with right hand she draws forward her drapery from behind. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Trendall, A D; Cambitoglou, Alexander, The red-figured vases of Apulia, Volumes 1-2, Oxford, Clarendon press, 1978; 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 volute-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Round the lip, egg-moulding; underneath, laurel-wreaths. Above the design, on the neck, ivy-wreath; at the back of the neck, ivy-wreath and palmettes. Below the handles, palmettes; above each design on the body, tongue-pattern, and below all round, maeander and crosses. The handles terminate in swans' heads below, and above in female masks with rams' horns, in front white with black hair and yellow markings, at the back black throughout. On the neck in front : Dionysiac thiasos: In the centre is Dionysos moving rapidly to right, looking back; he is beardless, with long hair, wreath, bordered chlamys over left arm held up in right hand, thyrsos in left. On either side of him is a Maenad moving to right, with hair gathered in a bunch behind, earrings, necklace, bracelets, and long girt chiton; the one on the left has a thyrsos in right hand and a blazing torch in left; in front of her is a tendril. The other has a radiated ampyx, chiton over left shoulder, and a tympanon in left hand; she looks upwards, and before her is an altar, on which is a fruit. On the body: (a) Iliupersis: (1.) In the centre is represented Ajax seizing Cassandra: In front of a xoanon of Athene is an altar with wave-pattern on the cornice and imitation triglyphs and metopes in front; the statue looks to right and has long hair, high-crested helmet, long chiton with a stripe of chevrons down the front bordered by wave-patterns, girdle with white studs, aegis at back with snake-border, double-pointed spear couched in right hand, shield on left arm. On the altar is Cassandra, seated to left with face to front, clasping the statue with both hands; she has long dishevelled hair, necklace, bracelets, long girt bordered chiton over right shoulder, with apoptygma. On the right stands Ajax to left with right foot slightly raised, beardless, with curly hair, white high-crested helmet, bordered chlamys over left shoulder confined by a belt with white spots, sword slung at side, long spear in left hand; in right hand is his shield (device of four-spoked wheel in white on black, surrounded by a broad white band, outer rim of white dots), which he is laying down before seizing Cassandra. Below the altar is a prochoos lying on its side. On the right is Hecuba, or an aged priestess, running away and looking back, with white hair and eyebrows, double yellow fillet, sandals, long chiton and apoptygma reaching to the knees, embroidered down the front, and himation wrapped round her, right hand raised, left extended. (2.) On the left, the sacrifice of Polyxena is represented. Polyxena is fallen to right at the foot of the statue, clasping it with both arms; she has long dishevelled hair, necklace, bracelets, long girt chiton with a stripe down the side. Behind her is Odysseus running up to carry her off, with left hand extended to seize her; he is beardless, with white pilos, bordered chlamys fastened with a fibula in front, sword slung at side, long double-pointed spear in right hand. Above the scene on the left is Athene seated to right, with hair in a knot at the back tied with a double fillet, earrings, necklace, bracelets, aegis spotted white with snakes in front and radiated border with white zigzags, long chiton and apoptygma with border as the aegis, spear in right hand. Behind her is an Ionic column, round which is a string of large beads ending in tassels. (3.) Above are Anchises and Ascanios departing to right; Anchises is partly bald, with white hair, beard, and eyebrows, bordered embroidered himation over left arm, and staff in left hand; with right hand he leads Ascanios, who has a bordered himation over left arm. Behind them is a laurel-tree, and above are seen the segments of two shields, white with a border of dots. The ground-lines are indicated by white dots. (b) Departure of a warrior (?): In the centre is a beardless warrior to left with right foot raised on a rock, pilos, endromides, bordered himation over left shoulder, and spear in right hand; his left hand rests on his shield, which has a four-spoked wheel as device, with dots round the rim. Facing him is a beardless warrior with pilos slung at back, fillet, chlamys over his arms, endromides, spear in right hand, two fingers of left hand raised, as if addressing the other. Behind on a slightly higher level is a female figure to right with hair in a knot behind, embroidered opisthosphendone, earrings, necklace, bracelets, long girt chiton with apoptygma reaching to the hips, sandals, situla in right hand; in left hand she holds out phiale. Behind her hangs an embroidered taenia; above the warriors is seen part of a shield with device of an eight-point star and border of dots, and an open window with double shutter on which are rows of white spots. On the right is a youth seated to right looking, back, with fillet, drapery under him, and spear in left hand; on a higher level is a female figure to right looking back, with hair in a knot, earrings, necklace, bracelets, long girt chiton with apoptygma; with right hand she draws forward her drapery from behind. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Trendall, A D; Cambitoglou, Alexander, The red-figured vases of Apulia, Volumes 1-2, Oxford, Clarendon press, 1978; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
119. Sack of Troy
- Description
- Pottery: red-figured volute-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Round the lip, egg-moulding; underneath, laurel-wreaths. Above the design, on the neck, ivy-wreath; at the back of the neck, ivy-wreath and palmettes. Below the handles, palmettes; above each design on the body, tongue-pattern, and below all round, maeander and crosses. The handles terminate in swans' heads below, and above in female masks with rams' horns, in front white with black hair and yellow markings, at the back black throughout. On the neck in front : Dionysiac thiasos: In the centre is Dionysos moving rapidly to right, looking back; he is beardless, with long hair, wreath, bordered chlamys over left arm held up in right hand, thyrsos in left. On either side of him is a Maenad moving to right, with hair gathered in a bunch behind, earrings, necklace, bracelets, and long girt chiton; the one on the left has a thyrsos in right hand and a blazing torch in left; in front of her is a tendril. The other has a radiated ampyx, chiton over left shoulder, and a tympanon in left hand; she looks upwards, and before her is an altar, on which is a fruit. On the body: (a) Iliupersis: (1.) In the centre is represented Ajax seizing Cassandra: In front of a xoanon of Athene is an altar with wave-pattern on the cornice and imitation triglyphs and metopes in front; the statue looks to right and has long hair, high-crested helmet, long chiton with a stripe of chevrons down the front bordered by wave-patterns, girdle with white studs, aegis at back with snake-border, double-pointed spear couched in right hand, shield on left arm. On the altar is Cassandra, seated to left with face to front, clasping the statue with both hands; she has long dishevelled hair, necklace, bracelets, long girt bordered chiton over right shoulder, with apoptygma. On the right stands Ajax to left with right foot slightly raised, beardless, with curly hair, white high-crested helmet, bordered chlamys over left shoulder confined by a belt with white spots, sword slung at side, long spear in left hand; in right hand is his shield (device of four-spoked wheel in white on black, surrounded by a broad white band, outer rim of white dots), which he is laying down before seizing Cassandra. Below the altar is a prochoos lying on its side. On the right is Hecuba, or an aged priestess, running away and looking back, with white hair and eyebrows, double yellow fillet, sandals, long chiton and apoptygma reaching to the knees, embroidered down the front, and himation wrapped round her, right hand raised, left extended. (2.) On the left, the sacrifice of Polyxena is represented. Polyxena is fallen to right at the foot of the statue, clasping it with both arms; she has long dishevelled hair, necklace, bracelets, long girt chiton with a stripe down the side. Behind her is Odysseus running up to carry her off, with left hand extended to seize her; he is beardless, with white pilos, bordered chlamys fastened with a fibula in front, sword slung at side, long double-pointed spear in right hand. Above the scene on the left is Athene seated to right, with hair in a knot at the back tied with a double fillet, earrings, necklace, bracelets, aegis spotted white with snakes in front and radiated border with white zigzags, long chiton and apoptygma with border as the aegis, spear in right hand. Behind her is an Ionic column, round which is a string of large beads ending in tassels. (3.) Above are Anchises and Ascanios departing to right; Anchises is partly bald, with white hair, beard, and eyebrows, bordered embroidered himation over left arm, and staff in left hand; with right hand he leads Ascanios, who has a bordered himation over left arm. Behind them is a laurel-tree, and above are seen the segments of two shields, white with a border of dots. The ground-lines are indicated by white dots. (b) Departure of a warrior (?): In the centre is a beardless warrior to left with right foot raised on a rock, pilos, endromides, bordered himation over left shoulder, and spear in right hand; his left hand rests on his shield, which has a four-spoked wheel as device, with dots round the rim. Facing him is a beardless warrior with pilos slung at back, fillet, chlamys over his arms, endromides, spear in right hand, two fingers of left hand raised, as if addressing the other. Behind on a slightly higher level is a female figure to right with hair in a knot behind, embroidered opisthosphendone, earrings, necklace, bracelets, long girt chiton with apoptygma reaching to the hips, sandals, situla in right hand; in left hand she holds out phiale. Behind her hangs an embroidered taenia; above the warriors is seen part of a shield with device of an eight-point star and border of dots, and an open window with double shutter on which are rows of white spots. On the right is a youth seated to right looking, back, with fillet, drapery under him, and spear in left hand; on a higher level is a female figure to right looking back, with hair in a knot, earrings, necklace, bracelets, long girt chiton with apoptygma; with right hand she draws forward her drapery from behind. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Trendall, A D; Cambitoglou, Alexander, The red-figured vases of Apulia, Volumes 1-2, Oxford, Clarendon press, 1978; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
120. Visitors at Tomb
- Description
- Pottery: red-figured volute-krater (bowl for mixing wine and water). Designs red, white and yellow, on black ground. Holes are pierced in the tops of the handles. Round the lip, each side, egg-moulding; underneath, wave-pattern. On the neck, (a) above, ivy-wreath; below, two lions confronted, each with one paw raised; (b) ivy-wreath and palmettes. Above the design in front, tongue- and egg-patterns; below, all round, maeander and crosses; below the handles, palmettes. The handles terminate below in swans' heads, as before. On the obverse of the medallions are bas-relief groups of a Satyr and a Maenad, in red and white; the Satyr wears a panther's skin, and is dancing to left, playing the double flute and looking back at the Maenad, who is seated to left, and has yellow hair in a knot, long white chiton, and red himation round lower limbs, in left hand a thyrsos, with right she draws forward her drapery; in the background is a tree. (a) Offerings at heroon: The heroon is Ionic distyle, painted white, with anthemia on the pediment and two phialae above; on the base, a band of triglyphs, white on black, and white metopes; beams of interior roof shown in wrong perspective. In it is a figure of a youth (painted white), with face to front, chlamys on left arm, and staff in right hand; he looks down and dips left hand into a large white laver on a fluted stand (hypostaton); inside the heroon hang three phialae. On the left is a youth leaning forward, with left foot raised on a rock and drapery over left arm, about to place a wreath on the base of the heroon. Above him are a youth and a female figure seated side by side to left and conversing, turning to look at each other; the youth has drapery over his lower limbs, and holds up a phiale containing fruit in right hand. His left hand is laid in the lap of the female figure, whose right hand is raised as if speaking; she is seated on a cista ornamented with maeander and lozenge patterns, and has hair gathered in a radiated opisthosphendone, earrings, necklace, bracelets, long girt chiton with stripe down the side and apoptygma fastened on the shoulders. On the right is a female figure stooping forward to left, and placing on the heroon a large basket ornamented with maeander, wave, and other patterns; she has long curls, and wears radiated ampyx, earrings, necklace, bracelets, long girt chiton, and sandals. Above her is a youth seated on a stool to right, looking back, with drapery round left arm and under him, wand in right hand, and pilos held up in left. Below the youths the ground is indicated by lines of dots. (b) Offerings at stele: The stele is a lofty Doric column on three steps, with a white taenia tied round it; on the steps are five taeniae and fruit. On the left is a female figure holding out a wreath to the stele in left hand; her hair is gathered in a knot, and she wears opisthosphendone, earrings, necklace, bracelets, long girt chiton with stripe down front, and sandals; with right hand she draws forward her drapery. Above is a youth seated to right, with fillet, and drapery under him, holding out an embroidered taenia in both hands. On the right is a youth seated on raised ground to right, wearing fillet, and bordered himation over lower limbs; in right hand a wand, in left he holds out a phiale with fruit. Facing him, on a higher level, is a female figure holding up a fan in right hand and a pyxis in left; her hair is tied in a bunch, and she wears earrings, necklace, bracelets, long girt bordered chiton with stripe down side, and sandals. Below on the right are several loose stones; ground-lines indicated by white dots. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Trendall, A D; Cambitoglou, Alexander, The red-figured vases of Apulia, Volumes 1-2, Oxford, Clarendon press, 1978; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
121. Sack of Troy
- Description
- Pottery: red-figured volute-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Round the lip, egg-moulding; underneath, laurel-wreaths. Above the design, on the neck, ivy-wreath; at the back of the neck, ivy-wreath and palmettes. Below the handles, palmettes; above each design on the body, tongue-pattern, and below all round, maeander and crosses. The handles terminate in swans' heads below, and above in female masks with rams' horns, in front white with black hair and yellow markings, at the back black throughout. On the neck in front : Dionysiac thiasos: In the centre is Dionysos moving rapidly to right, looking back; he is beardless, with long hair, wreath, bordered chlamys over left arm held up in right hand, thyrsos in left. On either side of him is a Maenad moving to right, with hair gathered in a bunch behind, earrings, necklace, bracelets, and long girt chiton; the one on the left has a thyrsos in right hand and a blazing torch in left; in front of her is a tendril. The other has a radiated ampyx, chiton over left shoulder, and a tympanon in left hand; she looks upwards, and before her is an altar, on which is a fruit. On the body: (a) Iliupersis: (1.) In the centre is represented Ajax seizing Cassandra: In front of a xoanon of Athene is an altar with wave-pattern on the cornice and imitation triglyphs and metopes in front; the statue looks to right and has long hair, high-crested helmet, long chiton with a stripe of chevrons down the front bordered by wave-patterns, girdle with white studs, aegis at back with snake-border, double-pointed spear couched in right hand, shield on left arm. On the altar is Cassandra, seated to left with face to front, clasping the statue with both hands; she has long dishevelled hair, necklace, bracelets, long girt bordered chiton over right shoulder, with apoptygma. On the right stands Ajax to left with right foot slightly raised, beardless, with curly hair, white high-crested helmet, bordered chlamys over left shoulder confined by a belt with white spots, sword slung at side, long spear in left hand; in right hand is his shield (device of four-spoked wheel in white on black, surrounded by a broad white band, outer rim of white dots), which he is laying down before seizing Cassandra. Below the altar is a prochoos lying on its side. On the right is Hecuba, or an aged priestess, running away and looking back, with white hair and eyebrows, double yellow fillet, sandals, long chiton and apoptygma reaching to the knees, embroidered down the front, and himation wrapped round her, right hand raised, left extended. (2.) On the left, the sacrifice of Polyxena is represented. Polyxena is fallen to right at the foot of the statue, clasping it with both arms; she has long dishevelled hair, necklace, bracelets, long girt chiton with a stripe down the side. Behind her is Odysseus running up to carry her off, with left hand extended to seize her; he is beardless, with white pilos, bordered chlamys fastened with a fibula in front, sword slung at side, long double-pointed spear in right hand. Above the scene on the left is Athene seated to right, with hair in a knot at the back tied with a double fillet, earrings, necklace, bracelets, aegis spotted white with snakes in front and radiated border with white zigzags, long chiton and apoptygma with border as the aegis, spear in right hand. Behind her is an Ionic column, round which is a string of large beads ending in tassels. (3.) Above are Anchises and Ascanios departing to right; Anchises is partly bald, with white hair, beard, and eyebrows, bordered embroidered himation over left arm, and staff in left hand; with right hand he leads Ascanios, who has a bordered himation over left arm. Behind them is a laurel-tree, and above are seen the segments of two shields, white with a border of dots. The ground-lines are indicated by white dots. (b) Departure of a warrior (?): In the centre is a beardless warrior to left with right foot raised on a rock, pilos, endromides, bordered himation over left shoulder, and spear in right hand; his left hand rests on his shield, which has a four-spoked wheel as device, with dots round the rim. Facing him is a beardless warrior with pilos slung at back, fillet, chlamys over his arms, endromides, spear in right hand, two fingers of left hand raised, as if addressing the other. Behind on a slightly higher level is a female figure to right with hair in a knot behind, embroidered opisthosphendone, earrings, necklace, bracelets, long girt chiton with apoptygma reaching to the hips, sandals, situla in right hand; in left hand she holds out phiale. Behind her hangs an embroidered taenia; above the warriors is seen part of a shield with device of an eight-point star and border of dots, and an open window with double shutter on which are rows of white spots. On the right is a youth seated to right looking, back, with fillet, drapery under him, and spear in left hand; on a higher level is a female figure to right looking back, with hair in a knot, earrings, necklace, bracelets, long girt chiton with apoptygma; with right hand she draws forward her drapery from behind. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Trendall, A D; Cambitoglou, Alexander, The red-figured vases of Apulia, Volumes 1-2, Oxford, Clarendon press, 1978; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
![[No Caption] Steven Lowenstam Collection](/thumbnails/d/8/oregondigital-df692668d.jpg "[No Caption] Steven Lowenstam Collection")
- Description
- Pottery: red-figured pelike (jar). Designs red on black ground, with white accessories. On the neck, (a) palmettes, egg-pattern, and white pendants, (b) laurel-wreath and wave-pattern. Under the handles, palmettes; below, maeander and crosses. (a) Toilet-scene: In the centre is a tall tree with fruit, painted white; below is a female figure seated in a chair to left, with long curls, earrings, necklace, bracelets, long girt chiton, himation veiling her head, and shoes; in right hand she holds up a mirror. Behind her is a female figure to left, with curly hair tied in a bunch, open embroidered cap, earrings, necklace, bracelets, long girt chiton, and sandals, in right hand a fan; behind her, a ball. On the left is a female figure turned to the front, with long curls, bracelet on right arm, long chiton, himation wrapped round her and drawn over her head, and sandals, in right hand a wreath. The ground-lines are indicated as usual. (b) Ephebos to right, wrapped in a himation, with sandals; facing him is a nude ephebos with left arm muffled in drapery, staff in left hand and strigil in right with which he is about to scrape himself. Behind the latter is an ephebos with himation over left shoulder, and sandals, holding out a phiale. Above, an embroidered taenia and a ball. --The British Museum, Trendall, A D; Cambitoglou, Alexander, The red-figured vases of Apulia, Volumes 1-2, Oxford, Clarendon press, 1978; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
123. Polyphemus
- Description
- Pottery: red-figured calyx-krater (bowl for mixing wine and water) showing four draped youths. On the other side is a scene of Odysseus and his companions preparing to blind the Cyclops. Two satyrs appear on the right, suggesting that the scene was inspired by Euripides' satyr play Cyclops. --The British Museum, Trendall, A D, The Red-Figured Vases of Lucania, Campania and Sicily, Clarendon Press, 1967
124. Dolon
- Description
- Pottery: red-figured calyx-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Large style, bordering on the grotesque; faces to front, elaborate costumes, and dramatic action. Above the designs, laurel-wreath and egg-moulding; below each, egg-moulding and palmette-patterns. (a) Dolon surprised by Odysseus and Diomedes: In the centre is Dolon moving to left, crouching in an attitude of surprise, and looking round; he has a moustache and whiskers, skin helmet, short girt chiton over which is a spotted skin tied in front, and quiver with wave-pattern slung at left side. His endromides are of skin with tops turned over, laced in front and fastened by a broad strap under the instep, leaving the toes and heel bare. In left hand he holds up his bow, in right he holds a spear which he endeavours to aim at Diomedes; the spear-head has a serrated edge. On either side, of him is a tree-trunk; on the left appears Odysseus, on the right Diomedes. Odysseus is bearded, and wears pilos, endromides of skin laced up in front, and chlamys with stripes and crenelle borders, and spots on the breast denoting fur (?), fastened with a fibula in front; he holds a short drawn sword in right hand, and his left hand is enveloped in a mantle and raised towards Dolon's right shoulder. Diomedes seizes Dolon with right hand; he is bearded, and wears high-crested helmet (geison and cheek-pieces, crest supported on figure of crouching wolf), endromides as Odysseus, chlamys with stripes and crenelle borders, fastened with a fibula in front and floating behind; in left hand two spears. The scene is closed in by a tree-trunk on either side. (b) Two groups: (1) Female figure to right, with short curly hair, necklace, long chiton, and bordered himation over left shoulder, holds out a wreath in right hand to a nude youth facing her, who holds out his right hand. (2) Female figure with hair in a knot, fillet wound round head, necklace, long girt chiton and apoptygma, holds out a wreath in right hand and an embroidered taenia in left to a youth wrapped in a himation. All four figures wear sandals. --The British Museum, Trendall, A D, The Red-Figured Vases of Lucania, Campania and Sicily, Clarendon Press, 1967; 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
125. Dolon
- Description
- Pottery: red-figured calyx-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Large style, bordering on the grotesque; faces to front, elaborate costumes, and dramatic action. Above the designs, laurel-wreath and egg-moulding; below each, egg-moulding and palmette-patterns. (a) Dolon surprised by Odysseus and Diomedes: In the centre is Dolon moving to left, crouching in an attitude of surprise, and looking round; he has a moustache and whiskers, skin helmet, short girt chiton over which is a spotted skin tied in front, and quiver with wave-pattern slung at left side. His endromides are of skin with tops turned over, laced in front and fastened by a broad strap under the instep, leaving the toes and heel bare. In left hand he holds up his bow, in right he holds a spear which he endeavours to aim at Diomedes; the spear-head has a serrated edge. On either side, of him is a tree-trunk; on the left appears Odysseus, on the right Diomedes. Odysseus is bearded, and wears pilos, endromides of skin laced up in front, and chlamys with stripes and crenelle borders, and spots on the breast denoting fur (?), fastened with a fibula in front; he holds a short drawn sword in right hand, and his left hand is enveloped in a mantle and raised towards Dolon's right shoulder. Diomedes seizes Dolon with right hand; he is bearded, and wears high-crested helmet (geison and cheek-pieces, crest supported on figure of crouching wolf), endromides as Odysseus, chlamys with stripes and crenelle borders, fastened with a fibula in front and floating behind; in left hand two spears. The scene is closed in by a tree-trunk on either side. (b) Two groups: (1) Female figure to right, with short curly hair, necklace, long chiton, and bordered himation over left shoulder, holds out a wreath in right hand to a nude youth facing her, who holds out his right hand. (2) Female figure with hair in a knot, fillet wound round head, necklace, long girt chiton and apoptygma, holds out a wreath in right hand and an embroidered taenia in left to a youth wrapped in a himation. All four figures wear sandals. --The British Museum, Trendall, A D, The Red-Figured Vases of Lucania, Campania and Sicily, Clarendon Press, 1967; 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
126. 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
127. 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
128. 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
129. 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
130. 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
131. 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 bell-krater (wine-bowl). Designs in panels, red on black ground, with accessories of white and purple. Above the designs, (a) ivy-wreath and egg-moulding, (b) laurel-wreath; under the handles, palmette-patterns; below the designs, (a) maeander and chequer, (b) wave-pattern. (a) Alcmene appealing to Zeus against Amphitryon: In the centre is Alcmene, seated to left on an altar, which is painted white with egg-moulding along the top and an imitation of triglyphs below (markings in yellow); in front of it is erected a pyre of round logs. She has long curls, necklace and bracelets, an embroidered veil over her head, long chiton and apoptygma embroidered with chequer, palmettes, and other patterns, girdle with white studs, and sandals; her right hand is raised in supplication. Above the design is incised: ΑΛΚΜΗΝΗ, 'Αλκμήνη. On the right is Amphitryon to left setting fire to the pyre with a torch in each hand; he is bearded, with long hair, short embroidered chiton with engrailed and palmette patterns and border of white dots, embroidered chlamys with border of chequer over his arms, endromides, and purple cross-belt from which hangs a sheathed sword; above him is incised: ΑΜΦΙΤΡΥΩΝ, Άμφιτρύων. On the left is Antenor starting back to left, looking to right, beardless, with long curls, white pilos, short sleeved embroidered chiton with borders of engrailed and wave patterns, girdle and cross-belt with astragalus pattern, embroidered chlamys with border of dots, fastened with a fibula in front, and endromides; between his legs is a fallen yellow prochoos; above him is incised: ΑΝΤΗΝΩΡ, Άντήνωρ. Over the altar is a purple and white rainbow enclosing a black space which is filled with white dots, representing drops of the rain sent in answer to Alcmene's prayer; below the pyre are two white thunderbolts, as if cast by Zeus at Amphitryon and Antenor. On each side of the rainbow, on a higher level (indicated by a wavy white line ending in a palmette), is the upper half of a female figure pouring water out of a hydria, which is indicated by black and white streaks; these two figures are the Hyades. The one on the left has long hair, a broad purple fillet with white chevron pattern, necklace, long purple chiton embroidered with white dots, and white girdle; the other has her hair tied in a club with a purple fillet embroidered with white dots, which goes twice round her head; otherwise she is attired as the first. On the left, on the same level, is the upper part of Zeus to right, bearded, with long curls, wreath, and drapery over left shoulder with chequer border, in right hand a sceptre, left extended; he is inscribed ΙΕΥΣ, Ζέυς. On the right is Eos to left, with hair gathered in a knot at the back under a purple cap embroidered with white dots, earrings, necklace, long chiton and apoptygma, embroidered with palmettes and engrailed border; in right hand she holds up a mirror; above her is inscribed ΑΩΣ, (Ή)ώς. Under the lip of the vase is incised: ΠΥΘΩΝΕΓΡΑΦΕ, Πυθων έγραφε. (b) Dionysiac scene: In the centre is Dionysos, moving to right and looking to left, beardless, with long curls, round which is a taenia tied at the back, shoulder-belt with white dots, chlamys with border of dots over left arm, shoes, thyrsos in left hand, to which is tied a purple taenia; in right hand a wreath from which hangs a purple taenia. On either side is a Maenad dancing to right, the one on the right looking back. The one on the left has long curls, wreath, necklace, bracelets, long girt chiton and apoptygma reaching to the hips with borders of wave-pattern and dots, fastened with fibulae on the shoulders, shoes, thyrsos in right hand to which a purple taenia is tied, left hand raised. The one on the right has long curls, one of which hangs down in front of her face, wreath, necklace, bracelets, long transparent chiton embroidered with dots, which has slipped off her right shoulder, thyrsos in left hand with purple taenia tied to it, wreath in right at which she is looking. On a higher level are seen the upper parts of three figures: a youthful Satyr on the left, a youthful male figure in the centre, and Pan on the right. The Satyr wears wreath and shoulder-belt of white beads, and holds out a tympanon in left hand to the youth who faces him; he has a wreath, shoulder-belt as the Satyr, and thyrsos in left hand. Pan is to left, with small beard and moustache, wreath and shoulder-belt as the others; his body is stippled all over, and part of the goat-skin is visible; his hands are raised as if in astonishment. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Smith, A H; Pryce, F N, Corpus Vasorum Antiquorum: Great Britain 2, British Museum 2, London, BMP, 1926
- Description
- Pottery: red-figured bell-krater (wine-bowl). Designs in panels, red on black ground, with accessories of white and purple. Above the designs, (a) ivy-wreath and egg-moulding, (b) laurel-wreath; under the handles, palmette-patterns; below the designs, (a) maeander and chequer, (b) wave-pattern. (a) Alcmene appealing to Zeus against Amphitryon: In the centre is Alcmene, seated to left on an altar, which is painted white with egg-moulding along the top and an imitation of triglyphs below (markings in yellow); in front of it is erected a pyre of round logs. She has long curls, necklace and bracelets, an embroidered veil over her head, long chiton and apoptygma embroidered with chequer, palmettes, and other patterns, girdle with white studs, and sandals; her right hand is raised in supplication. Above the design is incised: ΑΛΚΜΗΝΗ, 'Αλκμήνη. On the right is Amphitryon to left setting fire to the pyre with a torch in each hand; he is bearded, with long hair, short embroidered chiton with engrailed and palmette patterns and border of white dots, embroidered chlamys with border of chequer over his arms, endromides, and purple cross-belt from which hangs a sheathed sword; above him is incised: ΑΜΦΙΤΡΥΩΝ, Άμφιτρύων. On the left is Antenor starting back to left, looking to right, beardless, with long curls, white pilos, short sleeved embroidered chiton with borders of engrailed and wave patterns, girdle and cross-belt with astragalus pattern, embroidered chlamys with border of dots, fastened with a fibula in front, and endromides; between his legs is a fallen yellow prochoos; above him is incised: ΑΝΤΗΝΩΡ, Άντήνωρ. Over the altar is a purple and white rainbow enclosing a black space which is filled with white dots, representing drops of the rain sent in answer to Alcmene's prayer; below the pyre are two white thunderbolts, as if cast by Zeus at Amphitryon and Antenor. On each side of the rainbow, on a higher level (indicated by a wavy white line ending in a palmette), is the upper half of a female figure pouring water out of a hydria, which is indicated by black and white streaks; these two figures are the Hyades. The one on the left has long hair, a broad purple fillet with white chevron pattern, necklace, long purple chiton embroidered with white dots, and white girdle; the other has her hair tied in a club with a purple fillet embroidered with white dots, which goes twice round her head; otherwise she is attired as the first. On the left, on the same level, is the upper part of Zeus to right, bearded, with long curls, wreath, and drapery over left shoulder with chequer border, in right hand a sceptre, left extended; he is inscribed ΙΕΥΣ, Ζέυς. On the right is Eos to left, with hair gathered in a knot at the back under a purple cap embroidered with white dots, earrings, necklace, long chiton and apoptygma, embroidered with palmettes and engrailed border; in right hand she holds up a mirror; above her is inscribed ΑΩΣ, (Ή)ώς. Under the lip of the vase is incised: ΠΥΘΩΝΕΓΡΑΦΕ, Πυθων έγραφε. (b) Dionysiac scene: In the centre is Dionysos, moving to right and looking to left, beardless, with long curls, round which is a taenia tied at the back, shoulder-belt with white dots, chlamys with border of dots over left arm, shoes, thyrsos in left hand, to which is tied a purple taenia; in right hand a wreath from which hangs a purple taenia. On either side is a Maenad dancing to right, the one on the right looking back. The one on the left has long curls, wreath, necklace, bracelets, long girt chiton and apoptygma reaching to the hips with borders of wave-pattern and dots, fastened with fibulae on the shoulders, shoes, thyrsos in right hand to which a purple taenia is tied, left hand raised. The one on the right has long curls, one of which hangs down in front of her face, wreath, necklace, bracelets, long transparent chiton embroidered with dots, which has slipped off her right shoulder, thyrsos in left hand with purple taenia tied to it, wreath in right at which she is looking. On a higher level are seen the upper parts of three figures: a youthful Satyr on the left, a youthful male figure in the centre, and Pan on the right. The Satyr wears wreath and shoulder-belt of white beads, and holds out a tympanon in left hand to the youth who faces him; he has a wreath, shoulder-belt as the Satyr, and thyrsos in left hand. Pan is to left, with small beard and moustache, wreath and shoulder-belt as the others; his body is stippled all over, and part of the goat-skin is visible; his hands are raised as if in astonishment. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Smith, A H; Pryce, F N, Corpus Vasorum Antiquorum: Great Britain 2, British Museum 2, London, BMP, 1926
- Description
- Pottery: red-figured bell-krater (wine-bowl). Designs in panels, red on black ground, with accessories of white and purple. Above the designs, (a) ivy-wreath and egg-moulding, (b) laurel-wreath; under the handles, palmette-patterns; below the designs, (a) maeander and chequer, (b) wave-pattern. (a) Alcmene appealing to Zeus against Amphitryon: In the centre is Alcmene, seated to left on an altar, which is painted white with egg-moulding along the top and an imitation of triglyphs below (markings in yellow); in front of it is erected a pyre of round logs. She has long curls, necklace and bracelets, an embroidered veil over her head, long chiton and apoptygma embroidered with chequer, palmettes, and other patterns, girdle with white studs, and sandals; her right hand is raised in supplication. Above the design is incised: ΑΛΚΜΗΝΗ, 'Αλκμήνη. On the right is Amphitryon to left setting fire to the pyre with a torch in each hand; he is bearded, with long hair, short embroidered chiton with engrailed and palmette patterns and border of white dots, embroidered chlamys with border of chequer over his arms, endromides, and purple cross-belt from which hangs a sheathed sword; above him is incised: ΑΜΦΙΤΡΥΩΝ, Άμφιτρύων. On the left is Antenor starting back to left, looking to right, beardless, with long curls, white pilos, short sleeved embroidered chiton with borders of engrailed and wave patterns, girdle and cross-belt with astragalus pattern, embroidered chlamys with border of dots, fastened with a fibula in front, and endromides; between his legs is a fallen yellow prochoos; above him is incised: ΑΝΤΗΝΩΡ, Άντήνωρ. Over the altar is a purple and white rainbow enclosing a black space which is filled with white dots, representing drops of the rain sent in answer to Alcmene's prayer; below the pyre are two white thunderbolts, as if cast by Zeus at Amphitryon and Antenor. On each side of the rainbow, on a higher level (indicated by a wavy white line ending in a palmette), is the upper half of a female figure pouring water out of a hydria, which is indicated by black and white streaks; these two figures are the Hyades. The one on the left has long hair, a broad purple fillet with white chevron pattern, necklace, long purple chiton embroidered with white dots, and white girdle; the other has her hair tied in a club with a purple fillet embroidered with white dots, which goes twice round her head; otherwise she is attired as the first. On the left, on the same level, is the upper part of Zeus to right, bearded, with long curls, wreath, and drapery over left shoulder with chequer border, in right hand a sceptre, left extended; he is inscribed ΙΕΥΣ, Ζέυς. On the right is Eos to left, with hair gathered in a knot at the back under a purple cap embroidered with white dots, earrings, necklace, long chiton and apoptygma, embroidered with palmettes and engrailed border; in right hand she holds up a mirror; above her is inscribed ΑΩΣ, (Ή)ώς. Under the lip of the vase is incised: ΠΥΘΩΝΕΓΡΑΦΕ, Πυθων έγραφε. (b) Dionysiac scene: In the centre is Dionysos, moving to right and looking to left, beardless, with long curls, round which is a taenia tied at the back, shoulder-belt with white dots, chlamys with border of dots over left arm, shoes, thyrsos in left hand, to which is tied a purple taenia; in right hand a wreath from which hangs a purple taenia. On either side is a Maenad dancing to right, the one on the right looking back. The one on the left has long curls, wreath, necklace, bracelets, long girt chiton and apoptygma reaching to the hips with borders of wave-pattern and dots, fastened with fibulae on the shoulders, shoes, thyrsos in right hand to which a purple taenia is tied, left hand raised. The one on the right has long curls, one of which hangs down in front of her face, wreath, necklace, bracelets, long transparent chiton embroidered with dots, which has slipped off her right shoulder, thyrsos in left hand with purple taenia tied to it, wreath in right at which she is looking. On a higher level are seen the upper parts of three figures: a youthful Satyr on the left, a youthful male figure in the centre, and Pan on the right. The Satyr wears wreath and shoulder-belt of white beads, and holds out a tympanon in left hand to the youth who faces him; he has a wreath, shoulder-belt as the Satyr, and thyrsos in left hand. Pan is to left, with small beard and moustache, wreath and shoulder-belt as the others; his body is stippled all over, and part of the goat-skin is visible; his hands are raised as if in astonishment. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Smith, A H; Pryce, F N, Corpus Vasorum Antiquorum: Great Britain 2, British Museum 2, London, BMP, 1926
135. Alkamena
- Description
- Pottery: red-figured bell-krater (wine-bowl). Designs in panels, red on black ground, with accessories of white and purple. Above the designs, (a) ivy-wreath and egg-moulding, (b) laurel-wreath; under the handles, palmette-patterns; below the designs, (a) maeander and chequer, (b) wave-pattern. (a) Alcmene appealing to Zeus against Amphitryon: In the centre is Alcmene, seated to left on an altar, which is painted white with egg-moulding along the top and an imitation of triglyphs below (markings in yellow); in front of it is erected a pyre of round logs. She has long curls, necklace and bracelets, an embroidered veil over her head, long chiton and apoptygma embroidered with chequer, palmettes, and other patterns, girdle with white studs, and sandals; her right hand is raised in supplication. Above the design is incised: ΑΛΚΜΗΝΗ, 'Αλκμήνη. On the right is Amphitryon to left setting fire to the pyre with a torch in each hand; he is bearded, with long hair, short embroidered chiton with engrailed and palmette patterns and border of white dots, embroidered chlamys with border of chequer over his arms, endromides, and purple cross-belt from which hangs a sheathed sword; above him is incised: ΑΜΦΙΤΡΥΩΝ, Άμφιτρύων. On the left is Antenor starting back to left, looking to right, beardless, with long curls, white pilos, short sleeved embroidered chiton with borders of engrailed and wave patterns, girdle and cross-belt with astragalus pattern, embroidered chlamys with border of dots, fastened with a fibula in front, and endromides; between his legs is a fallen yellow prochoos; above him is incised: ΑΝΤΗΝΩΡ, Άντήνωρ. Over the altar is a purple and white rainbow enclosing a black space which is filled with white dots, representing drops of the rain sent in answer to Alcmene's prayer; below the pyre are two white thunderbolts, as if cast by Zeus at Amphitryon and Antenor. On each side of the rainbow, on a higher level (indicated by a wavy white line ending in a palmette), is the upper half of a female figure pouring water out of a hydria, which is indicated by black and white streaks; these two figures are the Hyades. The one on the left has long hair, a broad purple fillet with white chevron pattern, necklace, long purple chiton embroidered with white dots, and white girdle; the other has her hair tied in a club with a purple fillet embroidered with white dots, which goes twice round her head; otherwise she is attired as the first. On the left, on the same level, is the upper part of Zeus to right, bearded, with long curls, wreath, and drapery over left shoulder with chequer border, in right hand a sceptre, left extended; he is inscribed ΙΕΥΣ, Ζέυς. On the right is Eos to left, with hair gathered in a knot at the back under a purple cap embroidered with white dots, earrings, necklace, long chiton and apoptygma, embroidered with palmettes and engrailed border; in right hand she holds up a mirror; above her is inscribed ΑΩΣ, (Ή)ώς. Under the lip of the vase is incised: ΠΥΘΩΝΕΓΡΑΦΕ, Πυθων έγραφε. (b) Dionysiac scene: In the centre is Dionysos, moving to right and looking to left, beardless, with long curls, round which is a taenia tied at the back, shoulder-belt with white dots, chlamys with border of dots over left arm, shoes, thyrsos in left hand, to which is tied a purple taenia; in right hand a wreath from which hangs a purple taenia. On either side is a Maenad dancing to right, the one on the right looking back. The one on the left has long curls, wreath, necklace, bracelets, long girt chiton and apoptygma reaching to the hips with borders of wave-pattern and dots, fastened with fibulae on the shoulders, shoes, thyrsos in right hand to which a purple taenia is tied, left hand raised. The one on the right has long curls, one of which hangs down in front of her face, wreath, necklace, bracelets, long transparent chiton embroidered with dots, which has slipped off her right shoulder, thyrsos in left hand with purple taenia tied to it, wreath in right at which she is looking. On a higher level are seen the upper parts of three figures: a youthful Satyr on the left, a youthful male figure in the centre, and Pan on the right. The Satyr wears wreath and shoulder-belt of white beads, and holds out a tympanon in left hand to the youth who faces him; he has a wreath, shoulder-belt as the Satyr, and thyrsos in left hand. Pan is to left, with small beard and moustache, wreath and shoulder-belt as the others; his body is stippled all over, and part of the goat-skin is visible; his hands are raised as if in astonishment. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Smith, A H; Pryce, F N, Corpus Vasorum Antiquorum: Great Britain 2, British Museum 2, London, BMP, 1926
136. Phylax play
- Description
- Pottery: red-figured bell-krater (wine-bowl). Designs red on black ground, with accessories of white, yellow, and purple. Above the designs, laurel-wreath; below, wave-pattern; below the handles, palmettes. Above, on obverse, two rows of vine-leaves, in which is intertwined a purple sash. (a) Scene from a farce, perhaps a father dragging a drunken youth home from a symposion: A high stage is represented, supported by three Doric columns (the centre one white); from it hang two purple taeniae and four vine-branches; on either side of the scene is a post representing the side-wall. On the stage are two comic actors confronted; the one on the right has a mask with short stiff white hair, beard and moustache, jerkin and anaxyrides in one piece, over which is a short white chiton with yellow stripes and purple border, embroidered chlamys round body and left arm, purple phallos and padded stomach, in left hand a hooked stick; he moves away to right, looking back, and with right hand grasps the other's left wrist. The latter has a mask with black hair and beard, wreath, lantern in right hand, phiale and purple taenia with yellow spots in left; he is attired as the first; behind him is a swan to right, pecking the ground. (b) Two ephebi confronted; the one on the left has long curly hair, wreath, long chiton, himation with dotted border, sandals, and staff in left hand. The other wears a fillet, and himation as the first; in right hand he holds out a taenia and a white fruit or ball, in left hand is a staff. Between them hangs a taenia. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Smith, A H; Pryce, F N, Corpus Vasorum Antiquorum: Great Britain 2, British Museum 2, London, BMP, 1926
- Description
- Pottery: red-figured neck-amphora. (a) Paris and Hermes on Mount Ida. Mount Ida is indicated on left by a series of wavy lines; Paris is seated on the top, a wreathed youth with wavy hair falling to his neck, and a mantle about his lower limbs and left arm, playing upon the chelys with a plectrum. On the right Hermes stands en face, but looking towards Paris; he is bearded, and has a short chiton, a chlamys fastened on the right shoulder, and a petasos hanging at his back; his left arm is concealed by his mantle; in his right hand, which hangs at his side, is a caduceus. (b) Draped ephebos resting right on staff, standing en face, looking to left. Fine style. Purple ground-lines, cord of petasos, pegs of lyre, and wreath; brown inner markings. Ends of hair in thinned black. Eye in developed profile type. Below a, sets of three maeanders alternately to right and left, separated by dotted cross squares; below b, a strip of key 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; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J, Corpus Vasorum Antiquorum: Great Britain 7, British Museum 5, London, BMP, 1930
- Description
- Pottery: Campanian red-figured hydria. Design red on black ground, with accessories of white and yellow. On the neck and at the back, palmettes; below the design, maeander and crosses. Weighing of Erotes: On the right is a female figure to left, with flesh painted white, hair in a knot, radiated ampyx, long chiton and himation in which her left hand is muffled, earrings and bracelets; in right hand she holds out a pair of scales, of which the one on the right descends. In each scale is a diminutive Eros, painted white, with hands extended; below is a seat with legs painted white, on which is a white ball with patterns in yellow. On the left is a youth to right, with himation over left shoulder, leaning on a staff, with left hand on right arm; behind him a taenia and rosette of dots; in the field, two phialae, a rosette of dots, and ivy-leaves; the ground-lines are indicated. Under each handle is a female head facing toward the design, with close embroidered cap. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Trendall, A D, The Red-Figured Vases of Lucania, Campania and Sicily, Clarendon Press, 1967; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Smith, A H; Pryce, F N, Corpus Vasorum Antiquorum: Great Britain 2, British Museum 2, London, BMP, 1926
- Description
- Pottery: red-figured hydria (water jar) with a scene at Agamemnon's tomb: Orestes and Pylades find Electra mourning, and together they plan to kill their mother Clytemnestra and her lover Aegisthus. The scene may have been inspired by Aeschylus' tragedy The Choephoroi. --The British Museum, Trendall, A D, The Red-Figured Vases of Lucania, Campania and Sicily, Clarendon Press, 1967
- Description
- Pottery: red-figured calyx-krater. (a) Contest of Heracles and Apollo for the tripod. Heracles, nude and bearded, wearing only a fillet, moves to left with the tripod held across him in his left hand, so that the legs pass on each side of his body; he turns round as he moves, brandishing over his head in his right his club. Apollo strides forward, seizing with his left hand the lebes of the tripod, and with his right the club of his opponent; he also is nude, and wears his hair looped up (with a tress in front of the ear), and a laurel-wreath. Between them the fawn of Apollo looks up at the club of Heracles and shrinks backward. Each of the figures has a line drawn across the left ankle. (b) Acamas and Demophon bringing back Aethra. Aethra is represented as an old bent woman in a long spotted dress of Ionic form, with a broad black stripe down the centre, and a heavy mantle gathered up over her shoulders, her hair looped up with a narrow fillet: she walks to left with the aid of a crutched staff in her right hand; beside her face is her name, ΑΕΘΡΑ, Αεθρα. Her left wrist is grasped by the right hand of Demophon (χειρ έπί καρπω), who helps her along, looking round at her. On the left Acamas follows as the rear guard, looking round to left as if to guard against attack. Each of the warriors is bearded, and has a short chiton decorated with minute crosses, a cuirass with scale pattern, a mantle falling from the shoulders in pteryges, sword at side, long hair falling loose, helmet, shield, and spear; the helmet of Demophon has visor and raised cheek-pieces; his shield has the device (in black silhouette) of a Centaur on a plinth, galloping to left, swinging with both hands over his back a pine tree; his greaves are decorated with spirals; beside his head, ΔΕΜΟΘΟΝ, Αημόφων. Acamas has a helmet tilted back, and a shield which is black with a red rim, and has for device a red-figure Pegasos prancing to left. The lower edges of his greaves are indicated, but the artist seems to have omitted the remainder. Beside his head, AKAMAΣ, Ακαμας. On the foot, an incised character. Purple fillet, sword-belts, and inscriptions. The hair of Aethra has been painted white on black, with details in incised lines. Brown inner markings, pupil of eye; a brown wash is used for the coat of the fawn, the legs and ears (ωτα) of the tripod. The hair and beard of Heracles are indicated as short curls by raised dots of black paint. The eyes are in archaic type, with inner angle open; that of Heracles has a dotted pupil; both eyes in a have eyelashes along the upper and lower lids. The beards are long and wedge-shaped; nostrils indicated by a very faint black line; and the same is used for indicating the outline of the cheek of Aethra. The design is bordered above and below by a thin red line, within the moulding of the vase, the crest of Acamas alone exceeding it. At the bottom of the body is a band of tongue 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
- Description
- Pottery: red-figured hydria (water-jar). Heracles killing Nessos. Heracles, youthful, beardless, with lion-skin over head, forepaws knotted on his chest, striding to right, brandishing over his head his club; with his left hand he has seized by the throat Nessos, who has fallen on his right knee to the right and looks back (in three-quarter face), vainly trying with his right to loosen the grasp of Heracles; he is bald on the crown, but has a small circular patch of hair over the centre of the forehead; he has bushy hair at the back and beard, and horse's ears. His left arm passes behind the back of Deianeira, who moves to right, looking back and extending her right towards Heracles for assistance; with her left she raises the edge of a veil which covers the back of her head and her left shoulder. She wears a long-sleeved chiton, a mantle, earrings with pendent palmettes, and a saccos. Over the back of Nessos is inscribed καλός. Large style with remains of severe period. Purple has been used for the veil of Deianeira, now faded to white; also for a wound in the crown of the Centaur, from which blood flows down his chest; and for the inscription. Brown inner markings, hair on cheek of Heracles, and shading of the outside of the lion-skin. Eye in archaic type, with dotted pupil and brown shading around the lid: the eyelashes of the Centaur are drawn in brown. The fringe of hair over the forehead is indicated in rows of black dots. The design curves up over the shoulder. Below, a strip of maeander; above, of alternate palmette and honeysuckle; round the lip, egg pattern; below the back handle, a small palmette; around the insertion of the side handles, tongue 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; Rawson, Jessica, Chinese Ornament: The Lotus and the Dragon, London, BMP, 1984; Walters, H B; Forsdyke, E J, Corpus Vasorum Antiquorum: Great Britain 7, British Museum 5, London, BMP, 1930
142. Orestes at Delphi
- Description
- Pottery: red-figured column-krater: Orestes, Apollo and a Fury (back: procession of revellers). --The British Museum
143. Orestes at Delphi
- Description
- Pottery: red-figured column-krater: Orestes, Apollo and a Fury (back: procession of revellers). --The British Museum
![[No Caption] Steven Lowenstam Collection](/thumbnails/d/3/oregondigital-df691k33d.jpg "[No Caption] Steven Lowenstam Collection")
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
![[No Caption] Steven Lowenstam Collection](/thumbnails/v/1/oregondigital-df691k31v.jpg "[No Caption] Steven Lowenstam Collection")
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
![[No Caption] Steven Lowenstam Collection](/thumbnails/j/8/oregondigital-df691k28j.jpg "[No Caption] Steven Lowenstam Collection")
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
147. Podanipfer
- Description
- Pottery: red-figured podanipter (foot-bath). Designs red and white on black ground, with yellow accessories. Round the edge, egg-moulding; between the exterior designs, palmettes and rosettes; below all round, maeander. Vertical handles with knobs on the top and on either side; on the handles, laurel; on the knobs, stars in white. Interior, in a medallion with vine-wreath in white all round: A luxuriant plant with tendrils and flowers; on a large flower in the centre rests a female head turned partly to right, with curly hair, beaded ampyx, earrings, and double necklace. Below, wave-pattern; in the exergue, three rosettes of dots. Exterior: (a) Youth seated to left on rocky ground, with fillet (ends floating), and drapery under him, in right hand a phiale containing flowers and fruit; a laurel-branch leans against his left arm. In front of him is a rosette; ground-lines indicated below him. He looks back at a female figure seated on a rock to left, with hair tied in a bunch, open cap radiated in front, earrings, necklace, bracelets, long girt chiton with looped-up sleeves, himation over lower limbs, and shoes, in right hand a wreath, in left a cista ornamented with chevron pattern; above, two rosettes. (b) Female figure seated on a rock to right, attired as the one on (a); in left hand a cista ornamented with chevron patterns; above her, a star. Before her is a youth as on (a), looking back, in left hand a phiale containing flowers, in right hand a bunch of grapes; against his right arm is a laurel-branch. Above are two rosettes; the ground-lines are indicated. --The British Museum, Trendall, A D; Cambitoglou, Alexander, The red-figured vases of Apulia, Volumes 1-2, Oxford, Clarendon press, 1978; 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; Rawson, Jessica, Chinese Ornament: The Lotus and the Dragon, London, BMP, 1984
148. Achilleus' Armor
- Description
- Pottery: red-figured bell-krater. (a) Type of Thetis bringing armour to Achilles. In the centre, a wreathed youth (Achilles?) sits in a chair en face, his feet on a footstool, a mantle around his legs; in his right he holds upright a spear, his left elbow rests on his knee, the chin resting on the left hand; he looks to right at Thetis (?), who offers him with her right a helmet, supporting on its edge with her left a shield (device, a snake arching to left). On left a woman stands with a phiale in left and oinochoe in right, wearing a saccos; Thetis has a broad fillet, radiated; each wears a long chiton, mantle, and necklace. (b) On the right a youth in a mantle leans on a staff, extending his right as if addressing two women on the left. The central one stands en face, looking to right and holding upright in her right a striated sceptre. On left a woman in a saccos stands holding out her right hand; the head of the central figure is indistinct. Large style. Purple wreath. Brown inner markings. Below a, maeander; round the handles, egg pattern; round the lip, a myrtle-wreath. --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
149. Leda and Swan
- Description
- The excessive mourning of the mythological figure Niobe decorates this Apulian red-figure loutrophoros. Niobe's foolish boasting led to the slaughter of her fourteen children by the gods Apollo and Artemis. For nine days and nights, she mourned, ignoring family members' attempts to comfort her. Finally, Zeus took pity on Niobe's grief and turned her to stone. On this vase, Niobe stands in a funerary naiskos surrounded by four attendants holding grave offerings. Her brother Pelops drives up in his chariot with his bride Hippodameia to urge her to stop grieving. By painting the lower part of her dress white, the painter indicated Niobe slowly turning to stone from the feet up. The back of the vase also depicts a funerary naiskos flanked by attendants and containing a large funerary lekythos. Both the structure and the vessel are painted white to represent stone. Loutrophoroi, made of both terracotta and marble, were placed as markers on the graves of the unwed. In the scene on the front, two loutrophoroi flank Niobe. The one on the right with figural decoration is the same form as this vase. As these painted depictions show, this terracotta loutrophoros would originally have been placed on a stand. --The J. Paul Getty Museum, "Acquisitions/1986." The J. Paul Getty Museum Journal 15 (1987), pp. 163 - 164, no. 17.; Simon, Erika. "Eirene und Pax. Friedensgottinen in der Antike," Sitzingsberichte der Wissenshaftlichen Gesellschaft an der Johann Wolfgang Goethe-Universitat, Frankfurt, 24,3 (1988), p. 68. pl. 7 (detail).; Schauenburg, Konrad. "Zur Grabsymbolik apulischen Vasen," Jahrbuch des Deutschen Archaeologischen Instituts 104 (1989), pp. 19-60. pp. 46-47; figs. 31-32.; Trendall, Arthur Dale. The Red-figured Vases of South Italy and Sicily. London and New York: Thames and Hudson, 1989. pp. 85-86; fig. 184.; Hofstetter, Eva. Sirenem im archaischen und klassischen Griechenland. Wurzburg: 1990. p. 268, ff. passim, no. W 45; pl. 29, 1; Jentoft-Nilsen, Marit R., and Arthur Dale Trendall. Corpus Vasorum Antiquorum. J. Paul Getty Museum 4 (USA 27). Malibu: 1991. Pp. 6-9; fig. 3; pls. 186-188; 189, 3-5.; The J. Paul Getty Museum Handbook of the Collections. 3rd ed. (Malibu: J. Paul Getty Museum, 1991), p. 53.; Trendall, Arthur Dale, and Alexander Cambitoglou. Second Supplement to The Red-figured Vases of Apulia (Supplement to the Bulletin of the Institute of Classical Studies of the University of London, 60). London: 1991-1992. pp. 180-181, no. 20/278-2.; Kahil, Lily, and Noelle Icard-Gianolio. "Leda," Lexicon Iconographicum Mythologiae Classicae VI (1992), pp. 231-246. p. 233, no. 17; pls. 110, 111.; Aellen, Christian. A la Recherche de l'Ordre Cosmique. Forme et Fonction des Personifications dans la Ceramique Italiote. Zurich: 1994. p. 212, cat. no. 85; pp. 21, 30, 94, 99, 104-105, 120, 130, 139-140, 142-143, 146, 150, 156-158, 182, 191-192; pls. 101-104.; The J. Paul Getty Museum Handbook of the Collections. 4th ed. (Los Angeles: J. Paul Getty Museum, 1997), p. 55.; Kossatz-Deissmann, Anneliese. "Eniautos," Lexicon Iconographicum Mythologiae Classicae VIII (1997), p. 573. pl. 361; Kossatz-Deissmann, Anneliese. "Astrape," Lexicon Iconographicum Mythologiae Classicae VIII (1997), pp. 535-536. no. 5; pl. 349; Bazant, Jan. "Hypnos," Lexicon Iconographicum Mythologiae Classicae VIII (1997), pp. 643-645. p. 644, no. 2; Towne Markus, Elana. Masterpieces of the J. Paul Getty Museum: Antiquities. (Los Angeles: J. Paul Getty Museum, 1997) pp. 72, 93.; The J. Paul Getty Museum Handbook of the Collections. 6th ed. (Los Angeles: J. Paul Getty Museum, 2001), p. 55.; Tsiafakis, Despoina. "Life and Death at the Hands of a Siren," Studia Varia from the J. Paul Getty Museum 2. Occasional Papers on Antiquities 10 (2001), pp. 7-24. p. 12; fig. 4.; The J. Paul Getty Museum Handbook of the Antiquities Collection (Los Angeles: J. Paul Getty Museum, 2002) p. 124.; Stafford, Emma. "Brother, Son, Friend, and Healer: Sleep the God." In Sleep. Thomas Wiedemann and Ken Dowden, eds. (Bari: Levante Editori, 2003) pp. 85-88, figs. 9a-9c.; Powell, Barry B. Classical Myth, fourth edition (New Jersey: Pearson Education Inc, 2004) pp. 515-516, fig. 19.2.; Parker, Robert. Polytheism and Saociety at Athens (Oxford: Oxford University Press, 2005) pp. 337, 339, fig. 26.; Powell, Barry B. Classical Myth, fifth edition (Upper Saddle River, New Jersey: Pearson Prentice Hall, 2007), p. 534, fig. 19.2.; The J. Paul Getty Museum Handbook of the Collections. 7th ed. (Los Angeles: J. Paul Getty Museum, 2007), p. 36, ill.; Taplin, Oliver. Pots & Plays: Interactions between Tragedy and Greek Vase-Painting in the Fourth Century B.C. (Los Angeles: J. Paul Getty Museum, 2007) , pp. 229-230, ills.; Kostouros, George. A Narrative of the Nemean Games (Nemea: George Kostouros, 2008) , p. 332, fig. 416.; Powell, Barry B. Classical Myth (Madison: Pearson Longman, 2009) pg.509, fig.19.2; Blamberger, Gunter and Boschung, Dietrich. Morphomata Kulturelle Figurationen: Genese, Dynamik und Medialitat (Munich: Wilhelm Fink, 2011), p. 59, 208-209, 211, 216, figs. 5-7,9,12. Pg. 216 also features an image of the vessel.; Stansbury-O'Donnell, Mark D. Looking at Greek Art (New York: Cambridge University Press, 2010), pp.13, 32,43,129,179,213, figs.9,15,20,48,66,82.; Powell, Barry B. Classical Myth, 7e... Textbook and e-book slated for September 2013; more information forthcoming.
150. Asterope
- Description
- The excessive mourning of the mythological figure Niobe decorates this Apulian red-figure loutrophoros. Niobe's foolish boasting led to the slaughter of her fourteen children by the gods Apollo and Artemis. For nine days and nights, she mourned, ignoring family members' attempts to comfort her. Finally, Zeus took pity on Niobe's grief and turned her to stone. On this vase, Niobe stands in a funerary naiskos surrounded by four attendants holding grave offerings. Her brother Pelops drives up in his chariot with his bride Hippodameia to urge her to stop grieving. By painting the lower part of her dress white, the painter indicated Niobe slowly turning to stone from the feet up. The back of the vase also depicts a funerary naiskos flanked by attendants and containing a large funerary lekythos. Both the structure and the vessel are painted white to represent stone. Loutrophoroi, made of both terracotta and marble, were placed as markers on the graves of the unwed. In the scene on the front, two loutrophoroi flank Niobe. The one on the right with figural decoration is the same form as this vase. As these painted depictions show, this terracotta loutrophoros would originally have been placed on a stand. --The J. Paul Getty Museum, "Acquisitions/1986." The J. Paul Getty Museum Journal 15 (1987), pp. 163 - 164, no. 17.; Simon, Erika. "Eirene und Pax. Friedensgottinen in der Antike," Sitzingsberichte der Wissenshaftlichen Gesellschaft an der Johann Wolfgang Goethe-Universitat, Frankfurt, 24,3 (1988), p. 68. pl. 7 (detail).; Schauenburg, Konrad. "Zur Grabsymbolik apulischen Vasen," Jahrbuch des Deutschen Archaeologischen Instituts 104 (1989), pp. 19-60. pp. 46-47; figs. 31-32.; Trendall, Arthur Dale. The Red-figured Vases of South Italy and Sicily. London and New York: Thames and Hudson, 1989. pp. 85-86; fig. 184.; Hofstetter, Eva. Sirenem im archaischen und klassischen Griechenland. Wurzburg: 1990. p. 268, ff. passim, no. W 45; pl. 29, 1; Jentoft-Nilsen, Marit R., and Arthur Dale Trendall. Corpus Vasorum Antiquorum. J. Paul Getty Museum 4 (USA 27). Malibu: 1991. Pp. 6-9; fig. 3; pls. 186-188; 189, 3-5.; The J. Paul Getty Museum Handbook of the Collections. 3rd ed. (Malibu: J. Paul Getty Museum, 1991), p. 53.; Trendall, Arthur Dale, and Alexander Cambitoglou. Second Supplement to The Red-figured Vases of Apulia (Supplement to the Bulletin of the Institute of Classical Studies of the University of London, 60). London: 1991-1992. pp. 180-181, no. 20/278-2.; Kahil, Lily, and Noelle Icard-Gianolio. "Leda," Lexicon Iconographicum Mythologiae Classicae VI (1992), pp. 231-246. p. 233, no. 17; pls. 110, 111.; Aellen, Christian. A la Recherche de l'Ordre Cosmique. Forme et Fonction des Personifications dans la Ceramique Italiote. Zurich: 1994. p. 212, cat. no. 85; pp. 21, 30, 94, 99, 104-105, 120, 130, 139-140, 142-143, 146, 150, 156-158, 182, 191-192; pls. 101-104.; The J. Paul Getty Museum Handbook of the Collections. 4th ed. (Los Angeles: J. Paul Getty Museum, 1997), p. 55.; Kossatz-Deissmann, Anneliese. "Eniautos," Lexicon Iconographicum Mythologiae Classicae VIII (1997), p. 573. pl. 361; Kossatz-Deissmann, Anneliese. "Astrape," Lexicon Iconographicum Mythologiae Classicae VIII (1997), pp. 535-536. no. 5; pl. 349; Bazant, Jan. "Hypnos," Lexicon Iconographicum Mythologiae Classicae VIII (1997), pp. 643-645. p. 644, no. 2; Towne Markus, Elana. Masterpieces of the J. Paul Getty Museum: Antiquities. (Los Angeles: J. Paul Getty Museum, 1997) pp. 72, 93.; The J. Paul Getty Museum Handbook of the Collections. 6th ed. (Los Angeles: J. Paul Getty Museum, 2001), p. 55.; Tsiafakis, Despoina. "Life and Death at the Hands of a Siren," Studia Varia from the J. Paul Getty Museum 2. Occasional Papers on Antiquities 10 (2001), pp. 7-24. p. 12; fig. 4.; The J. Paul Getty Museum Handbook of the Antiquities Collection (Los Angeles: J. Paul Getty Museum, 2002) p. 124.; Stafford, Emma. "Brother, Son, Friend, and Healer: Sleep the God." In Sleep. Thomas Wiedemann and Ken Dowden, eds. (Bari: Levante Editori, 2003) pp. 85-88, figs. 9a-9c.; Powell, Barry B. Classical Myth, fourth edition (New Jersey: Pearson Education Inc, 2004) pp. 515-516, fig. 19.2.; Parker, Robert. Polytheism and Saociety at Athens (Oxford: Oxford University Press, 2005) pp. 337, 339, fig. 26.; Powell, Barry B. Classical Myth, fifth edition (Upper Saddle River, New Jersey: Pearson Prentice Hall, 2007), p. 534, fig. 19.2.; The J. Paul Getty Museum Handbook of the Collections. 7th ed. (Los Angeles: J. Paul Getty Museum, 2007), p. 36, ill.; Taplin, Oliver. Pots & Plays: Interactions between Tragedy and Greek Vase-Painting in the Fourth Century B.C. (Los Angeles: J. Paul Getty Museum, 2007) , pp. 229-230, ills.; Kostouros, George. A Narrative of the Nemean Games (Nemea: George Kostouros, 2008) , p. 332, fig. 416.; Powell, Barry B. Classical Myth (Madison: Pearson Longman, 2009) pg.509, fig.19.2; Blamberger, Gunter and Boschung, Dietrich. Morphomata Kulturelle Figurationen: Genese, Dynamik und Medialitat (Munich: Wilhelm Fink, 2011), p. 59, 208-209, 211, 216, figs. 5-7,9,12. Pg. 216 also features an image of the vessel.; Stansbury-O'Donnell, Mark D. Looking at Greek Art (New York: Cambridge University Press, 2010), pp.13, 32,43,129,179,213, figs.9,15,20,48,66,82.; Powell, Barry B. Classical Myth, 7e... Textbook and e-book slated for September 2013; more information forthcoming.
151. Asterope
- Description
- The excessive mourning of the mythological figure Niobe decorates this Apulian red-figure loutrophoros. Niobe's foolish boasting led to the slaughter of her fourteen children by the gods Apollo and Artemis. For nine days and nights, she mourned, ignoring family members' attempts to comfort her. Finally, Zeus took pity on Niobe's grief and turned her to stone. On this vase, Niobe stands in a funerary naiskos surrounded by four attendants holding grave offerings. Her brother Pelops drives up in his chariot with his bride Hippodameia to urge her to stop grieving. By painting the lower part of her dress white, the painter indicated Niobe slowly turning to stone from the feet up. The back of the vase also depicts a funerary naiskos flanked by attendants and containing a large funerary lekythos. Both the structure and the vessel are painted white to represent stone. Loutrophoroi, made of both terracotta and marble, were placed as markers on the graves of the unwed. In the scene on the front, two loutrophoroi flank Niobe. The one on the right with figural decoration is the same form as this vase. As these painted depictions show, this terracotta loutrophoros would originally have been placed on a stand. --The J. Paul Getty Museum, "Acquisitions/1986." The J. Paul Getty Museum Journal 15 (1987), pp. 163 - 164, no. 17.; Simon, Erika. "Eirene und Pax. Friedensgottinen in der Antike," Sitzingsberichte der Wissenshaftlichen Gesellschaft an der Johann Wolfgang Goethe-Universitat, Frankfurt, 24,3 (1988), p. 68. pl. 7 (detail).; Schauenburg, Konrad. "Zur Grabsymbolik apulischen Vasen," Jahrbuch des Deutschen Archaeologischen Instituts 104 (1989), pp. 19-60. pp. 46-47; figs. 31-32.; Trendall, Arthur Dale. The Red-figured Vases of South Italy and Sicily. London and New York: Thames and Hudson, 1989. pp. 85-86; fig. 184.; Hofstetter, Eva. Sirenem im archaischen und klassischen Griechenland. Wurzburg: 1990. p. 268, ff. passim, no. W 45; pl. 29, 1; Jentoft-Nilsen, Marit R., and Arthur Dale Trendall. Corpus Vasorum Antiquorum. J. Paul Getty Museum 4 (USA 27). Malibu: 1991. Pp. 6-9; fig. 3; pls. 186-188; 189, 3-5.; The J. Paul Getty Museum Handbook of the Collections. 3rd ed. (Malibu: J. Paul Getty Museum, 1991), p. 53.; Trendall, Arthur Dale, and Alexander Cambitoglou. Second Supplement to The Red-figured Vases of Apulia (Supplement to the Bulletin of the Institute of Classical Studies of the University of London, 60). London: 1991-1992. pp. 180-181, no. 20/278-2.; Kahil, Lily, and Noelle Icard-Gianolio. "Leda," Lexicon Iconographicum Mythologiae Classicae VI (1992), pp. 231-246. p. 233, no. 17; pls. 110, 111.; Aellen, Christian. A la Recherche de l'Ordre Cosmique. Forme et Fonction des Personifications dans la Ceramique Italiote. Zurich: 1994. p. 212, cat. no. 85; pp. 21, 30, 94, 99, 104-105, 120, 130, 139-140, 142-143, 146, 150, 156-158, 182, 191-192; pls. 101-104.; The J. Paul Getty Museum Handbook of the Collections. 4th ed. (Los Angeles: J. Paul Getty Museum, 1997), p. 55.; Kossatz-Deissmann, Anneliese. "Eniautos," Lexicon Iconographicum Mythologiae Classicae VIII (1997), p. 573. pl. 361; Kossatz-Deissmann, Anneliese. "Astrape," Lexicon Iconographicum Mythologiae Classicae VIII (1997), pp. 535-536. no. 5; pl. 349; Bazant, Jan. "Hypnos," Lexicon Iconographicum Mythologiae Classicae VIII (1997), pp. 643-645. p. 644, no. 2; Towne Markus, Elana. Masterpieces of the J. Paul Getty Museum: Antiquities. (Los Angeles: J. Paul Getty Museum, 1997) pp. 72, 93.; The J. Paul Getty Museum Handbook of the Collections. 6th ed. (Los Angeles: J. Paul Getty Museum, 2001), p. 55.; Tsiafakis, Despoina. "Life and Death at the Hands of a Siren," Studia Varia from the J. Paul Getty Museum 2. Occasional Papers on Antiquities 10 (2001), pp. 7-24. p. 12; fig. 4.; The J. Paul Getty Museum Handbook of the Antiquities Collection (Los Angeles: J. Paul Getty Museum, 2002) p. 124.; Stafford, Emma. "Brother, Son, Friend, and Healer: Sleep the God." In Sleep. Thomas Wiedemann and Ken Dowden, eds. (Bari: Levante Editori, 2003) pp. 85-88, figs. 9a-9c.; Powell, Barry B. Classical Myth, fourth edition (New Jersey: Pearson Education Inc, 2004) pp. 515-516, fig. 19.2.; Parker, Robert. Polytheism and Saociety at Athens (Oxford: Oxford University Press, 2005) pp. 337, 339, fig. 26.; Powell, Barry B. Classical Myth, fifth edition (Upper Saddle River, New Jersey: Pearson Prentice Hall, 2007), p. 534, fig. 19.2.; The J. Paul Getty Museum Handbook of the Collections. 7th ed. (Los Angeles: J. Paul Getty Museum, 2007), p. 36, ill.; Taplin, Oliver. Pots & Plays: Interactions between Tragedy and Greek Vase-Painting in the Fourth Century B.C. (Los Angeles: J. Paul Getty Museum, 2007) , pp. 229-230, ills.; Kostouros, George. A Narrative of the Nemean Games (Nemea: George Kostouros, 2008) , p. 332, fig. 416.; Powell, Barry B. Classical Myth (Madison: Pearson Longman, 2009) pg.509, fig.19.2; Blamberger, Gunter and Boschung, Dietrich. Morphomata Kulturelle Figurationen: Genese, Dynamik und Medialitat (Munich: Wilhelm Fink, 2011), p. 59, 208-209, 211, 216, figs. 5-7,9,12. Pg. 216 also features an image of the vessel.; Stansbury-O'Donnell, Mark D. Looking at Greek Art (New York: Cambridge University Press, 2010), pp.13, 32,43,129,179,213, figs.9,15,20,48,66,82.; Powell, Barry B. Classical Myth, 7e... Textbook and e-book slated for September 2013; more information forthcoming.
- Description
- On left is Lekythos, Vase E575 by an unknown Ancient Greek (vase painter) in ca. 470 BCE measuring 39.37 cm in Height. Vase was created in Attica, Central Greece and Euboea, Greece, discovered Gela, Sicily, Italy, and housed at British Museum, London, England, United Kingdom under Repository ID: 1863,0728.97. Pottery: red-figured lekythos. Woman pouring wine for a warrior. On the right stands a bearded warrior en face, with left foot turned to right, with short tied chiton, mantle over shoulders, helmet with raised cheek-pieces, greaves, spear held upright in right, and shield (device, an ithyphallic satyr standing to left with right leg advanced, body thrown back, right hand on hip, blowing a long trumpet; in black silhouette, resting on a thin black ground-line). From the shield hangs an apron attached to the rim by three black studs, with a border of zigzags between them; the lower edge is fringed with tabs in form of spear-heads; above this is an embattled line, and then a large human left eye and eyebrow, with eyelashes above and below, indicated in thinned black. The warrior looks to left at a woman in long Ionic chiton and mantle, hair looped up with fillet, who offers him with her right a phiale filled from an oinochoe in her left hand. Late stage of large style. Brown inner markings and edge of hair. Below and above, maeander. On shoulder, central inverted palmette with two side palmettes and two flowers (partly broken away); round neck, egg pattern. --The British Museum; On right is Lekythos, Vase E576 by Painter of the Yale Lekythos in 470-450 BCE measuring 35.56 cm in Height. Vase was created in Attica, Central Greece and Euboea, Greece, discovered Gela, Sicily, Italy, and housed at British Museum, London, England, United Kingdom under Repository ID: 1863,0728.348. Pottery: red-figured lekythos. Nike pouring wine for a warrior. On the right a youthful warrior stands en face, with short chiton, cuirass (decorated with panther's mask in outline on shoulder-piece), helmet with raised cheek-pieces, greaves and shield (device, a lion lying to left, black silhouette on black ground-line), holding spear upright in right hand; he looks to left at Nike, who pours wine from an oinochoe into a phiale; she wears a long Ionic chiton, mantle and sphendone, and her hair is looped up. Late stage of large style. Brown inner markings and edge of hair. Below and above, maeander. On shoulder, central inverted palmette with two side palmettes and two flower; round neck, egg pattern. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
153. Departure
- Description
- Pottery: red-figured lekythos. Nike pouring wine for a warrior. On the right a youthful warrior stands en face, with short chiton, cuirass (decorated with panther's mask in outline on shoulder-piece), helmet with raised cheek-pieces, greaves and shield (device, a lion lying to left, black silhouette on black ground-line), holding spear upright in right hand; he looks to left at Nike, who pours wine from an oinochoe into a phiale; she wears a long Ionic chiton, mantle and sphendone, and her hair is looped up. Late stage of large style. Brown inner markings and edge of hair. Below and above, maeander. On shoulder, central inverted palmette with two side palmettes and two flower; round neck, egg pattern. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
- Description
- Pottery: red-figured oinochoe with trefoil mouth. On the body and shoulder: Boreas seizing Oreithyia. Boreas, a winged bearded figure with long hair, wearing a sleeveless chitoniscos tied, and endromides with wings or flaps, rushes to left, seizing with both hands the left arm of Oreithyia, who flees, looking back and raising both hands with a gesture of alarm. She wears a woollen Ionic chiton, and a small himation fastened on the right shoulder, and her hair is looped up with a fillet (left red). On the left a Nymph (Herse?) flees, in a similar dress and attitude; her himation is fastened on the right shoulder, and her hair, confined with a fillet, falls down her back, with the ends fastened in a roll; she wears earrings. On the extreme right, Erechtheus, a bearded bald old man, is seated on a rock, closely muffled in an himation which conceals his mouth and the lower part of his head; he looks downward in an attitude of dejection, his right hand striking his forehead, his left resting on a crutch-staff. He wears a fillet, indicated by a thin black line. On the foot, incised characters. Severe style. Purple fillet of girl on left and surface of lip of the vase. Brown upper folds of the long chitons, markings of rock and of anatomy; also the ends of the hair and beard of Boreas. Eye of archaic type, with inner angle open. The lower folds of the chiton of Oreithyia are grouped in regular sets of six to eight; that of the girl on left has no folds shown. The hair and beard of the old man are indicated in outline only; those of Boreas are treated as a black mass, from which long brown strokes are drawn. Below, a thin red line; above, a strip of tongue pattern, and on each side a strip of net pattern. Around the lower part of the neck is a moulding, on which is a band of pairs of maeanders separated by red 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
- Description
- 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, Pottery: red-figured hydria (water-jar). Perseus fleeing after cutting off Medusa's head. In the centre Medusa, a winged, headless figure in a short tied bordered chiton with sleeves, has fallen to the left, but supports herself on her rigid arms, resting only on the finger-tips, the blood flowing in a broad stream from the wound. On the left, Perseus flees to left, both arms extended in front of him, and looking round at Medusa; he wears a chiton like that of Medusa, the winged hat (κυνή Αίδον) and talaria; at his side there hangs from his left shoulder the wallet (kibisis), in which the upper part of the Gorgoneion is visible, en face (with closed eyes, black hair around the forehead, and outside this a broad strip forming a sort of frame, shaded brownish); in his left hand is the harpe, sickle-shaped, the edge jagged, the handle ending in a spiral; his long hair is looped up over his ears. On the right of Medusa, Athene runs to the left, carrying a very long spear over her right shoulder, and with her left hand raising the edge of her skirt; she wears a long undertied sleeved chiton, which has no folds, but a pattern of Vs, dotted aegis fringed with snakes, and a tall crested helmet; her long hair floats back, the ends drawn in thinned black. Advanced stage of severe style. Purple blood. Brown inner markings, upper folds of Medusa's chiton, and pinion feathers of her wings; on the upper part of Perseus' chiton no folds are visible. Eye in transition type (disc close to inner angle, which is opened). The design is principally on the shoulder, and comes very little below the level of the side handles; below it, a strip of sets of three maeanders separated by red cross squares. Round the lip, egg pattern. --The British Museum
- Description
- Pottery: red-figured hydria (water-jar). Perseus fleeing after cutting off Medusa's head. In the centre Medusa, a winged, headless figure in a short tied bordered chiton with sleeves, has fallen to the left, but supports herself on her rigid arms, resting only on the finger-tips, the blood flowing in a broad stream from the wound. On the left, Perseus flees to left, both arms extended in front of him, and looking round at Medusa; he wears a chiton like that of Medusa, the winged hat (κυνή Αίδον) and talaria; at his side there hangs from his left shoulder the wallet (kibisis), in which the upper part of the Gorgoneion is visible, en face (with closed eyes, black hair around the forehead, and outside this a broad strip forming a sort of frame, shaded brownish); in his left hand is the harpe, sickle-shaped, the edge jagged, the handle ending in a spiral; his long hair is looped up over his ears. On the right of Medusa, Athene runs to the left, carrying a very long spear over her right shoulder, and with her left hand raising the edge of her skirt; she wears a long undertied sleeved chiton, which has no folds, but a pattern of Vs, dotted aegis fringed with snakes, and a tall crested helmet; her long hair floats back, the ends drawn in thinned black. Advanced stage of severe style. Purple blood. Brown inner markings, upper folds of Medusa's chiton, and pinion feathers of her wings; on the upper part of Perseus' chiton no folds are visible. Eye in transition type (disc close to inner angle, which is opened). The design is principally on the shoulder, and comes very little below the level of the side handles; below it, a strip of sets of three maeanders separated by red cross squares. Round the lip, egg pattern. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B; Forsdyke, E J, Corpus Vasorum Antiquorum: Great Britain 7, British Museum 5, London, BMP, 1930
- Description
- Pottery: red-figured situla (bucket) with Paris coming to abduct Helen, as Aphrodite and Eros watch. On the reverse are five men, perhaps competitors in a torch race. --The British Museum, Trendall, A D, The Red-Figured Vases of Lucania, Campania and Sicily, Clarendon Press, 1967
- Description
- Pottery: red-figured situla (bucket) with Paris coming to abduct Helen, as Aphrodite and Eros watch. On the reverse are five men, perhaps competitors in a torch race. --The British Museum, Trendall, A D, The Red-Figured Vases of Lucania, Campania and Sicily, Clarendon Press, 1967
![[No Caption] Steven Lowenstam Collection](/thumbnails/b/0/oregondigital-df691k20b.jpg "[No Caption] Steven Lowenstam Collection")
- Description
- 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, Pottery: red-figured skyphos. (a) Dancing lesson (?). Before a youth on left, who wears a mantle shawl-fashion hanging from his arms, and who steps forward as if in time to the chelys which he plays, a younger youth. dances, his right leg bent and raised from the ground, his right hand on the crown of his head, his left on his side. Over each figure, ΚΑΛΟΣ, καλός. (b) Two bearded men walking to right. The foremost one strides rapidly, turning round and raising his right as if to warn back his companion. He holds a staff in his left and a mantle hangs from his left fore-arm. The other figure is partly bald over the forehead; he steps slowly to right, leaning his right on a crooked staff; in his left he carries a chelys, and a mantle on his left arm hangs over his shoulder behind. Over each figure, ΚΑΛΟΣ, καλός. Purple inscriptions; inner markings in brown; sketch marks in a colour which shows light against the ruddled surface. On the chest of the left figure in (b) is a splash of paint. Eye in developed profile type, with eyelash. Below the figures a band of ornament runs all round the vase, consisting of groups of three maeanders running alternately different ways, separated by red cross squares. Below the handle, an elaborate quadruple palmette ornament with tendrils and buds. --The British Museum
160. Music lesson
- Description
- Pottery: red-figured hydria. On shoulder: Music lesson. In centre, a group of wreathed, bearded man (instructor) seated on chair to right playing chelys, confronted by boy seated on diphros playing chelys; each chelys has a taenia attached. Beneath the chair a dog lies to left looking round, wearing a collar. On right an ephebos moves away, looking back, holding out in right a spotted sybene and glottocomeion. On extreme right an ephebos sits to left in a chair, closely muffled in himation, his left foot raised in air beneath the chair; above, KAΛΟΣ, καλός. Behind the instructor a wreathed youth stands to right holding a chelys. On left a bearded man (a paidagogos?) stands to left with right resting on a stele, but turns to right, holding up in left a cord attached to the collar of a young panther (?). The stele is decorated at the upper edge with a row of upright strokes, and has written on it, letters horizontal but in a column (kionedon), KAΛΟΣ, καλός. All the figures are wreathed, excepting the youth on the diphros and the paidagogos, who wear fillets: all are draped in himation. Beside the instructor on the right hang a pair of tablets wound round with a cord. Purple wreaths, fillets, cords, and inscriptions (except that on stele). Light brown hair of youth playing lyre, collars of dog and cat. Eye in transition type, disc against open angle. Borders of panel: below, red strip; above, linked lotus buds; on each side, net pattern. Below scene, a broad strip of linked lotus buds, joining handles. --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
161. Music Lesson
- Description
- Pottery: red-figured hydria. On shoulder: Music lesson. In centre, a group of wreathed, bearded man (instructor) seated on chair to right playing chelys, confronted by boy seated on diphros playing chelys; each chelys has a taenia attached. Beneath the chair a dog lies to left looking round, wearing a collar. On right an ephebos moves away, looking back, holding out in right a spotted sybene and glottocomeion. On extreme right an ephebos sits to left in a chair, closely muffled in himation, his left foot raised in air beneath the chair; above, KAΛΟΣ, καλός. Behind the instructor a wreathed youth stands to right holding a chelys. On left a bearded man (a paidagogos?) stands to left with right resting on a stele, but turns to right, holding up in left a cord attached to the collar of a young panther (?). The stele is decorated at the upper edge with a row of upright strokes, and has written on it, letters horizontal but in a column (kionedon), KAΛΟΣ, καλός. All the figures are wreathed, excepting the youth on the diphros and the paidagogos, who wear fillets: all are draped in himation. Beside the instructor on the right hang a pair of tablets wound round with a cord. Purple wreaths, fillets, cords, and inscriptions (except that on stele). Light brown hair of youth playing lyre, collars of dog and cat. Eye in transition type, disc against open angle. Borders of panel: below, red strip; above, linked lotus buds; on each side, net pattern. Below scene, a broad strip of linked lotus buds, joining handles. --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
- Description
- On left is a Bell krater, Old Catalogue 1290, Vase E500, measuring at 31 cm in height, 32.8 cm in diameter, and 2.2 kg in weight. The vase was created in Albano di Lucania, Basilicata, Italy and is housed at British Museum, London, England, United Kingdom under Repository ID: 1849,0518.12. Pottery: red-figured bell-krater. (a) Eos pursuing Kephalos. Eos, with long chiton, a mantle, and a broad fillet, runs to right, laying her right on the shoulder of Kephalos, a youth in a heavy mantle, who flees, looking back. On the left a similar youth, with a fillet, moves away to left, looking back. (b) A draped ephebos to left, his head uncovered, between two more draped ephebi, confronted, staff in hand. Late stage of good period. –The British Museum; On right is a Hydria, Vase E223, measuring at 34 cm in height, 29.2 cm in width, and 2 kg in weight. The vase was created in Albano di Lucania, Basilicata, Italy, discovered at Nola, Campania, Italy and is housed at British Museum, London, England, United Kingdom under Repository ID: 1867,0508.1128. Pottery: red-figured hydria (water jar). Three women at toilet (?). In the centre a woman in a saccos moves to right, holding out both hands towards one confronting her, who holds in both hands a taenia; between them is a calathos. On left a woman wearing an himation stands en face, but looking to right and holding up in her right a mirror. All three wear sleeved chiton: the two side figures have their hair looped up with a radiated stephane. Over the central figure is inscribed, AYTOΠΣΙA, Αυτοψία. Purple inscription. Brown markings of calathos. Eye in profile. Design curves over shoulder. Below, sets of three inlanders separated by red cross squares: above, a strip of laurel wreath. –The British Museum, Trendall, A D, The Red-Figured Vases of Lucania, Campania and Sicily, Clarendon Press, 1967; 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
163. Eros and Youth
- Description
- Pottery: red-figured bell-krater (wine-bowl). Designs red on black ground, with inner markings faintly traced in red. Above the designs, laurel-wreaths; below each, a band of maeander and crosses. (a) Zephyros pursuing Hyakinthos (?) or Eros and youth (?): Zephyros/Eros to right, nude, beardless, and winged, with hands extended, pursues Hyakinthos/youth, who is beardless, with fillet and chlamys over left arm, and moves away to right, looking back. (b) Two ephebi confronted, in himatia, with mouths open, as if conversing; the one on the left has a staff; between them hangs a pair of halteres. --The British Museum, Trendall, A D, The Red-Figured Vases of Lucania, Campania and Sicily, Clarendon Press, 1967; 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 neck-amphora. (a) The sending of Triptolemos. In the centre Triptolemos, a youth with long hair looped up over the ears, a laurel wreath (red) with an olive wreath (purple) over it, a mantle about his legs, is seated to right in the winged carriage; he holds upright in his left a sceptre, the end resting on his right foot, and in his right a phiale. On the right Demeter stands en face, but looking at him, and pouring wine (the σπονδή) from a jug hanging in her right hand: her left rests on her shoulder. On the left Persephone stands looking on, leaning with her left on a sceptre, and holding downwards in her right ears of corn. Each goddess wears a long sleeved chiton and himation, earrings, and a radiated fillet. Demeter has a saccos: Persephone, a broad band, studded with crosses, wound twice round her looped up hair: her chiton has a broad border of dots and a pattern of crosses. The wings of the chariot are very long, and rise perpendicularly from the axle. The seat is modelled after an Ionic capital, with a spotted cushion, and has a dotted step and side rail terminating in a rosette, resting on columniform supports. (b) Demeter (?), Persephone (?), and a woman. Two women, resembling the goddesses in a, stand on the right, facing a figure closely draped in long chiton and mantle, and long hair bound with radiated fillet, who appears to be a woman and to wear earrings. Demeter stands in the centre, dressed as before, and holding a burning torch. Persephone stands on right en face, but looking to left, holding in her right upright a sceptre: her chiton is here without decoration, her hair is knotted behind, and she has a radiated fillet. Late stage of large style. Purple (or white?) rays, wreath, wine, flame, and ears of corn. No inner markings of anatomy. Eye in profile. --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 neck-amphora. (a) Achilles slaying Penthesileia. Achilles, a bearded warrior wearing helmet with lowered cheek-pieces, mantle hanging from left arm, shield (device, a panther to left, red, on a red ground-line, on black ground) and spear in left hand, strides to left, swinging over his head a long sword (κοπίς) with spiral end of handle, against Penthesileia, who retreats before him, holding up in both hands her heavy battle-axe (sagaris) as if to ward off the blow: she wears anaxyrides of the usual pattern, shoes, kidaris with flat top, and a short chiton with apoptygma, tied with a dotted girdle: her head is in three-quarter face to right: at her side hangs by a purple crossbelt a quiver with wing-shaped flap. Beside her in the background her horse prances to left: below it, her bow (of Scythian form) falls to the ground. On the shield of Achilles his name is inscribed, AXΙΛΛΕΥΣ, Άχιλλεύς. (b) A bearded draped man with sceptre in right, standing en face between two women: the one on the left, at whom he looks, holds up her right hand as if addressing him: the other holds in her right a burning torch. Each wears an Ionic chiton, mantle, and earrings: the one on left has a saccos: the other a fillet. On the bottom of the foot are incised characters ΣΠA. Purple inscription, cross-belt, reins, flame, and fillets. Brown inner markings, edge of hair, tail of a horse: also for pupil of eye, which in a is of much exaggerated size. --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 4, British Museum 3, London, BMP, 1927
166. Alkamena Story
- Description
- Pottery: red-figured bell-krater (wine-bowl). Designs in panels, red on black ground, with accessories of white and purple. Above the designs, (a) ivy-wreath and egg-moulding, (b) laurel-wreath; under the handles, palmette-patterns; below the designs, (a) maeander and chequer, (b) wave-pattern. (a) Alcmene appealing to Zeus against Amphitryon: In the centre is Alcmene, seated to left on an altar, which is painted white with egg-moulding along the top and an imitation of triglyphs below (markings in yellow); in front of it is erected a pyre of round logs. She has long curls, necklace and bracelets, an embroidered veil over her head, long chiton and apoptygma embroidered with chequer, palmettes, and other patterns, girdle with white studs, and sandals; her right hand is raised in supplication. Above the design is incised: ΑΛΚΜΗΝΗ, 'Αλκμήνη. On the right is Amphitryon to left setting fire to the pyre with a torch in each hand; he is bearded, with long hair, short embroidered chiton with engrailed and palmette patterns and border of white dots, embroidered chlamys with border of chequer over his arms, endromides, and purple cross-belt from which hangs a sheathed sword; above him is incised: ΑΜΦΙΤΡΥΩΝ, Άμφιτρύων. On the left is Antenor starting back to left, looking to right, beardless, with long curls, white pilos, short sleeved embroidered chiton with borders of engrailed and wave patterns, girdle and cross-belt with astragalus pattern, embroidered chlamys with border of dots, fastened with a fibula in front, and endromides; between his legs is a fallen yellow prochoos; above him is incised: ΑΝΤΗΝΩΡ, Άντήνωρ. Over the altar is a purple and white rainbow enclosing a black space which is filled with white dots, representing drops of the rain sent in answer to Alcmene's prayer; below the pyre are two white thunderbolts, as if cast by Zeus at Amphitryon and Antenor. On each side of the rainbow, on a higher level (indicated by a wavy white line ending in a palmette), is the upper half of a female figure pouring water out of a hydria, which is indicated by black and white streaks; these two figures are the Hyades. The one on the left has long hair, a broad purple fillet with white chevron pattern, necklace, long purple chiton embroidered with white dots, and white girdle; the other has her hair tied in a club with a purple fillet embroidered with white dots, which goes twice round her head; otherwise she is attired as the first. On the left, on the same level, is the upper part of Zeus to right, bearded, with long curls, wreath, and drapery over left shoulder with chequer border, in right hand a sceptre, left extended; he is inscribed ΙΕΥΣ, Ζέυς. On the right is Eos to left, with hair gathered in a knot at the back under a purple cap embroidered with white dots, earrings, necklace, long chiton and apoptygma, embroidered with palmettes and engrailed border; in right hand she holds up a mirror; above her is inscribed ΑΩΣ, (Ή)ώς. Under the lip of the vase is incised: ΠΥΘΩΝΕΓΡΑΦΕ, Πυθων έγραφε. (b) Dionysiac scene: In the centre is Dionysos, moving to right and looking to left, beardless, with long curls, round which is a taenia tied at the back, shoulder-belt with white dots, chlamys with border of dots over left arm, shoes, thyrsos in left hand, to which is tied a purple taenia; in right hand a wreath from which hangs a purple taenia. On either side is a Maenad dancing to right, the one on the right looking back. The one on the left has long curls, wreath, necklace, bracelets, long girt chiton and apoptygma reaching to the hips with borders of wave-pattern and dots, fastened with fibulae on the shoulders, shoes, thyrsos in right hand to which a purple taenia is tied, left hand raised. The one on the right has long curls, one of which hangs down in front of her face, wreath, necklace, bracelets, long transparent chiton embroidered with dots, which has slipped off her right shoulder, thyrsos in left hand with purple taenia tied to it, wreath in right at which she is looking. On a higher level are seen the upper parts of three figures: a youthful Satyr on the left, a youthful male figure in the centre, and Pan on the right. The Satyr wears wreath and shoulder-belt of white beads, and holds out a tympanon in left hand to the youth who faces him; he has a wreath, shoulder-belt as the Satyr, and thyrsos in left hand. Pan is to left, with small beard and moustache, wreath and shoulder-belt as the others; his body is stippled all over, and part of the goat-skin is visible; his hands are raised as if in astonishment. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Smith, A H; Pryce, F N, Corpus Vasorum Antiquorum: Great Britain 2, British Museum 2, London, BMP, 1926
167. Music Lesson
- Description
- Scenes of the daily lives of Athenian schoolboys decorate this red-figure cup. In addition to basic literacy and mathematics, Greek boys were trained in athletics and music. On the interior of the cup, a boy holding a lyre stands in front of a bearded man, who must be his music teacher. On the outside, men and boys form similar scenes. The imagined walls of the schoolroom are hung with musical instruments and athletic equipment: lyres, string bags with knucklebones, sponges, and aryballoi. The scenes on this cup are not purely educational, however. On one side of the vase, a boy holds a hare on his lap, while on the other, a man offers a hare to another boy. In addition to serving as a classroom, the gymnasion in its role as the center of Greek physical and intellectual life was also the center of romantic courtship. Hares were popular love gifts in the homosexual relationships between older men and boys favored by the Athenian aristocracy in the early 500s B.C. --J. Paul Getty Museum Bareiss Loan: S.82.AE.36, May, Helmut, ed. Weltkunst aus Privatbesitz, exh. cat. (Cologne: Kunsthalle Köln, 1968), cat. no. A 31; fig. 13.; Bothmer, Dietrich von.
168. Music lesson
- Description
- Scenes of the daily lives of Athenian schoolboys decorate this red-figure cup. In addition to basic literacy and mathematics, Greek boys were trained in athletics and music. On the interior of the cup, a boy holding a lyre stands in front of a bearded man, who must be his music teacher. On the outside, men and boys form similar scenes. The imagined walls of the schoolroom are hung with musical instruments and athletic equipment: lyres, string bags with knucklebones, sponges, and aryballoi. The scenes on this cup are not purely educational, however. On one side of the vase, a boy holds a hare on his lap, while on the other, a man offers a hare to another boy. In addition to serving as a classroom, the gymnasion in its role as the center of Greek physical and intellectual life was also the center of romantic courtship. Hares were popular love gifts in the homosexual relationships between older men and boys favored by the Athenian aristocracy in the early 500s B.C. --J. Paul Getty Museum Bareiss Loan: S.82.AE.36, May, Helmut, ed. Weltkunst aus Privatbesitz, exh. cat. (Cologne: Kunsthalle Köln, 1968), cat. no. A 31; fig. 13.; Bothmer, Dietrich von.
169. Music Lesson
- Description
- Scenes of the daily lives of Athenian schoolboys decorate this red-figure cup. In addition to basic literacy and mathematics, Greek boys were trained in athletics and music. On the interior of the cup, a boy holding a lyre stands in front of a bearded man, who must be his music teacher. On the outside, men and boys form similar scenes. The imagined walls of the schoolroom are hung with musical instruments and athletic equipment: lyres, string bags with knucklebones, sponges, and aryballoi. The scenes on this cup are not purely educational, however. On one side of the vase, a boy holds a hare on his lap, while on the other, a man offers a hare to another boy. In addition to serving as a classroom, the gymnasion in its role as the center of Greek physical and intellectual life was also the center of romantic courtship. Hares were popular love gifts in the homosexual relationships between older men and boys favored by the Athenian aristocracy in the early 500s B.C. --J. Paul Getty Museum Bareiss Loan: S.82.AE.36, May, Helmut, ed. Weltkunst aus Privatbesitz, exh. cat. (Cologne: Kunsthalle Köln, 1968), cat. no. A 31; fig. 13.; Bothmer, Dietrich von.
170. Departure of Athena
- Description
- Pottery: red-figured neck-amphora. On side A, a woman is depicted pouring a libation before the goddess Athena. At the left is a woman wearing a chiton; her hair is tied in a bun at the back with hair bands in added red. She is seen in profile to the right. In her raised right hand she holds a phiale and in her left an oinochoe. To the right stands the goddess Athena, who wears a diadem; her hair is gathered in a bun. She stands frontally but looks to the right, toward the woman. She is dressed in a chiton and a long, folded-over cloak, on top of which rests her snake-fringed aegis. In her right hand she holds a spear and in her left a crested Attic helmet. Both figures stand on a reserved base line decorated with three strips of meanders in alternating directions, separated by dotted crosses. On side B a single female figure stands facing right, wearing a chiton and a cloak. Her right arm is raised, and her hair is confined in a snood. She stands on a reserved base line decorated with a running meander. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J, Corpus Vasorum Antiquorum: Great Britain 7, British Museum 5, London, BMP, 1930
- Description
- On left is a Neck-amphora, Vase E324, measuring at 33.655 cm in height and listed under Repository ID: 1867,0508.1059. Pottery: red-figured neck-amphora. On side A, a woman is depicted pouring a libation before the goddess Athena. At the left is a woman wearing a chiton; her hair is tied in a bun at the back with hair bands in added red. She is seen in profile to the right. In her raised right hand she holds a phiale and in her left an oinochoe. To the right stands the goddess Athena, who wears a diadem; her hair is gathered in a bun. She stands frontally but looks to the right, toward the woman. She is dressed in a chiton and a long, folded-over cloak, on top of which rests her snake-fringed aegis. In her right hand she holds a spear and in her left a crested Attic helmet. Both figures stand on a reserved base line decorated with three strips of meanders in alternating directions, separated by dotted crosses. On side B a single female figure stands facing right, wearing a chiton and a cloak. Her right arm is raised, and her hair is confined in a snood. She stands on a reserved base line decorated with a running meander. --The British Museum; On right is a Neck-amphora, Vase E323, measuring at 34.29 cm in height and listed under Repository ID: 1867,0508.1116. Pottery: red-figured neck-amphora. (a) Paris and Hermes on Mount Ida. Mount Ida is indicated on left by a series of wavy lines; Paris is seated on the top, a wreathed youth with wavy hair falling to his neck, and a mantle about his lower limbs and left arm, playing upon the chelys with a plectrum. On the right Hermes stands en face, but looking towards Paris; he is bearded, and has a short chiton, a chlamys fastened on the right shoulder, and a petasos hanging at his back; his left arm is concealed by his mantle; in his right hand, which hangs at his side, is a caduceus. (b) Draped ephebos resting right on staff, standing en face, looking to left. Fine style. Purple ground-lines, cord of petasos, pegs of lyre, and wreath; brown inner markings. Ends of hair in thinned black. Eye in developed profile type. Below a, sets of three maeanders alternately to right and left, separated by dotted cross squares; below b, a strip of key 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; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J, Corpus Vasorum Antiquorum: Great Britain 7, British Museum 5, London, BMP, 1930
172. Menelaos and Helen
- Description
- Pottery: red-figured neck-amphora. (a) Type of Menelaos pursuing Helen. Young warrior pursuing a woman with a sword. The woman flees to right, her right hand pressed to bosom with gesture of fear, her left enveloped in himation. She wears a long chiton, diploidion with apoptygma, tied at waist with a shawl instead of a girdle (?), and her hair is looped up with many ties of a fillet. She looks back at her pursuer, who strides forward with drawn sword, left extended holding scabbard. He is beardless, with wavy hair falling to shoulders and tied with fillet, and wears short chiton, cuirass, and a mantle on outstretched left. His cuirass has the sides decorated with vertical rows of dots (representing scales ?). (b) Woman running to right with arms outstretched on either side, looking back; she wears a sleeved chiton, himation, and saccos. Drawing of good period. Excessive drapery. Purple swordbelt and fillets, brown ends of hair, shading of flaps of cuirass, and folds of chiton in b. Below a, sets of three maeanders in alternate directions, separated by dotted crosses ; below b, key pattern to right. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J, Corpus Vasorum Antiquorum: Great Britain 7, British Museum 5, London, BMP, 1930
173. Woman and Woman'
- Description
- Pottery: red-figured neck-amphora. On side A, a woman is depicted pouring a libation before the goddess Athena. At the left is a woman wearing a chiton; her hair is tied in a bun at the back with hair bands in added red. She is seen in profile to the right. In her raised right hand she holds a phiale and in her left an oinochoe. To the right stands the goddess Athena, who wears a diadem; her hair is gathered in a bun. She stands frontally but looks to the right, toward the woman. She is dressed in a chiton and a long, folded-over cloak, on top of which rests her snake-fringed aegis. In her right hand she holds a spear and in her left a crested Attic helmet. Both figures stand on a reserved base line decorated with three strips of meanders in alternating directions, separated by dotted crosses. On side B a single female figure stands facing right, wearing a chiton and a cloak. Her right arm is raised, and her hair is confined in a snood. She stands on a reserved base line decorated with a running meander. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J, Corpus Vasorum Antiquorum: Great Britain 7, British Museum 5, London, BMP, 1930
- Description
- Pottery: red-figured bell-krater. (a) Eros playing astragali (knucklebones). On the right Eros, closely draped in a mantle, with wings raised, is seated to left on a square base jesting on a plinth; he stoops forward, supporting on the back of his right hand a number of astragali; a heap of others lie on the ground beside it. In the centre stands a nude ephebos (Ganymedes) leaning on a staff, who places with his right a circlet on the head of Eros. On the left a second ephebos, closely draped in a mantle, stands looking on, resting his left on a staff. (b) A draped ephebos to left, his head uncovered, between two more draped ephebi, confronted, staff in hand. --The British Museum, Trendall, A D, The Red-Figured Vases of Lucania, Campania and Sicily, Clarendon Press, 1967; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
![[No Caption] Steven Lowenstam Collection](/thumbnails/6/9/oregondigital-df6926496.jpg "[No Caption] Steven Lowenstam Collection")
- Description
- Pottery: Lucanian red-figured bell-krater. Designs red on black ground. Above the designs, laurel-wreath; below each, maeander and crosses. (a) In the centre is a youth seated on a rock to left, nude, with spear in left hand and right hand on his knee; on the left a female figure advances towards him, with close cap, long chiton and himation. On the right a female figure, attired as the other one, moves away, looking back. (b) Three ephebi conversing, wrapped in himatia, the centre one to left with right hand extended. --The British Museum
176. Drama Scene
- Description
- Pottery: red-figured bell-krater (wine-bowl). Designs red on black ground, with accessories of white and purple. Above the designs, laurel-wreath; below, wave-pattern; below the handles, palmettes. (a) Scene from a comedy; nocturnal visit of an old man to a hetaera: In the centre above is a window, through which is visible the upper part of the hetaera with face painted white, hair confined under an open purple cap embroidered with beads, and purple embroidered chiton, looking down to left at the old man, with left hand resting on the window-sill. He is bearded, with mask, wreath, short purple chiton, sleeved undergarment with anaxyrides, padded stomach, purple phallos, and white shoes, in left hand a purple taenia; in right he holds up four apples as an offering, while he ascends a ladder resting against the window, grasping it with left hand. On the right is a slave standing on tiptoe to left with upturned face, bearded mask and wreath as the other, short white chiton with purple border, sleeved under-garment with anaxyrides, padded stomach, and purple phallos; in right hand a white situla, in left a wreath and lighted torch. On the ground, an ivy-plant; on either side of the window, a vine-wreath. (b) Two ephebi confronted, wrapped in bordered himatia, with white wreaths and sandals; the one on the left holds out two apples and a taenia to the other, who holds a twig. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Smith, A H; Pryce, F N, Corpus Vasorum Antiquorum: Great Britain 2, British Museum 2, London, BMP, 1926
177. Drama Scene
- Description
- A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Smith, A H; Pryce, F N, Corpus Vasorum Antiquorum: Great Britain 2, British Museum 2, London, BMP, 1926, Pottery: red-figured bell-krater. Designs red on black ground, with accessories of white and purple, retouched. Above the designs, laurel-wreath; below, wave-pattern; below the handles, palmettes. (a) Scene from a comedy: On the left is the youthful Dionysos to right, with long hair, ivy-wreath, dotted taenia tied round head, bordered himation over right leg and left arm, and shoes with white studs, hands extended, left arm leaning on staff; he holds out fruit in left hand to a comic actor who dances before him, as if intoxicated, with right leg uplifted and arms extended. The actor wears a close-fitting garment with sleeves (jerkin and anaxyrides in one piece), with a white stripe down the legs, and over it a short purple chiton with padded stomach, and purple phallos; he has a large nose and wrinkled face, white hair, and pointed beard. On his head he balances a large basket ornamented with zigzags and palmettes, all painted in white outlines; Dionysos raises right hand as if to prevent the basket from falling. (b) Ephebos to right, with wreath, himation, sandals, in one hand a twig, confronting a female figure with wreath, himation, veil over the back of her head, and sandals. --The British Museum
178. Satyr and Dionysus
- Description
- Pottery: red-figured bell-krater. Designs red on black ground, with accessories of white and yellow on both sides. Above the designs, laurel wreath; below, wave-pattern; below the handles, palmettes. (a) Youthful Satyr moving to left, with wreath, bracelets, circlet of beads round left thigh, shoes, fruit in left hand, torch in right, by the light of which he explores the way. He is followed by Dionysos, who is beardless, with long hair, wreath, bracelets, beaded shoulder-belt, circlet of beads round left thigh, shoes, and chlamys with border of dots over left arm and right thigh, in right hand a bunch of grapes (?), in left a thyrsos tied with a taenia; between them hangs a taenia. (b) Two ephebi conversing, with wreaths, himatia, and shoes, staff in hand; the one on the left holds out a string of beads in right hand. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Smith, A H; Pryce, F N, Corpus Vasorum Antiquorum: Great Britain 2, British Museum 2, London, BMP, 1926
- 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 cup. Description INTERIOR: man leading a woman (Odysseus and Briseis?). On the left a young woman, head lowered, is being led to the right. She wears a chiton and a himation (horizontal battlement border, dilute glaze vertical band, rows of dilute glaze dots) which is pulled up over the back of her head. She has a disc earring and a stephane with a row of sigmas. Her hair has a wash of dilute glaze and one long curly tress falls down behind her ear. Her mouth is slightly open and she must be exchanging words with the bearded man on the right, who similarly has his mouth open. Dressed in short chiton (dilute glaze folds), himation (rows of dots; battlement upper border) and petasos with red ties, he moves to the right, but turns his head back to look at the girl whom he leads, gripping her left wrist and hand in his right. He holds a spear in his left hand across his body, so that the point is above her head. There is dilute shading on his petasos at the top and above the beginning of the brim. His hair and beard are done with a dilute glaze wash and there are rows of dilute glaze dots on his neck. Border: stopt maeander (five-stroke, anticlockwise). EXTERIOR: the Arms of Achilles. Side A (upper): quarrel over the arms of Achilles. On the far left a male in dotted chlamys holds the right arm of the figure in front of him (his head and part of his draped lower torso are missing). In front is a bearded man, probably Ajax, in boots (dilute glaze wash) with horizontal rolls and red ties and a dotted himation with a black border loosely draped over his arms, who attempts to move forward to the right. He holds a sword back in his right hand and a striped scabbard in his left. His pectorals and mid-line are enhanced with dilute glaze to indicate hair. A youth tries to push him back to the left. He has a chlamys with rows of dots in dilute glaze over his upper arms and turns his head back to the right. His hair is painted with dilute glaze. In the centre is a man in a long chiton (folds in dilute glaze) and a dotted himation with a battlement upper border; he is presumably Agamemnon. He moves to the left, but his arms are outstretched to left and right; his head, which is missing, was turned to the right, as the red ties from his headband on the left indicate. On the right a youth pushes to the right at a bearded man. The youth has a himation (black border, rows of dots) loosely draped over his shoulders; his hair is combed up in plait over his neck and he has a double red hair-band. The bearded man, probably Odysseus, in front of him endeavours to move to the left. In the struggle his himation (black border, rows of dots) has slipped from his right shoulder; he has just drawn his sword from its striped scabbard, which he holds in his left hand (hand and top of scabbard missing). He wears boots like those worn by Ajax: rolls above the ankles, red ties and dilute wash. His pectorals and mid-line are enhanced with dilute glaze to indicate hair and his lips are slightly parted. On the far right a bearded man moves to the left, a dotted himation (black border) over his shoulders, his right hand gripping the left shoulder of the man in front, his left hand probably the man's left wrist (both missing). His hair is combed up into a stiff fringe and his pectorals and mid-line are enhanced with dilute glaze to indicate hair. Side Β (lower): the vote for the arms of Achilles. On the far left stands Odysseus, dressed in a dotted himation with a battlement border (all the himatia on this side have such a border) and shoes. He leans on a knotty stick, his right hand on his hip under the drapery, his left hand up in front of his chest. His pectorals and mid-line are enhanced with dilute glaze to indicate hair. His mouth is open and he has a red apicate fillet. In front of him stands a youth, dressed in a himation with rows of dots and leaning on a knotty stick. He reaches down to the right with his right hand to place his pebble (not shown) on the plain block (dilute wash) in the centre. His hair is tied up in a plait over his neck and he has a double red fillet. His left hand is to be thought of as on top of his stick, near his right armpit. In front of him stands Athena who wears a chiton, himation, scaly snake-fringed aegis (dilute wash inside) and Attic helmet (dilute wash for caul; black neck-guard). She holds a spear upright in her right hand and gestures with her left hand. Her head (hair done with dilute wash) is turned to the right, but her right knee is bent and the leg is to be thought of as facing to the left. Her lower legs are obscured by the corner of the block. On the corner in front of the folds of her chiton are two rows of black pebbles, totalling twenty. In the centre stands a bearded man to the left, wearing a dotted himation and a red fillet. He twists his right shoulder in order to place a pebble (not shown) on the block which hides his lower legs. His left hand is on a knotty stick, which goes under his left armpit (lower part of stick not drawn). At the right corner of the block stands a youth in a himation with rows of dots and double red hair-band leaning back on a knotty stick. He also holds his right hand down to cast his vote. On the corner of the block in front of the folds of his himation are two rows of black pebbles, totalling eleven. On the right a bearded man in a dotted himation and shoes moves forward to the left to vote, but turns his head back to the right. He holds a knotty stick in his left hand across his body and holds his right hand out to vote (pebble not shown). He has a reserved head-band. On the far right stands Ajax, his dotted himation with its battlement border framing his head. He leans on a knotty stick (with groups of horizontal lines in dilute glaze on it), his head lowered in despair, his right hand to his forehead. He wears a red fillet. Under handles: B/A, Corinthian helmet (dilute glaze on cheek-piece; black on neck-piece; dilute glaze wash for fur frontiet; chequer-board pattern on caul) on top of a shield (dilute glaze hatching before rim); A/B, pair of greaves (dilute glaze wash, elaborate modelling around knee-caps and a scroll on the calf, red ties above). Ground line: two reserved lines. Relief line contour throughout (except hair); dilute glaze for minor interior markings; thick reserved line inside lip, thin outside. --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
181. Youth courting girl
- Description
- Komasts or revelers frolic around the exterior of this Athenian red-figure cup. The men dance and hold drinking cups, while female attendants provide the music. The unusual feature of this vase is the odd way the men are dressed. They wear long chitons and turban-like headdresses, and attendants shelter them with parasols. Several dozen vases with similarly dressed revelers survive. Scholars call these scenes of men in fancy dress Anakreontic, after the poet Anakreon, who came to Athens from East Greece in the late 500s B.C. Scholars do not agree on how to interpret this costume. Because the men's clothing is similar to that of the women in the scene, some scholars see the men as transvestites dressing up as women. Other scholars point out that this clothing was suitable male attire in the Greek colonies on the coast of Turkey and in the neighboring kingdom of Lydia. They see the adoption of Eastern dress for symposia, or drinking parties, as part of a larger infiltration of East Greek art and ideas into Athenian culture beginning in the 520s B.C. A quieter scene decorates the interior of the cup, with a young man offering a flower to a standing woman holding a mirror. --J. Paul Getty Museum; Bareiss Loan Number: S.82.AE.37, May, Helmut, ed. Weltkunst aus Privatbesitz, exh. cat. (Cologne: Kunsthalle Köln, 1968), cat. no. A 33; figs. 14-15.; 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. 90.; Bothmer, Dietrich von.
![[No Caption] Steven Lowenstam Collection](/thumbnails/x/6/oregondigital-df692486x.jpg "[No Caption] Steven Lowenstam Collection")
- Description
- Komasts or revelers frolic around the exterior of this Athenian red-figure cup. The men dance and hold drinking cups, while female attendants provide the music. The unusual feature of this vase is the odd way the men are dressed. They wear long chitons and turban-like headdresses, and attendants shelter them with parasols. Several dozen vases with similarly dressed revelers survive. Scholars call these scenes of men in fancy dress Anakreontic, after the poet Anakreon, who came to Athens from East Greece in the late 500s B.C. Scholars do not agree on how to interpret this costume. Because the men's clothing is similar to that of the women in the scene, some scholars see the men as transvestites dressing up as women. Other scholars point out that this clothing was suitable male attire in the Greek colonies on the coast of Turkey and in the neighboring kingdom of Lydia. They see the adoption of Eastern dress for symposia, or drinking parties, as part of a larger infiltration of East Greek art and ideas into Athenian culture beginning in the 520s B.C. A quieter scene decorates the interior of the cup, with a young man offering a flower to a standing woman holding a mirror. --J. Paul Getty Museum; Bareiss Loan Number: S.82.AE.37, May, Helmut, ed. Weltkunst aus Privatbesitz, exh. cat. (Cologne: Kunsthalle Köln, 1968), cat. no. A 33; figs. 14-15.; 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. 90.; Bothmer, Dietrich von.
- Description
- Pottery: red-figured kylix (drinking-cup). INTERIOR: Warrior and girl. On the left a warrior sits on a stool with fringed cushion decorated with rows of dots and rows of two-tailed blobs. He is dressed in short chiton (dilute glaze folds on shoulder), dotted himation (battlement upper border, black lower border), cuirass, Corinthian helmet and red greave-pads (upper band crenellated, lower plain). His hair and beard are done with dilute glaze; a long curl falls down over his shoulder. He holds a spear upright in his left hand (a group of dilute glaze lines on upper shaft; point breaks the border pattern) and holds out a bossed phiale in his right. The bosses are done with raised clay and then gilded by using red miltos as a bole. His mouth is open and his name is written as if issuing from it: +PVΣΙΠΠΟΣ. On the right stands a girl in chiton (folds of second overfold and sleeve done in dilute glaze; ends of red girdle show over her right knee) and himation. Her blond hair (done with dilute glaze) is tied up at the back with a double reserved cord with three tassels that fall on her shoulder and a hair slide or clip. She supports the rim of a black shield (reserved line at joint with rim) with her left hand and holds up a dipper with a long handle that terminates in a very schematic duck's head: she is about to pour wine into the warrior's phiale. Over her back is written her name: IEVXΣO. Her disc earring is done with raised clay and was gilded, like the phiale. Border: dotted saltire cross (blobs at ends of arms) alternating with three units of stopt maeander (five- to six-stroke, anticlockwise: reversed behind helmet crest and woman's head, and only two units at two o'clock). EXTERIOR: satyrs threaten Hera and Iris. Side A: Hera threatened by satyrs. Creeping out from under the handle root on the extreme left is a satyr, named ΤΕΡΠΟΝ. His left knee is almost on the ground, his right is doubled up under him; both hands are on the ground. Like all the other satyrs on the cup, he has his mouth slightly open, his hairline is receding, he has an erection and he wears a red wreath of ivy leaves. In addition, however, his long hair falls down in curls over his back. Almost alongside him walks another satyr, named BABAK+OΣ. His fists are clenched (the preliminary sketch shows that the left arm was originally raised by c. 90 degrees). In front of him is a third satyr, named HVAPIEI: (the first letter is cramped and may be a mistake for K), who moves forward, but the way he spreads his hands suggests he may be hesitating (his erection is obscured by the tail of the next satyr). In the centre is a fourth satyr, named ΣTVON, who stoops as he moves forward. He is almost in three-quarter back view. Facing these satyrs stands Hermes (HEPMEΣ retr., except final sigma). He wears a dotted chlamys with a black border tied at the neck (circular brooch), petasos (dilute hatching along the curve before the brim, to indicate shadow) with red ties and winged boots and carries a kerykeion (four raised dots for gilding on finial) in his left hand. His right hand is raised with thumb and forefinger together. Behind Hermes, Hera (HEPA retr.) moves rapidly away to the right, her head turned back to the left and her right arm outstretched. She wears a chiton (dilute glaze folds on sleeve) with a red tie under the overfold, a himation with a battlement border, a stephane, a snake bracelet and disc earring (stephane and bracelet are done with raised clay and were gilded). She has gathered some of her chiton in her left hand to aid her flight. On the far right Herakles (HEPAKLEΣ retr., except final sigma) moves rapidly to the left: his left foot is off the ground. He is dressed in a striped jacket, trousers decorated with stripes, rows of dots and double tailed blobs, a short chiton and his lion-skin. The upper folds of his chiton are done with dilute glaze. He holds a bow (red string) and arrow out in his left hand and a club, which is done with raised clay and was gilded, back in his right hand. A quiver with two arrows in it hangs from a red strap at his left hip. He is shown in three-quarter back view. Side B: Iris caught by two satyrs, Dionysos and a satyr. On the left a satyr, named ΔΡΟMΙΣ, runs past a plain block: both his feet are off the ground and his arms are outstretched. The preliminary sketch lines indicate that the artist had once intended to draw a folding stool covered with an animal skin on this block. In front of him stands Dionysos (ΔIONVΣOΣ) with his legs crossed, the left frontal, the right on tip toe behind. He is dressed in a long chiton with a red girdle and a himation and has an animal skin (pardalis) tied around his neck and a red ivy wreath in his hair. He has a striped sceptre in his left hand and a black kantharos in his right. The preliminary sketch indicates that a regular vine branch was once intended. In the centre is an altar with volute finials and an ovolo pattern. At the centre of either volute is a lump of raised clay that was gilded. The altar is wreathed with ivy and has three splashes of red, either blood or wine. A satyr, named Ε+ON, is climbing over the altar to reach Iris. He is seen in three-quarter back view and has his right foot on top of the altar, next to the fire-brick, his left leg trails behind. He has gripped Iris' right wrist with his left hand and tugs at the upper folds of her chiton with his right. Iris (IPIN) tuns away to the right, left foot off the ground, but turns her head back towards Echon. She has scaly wings and is dressed in a chiton (dilute glaze folds for second overfold), a plain sakkos and disc earring (raised clay for gilding). In her right hand she holds a kerykeion. In her left hand she has an elongated object filled with a dilute glaze wash: it continues in dilute glaze without relief line contouring up in a high curve with a slight blob at the end. On the right a third satyr, named LΕΦΣΙΣ, stops Iris' flight. He has caught her left elbow with his right hand and endeavours to wrench the object from her with his other hand. He is seen in three-quarter back view; his left foot is off the ground. Ground line: single reserved line. On edge of foot: BPVAOΣ EΠOIEΣEN, in glaze, spaced and divided so that Brygos is under side A, epoiesen under side Β (see fig. 3g). Relief line contours throughout (except hair); dilute glaze for minor interior markings; added red for inscriptions; thin reserved line outside at juncture of offset lip and wall. --The British Museum, Williams, Dyfri, Corpus Vasorum Antiquorum: Great Britain 17, British Museum 9, London, BMP, 1993; 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 (drinking-cup). INTERIOR: Warrior and girl. On the left a warrior sits on a stool with fringed cushion decorated with rows of dots and rows of two-tailed blobs. He is dressed in short chiton (dilute glaze folds on shoulder), dotted himation (battlement upper border, black lower border), cuirass, Corinthian helmet and red greave-pads (upper band crenellated, lower plain). His hair and beard are done with dilute glaze; a long curl falls down over his shoulder. He holds a spear upright in his left hand (a group of dilute glaze lines on upper shaft; point breaks the border pattern) and holds out a bossed phiale in his right. The bosses are done with raised clay and then gilded by using red miltos as a bole. His mouth is open and his name is written as if issuing from it: +PVΣΙΠΠΟΣ. On the right stands a girl in chiton (folds of second overfold and sleeve done in dilute glaze; ends of red girdle show over her right knee) and himation. Her blond hair (done with dilute glaze) is tied up at the back with a double reserved cord with three tassels that fall on her shoulder and a hair slide or clip. She supports the rim of a black shield (reserved line at joint with rim) with her left hand and holds up a dipper with a long handle that terminates in a very schematic duck's head: she is about to pour wine into the warrior's phiale. Over her back is written her name: IEVXΣO. Her disc earring is done with raised clay and was gilded, like the phiale. Border: dotted saltire cross (blobs at ends of arms) alternating with three units of stopt maeander (five- to six-stroke, anticlockwise: reversed behind helmet crest and woman's head, and only two units at two o'clock). EXTERIOR: satyrs threaten Hera and Iris. Side A: Hera threatened by satyrs. Creeping out from under the handle root on the extreme left is a satyr, named ΤΕΡΠΟΝ. His left knee is almost on the ground, his right is doubled up under him; both hands are on the ground. Like all the other satyrs on the cup, he has his mouth slightly open, his hairline is receding, he has an erection and he wears a red wreath of ivy leaves. In addition, however, his long hair falls down in curls over his back. Almost alongside him walks another satyr, named BABAK+OΣ. His fists are clenched (the preliminary sketch shows that the left arm was originally raised by c. 90 degrees). In front of him is a third satyr, named HVAPIEI: (the first letter is cramped and may be a mistake for K), who moves forward, but the way he spreads his hands suggests he may be hesitating (his erection is obscured by the tail of the next satyr). In the centre is a fourth satyr, named ΣTVON, who stoops as he moves forward. He is almost in three-quarter back view. Facing these satyrs stands Hermes (HEPMEΣ retr., except final sigma). He wears a dotted chlamys with a black border tied at the neck (circular brooch), petasos (dilute hatching along the curve before the brim, to indicate shadow) with red ties and winged boots and carries a kerykeion (four raised dots for gilding on finial) in his left hand. His right hand is raised with thumb and forefinger together. Behind Hermes, Hera (HEPA retr.) moves rapidly away to the right, her head turned back to the left and her right arm outstretched. She wears a chiton (dilute glaze folds on sleeve) with a red tie under the overfold, a himation with a battlement border, a stephane, a snake bracelet and disc earring (stephane and bracelet are done with raised clay and were gilded). She has gathered some of her chiton in her left hand to aid her flight. On the far right Herakles (HEPAKLEΣ retr., except final sigma) moves rapidly to the left: his left foot is off the ground. He is dressed in a striped jacket, trousers decorated with stripes, rows of dots and double tailed blobs, a short chiton and his lion-skin. The upper folds of his chiton are done with dilute glaze. He holds a bow (red string) and arrow out in his left hand and a club, which is done with raised clay and was gilded, back in his right hand. A quiver with two arrows in it hangs from a red strap at his left hip. He is shown in three-quarter back view. Side B: Iris caught by two satyrs, Dionysos and a satyr. On the left a satyr, named ΔΡΟMΙΣ, runs past a plain block: both his feet are off the ground and his arms are outstretched. The preliminary sketch lines indicate that the artist had once intended to draw a folding stool covered with an animal skin on this block. In front of him stands Dionysos (ΔIONVΣOΣ) with his legs crossed, the left frontal, the right on tip toe behind. He is dressed in a long chiton with a red girdle and a himation and has an animal skin (pardalis) tied around his neck and a red ivy wreath in his hair. He has a striped sceptre in his left hand and a black kantharos in his right. The preliminary sketch indicates that a regular vine branch was once intended. In the centre is an altar with volute finials and an ovolo pattern. At the centre of either volute is a lump of raised clay that was gilded. The altar is wreathed with ivy and has three splashes of red, either blood or wine. A satyr, named Ε+ON, is climbing over the altar to reach Iris. He is seen in three-quarter back view and has his right foot on top of the altar, next to the fire-brick, his left leg trails behind. He has gripped Iris' right wrist with his left hand and tugs at the upper folds of her chiton with his right. Iris (IPIN) tuns away to the right, left foot off the ground, but turns her head back towards Echon. She has scaly wings and is dressed in a chiton (dilute glaze folds for second overfold), a plain sakkos and disc earring (raised clay for gilding). In her right hand she holds a kerykeion. In her left hand she has an elongated object filled with a dilute glaze wash: it continues in dilute glaze without relief line contouring up in a high curve with a slight blob at the end. On the right a third satyr, named LΕΦΣΙΣ, stops Iris' flight. He has caught her left elbow with his right hand and endeavours to wrench the object from her with his other hand. He is seen in three-quarter back view; his left foot is off the ground. Ground line: single reserved line. On edge of foot: BPVAOΣ EΠOIEΣEN, in glaze, spaced and divided so that Brygos is under side A, epoiesen under side Β (see fig. 3g). Relief line contours throughout (except hair); dilute glaze for minor interior markings; added red for inscriptions; thin reserved line outside at juncture of offset lip and wall. --The British Museum, Williams, Dyfri, Corpus Vasorum Antiquorum: Great Britain 17, British Museum 9, London, BMP, 1993; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
185. Theseus and Minataur
- Description
- Pottery: red-figured kylix showing the deeds of Theseus. Interior: Within a circle of pattern consisting of sets of three maeanders separated by chequer squares, Theseus slaying the Minotaur. Theseus, with drawn sword in right, moves to left, looking back, and dragging with his left hand the Minotaur by the left horn out of a building. The Minotaur has apparently fallen forward, dying: only his head, right arm, and body to waist are visible, the rest being concealed behind the building: the surface of his bull's head and human body are covered with brown strokes, indicating hair. The building is represented by a Doric fluted column with entablature and triglyphs, forming a porch to the main building, which is itself represented by a broad vertical stripe of pattern, consisting of alternate labyrinth (?) patterns and chequer squares; this is partly cut off by the border of the design. In this, as in all the other scenes, Theseus is beardless and wears a fillet and a sword-belt with scabbard. Round the central design is a frieze composed of a series of groups representing six more of the Labours of Theseus in the following order, starting from the left handle and proceeding from left to right: (i) The sow of Crommyon springs upward to right against Theseus, who advances with sword drawn back and left hand raised and wrapped in a mantle as a shield. Beside the sow, in the background, an old woman stands, bending forward, with both arms outstretched towards Theseus, the left resting on a long staff with forefinger extended; she has a long chiton and a mass of white hair; her face is wrinkled, and the flesh of her arms covered with strokes, indicating hair. She is probably Crommyon, the personification or wood-nymph (see Loeschcke, loc. cit.) of the locality, (ii) Kerkyon: Theseus (on left) has gripped with his right the left arm and with his left the right side of his opponent, and, drawing the other's body towards him, throws Kerkyon backwards across his thighs: the left arm of Kerkyon hangs uselessly behind the back of Theseus, and with his right he vainly tries to loosen Theseus' grasp of his side. He has a short beard and hair and a fillet, and is bald over the forehead. Beside this group, a club hanging up and a spear or staff resting on end obliquely against the background. (iii) Procrustes has fallen backwards to left on his bed, supporting himself with his right hand, and, with left hand and foot feebly raised, tries to ward off the blow which Theseus, swinging over his back the double axe (pelekys), is dealing him. Procrustes has rough shaggy hair and beard: the bed is marked off into lengths by curved strokes of brown, (iv) Skiron: Theseus on left in three-quarter back view, swings over his head the foot-pan (podanipter) to strike down Skiron, who has fallen backwards to right on the hill in an attitude balancing that of Procrustes in iii: he is bald over the forehead, and has shaggy hair and beard; on the summit of the hill, beside Skiron, is a willow (?) tree; at the foot is the tortoise, half seen, as though climbing up out of water, (v) The Marathonian bull, charging violently to right, is checked by Theseus, who, with right leg supported against a rock and left knee pressed against the bull's shoulder, throws his weight back on a cord in his left which is fastened to the animal's horns, and throws it back on its haunches; in his right he holds a club, (vi) Sinis Pityocamptes, seated on a hill-top beside a tall pine-tree, is dragged to left by Theseus, who has seized him by the right arm in one hand and with the other draws down the top of the pine-tree. Sinis has thrown one arm around the pine and presses his right foot against the rock in scene v: with his left foot drawn up he struggles to rise: his body and this leg are towards the spectator. At the foot of the hill the outline of a tortoise has been drawn in error and left unfinished; the hill conceals the hind legs of the sow in i. Exterior: Here the six scenes just described are repeated in their corresponding positions; each figure, however, standing immediately below the corresponding one of the interior, so that here the relative positions are reversed. There are slight differences in points of detail: in (i) the left hand of Crommyon leaning on the staff is drawn back; in (ii) Kerkyon is characterised as a pancratiast by the bruised face and large shapeless ear; between (i) and (ii) hang a pilos; in (v) the rock is not shown; and in (vi) no hill is given, Sinis merely kneels to right on the ground-line, out of which the pine-tree grows: here again his body is en face, and his bent right leg is drawn in bold foreshortening. The human opponents of Theseus throughout all the scenes have an irregular profile and wrinkled forehead, in contrast to the regular outline of the face of Theseus. On the bottom of the foot engraved characters. Purple (or vermilion, ? now faded to grey) is used for the leaves of trees, strings of pilos, and cord tied to bull; white for the hair of Crommyon. Brown inner markings for anatomy, surface of hills, tortoise-shell, and skin of Minotaur, &c. The eye is of the realistic profile type. Below the exterior scenes is a band of pattern like that round the interior medallion; below each handle an ornament formed by a palmette resting on one half seen, with side tendrils. --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
186. Dolon
- Description
- Pottery: red-figured calyx-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Large style, bordering on the grotesque; faces to front, elaborate costumes, and dramatic action. Above the designs, laurel-wreath and egg-moulding; below each, egg-moulding and palmette-patterns. (a) Dolon surprised by Odysseus and Diomedes: In the centre is Dolon moving to left, crouching in an attitude of surprise, and looking round; he has a moustache and whiskers, skin helmet, short girt chiton over which is a spotted skin tied in front, and quiver with wave-pattern slung at left side. His endromides are of skin with tops turned over, laced in front and fastened by a broad strap under the instep, leaving the toes and heel bare. In left hand he holds up his bow, in right he holds a spear which he endeavours to aim at Diomedes; the spear-head has a serrated edge. On either side, of him is a tree-trunk; on the left appears Odysseus, on the right Diomedes. Odysseus is bearded, and wears pilos, endromides of skin laced up in front, and chlamys with stripes and crenelle borders, and spots on the breast denoting fur (?), fastened with a fibula in front; he holds a short drawn sword in right hand, and his left hand is enveloped in a mantle and raised towards Dolon's right shoulder. Diomedes seizes Dolon with right hand; he is bearded, and wears high-crested helmet (geison and cheek-pieces, crest supported on figure of crouching wolf), endromides as Odysseus, chlamys with stripes and crenelle borders, fastened with a fibula in front and floating behind; in left hand two spears. The scene is closed in by a tree-trunk on either side. (b) Two groups: (1) Female figure to right, with short curly hair, necklace, long chiton, and bordered himation over left shoulder, holds out a wreath in right hand to a nude youth facing her, who holds out his right hand. (2) Female figure with hair in a knot, fillet wound round head, necklace, long girt chiton and apoptygma, holds out a wreath in right hand and an embroidered taenia in left to a youth wrapped in a himation. All four figures wear sandals. --The British Museum, Trendall, A D, The Red-Figured Vases of Lucania, Campania and Sicily, Clarendon Press, 1967; 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
187. Dolon
- Description
- Pottery: red-figured calyx-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Large style, bordering on the grotesque; faces to front, elaborate costumes, and dramatic action. Above the designs, laurel-wreath and egg-moulding; below each, egg-moulding and palmette-patterns. (a) Dolon surprised by Odysseus and Diomedes: In the centre is Dolon moving to left, crouching in an attitude of surprise, and looking round; he has a moustache and whiskers, skin helmet, short girt chiton over which is a spotted skin tied in front, and quiver with wave-pattern slung at left side. His endromides are of skin with tops turned over, laced in front and fastened by a broad strap under the instep, leaving the toes and heel bare. In left hand he holds up his bow, in right he holds a spear which he endeavours to aim at Diomedes; the spear-head has a serrated edge. On either side, of him is a tree-trunk; on the left appears Odysseus, on the right Diomedes. Odysseus is bearded, and wears pilos, endromides of skin laced up in front, and chlamys with stripes and crenelle borders, and spots on the breast denoting fur (?), fastened with a fibula in front; he holds a short drawn sword in right hand, and his left hand is enveloped in a mantle and raised towards Dolon's right shoulder. Diomedes seizes Dolon with right hand; he is bearded, and wears high-crested helmet (geison and cheek-pieces, crest supported on figure of crouching wolf), endromides as Odysseus, chlamys with stripes and crenelle borders, fastened with a fibula in front and floating behind; in left hand two spears. The scene is closed in by a tree-trunk on either side. (b) Two groups: (1) Female figure to right, with short curly hair, necklace, long chiton, and bordered himation over left shoulder, holds out a wreath in right hand to a nude youth facing her, who holds out his right hand. (2) Female figure with hair in a knot, fillet wound round head, necklace, long girt chiton and apoptygma, holds out a wreath in right hand and an embroidered taenia in left to a youth wrapped in a himation. All four figures wear sandals. --The British Museum, Trendall, A D, The Red-Figured Vases of Lucania, Campania and Sicily, Clarendon Press, 1967; 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
188. Dolon
- Description
- Pottery: red-figured calyx-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Large style, bordering on the grotesque; faces to front, elaborate costumes, and dramatic action. Above the designs, laurel-wreath and egg-moulding; below each, egg-moulding and palmette-patterns. (a) Dolon surprised by Odysseus and Diomedes: In the centre is Dolon moving to left, crouching in an attitude of surprise, and looking round; he has a moustache and whiskers, skin helmet, short girt chiton over which is a spotted skin tied in front, and quiver with wave-pattern slung at left side. His endromides are of skin with tops turned over, laced in front and fastened by a broad strap under the instep, leaving the toes and heel bare. In left hand he holds up his bow, in right he holds a spear which he endeavours to aim at Diomedes; the spear-head has a serrated edge. On either side, of him is a tree-trunk; on the left appears Odysseus, on the right Diomedes. Odysseus is bearded, and wears pilos, endromides of skin laced up in front, and chlamys with stripes and crenelle borders, and spots on the breast denoting fur (?), fastened with a fibula in front; he holds a short drawn sword in right hand, and his left hand is enveloped in a mantle and raised towards Dolon's right shoulder. Diomedes seizes Dolon with right hand; he is bearded, and wears high-crested helmet (geison and cheek-pieces, crest supported on figure of crouching wolf), endromides as Odysseus, chlamys with stripes and crenelle borders, fastened with a fibula in front and floating behind; in left hand two spears. The scene is closed in by a tree-trunk on either side. (b) Two groups: (1) Female figure to right, with short curly hair, necklace, long chiton, and bordered himation over left shoulder, holds out a wreath in right hand to a nude youth facing her, who holds out his right hand. (2) Female figure with hair in a knot, fillet wound round head, necklace, long girt chiton and apoptygma, holds out a wreath in right hand and an embroidered taenia in left to a youth wrapped in a himation. All four figures wear sandals. --The British Museum, Trendall, A D, The Red-Figured Vases of Lucania, Campania and Sicily, Clarendon Press, 1967; 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
189. Ambush of Dolon
- Description
- Pottery: red-figured calyx-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Large style, bordering on the grotesque; faces to front, elaborate costumes, and dramatic action. Above the designs, laurel-wreath and egg-moulding; below each, egg-moulding and palmette-patterns. (a) Dolon surprised by Odysseus and Diomedes: In the centre is Dolon moving to left, crouching in an attitude of surprise, and looking round; he has a moustache and whiskers, skin helmet, short girt chiton over which is a spotted skin tied in front, and quiver with wave-pattern slung at left side. His endromides are of skin with tops turned over, laced in front and fastened by a broad strap under the instep, leaving the toes and heel bare. In left hand he holds up his bow, in right he holds a spear which he endeavours to aim at Diomedes; the spear-head has a serrated edge. On either side, of him is a tree-trunk; on the left appears Odysseus, on the right Diomedes. Odysseus is bearded, and wears pilos, endromides of skin laced up in front, and chlamys with stripes and crenelle borders, and spots on the breast denoting fur (?), fastened with a fibula in front; he holds a short drawn sword in right hand, and his left hand is enveloped in a mantle and raised towards Dolon's right shoulder. Diomedes seizes Dolon with right hand; he is bearded, and wears high-crested helmet (geison and cheek-pieces, crest supported on figure of crouching wolf), endromides as Odysseus, chlamys with stripes and crenelle borders, fastened with a fibula in front and floating behind; in left hand two spears. The scene is closed in by a tree-trunk on either side. (b) Two groups: (1) Female figure to right, with short curly hair, necklace, long chiton, and bordered himation over left shoulder, holds out a wreath in right hand to a nude youth facing her, who holds out his right hand. (2) Female figure with hair in a knot, fillet wound round head, necklace, long girt chiton and apoptygma, holds out a wreath in right hand and an embroidered taenia in left to a youth wrapped in a himation. All four figures wear sandals. --The British Museum, Trendall, A D, The Red-Figured Vases of Lucania, Campania and Sicily, Clarendon Press, 1967; 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
190. Ambush of Dolon
- Description
- Pottery: red-figured calyx-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Large style, bordering on the grotesque; faces to front, elaborate costumes, and dramatic action. Above the designs, laurel-wreath and egg-moulding; below each, egg-moulding and palmette-patterns. (a) Dolon surprised by Odysseus and Diomedes: In the centre is Dolon moving to left, crouching in an attitude of surprise, and looking round; he has a moustache and whiskers, skin helmet, short girt chiton over which is a spotted skin tied in front, and quiver with wave-pattern slung at left side. His endromides are of skin with tops turned over, laced in front and fastened by a broad strap under the instep, leaving the toes and heel bare. In left hand he holds up his bow, in right he holds a spear which he endeavours to aim at Diomedes; the spear-head has a serrated edge. On either side, of him is a tree-trunk; on the left appears Odysseus, on the right Diomedes. Odysseus is bearded, and wears pilos, endromides of skin laced up in front, and chlamys with stripes and crenelle borders, and spots on the breast denoting fur (?), fastened with a fibula in front; he holds a short drawn sword in right hand, and his left hand is enveloped in a mantle and raised towards Dolon's right shoulder. Diomedes seizes Dolon with right hand; he is bearded, and wears high-crested helmet (geison and cheek-pieces, crest supported on figure of crouching wolf), endromides as Odysseus, chlamys with stripes and crenelle borders, fastened with a fibula in front and floating behind; in left hand two spears. The scene is closed in by a tree-trunk on either side. (b) Two groups: (1) Female figure to right, with short curly hair, necklace, long chiton, and bordered himation over left shoulder, holds out a wreath in right hand to a nude youth facing her, who holds out his right hand. (2) Female figure with hair in a knot, fillet wound round head, necklace, long girt chiton and apoptygma, holds out a wreath in right hand and an embroidered taenia in left to a youth wrapped in a himation. All four figures wear sandals. --The British Museum, Trendall, A D, The Red-Figured Vases of Lucania, Campania and Sicily, Clarendon Press, 1967; 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
191. 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
192. Troilos
- Description
- Pottery: red-figured squat lekythos (oil-bottle). Design red, white, and yellow on a black panel, with modern purple additions. Above, a laurel-wreath with a ranunculus in the middle, and egg-moulding; below, wave-pattern; at the back, palmettes. On the left is Athene, seated on a rock to right, with curls, helmet, necklace, bracelets, long chiton with chequer-border and broad white girdle, and himation, spear in left hand, shield against right knee; in right hand she holds out a phiale. Behind her is a taenia; in the background, a lion's head, from which water (represented by white paint) pours into a white laver. Before her a youth approaches, leading up a horse by the bridle, with short chiton and broad white belt, chlamys over arms floating behind, and shoes. Behind him are low rocks, on the further side of which is a youth moving away, looking back, with short bordered chiton, white greaves, sheathed sword in right hand, and shield on left arm; these two may represent Achilles and Troilus. The rocks are painted yellow with spots of black and white. --The British Museum, Trendall, A D, The Red-Figured Vases of Lucania, Campania and Sicily, Clarendon Press, 1967; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Smith, A H; Pryce, F N, Corpus Vasorum Antiquorum: Great Britain 2, British Museum 2, London, BMP, 1926
193. Plate with fish
- Description
- Pottery: red-figured fish-plate. Design red on black ground, with white accessories. Round the edge, wave-pattern; in the centre, a rosette surrounded by wave-pattern. Three perch and three limpets. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; McPhee, I; Trendall, AD, Greek Red-figured Fish-plates, Basel, Vereinigung der Freunde Antiker Kunst, 1987; Smith, A H; Pryce, F N, Corpus Vasorum Antiquorum: Great Britain 2, British Museum 2, London, BMP, 1926
194. Memnon
- Description
- Pottery: red-figured kylix. Interior: Within a circle consisting of sets of four to seven single maeanders, separated by red cross squares, a woman seated in a chair, confronted on right by a youth closely draped, who leans backward, with his staff resting against his back, keeping it in position with hands under his cloak. The woman holds between each thumb and forefinger a flower, raising the one in her right towards her face. She wears a sleeved chiton, a himation passing over her left shoulder, and her hair is looped up and confined with a sphendone; beside her in the field hangs a mirror. The youth wears a fillet. The seat of the chair is decorated with vertical bands in sets of three, in very light brown. The figures rest on a line which cuts off an exergue left red. Exterior: (a) Combat of Achilles and Memnon in presence of Thetis and Eos. Memnon falls backward to right, his right leg bending under him, his spear glancing harmlessly off his opponent's thigh: his opponent's spear, broken in two, sticks in his right groin, and the purple blood gushes out. He is bearded, and wears short chiton, cuirass with scale body, and a helmet with low visor and cheek-pieces; his left arm with the shield falls helplessly backward. Achilles, disregarding the lance of Memnon, strides forward to despatch him with his sword; he wears a short chiton, a cuirass decorated with chequers, a Greek helmet with frontal decorated with a snake; his shield, like that of Memnon, is seen from the interior; his scabbard hangs from a purple cross-belt; he is beardless, and has long hair falling in parallel wavy tresses, like that of Memnon. Behind Achilles Thetis moves swiftly forward with a gesture of pleasure, raising both hands as if to clap them; her long hair is neatly arranged and tied with a fillet, which forms a bow at the back. Behind Memnon Eos rushes forward with outstretched right, tearing her disordered hair with her left. Each of the goddesses wears a long sleeved chiton, undertied, and a himation over the left shoulder. Their feet overlap the palmette ornament. (b) Two pairs of warriors. On the left a man wearing chlamys and fillet, and holding spear, confronted by a man with shield and spear, dressed in short chiton, helmet and cuirass, with a mantle over his shoulders; device, a Pegasos springing to left. Next is a similar figure en face, also with shield and spear, but with helmet tilted back; device, a lion springing to left. He looks to right over his shield at a fourth warrior, who has shield and spear on left arm and holds out his helmet in his right; he is dressed like the last, and has a purple fillet around his hair; device, a crescent. On the left of him, καλός. All these figures are bearded, and have long curly hair. Purple is used for the flowers and inscriptions, and in the details indicated below. No inner markings. The hair of the women is indicated by dark brown lines on a light brown wash. Eye of the archaic type, in transition to profile (i.e. with disc against inner angle slightly opened). Below each handle a single palmette. --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
195. Memnon
- Description
- Pottery: red-figured kylix. Interior: Within a circle consisting of sets of four to seven single maeanders, separated by red cross squares, a woman seated in a chair, confronted on right by a youth closely draped, who leans backward, with his staff resting against his back, keeping it in position with hands under his cloak. The woman holds between each thumb and forefinger a flower, raising the one in her right towards her face. She wears a sleeved chiton, a himation passing over her left shoulder, and her hair is looped up and confined with a sphendone; beside her in the field hangs a mirror. The youth wears a fillet. The seat of the chair is decorated with vertical bands in sets of three, in very light brown. The figures rest on a line which cuts off an exergue left red. Exterior: (a) Combat of Achilles and Memnon in presence of Thetis and Eos. Memnon falls backward to right, his right leg bending under him, his spear glancing harmlessly off his opponent's thigh: his opponent's spear, broken in two, sticks in his right groin, and the purple blood gushes out. He is bearded, and wears short chiton, cuirass with scale body, and a helmet with low visor and cheek-pieces; his left arm with the shield falls helplessly backward. Achilles, disregarding the lance of Memnon, strides forward to despatch him with his sword; he wears a short chiton, a cuirass decorated with chequers, a Greek helmet with frontal decorated with a snake; his shield, like that of Memnon, is seen from the interior; his scabbard hangs from a purple cross-belt; he is beardless, and has long hair falling in parallel wavy tresses, like that of Memnon. Behind Achilles Thetis moves swiftly forward with a gesture of pleasure, raising both hands as if to clap them; her long hair is neatly arranged and tied with a fillet, which forms a bow at the back. Behind Memnon Eos rushes forward with outstretched right, tearing her disordered hair with her left. Each of the goddesses wears a long sleeved chiton, undertied, and a himation over the left shoulder. Their feet overlap the palmette ornament. (b) Two pairs of warriors. On the left a man wearing chlamys and fillet, and holding spear, confronted by a man with shield and spear, dressed in short chiton, helmet and cuirass, with a mantle over his shoulders; device, a Pegasos springing to left. Next is a similar figure en face, also with shield and spear, but with helmet tilted back; device, a lion springing to left. He looks to right over his shield at a fourth warrior, who has shield and spear on left arm and holds out his helmet in his right; he is dressed like the last, and has a purple fillet around his hair; device, a crescent. On the left of him, καλός. All these figures are bearded, and have long curly hair. Purple is used for the flowers and inscriptions, and in the details indicated below. No inner markings. The hair of the women is indicated by dark brown lines on a light brown wash. Eye of the archaic type, in transition to profile (i.e. with disc against inner angle slightly opened). Below each handle a single palmette. --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
- 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
197. Satyrs
- Description
- Pottery: red-figured psykter (wine-cooler). Revels of bearded satyrs. The central figure appears to be that of a bearded satyr, dressed as a herald, in chlamys (Thracian ?) with heavy horizontal patterns, petasos at back, and high endromides with flaps, turned over, of skin; he moves to left looking back, with caduceus inverted in his left hand, and holding up his right in surprise. The rest of the figures fall into four groups, proceeding to the right as follows: (i) Two bearded satyrs, advancing from each side towards one who has fallen backwards to right on fingers and toes, with a cantharos balanced on his phallos; the satyr on the right pours wine from an oinochoe into the cantharos, the other holds forward with both hands a second cantharos. (ii) Two bearded satyrs dancing on each side of a cantharos on the ground; the one on the left, resting on his left leg, has thrown his right foot back and upward, as if to kick his back with his heel; his body is en face, and this right foot is a bold attempt at foreshortening; with body and arms bent to right, his attitude seems to suggest plunging head first into the cantharos. The other, who is wreathed with ivy, balances himself, with arms extended behind him, on his left leg, and flourishes his right foot over the cantharos. (iii) A bearded satyr, with legs in air, supports himself on right hand and left forearm, and lowers his mouth into a kylix resting on the ground. The other (ithyphallic) strides towards him from right, holding a kylix by the foot in his left, and extending his right with a gesture of admiration. (iv) A bearded satyr has fallen backwards to left upon his hands, with his left leg bent under him (foot in foreshortening), and into his open mouth has wine poured from a wine-skin by a bearded satyr on left, and from an oinochoe by another. Above group (ii) is inscribed ΑΡΙΣΤΑΛΟPΑΣ KAΛΟΣ, 'Άρισταλόρας καλός. Below it, ΔΟΡΙΣ ΕΛΡΑΦΣΕΝ, Δόυρις ἔγραφσεν. All the satyrs, except the herald and the one last described, are bald on the crown; and all except the one wreathed have a fillet fastening the hair in a knot behind; in the case of the reclining figure in (iv) the hair is knotted, but the fillet is omitted. The tumbler in (iii) has the end of his beard recurved in a small tuft. The design forms a frieze around the shoulder and body of the vase. Purple fillets, wreath, wine, inscriptions, and cord of petasos. Brown inner markings and hair up centre of body; edge of hair in thinned black. Eye, with dotted pupil against inner angle, smaller than usual. Round the flat part of the shoulder, a band of tongue pattern; below the design, a band of alternate key and red cross square. At the junction of the base to the body, a band of alternate palmette and flower (silhouette) laid horizontally. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 8, British Museum 6, London, BMP, 1931
198. Satyrs
- Description
- Pottery: red-figured psykter (wine-cooler). Revels of bearded satyrs. The central figure appears to be that of a bearded satyr, dressed as a herald, in chlamys (Thracian ?) with heavy horizontal patterns, petasos at back, and high endromides with flaps, turned over, of skin; he moves to left looking back, with caduceus inverted in his left hand, and holding up his right in surprise. The rest of the figures fall into four groups, proceeding to the right as follows: (i) Two bearded satyrs, advancing from each side towards one who has fallen backwards to right on fingers and toes, with a cantharos balanced on his phallos; the satyr on the right pours wine from an oinochoe into the cantharos, the other holds forward with both hands a second cantharos. (ii) Two bearded satyrs dancing on each side of a cantharos on the ground; the one on the left, resting on his left leg, has thrown his right foot back and upward, as if to kick his back with his heel; his body is en face, and this right foot is a bold attempt at foreshortening; with body and arms bent to right, his attitude seems to suggest plunging head first into the cantharos. The other, who is wreathed with ivy, balances himself, with arms extended behind him, on his left leg, and flourishes his right foot over the cantharos. (iii) A bearded satyr, with legs in air, supports himself on right hand and left forearm, and lowers his mouth into a kylix resting on the ground. The other (ithyphallic) strides towards him from right, holding a kylix by the foot in his left, and extending his right with a gesture of admiration. (iv) A bearded satyr has fallen backwards to left upon his hands, with his left leg bent under him (foot in foreshortening), and into his open mouth has wine poured from a wine-skin by a bearded satyr on left, and from an oinochoe by another. Above group (ii) is inscribed ΑΡΙΣΤΑΛΟPΑΣ KAΛΟΣ, 'Άρισταλόρας καλός. Below it, ΔΟΡΙΣ ΕΛΡΑΦΣΕΝ, Δόυρις ἔγραφσεν. All the satyrs, except the herald and the one last described, are bald on the crown; and all except the one wreathed have a fillet fastening the hair in a knot behind; in the case of the reclining figure in (iv) the hair is knotted, but the fillet is omitted. The tumbler in (iii) has the end of his beard recurved in a small tuft. The design forms a frieze around the shoulder and body of the vase. Purple fillets, wreath, wine, inscriptions, and cord of petasos. Brown inner markings and hair up centre of body; edge of hair in thinned black. Eye, with dotted pupil against inner angle, smaller than usual. Round the flat part of the shoulder, a band of tongue pattern; below the design, a band of alternate key and red cross square. At the junction of the base to the body, a band of alternate palmette and flower (silhouette) laid horizontally. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 8, British Museum 6, London, BMP, 1931
199. Satyrs
- Description
- Pottery: red-figured psykter (wine-cooler). Revels of bearded satyrs. The central figure appears to be that of a bearded satyr, dressed as a herald, in chlamys (Thracian ?) with heavy horizontal patterns, petasos at back, and high endromides with flaps, turned over, of skin; he moves to left looking back, with caduceus inverted in his left hand, and holding up his right in surprise. The rest of the figures fall into four groups, proceeding to the right as follows: (i) Two bearded satyrs, advancing from each side towards one who has fallen backwards to right on fingers and toes, with a cantharos balanced on his phallos; the satyr on the right pours wine from an oinochoe into the cantharos, the other holds forward with both hands a second cantharos. (ii) Two bearded satyrs dancing on each side of a cantharos on the ground; the one on the left, resting on his left leg, has thrown his right foot back and upward, as if to kick his back with his heel; his body is en face, and this right foot is a bold attempt at foreshortening; with body and arms bent to right, his attitude seems to suggest plunging head first into the cantharos. The other, who is wreathed with ivy, balances himself, with arms extended behind him, on his left leg, and flourishes his right foot over the cantharos. (iii) A bearded satyr, with legs in air, supports himself on right hand and left forearm, and lowers his mouth into a kylix resting on the ground. The other (ithyphallic) strides towards him from right, holding a kylix by the foot in his left, and extending his right with a gesture of admiration. (iv) A bearded satyr has fallen backwards to left upon his hands, with his left leg bent under him (foot in foreshortening), and into his open mouth has wine poured from a wine-skin by a bearded satyr on left, and from an oinochoe by another. Above group (ii) is inscribed ΑΡΙΣΤΑΛΟPΑΣ KAΛΟΣ, 'Άρισταλόρας καλός. Below it, ΔΟΡΙΣ ΕΛΡΑΦΣΕΝ, Δόυρις ἔγραφσεν. All the satyrs, except the herald and the one last described, are bald on the crown; and all except the one wreathed have a fillet fastening the hair in a knot behind; in the case of the reclining figure in (iv) the hair is knotted, but the fillet is omitted. The tumbler in (iii) has the end of his beard recurved in a small tuft. The design forms a frieze around the shoulder and body of the vase. Purple fillets, wreath, wine, inscriptions, and cord of petasos. Brown inner markings and hair up centre of body; edge of hair in thinned black. Eye, with dotted pupil against inner angle, smaller than usual. Round the flat part of the shoulder, a band of tongue pattern; below the design, a band of alternate key and red cross square. At the junction of the base to the body, a band of alternate palmette and flower (silhouette) laid horizontally. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 8, British Museum 6, London, BMP, 1931
200. Orestes at Delphi
- Description
- A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Trendall, A D; Cambitoglou, Alexander, The red-figured vases of Apulia, Volumes 1-2, Oxford, Clarendon press, 1978; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893, Pottery: red-figured bell-krater (wine-bowl). Designs red on black ground, with white accessories. Above the designs, laurel-wreath; below, maeander alternating with chequers and crosses; below the handles, palmettes. (a) Purification of Orestes at Delphi: On the left is an Ionic column, indicating the temple, and by it a bucranion with wreath, from which hangs a sacrificial vitta. Orestes to left, beardless, with white pilos at back of neck, and bordered chlamys over left arm, kneels on left knee at the base of the omphalos, clinging to it with left arm, with sword extended in right hand as if to ward off the Furies, and sheath in left; the omphalos is covered with the agrenon. Behind Orestes stands Apollo with two laurel-leaves in right hand, with which he sprinkles the blood over him; he is beardless, with hair in a knot, bordered chlamys and laurel-branch over left arm, in left hand a phiale. On the altar are two large acanthus-leaves; it bears an imitation inscription, apparently modern. (b) Two ephebi conversing, each with staff and himation over left shoulder; between them, a Doric column. --The British Museum
