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101. Peleus and Thetis
- Description
- Pottery: black-figured hydria. Design in black on a red panel, with maeander and palmettes above, and borders of dots down the sides; coarsely incised lines. No marked distinction in shape between neck, shoulder, and body. Peleus seizing Thetis: On the left is a blazing altar, with entablature above. On the right is Peleus to right, nude and beardless, armed with a sword, stooping forward and seizing Thetis round the waist. She has long hair, long chiton and himation, arms extended. Behind her, wings indicating one of her metamorphoses. On the right, part of a palmette. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 8, British Museum 6, London, BMP, 1931
- Description
- Pottery: black-figured dinos (wine-bowl) and stand, incorporating the fragments 1978.6-6.1 and 2, and 1978.6-7.1 to 3. It shows the Wedding of Peleus and Thetis, above friezes of real and imaginary animals. Peleus receives the wedding guests at his house; among them Dionysos, Hebe, and the centaur Cheiron. Between the columns of Peleus' house is the artist's signature "Sophilos painted me". The first chariot in the procession carries Zeus and Hera, the second Poseidon and Amphitrite, the third Hermes and Apollo and the fourth Ares and Aphrodite. Between the chariots walk groups of Fates, Graces and Muses, one of whom plays the pipes. Athena and Artemis ride in the last chariot, and are followed by Thetis' grandfather, the fish-tailed sea-god Okeanos, his wife Tethys, and Eileithyia, goddess of childbirth. Hephaistos brings up the rear, seated side-saddle on a mule. --The British Museum, H.A.G. Brijder, Siana Cups II, The Heidelberg Painter, 8, Amsterdam, Allard Pierson Museum, 1991
103. Nike
- Description
- Pottery: red-figured amphora, type B. (a) Nike pouring a libation. On the right a thymiaterion with cover rests on the ground; towards it Nike, in a long sleeved chiton and bordered himation fastened on her right shoulder, flies down, turning her head towards a phiale extended in her right, so that her body is en face, with a wing extended on either side. In her left is a trefoil oinochoe with high handle. She wears bracelets and a radiated stephane: around her neck is a thin cord, to which is attached a cruciform (?) pendant; her long hair is fastened at the ends in a roll. The cover of the thymiaterion is indicated in crossed brown lines as if it were of wire network; over and around this are purple dots indicating smoke of the incense (?). (b) A wreathed, draped youth standing to left, holding up his right hand. His whiskers are rendered in faint brown. On the bottom of the foot, incised characters. End of strong style. Purple bracelets, smoke(?), and wreath. Brown inner markings of wings, edge of drapery, whiskers, and anatomy. The hair of Nike has a fringe of four rows of dots in thinned black; the treatment of her wings is peculiar: the upper part of her left wing is covered with cross-hatched brown lines: that of her right wing has the usual V-shaped marks indicating feathers. The eye is of the archaic type, with inner angle slightly opened and large pupil. Below each side, a strip, alternate maeanders and dotted cross squares. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 8, British Museum 6, London, BMP, 1931
104. Dionysus and Maenad
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
105. Dragging Hektor
- Description
- Pottery: black-figured amphora : the dragging of Hektor; Achilles drags Hektor's corpse around Patroklos' tomb. On the right is the white tomb mound with Patroklos' armed soul above. In the centre is the winged messenger-goddess, who has come to put a stop to Achilles' treatment of the corpse. --The British Museum, Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
- Description
- Pottery: red-figured neck-amphora, with twisted handles. (a) Departure of warrior. Young warrior with long hair, short chiton with studded sleeves, mantle at back over arms, decorated with crosses, crestless helmet tilted back, cuirass, greaves, sword with twisted snake round scabbard hanging from a cross-belt, stands en face, looking to right, with shield on left arm, left hand holding spear upright, right holding out phiale to left towards (b) A woman in undertied chiton with apoptygma, with long hair fastened at ends in a club, radiated stephane, earrings, moves to right with oinochoe (silhouette against body), and raising the left edge of her dress from her shoulder, towards an altar in form of Ionic capital with volutes and necking of acanthus, on which is placed a high thymiaterion with wire cap, forming an acorn-shaped head (καλύπτρα), probably perforated. Brown inner markings, upper folds of chiton, edge of hair, and hair on cheek: also toe-nails of the foot en face. Eye archaic. Below, a strip of pattern, alternate dotted cross and maeander. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
- Description
- Pottery: red-figured pelike. (a) Thetis and a Nereid bringing arms, made by Hephaistos, to Achilles who mourns Patroclus. In the centre Achilles is seated in a chair to left in a dejected attitude, closely wrapped in his mantle, which is passed over the back of his head; he holds on his left arm a knotted staff, and wears a fillet with a vertical piece over the forehead, and sandals; on the chair is a fringed and embroidered cloth; beside his head, KAΛΟΣ, καλός. Thetis, approaching from left, has thrown her arms around his neck; she wears an Ionic chiton with dotted sleeves and embroidered diploidion, bracelets, and earrings, and her hair is looped up with a radiated stephane. Behind her a Nereid stands (similar dress, large brooch fastening diploidion on right shoulder, saccos with crosses, dotted fillet, bracelets), holding a spear and a high crested helmet. On left is Athene, who from the gesture of her right appears to be speaking. She carries a spear on her left arm and wears an Ionic chiton, tied, and a himation over her shoulders, aegis with scaly surface reaching to below waist, bracelets, and a helmet with raised cheek-pieces. The cheek-pieces of this helmet are decorated with a snake moving upwards; those of the other helmet have scale pattern; and in both the crest is supported by the arched back of a snake, whose head and tail project in front and at back. On right of Achilles a woman stands to front, holding the shield which Thetis has brought (device, in silhouette, a woman to front in chiton with apoptygma, looking to left, and holding at full extent of both arms a festooned taenia); she covers her face with her right at the sight of the goddesses. She wears sleeved chiton, himation, bracelets and earrings, and an opisthosphendone. On right stands a bearded old man looking on, leaning on his staff, draped in a mantle. The earrings have triple pendants. (b) Nereids with arms, and a Greek. The Greek, wreathed, stands to left with right resting on spear, closely draped in a mantle, which passes over the back of his head. Facing him are two Nereids, one holding a cuirass (side view), the other, holding a sword in her right (the scabbard decorated with zigzags), raises with her left the edge of her chiton; the alternate flaps of the cuirass and the chape of the scabbard are black. On right a third Nereid stands to left, holding up in her right a helmet of different form; in her left a sword, hanging by its belt, drawn entirely in silhouette, and against her left arm a spear; all three wear sleeved chiton and himation; the one on left wears a radiated fillet, the next one a dotted saccos and bracelets, and the one on right a radiated fillet and bracelets. On right ΚΑΛΟΣ, καλός. Beneath the handle on left of a, an altar in form of an Ionic capital, with volutes and necking. Beneath the other handle, a square base, on which is a helmet to left, the crest ornamented with a snake in light brown. Purple fillets, inscriptions, and wreaths in b. Brown upper folds of chiton of Thetis and of two Nereids. The hair and beard of the old man and his fillet are indicated in brown outline; the hair of Achilles, in single wavy brown lines. Eye in transition type. Below, a continuous band of key pattern; above each side, a strip of linked lotus buds. On the lower part of each handle, an inverted palmette. Around the neck, and below the design, a thin line of purple. The spears overlap the border. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
- Description
- Pottery: red-figured stamnos. (a) Judgment of Paris. Beneath the left handle of the vase a rough irregular mass of the same height as the figures is left red, and marked with brown brush-marks, indicating Mount Ida. At the foot of it a ram stands to right. Towards this, Paris, a wreathed youth in bordered himation, with chelys in left hand and right hand pressed to side, moves rapidly; he turns to look at Hermes, who strides forward and seizes him by the right shoulder, touching his back with the caduceus, of which the spiked butt-end only is seen; Hermes is bearded and wreathed, and has long hair looped up behind, with one hanging lock (parotis), a short chiton, bordered chlamys, petasos hanging at his back, and talaria laced and winged; on the heel of each is a dotted circle. Behind him come the goddesses; first, Hera, wearing sleeved chiton, a mantle fastened on her left shoulder, on her head a calathos decorated with four horizontal patterns: she carries her sceptre (the ends not shown) on her left arm, and raises her open right with a gesture of encouragement to Paris. Next, Athene, in long chiton with apoptygma, mantle, aegis dotted, with fringe of snakes, and dotted taenia tied in a bow at the back of her head; her long hair hangs loose like that of Hera, but the ends are passed through a knotted cloth (?); she carries her spear horizontally in her left; her right hand, passing across her body, is missing; she turns to look at Aphrodite, whose body is cut in two by the space left under the handle; she wears a long sleeved chiton, a mantle, and a radiated stephane, and holds up in her right a flower towards her face. Her long hair hangs loose down her back. (b) Poseidon, Nike and Dionysos. Poseidon on the left, with a long sleeved chiton and mantle, long beard and hair falling to his shoulders, holding dolphin in left and a long trident resting against his left shoulder, holds out in his right a phiale to be filled by Nike, who moves towards him, holding up an oinochoe in her right; in her left hand is a circular disk, shaded in thinned brown (probably a phiale). Her wings are spread on each side, and she has a long Ionic chiton with apoptygma, undertied, a necklace with cruciform pendant, and a fillet looping up her hair behind. On the right Dionysos, bearded, wreathed with ivy, with long wavy hair, long sleeved chiton and mantle, moves away to right, looking back; on his left arm he holds a thyrsos, in his left hand a cantharos (part destroyed) which he carries by one handle in a horizontal position. Dionysos and Poseidon have the lips parted, as if they were speaking. The design curves up over the shoulder. Later stage of large style. Purple wreaths, fillet of Nike, and flower of Aphrodite. Brown inner markings, and shading of Mount Ida: the sheep is sketched in the roughest manner in thinned black. The hair of Hera and Athene is drawn in long wavy lines of thinned black. Eye in transition type (three varieties of form). Below, pairs of maeander set alternate ways, separated by dotted cross squares and red cross squares, with inner cross of dots; on shoulder, tongue; around lip, egg pattern. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
109. Libation
- Description
- Pottery: White-ground lekythos. Sacrifice. On the right is an altar of rough outline, as if of hewn stone, from which flames arise. On the left stands a bearded, wreathed man (a priest ?) in an himation, leaning forward against a staff, and holding out in his right over the flames a phiale; in his left he holds a sprig of myrtle, probably for lustration (purification). Above hang a lock of hair and a wreath, probably votive. The vase has received a blow while the clay was soft, which has left a vertical indentation in the centre of the design. Early fine period. Drawing in black outline; hair and staff, black silhouette; dress, pink, with folds in brown. Eye in profile. Above, a strip, closed at each end, of maeander, with two white cross squares, on white. On shoulder, a pattern of five palmettes, black on red. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
110. Nereus and Herakles
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
111. Odysseus under ram
- Description
- Attic Black Figure pottery lip cup with added plaster and one handle restored; interior: reserved band around top of rim and glazed black below; reserved tondo with small black central circle (marked with small pits, which were part of ancient repair); exterior: narrow black band around rim and below offset of lip; handle black, reserved on inside; on lip between handles (sides A and B), black figure decoration consisting of Odysseus (added red hair and beard; head, neck, shoulder, buttocks with incised arc, legs from below knee and feet protruding) bound by two cords under ram (faded added white horn, red neck, and red mark on haunch), to left; lower part of bowl glazed black with reserved band; stem and foot glazed black; concave edge and underside of foot reserved; several ancient repair holes (3 on lowest part of bowl, 1 through centre of tondo, 4 at top of stem). --The British Museum, Villing, Alexandra, Naukratis: Greeks in Egypt, London, BM, 2012; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Smith, A H; Pryce, F N, Corpus Vasorum Antiquorum: Great Britain 2, British Museum 2, London, BMP, 1926; Möller, Astrid, Naukratis, Trade in Archaic Greece, Oxford, Oxford University Press, 2000; Venit, M.S., Painted Pottery from the Greek Mainland found in Egypt, 640-450 BC, PhD New York University, UMI, 1982
![[No Caption] Steven Lowenstam Collection](/thumbnails/s/2/oregondigital-df691762s.jpg "[No Caption] Steven Lowenstam Collection")
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
- Description
- Pottery: red-figured stamnos. (a) Judgment of Paris. Beneath the left handle of the vase a rough irregular mass of the same height as the figures is left red, and marked with brown brush-marks, indicating Mount Ida. At the foot of it a ram stands to right. Towards this, Paris, a wreathed youth in bordered himation, with chelys in left hand and right hand pressed to side, moves rapidly; he turns to look at Hermes, who strides forward and seizes him by the right shoulder, touching his back with the caduceus, of which the spiked butt-end only is seen; Hermes is bearded and wreathed, and has long hair looped up behind, with one hanging lock (parotis), a short chiton, bordered chlamys, petasos hanging at his back, and talaria laced and winged; on the heel of each is a dotted circle. Behind him come the goddesses; first, Hera, wearing sleeved chiton, a mantle fastened on her left shoulder, on her head a calathos decorated with four horizontal patterns: she carries her sceptre (the ends not shown) on her left arm, and raises her open right with a gesture of encouragement to Paris. Next, Athene, in long chiton with apoptygma, mantle, aegis dotted, with fringe of snakes, and dotted taenia tied in a bow at the back of her head; her long hair hangs loose like that of Hera, but the ends are passed through a knotted cloth (?); she carries her spear horizontally in her left; her right hand, passing across her body, is missing; she turns to look at Aphrodite, whose body is cut in two by the space left under the handle; she wears a long sleeved chiton, a mantle, and a radiated stephane, and holds up in her right a flower towards her face. Her long hair hangs loose down her back. (b) Poseidon, Nike and Dionysos. Poseidon on the left, with a long sleeved chiton and mantle, long beard and hair falling to his shoulders, holding dolphin in left and a long trident resting against his left shoulder, holds out in his right a phiale to be filled by Nike, who moves towards him, holding up an oinochoe in her right; in her left hand is a circular disk, shaded in thinned brown (probably a phiale). Her wings are spread on each side, and she has a long Ionic chiton with apoptygma, undertied, a necklace with cruciform pendant, and a fillet looping up her hair behind. On the right Dionysos, bearded, wreathed with ivy, with long wavy hair, long sleeved chiton and mantle, moves away to right, looking back; on his left arm he holds a thyrsos, in his left hand a cantharos (part destroyed) which he carries by one handle in a horizontal position. Dionysos and Poseidon have the lips parted, as if they were speaking. The design curves up over the shoulder. Later stage of large style. Purple wreaths, fillet of Nike, and flower of Aphrodite. Brown inner markings, and shading of Mount Ida: the sheep is sketched in the roughest manner in thinned black. The hair of Hera and Athene is drawn in long wavy lines of thinned black. Eye in transition type (three varieties of form). Below, pairs of maeander set alternate ways, separated by dotted cross squares and red cross squares, with inner cross of dots; on shoulder, tongue; around lip, egg pattern. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
114. Libation
- Description
- Pottery: White-ground lekythos: man with sceptre pouring libation before a pipes-player. --The British Museum
115. Symposium scene
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
- Description
- Pottery: black-figured lekythos (oil-flask). On the shoulder, palmettes; above the design, network. Two heroes (Achilles and Ajax?) casting lots before the statue of Athene: In the centre is the goddess, on a base of two steps, looking to left, with long hair, high-crested helmet, aegis with snakes in front, long chiton, folds indicated, spear in right hand, left extended. On either side of the base is a hero crouching down on one knee fully armed, with high-crested helmet, ornamented cuirass, that of the one on the right probably of linen, short striped chiton, greaves with incised volutes, and two spears, right hand extended to throw the dice. Behind each is his shield; the one on the left has a tripod as device, the other an ivy-wreath. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851
117. Peleus and Thetis
- Description
- Pottery: black-figured oinochoe. Trefoil mouth. Design black on white ground, with purple accessories. Peleus seizing Thetis: In the centre is Peleus to right, beardless, with fillet and drapery round loins, stooping forward and seizing Thetis round the body. She moves away to right, looking to left, and has hair looped up under a beaded fillet, and long chiton and himation with purple spots. On the left is a Nereid running away, in a long chiton and himation, as Thetis, holding a wreath in left hand. Under the handle, branches spreading over the field.--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 kylix. INTERIOR: seated old man and man. On the left an old man with beard and receding hair is seated on a simple stool with a striped cushion. He is dressed in long chiton and himation and has a red wreath in his hair. He holds a plain stick in his left hand and gestures towards the bearded man facing him with his right hand. This man wears a himation and shoes and has a red wreath in his hair. He leans to the left on a knotty stick and is seen in three-quarter back view. His left arm, covered in drapery, is bent back to hold the top of his stick which supports him under his left armpit. He gestures with his right hand towards the seated man. Border: dotted cross square alternating with five units of running maeander (five-stroke, clockwise); irregularities at 7 o'clock (three and a half maeander units) and at 8 and 9 o'clock (only four units). EXTERIOR: Briseis. Side A (lower): Briseis being led away from Achilles. On the far left a bearded herald in short chiton, chlamys, pilos hat with red ties and boots with horizontal divisions (dilute glaze) starts to move away to the left but turns back his head and torso so that his right leg is also seen from the back (dilute glaze wash in hair and beard). He holds a kerykeion up in his left hand; his right hand grips the draped hand or wrist of a woman behind him. She is Briseis and wears a chiton and a himation pulled up over the back of her head, faces to the left, a double red band around her head. Behind her is a second bearded herald (dilute glaze wash for beard). He wears a pilos hat with red ties, horizontally striped boots (dilute glaze) and a chlamys that covers the short chiton that he is presumably wearing beneath it. In the centre a bearded man in a himation leans on a knotty stick to the right, his right hand on his hip, his left arm hidden in his drapery. He has a red fillet in his hair. He faces the tent of Achilles which takes the form of four (only two shown) plain posts with simple block bases with a large striped textile with a fringed edge draped over them. Up in the folds of this marquee are, on the left, a Corinthian helmet with a long crest on a square hook or shelf and, on the right, a scabbard with a red strap. Next to the scabbard is planted a spear. In the centre of the tent sits Achilles on an elaborate folding stool (animal legs) with a cushion decorated with zigzags. He wears shoes and a himation which envelops all but the upper part of his face. He has a red fillet in his hair and dilute wash in his wavy hair. His left arm is wrapped around a knotty stick. Behind the tent, on the extreme right, stands a bearded elder in long chiton, himation and shoes; he also has a red hair-band. He holds a staff or sceptre in his right hand. Side Β (upper): Briseis being led back. On the left a bearded man, wearing a himation pulled up over the back of his head and a red fillet, leans on a knotty stick, his right leg frontal: he is presumably Agamemnon. In front of him stands a bearded elder to the left. He is dressed in long chiton (dilute glaze border), himation, shoes and a red fillet and rests his right hand on top of a plain stick. Behind him stands a second bearded elder similarly dressed and accoutred but facing to the right. In the centre is a fluted column with a plain block base but a Doric capital with architrave above. To the right of the central column a herald in pilos hat with red ties, chlamys and red thonged high sandals moves to the right. In his right hand he holds a kerykeion; his left hand is raised inside his chlamys; at his hip is a scabbard. In front of him is Briseis in chiton (upper folds done with dilute glaze) and himation pulled up over the back of her head. She has a double red band around her head. In front of her is a second herald who leads her by the hand - hers within its drapery. He is moving right but has turned back to look at her, his head to the left, torso and right leg frontal. He is dressed in short chiton, chlamys and pilos hat with red ties and holds a kerykeion up in his left hand. In front of him, on the extreme right, is a second column, as the first. These two columns are probably intended to be the entrance porch to Agamemnon's more palatial tent, out through which the two heralds are leading Briseis. Under either handle: a solid stone seat with dilute glaze strokes. Ground line: single reserved line. Relief line contour throughout (except for hair); dilute glaze for minor interior markings; added red for inscriptions. --The British Museum, Williams, Dyfri, Corpus Vasorum Antiquorum: Great Britain 17, British Museum 9, London, BMP, 1993; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
- Description
- Pottery: red-figured kylix. INTERIOR: seated old man and man. On the left an old man with beard and receding hair is seated on a simple stool with a striped cushion. He is dressed in long chiton and himation and has a red wreath in his hair. He holds a plain stick in his left hand and gestures towards the bearded man facing him with his right hand. This man wears a himation and shoes and has a red wreath in his hair. He leans to the left on a knotty stick and is seen in three-quarter back view. His left arm, covered in drapery, is bent back to hold the top of his stick which supports him under his left armpit. He gestures with his right hand towards the seated man. Border: dotted cross square alternating with five units of running maeander (five-stroke, clockwise); irregularities at 7 o'clock (three and a half maeander units) and at 8 and 9 o'clock (only four units). EXTERIOR: Briseis. Side A (lower): Briseis being led away from Achilles. On the far left a bearded herald in short chiton, chlamys, pilos hat with red ties and boots with horizontal divisions (dilute glaze) starts to move away to the left but turns back his head and torso so that his right leg is also seen from the back (dilute glaze wash in hair and beard). He holds a kerykeion up in his left hand; his right hand grips the draped hand or wrist of a woman behind him. She is Briseis and wears a chiton and a himation pulled up over the back of her head, faces to the left, a double red band around her head. Behind her is a second bearded herald (dilute glaze wash for beard). He wears a pilos hat with red ties, horizontally striped boots (dilute glaze) and a chlamys that covers the short chiton that he is presumably wearing beneath it. In the centre a bearded man in a himation leans on a knotty stick to the right, his right hand on his hip, his left arm hidden in his drapery. He has a red fillet in his hair. He faces the tent of Achilles which takes the form of four (only two shown) plain posts with simple block bases with a large striped textile with a fringed edge draped over them. Up in the folds of this marquee are, on the left, a Corinthian helmet with a long crest on a square hook or shelf and, on the right, a scabbard with a red strap. Next to the scabbard is planted a spear. In the centre of the tent sits Achilles on an elaborate folding stool (animal legs) with a cushion decorated with zigzags. He wears shoes and a himation which envelops all but the upper part of his face. He has a red fillet in his hair and dilute wash in his wavy hair. His left arm is wrapped around a knotty stick. Behind the tent, on the extreme right, stands a bearded elder in long chiton, himation and shoes; he also has a red hair-band. He holds a staff or sceptre in his right hand. Side Β (upper): Briseis being led back. On the left a bearded man, wearing a himation pulled up over the back of his head and a red fillet, leans on a knotty stick, his right leg frontal: he is presumably Agamemnon. In front of him stands a bearded elder to the left. He is dressed in long chiton (dilute glaze border), himation, shoes and a red fillet and rests his right hand on top of a plain stick. Behind him stands a second bearded elder similarly dressed and accoutred but facing to the right. In the centre is a fluted column with a plain block base but a Doric capital with architrave above. To the right of the central column a herald in pilos hat with red ties, chlamys and red thonged high sandals moves to the right. In his right hand he holds a kerykeion; his left hand is raised inside his chlamys; at his hip is a scabbard. In front of him is Briseis in chiton (upper folds done with dilute glaze) and himation pulled up over the back of her head. She has a double red band around her head. In front of her is a second herald who leads her by the hand - hers within its drapery. He is moving right but has turned back to look at her, his head to the left, torso and right leg frontal. He is dressed in short chiton, chlamys and pilos hat with red ties and holds a kerykeion up in his left hand. In front of him, on the extreme right, is a second column, as the first. These two columns are probably intended to be the entrance porch to Agamemnon's more palatial tent, out through which the two heralds are leading Briseis. Under either handle: a solid stone seat with dilute glaze strokes. Ground line: single reserved line. Relief line contour throughout (except for hair); dilute glaze for minor interior markings; added red for inscriptions. --The British Museum, Williams, Dyfri, Corpus Vasorum Antiquorum: Great Britain 17, British Museum 9, London, BMP, 1993; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
- Description
- Pottery: red-figured kylix. INTERIOR: seated old man and man. On the left an old man with beard and receding hair is seated on a simple stool with a striped cushion. He is dressed in long chiton and himation and has a red wreath in his hair. He holds a plain stick in his left hand and gestures towards the bearded man facing him with his right hand. This man wears a himation and shoes and has a red wreath in his hair. He leans to the left on a knotty stick and is seen in three-quarter back view. His left arm, covered in drapery, is bent back to hold the top of his stick which supports him under his left armpit. He gestures with his right hand towards the seated man. Border: dotted cross square alternating with five units of running maeander (five-stroke, clockwise); irregularities at 7 o'clock (three and a half maeander units) and at 8 and 9 o'clock (only four units). EXTERIOR: Briseis. Side A (lower): Briseis being led away from Achilles. On the far left a bearded herald in short chiton, chlamys, pilos hat with red ties and boots with horizontal divisions (dilute glaze) starts to move away to the left but turns back his head and torso so that his right leg is also seen from the back (dilute glaze wash in hair and beard). He holds a kerykeion up in his left hand; his right hand grips the draped hand or wrist of a woman behind him. She is Briseis and wears a chiton and a himation pulled up over the back of her head, faces to the left, a double red band around her head. Behind her is a second bearded herald (dilute glaze wash for beard). He wears a pilos hat with red ties, horizontally striped boots (dilute glaze) and a chlamys that covers the short chiton that he is presumably wearing beneath it. In the centre a bearded man in a himation leans on a knotty stick to the right, his right hand on his hip, his left arm hidden in his drapery. He has a red fillet in his hair. He faces the tent of Achilles which takes the form of four (only two shown) plain posts with simple block bases with a large striped textile with a fringed edge draped over them. Up in the folds of this marquee are, on the left, a Corinthian helmet with a long crest on a square hook or shelf and, on the right, a scabbard with a red strap. Next to the scabbard is planted a spear. In the centre of the tent sits Achilles on an elaborate folding stool (animal legs) with a cushion decorated with zigzags. He wears shoes and a himation which envelops all but the upper part of his face. He has a red fillet in his hair and dilute wash in his wavy hair. His left arm is wrapped around a knotty stick. Behind the tent, on the extreme right, stands a bearded elder in long chiton, himation and shoes; he also has a red hair-band. He holds a staff or sceptre in his right hand. Side Β (upper): Briseis being led back. On the left a bearded man, wearing a himation pulled up over the back of his head and a red fillet, leans on a knotty stick, his right leg frontal: he is presumably Agamemnon. In front of him stands a bearded elder to the left. He is dressed in long chiton (dilute glaze border), himation, shoes and a red fillet and rests his right hand on top of a plain stick. Behind him stands a second bearded elder similarly dressed and accoutred but facing to the right. In the centre is a fluted column with a plain block base but a Doric capital with architrave above. To the right of the central column a herald in pilos hat with red ties, chlamys and red thonged high sandals moves to the right. In his right hand he holds a kerykeion; his left hand is raised inside his chlamys; at his hip is a scabbard. In front of him is Briseis in chiton (upper folds done with dilute glaze) and himation pulled up over the back of her head. She has a double red band around her head. In front of her is a second herald who leads her by the hand - hers within its drapery. He is moving right but has turned back to look at her, his head to the left, torso and right leg frontal. He is dressed in short chiton, chlamys and pilos hat with red ties and holds a kerykeion up in his left hand. In front of him, on the extreme right, is a second column, as the first. These two columns are probably intended to be the entrance porch to Agamemnon's more palatial tent, out through which the two heralds are leading Briseis. Under either handle: a solid stone seat with dilute glaze strokes. Ground line: single reserved line. Relief line contour throughout (except for hair); dilute glaze for minor interior markings; added red for inscriptions. --The British Museum, Williams, Dyfri, Corpus Vasorum Antiquorum: Great Britain 17, British Museum 9, London, BMP, 1993; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
121. Achilles Mourning
- Description
- Pottery: red-figured kylix. INTERIOR: seated old man and man. On the left an old man with beard and receding hair is seated on a simple stool with a striped cushion. He is dressed in long chiton and himation and has a red wreath in his hair. He holds a plain stick in his left hand and gestures towards the bearded man facing him with his right hand. This man wears a himation and shoes and has a red wreath in his hair. He leans to the left on a knotty stick and is seen in three-quarter back view. His left arm, covered in drapery, is bent back to hold the top of his stick which supports him under his left armpit. He gestures with his right hand towards the seated man. Border: dotted cross square alternating with five units of running maeander (five-stroke, clockwise); irregularities at 7 o'clock (three and a half maeander units) and at 8 and 9 o'clock (only four units). EXTERIOR: Briseis. Side A (lower): Briseis being led away from Achilles. On the far left a bearded herald in short chiton, chlamys, pilos hat with red ties and boots with horizontal divisions (dilute glaze) starts to move away to the left but turns back his head and torso so that his right leg is also seen from the back (dilute glaze wash in hair and beard). He holds a kerykeion up in his left hand; his right hand grips the draped hand or wrist of a woman behind him. She is Briseis and wears a chiton and a himation pulled up over the back of her head, faces to the left, a double red band around her head. Behind her is a second bearded herald (dilute glaze wash for beard). He wears a pilos hat with red ties, horizontally striped boots (dilute glaze) and a chlamys that covers the short chiton that he is presumably wearing beneath it. In the centre a bearded man in a himation leans on a knotty stick to the right, his right hand on his hip, his left arm hidden in his drapery. He has a red fillet in his hair. He faces the tent of Achilles which takes the form of four (only two shown) plain posts with simple block bases with a large striped textile with a fringed edge draped over them. Up in the folds of this marquee are, on the left, a Corinthian helmet with a long crest on a square hook or shelf and, on the right, a scabbard with a red strap. Next to the scabbard is planted a spear. In the centre of the tent sits Achilles on an elaborate folding stool (animal legs) with a cushion decorated with zigzags. He wears shoes and a himation which envelops all but the upper part of his face. He has a red fillet in his hair and dilute wash in his wavy hair. His left arm is wrapped around a knotty stick. Behind the tent, on the extreme right, stands a bearded elder in long chiton, himation and shoes; he also has a red hair-band. He holds a staff or sceptre in his right hand. Side Β (upper): Briseis being led back. On the left a bearded man, wearing a himation pulled up over the back of his head and a red fillet, leans on a knotty stick, his right leg frontal: he is presumably Agamemnon. In front of him stands a bearded elder to the left. He is dressed in long chiton (dilute glaze border), himation, shoes and a red fillet and rests his right hand on top of a plain stick. Behind him stands a second bearded elder similarly dressed and accoutred but facing to the right. In the centre is a fluted column with a plain block base but a Doric capital with architrave above. To the right of the central column a herald in pilos hat with red ties, chlamys and red thonged high sandals moves to the right. In his right hand he holds a kerykeion; his left hand is raised inside his chlamys; at his hip is a scabbard. In front of him is Briseis in chiton (upper folds done with dilute glaze) and himation pulled up over the back of her head. She has a double red band around her head. In front of her is a second herald who leads her by the hand - hers within its drapery. He is moving right but has turned back to look at her, his head to the left, torso and right leg frontal. He is dressed in short chiton, chlamys and pilos hat with red ties and holds a kerykeion up in his left hand. In front of him, on the extreme right, is a second column, as the first. These two columns are probably intended to be the entrance porch to Agamemnon's more palatial tent, out through which the two heralds are leading Briseis. Under either handle: a solid stone seat with dilute glaze strokes. Ground line: single reserved line. Relief line contour throughout (except for hair); dilute glaze for minor interior markings; added red for inscriptions. --The British Museum, Williams, Dyfri, Corpus Vasorum Antiquorum: Great Britain 17, British Museum 9, London, BMP, 1993; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
- Description
- Bothmer, Dietrich von. "Aspects of a Collection," Metropolitan Museum of Art Bulletin 27, June 1969. pp. 424-436. p. 427; fig. 11.; Bothmer, Dietrich von, and J. Bean. Greek Vases and Modern Drawings from the Collection of Mr. and Mrs. Walter Bareiss. Exh. checklist, The Metropolitan Museum of Art. New York: 1969. p. 7, no. 87.; B0eazley, J. D. Paralipomena. Additions to Attic Black-figure Vase-painters and to Attic Red-figure Vase-painters. 2nd ed. Oxford: 1971. p. 367, no. 1 bis.; Shefton, Brian. "Agamemnon or Ajax," Revue Archeologique 24 (1973), pp. 203-218. fig. 1.; Davies, Mark I. "Ajax and Tekmessa. A Cup by the Brygos Painter in the Bareiss Collection," Antike Kunst 16, 1 (1973), pp. 60-70. pls. 9.1, and 10.; Boardman, John. Athenian Red Figure Vases: The Archaic Period. London: 1975. fig. 246.; Williams, Dyfri. "Ajax, Odysseus, and the Arms of Achilles," Antike Kunst 23 (1980), pp. 137-145. p. 137, n. 5; pls. 33, 7 and 36.1-2.; Touchefeu, Odette. "Aias I," Lexicon Iconographicum Mythologiae Classicae (1981), pp. 312-336. pp. 325, no. 72, and 332, no. 140 (as L.69-11.35).; True, Marion, and Jiri Frel. Greek Vases. Molly and Walter Bareiss Collection. The J. Paul Getty Museum. Malibu: 1983. pp. 44-45, no. 30, figs. 30a-c; p. 79, no. 152.; Burow, Johannes. Corpus Vasorum Antiquorum. Tubingen 5 (Germany 54). Munich: 1986. Beilage 1, fig. 4.; Wescoat, Bonna D., ed. Poets and Heroes: Scenes of the Trojan War. Exh. cat, Emory University Museum of Art and Archaeology. Atlanta: 1986. pp. 52-57, no. 14.; Schefold, Karl. "Sophokles' Aias auf einer Lekythos," Antike Kunst 19 (1976). p. 72, n. 3.; "Acquisitions/1986." The J. Paul Getty Museum Journal 15 (1987), pp. 160 - 161, no. 7.; Beazley Addenda: Additional References to ABV, ARV2, and Paralipomena. 2nd ed. Compiled by T. Carpenter with T. Mannack and M. Mendonca. Oxford: 1989. p. 224.; Immerwahr, Henry. Attic Script. A Survey. Oxford and New York: 1990. p. 89, n. 37, no. 553; The J. Paul Getty Museum Handbook of the Collections. 3rd ed. (Malibu: J. Paul Getty Museum, 1991), p. 47.; Williams, Dyfri. "Onesimos and the Getty Iliupersis," Greek Vases in the J. Paul Getty Museum 5. Occasional Papers on Antiquities 7 (1991), pp. 41-64. p. 44, and p. 63, n. 33.; Touchefeu-Meynier, Odette. "Odysseus," Lexicon Iconographicum Mythologiae Classicae VI (1992), pp. 943-970.; Robertson, Martin. The Art of Vase Painting in Classical Athens. Cambridge: 1992. p. 95; fig. 88 (wrongly cited as 81.AE.26).; March, J. R. Bulletin of the Institute of Classical Studies 38 (1991-1993), pp. 1-36. pp. 5-6; pl. 2a.; Shapiro, H. A. Myth into Art: Poet and Painter in Classical Greece. London and New York: 1994. p. 153, fig. 108, and p. 154, fig. 109.; Buxton, Richard. Imaginary Greece: The Contexts of Mythology. Cambridge: 1994 p. 126, fig. 14.; Buxton, Richard. La Grece de l'imaginaire. Les contextes de la mythologie. Paris: 1996. p. 189; fig. 14; Towne Markus, Elana. Masterpieces of the J. Paul Getty Museum: Antiquities. (Los Angeles: J. Paul Getty Museum, 1997) p. 40.; Moore, Mary B. Corpus Vasorum Antiquorum. The J. Paul Getty Museum 8 (USA 33). Malibu: 1998. p. 33-35, no. 49; fig. 13; pls. 418-420.; March, Jenny. Cassell Dictionary of Classical Mythology. London: 1998. p. 368, s.v. Tecmessa; fig. 136.; Brinkman, Vinzenz. "Aias der Telamonier," Der Torso, Ruhm und Raetsel (exh. cat.), Glyptotek Muenchen, January 21-March 29, 1998. Munich: 1998. Pp. 127-133. p. 132; fig. 194; Boardman, John. The History of Greek Vases. London: 2001. p. 243; fig. 268.; Hedreen, Guy. Capturing Troy: The Narrative Functions of Landscape in Archaic and Early Classical Greek Art. Ann Arbor: 2001. fig. 28, pp. 104-105, 107, 108, 110, 111, 115, 117, n. 92, 143, nn. 73,74, 178, 221, 224, 234.; The J. Paul Getty Museum Handbook of the Collections. 6th ed. (Los Angeles: J. Paul Getty Museum, 2001), p. 47.; Immerwahr, Henry. R. A Corpus of Attic Vase Inscriptions. Preliminary Edition. Part VI: Supplement. 2001. no. 5015.; Tsingarida, Athena. "Soif d'emotions. La representation des sentiments dans la ceramique attique des VI et V siecles av. n. ere." Revue Belge de Philologie et D'Histoire 79. Brussels, 2001. p. 16, fig. 7.; The J. Paul Getty Museum Handbook of the Antiquities Collection (Los Angeles: J. Paul Getty Museum, 2002) p. 69.; Zwierlein, Otto. Hippolytus und Phaidra: Von Euripides bis D'Annunzio (Paderborn: Verlag Ferdinand Schoningh, 2005), pp. 26-27, abb. 5.; Sacks, David. Encyclopedia of the Anciet Greek World (New York: Facts on File, Inc, 2005) p. 17, illus.l; Neils, Jennifer. "The 'Unheroic' Corpse: Re-reading the Sarpedon Krater". In Athenian Potters and Painters, vol. 2. John H. Oakley and Olga Palagia, eds. (Oxford: Oxbow Books, 2009) 212-219 p.215, fig.6 , He must not be seen! I will cover his body, I will wrap him completely in my mantle. No one who loved him could bear to see the dark blood pouring from his nostrils and the raw wound in his breast. So declared Tekmessa when she discovered the body of her dead lover Ajax in an Athenian tragedy by the playwright Sophokles. Ajax was one of the greatest of the Greek heroes in the Trojan War. The matter of his suicide was recounted in epic poetry now lost to us, but Athenian vase-painters in the early 400s B.C. frequently drew on this tradition in showing his death. The interior of this red-figure cup attributed to the Brygos Painter shows Ajax impaled on his sword and Tekmessa running to cover the body. In a unique representation of the suicide, the sword enters through his back rather than the more natural position through the stomach. Beneath Ajax, the Brygos Painter attempted to convey the texture of the pebble beach where Ajax went to die. The exterior of the cup presents the events leading to Ajax's suicide. When Achilles was killed, Ajax saved his body from the Trojans, expecting to be rewarded with Achilles' armor. However, Odysseus also claimed the armor. One side of this cup shows the two heroes quarreling; on the other side, the Greek leaders cast votes in the form of stones piled in front of the opponents. The despondent Ajax clutches his bowed head, having lost by one vote. --J. Paul Getty Museum; Bareiss Loan Number: S.82.AE.27
- Description
- He must not be seen! I will cover his body, I will wrap him completely in my mantle. No one who loved him could bear to see the dark blood pouring from his nostrils and the raw wound in his breast. So declared Tekmessa when she discovered the body of her dead lover Ajax in an Athenian tragedy by the playwright Sophokles. Ajax was one of the greatest of the Greek heroes in the Trojan War. The matter of his suicide was recounted in epic poetry now lost to us, but Athenian vase-painters in the early 400s B.C. frequently drew on this tradition in showing his death. The interior of this red-figure cup attributed to the Brygos Painter shows Ajax impaled on his sword and Tekmessa running to cover the body. In a unique representation of the suicide, the sword enters through his back rather than the more natural position through the stomach. Beneath Ajax, the Brygos Painter attempted to convey the texture of the pebble beach where Ajax went to die. The exterior of the cup presents the events leading to Ajax's suicide. When Achilles was killed, Ajax saved his body from the Trojans, expecting to be rewarded with Achilles' armor. However, Odysseus also claimed the armor. One side of this cup shows the two heroes quarreling; on the other side, the Greek leaders cast votes in the form of stones piled in front of the opponents. The despondent Ajax clutches his bowed head, having lost by one vote. --J. Paul Getty Museum; Bareiss Loan Number: S.82.AE.27
124. Love-Making
- Description
- Dorig, Jose, ed. Art Antique. Collections Privees de Suisse Romande. Exh, cat., Musee d'art et d'histoire, Geneve. Editions archeologiques de l'Universite de Geneve: 1975. cat. no. 205; figs. 205a-e.; Buitron, Diana. Douris. Ph.D. diss., Institute of Fine Arts, New York University: 1976. p. 48, no. 36.; "Acquisitions/1984." The J. Paul Getty Museum Journal 13 (1985), pp. 168-169, no. 19.; Kurtz, D. C. "Two Athenian White-ground Lekythoi," Greek Vases in the J. Paul Getty Museum 4. Occasional Papers in Antiquities 5 (1989). pp. 113-130. figs. 1a-e; Immerwahr, Henry. Attic Script. A Survey. Oxford and New York: 1990. p. 85 (no cat. number); The J. Paul Getty Museum Handbook of the Collections. 3rd ed. (Malibu: J. Paul Getty Museum, 1991), p. 48.; Buitron-Oliver, Diana. Douris: A Master-Painter of Athenian Red-Figure Vases. Kerameus 9. Mainz: P. von Zabern, 1995. pp. 18, 44, 51-53, 64-65, and 75, cat. no. 45; p. 95, fig. 6E; pls. 28-29.; The J. Paul Getty Museum Handbook of the Collections. 4th ed. (Los Angeles: J. Paul Getty Museum, 1997), p. 47.; Towne Markus, Elana. Masterpieces of the J. Paul Getty Museum: Antiquities. (Los Angeles: J. Paul Getty Museum, 1997) p. 37.; Immerwahr, Henry. R. A Corpus of Attic Vase Inscriptions. Preliminary Edition. Part VI: Supplement. 2001. no. 4978.; The J. Paul Getty Museum Handbook of the Collections. 6th ed. (Los Angeles: J. Paul Getty Museum, 2001), p. 47.; The J. Paul Getty Museum Handbook of the Antiquities Collection (Los Angeles: J. Paul Getty Museum, 2002) p. 70.; Cohen, Beth, ed. The Colors of Clay: Special Techniques in Athenian Vases, exh. cat. (Los Angeles: The J. Paul Getty Museum, 2006) pp. 213-215, cat. no. 58, figs. 58.1-58.3.; The J. Paul Getty Museum Handbook of the Collections. 7th ed. (Los Angeles: J. Paul Getty Museum, 2007), p. 29, ill.; Green, Christopher, and Jens M. Daehner. Modern Antiquity: Picasso, de Chirico, Leger, and Picabia (Los Angeles: J. Paul Getty Museum, 2011) 46, 152, no. 6; pl. 8 , On the interior of this Athenian red-figure kylix or cup, a seated youth pulls his older male lover down toward him for a kiss. In Athenian aristocratic circles in the Archaic period, older men often courted youths. Such homosexual relationships were viewed as a key element in the socialization of youths, involving strong elements of mentoring as well as eroticism. The exterior of the cup depicts youths and bearded men training in various athletic activities, including the javelin, discus, and long jump. The youth in the long robe playing the flutes provides music for the training. Greek vases of the Archaic period frequently depict favorite pursuits of the aristocratic patrons who used the vessels; scenes of athletic training, another key element in the socialization of Athenian youths, are among the most common.--J.Paul Getty Museum
125. Symposium
- Description
- Pottery: red-figured kylix (drinking-cup) showing boys serving wine. INTERIOR: komast. A bearded komast moves to the right with head turned back to left. He wears a chlamys over his upper arms and a red apicate fillet in his hair. He holds a cup back in his right hand and a knotty stick across his body in his left. Relief line for vertical strokes of fringe over forehead and for horizontal lines of hair tied up at back (relief line fringe for beard); dilute glaze line above and below eye. Preliminary sketch indicates that the chlamys was intended to be longer on the right. Border: alternating false maeander (twelve-stroke, alternately clockwise and anticlockwise) and blackened cross-square. EXTERIOR: symposium. Side A (lower): three banqueters on couches attended by two boys. On the couch on the left a bearded man reclines to the left, his head turned back to the right. He wears a himation over his left shoulder and around his waist and legs and a red apicate fillet in his hair. He rests against a folded cushion decorated with pairs of stripes, while he grips a cup in his left hand and holds out his right hand palm upward as if holding another. Above him hang two cups, seen from underneath, and a flat-bottomed oinochoe. His couch rests on a dais, the corner of which is visible on the left, and in front of it (ie. alongside) is a three-legged table on which are three red garlands. In front of the left hand end of the central couch stands a naked boy with a red fillet in his hair. He holds an oinochoe in his right hand and stretches out his left hand towards the symposiast on the central couch. Here a bearded man reclines to the left (cushion decorated with a pair of stripes and a stripe flanked by pairs of lines). He holds out a cup high in his right hand; his left hand is empty. He wears a himation in the same manner as the first symposiast, but has a thick reserved fillet (alternately vertical line and rows of dots at each bunching) in his hair. Above him and the boy hang two footless oinochoai and a cup seen from underneath. Alongside his couch is a three-legged table over which hang three red garlands. The couch on the right is seen in end view from the back. On it reclines a bearded man with a himation round his waist and a red apicate fillet in his hair. He is seen from the back, his left elbow resting on his cushion and his raised right knee splayed out to the right. He holds a cup up to his lips in his left hand and gestures with his right to the boy who stands between him and the central couch. Either side of the end of the couch project the ends of his striped cushion. Alongside the couch is a three-legged table, also seen from the end, the two legs in profile in the foreground, the third in back view beyond. The naked boy attendant who stands on the left of the couch, behind the table, has a frontal torso and left leg. His hair has a long straight fringe of relief lines over his neck. He holds an oinochoe in his left hand, tipped down so that the trefoil mouth is shown foreshortened. He gestures with his right hand as he looks at the symposiast. Above these two figures are two cups seen from underneath and a small foodess oinochoe. Side Β (upper): three couches and one boy attendant. The couch and its occupant on the left repeats the form of the central couch on side A, although the symposiast's himation has a line border and his cushion pairs of lines. As on the first couch on side A, the corner of the dais is visible. Above this couch hang two cups seen from underneath and a footed oinochoe. At the left hand end of the central couch stands a naked boy with a red hair-band, holding a small chytra in his right hand as he holds up his left hand. The bearded man on this couch repeats the scheme of the central couch on side A, save that here he holds a cup in his left hand and extends his right arm out towards the boy. From the fingers of his right hand hangs a red circlet. Above hang a footless oinochoe, a cup seen from underneath and a small chytra. The couch on the right is seen from behind, as on side A. The man here, however, holds a cup in his left hand as he leans on his left elbow, and his right hand is held out further to the left (no hair-band). The corner of the dais is visible and there is a three-legged table alongside the couch, but no attendant, nor are there any red garlands on the table and the cushion is plain. Above hang two cups seen from underneath and a small footless oinochoe. At either handle: floral complex with a circumscribed palmette either side of the handles and a large and a small palmette addorsed under the handles; spiral terminals and dots. Ground line: single reserved line. Graffiti under foot Relief line contours throughout (double for hair, except on AI); dilute glaze for minor interior markings; reserved line inside and outside lip; added red for inscriptions. --The British Museum, Williams, Dyfri, Corpus Vasorum Antiquorum: Great Britain 17, British Museum 9, London, BMP, 1993; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
- Description
- Pottery: black-figured amphora. Designs black on red panels, with borders of double palmettes along the top; slight accessories of white and purple. (a) In the centre, the Dioscuri on horseback, riding side by side to right, beardless, with long hair and curls in front of their ears; they wear short chitons, that of Polydeukes embroidered, and striped chlamydes, fastened by fibulae at the shoulder; Castor also has a petasos; each has two spears, and Polydeukes also a sword at his side. Below the horses is inscribed: Πολυδεύ[κη]ς; in front of their heads: Κάστωρ. In front of them is Tyndareus seated to left on an okladias, with white hair and beard, long chiton and himation, both embroidered, in right hand a sceptre. Behind him is inscribed : Τυνδαρέως. On the right is a nude beardless male figure to left, caressing the horses, with fillet and hair falling in curls in front of his ears. Behind the horses is Philonoe to right, with long tresses, fillet, long embroidered chiton and himation; in front of her is inscribed : [Φιλον]όη. Behind her is a nude beardless male figure to right, his hair looped up behind with a fillet, falling in curls in front of his ears. Above : 'O[ν]ήτωρ καλός. (b) In the centre, a warrior on horseback, riding to right, bearded, with sword, petasos, and striped chlamys, holding in right hand two spears. In front of him is a male figure seated to left on a four-legged stool, looking back; he wears a fillet and long chiton. On the right is a warrior to left, fully armed, with spear, and shield with device of a tripod. Behind him is an attendant, nude and beardless, his hair looped up under a fillet, with curls in front of the ears. On the left is a male figure to right, with long hair, fillet, and striped chlamys, holding a spear. This side is badly damaged. --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
127. Symposium cup
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
128. Symposium cup
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
- Description
- Pottery: black-figured neck-amphora. On the neck the usual double palmette pattern, but on a white ground. (a) On the shoulder: Lion to right and goat confronted, twice. On the body, Peleus seizing Thetis: Peleus to right, bearded, with short embroidered chiton, seizes Thetis round waist with left hand, and with right grasps her clothing. Thetis moves to right looking to left, with long hair, laurel-wreath, long embroidered chiton, and himation, right arm round Peleus' body; two of her transformations are indicated by the lion's head issuing from her left shoulder with open jaws and flowing mane, and by the panther which has leapt upon Peleus from behind, with its forepaws on his shoulder. On the right is a Siren to left; on the left, a similar figure to right, with a bearded male head, and flesh painted white (an almost unique exception to the usual rule); both have long hair wreathed with myrtle, and their bodies are formed by large eyes, with black pupils surrounded by purple and white rings, and black outlines, the ground being left red (b) On the shoulder, lion to right confronting goat, twice. On the body, Apollo Citharoedos to right; he is beardless, with long hair, tresses in front of ears, fillet, long chiton and embroidered himation, and holds the plectrum in right hand; from his chelys hangs drapery. By his side is a hind to right; on either side bird-figures with human heads and bodies formed by eyes, as on (a). Under the handles: (i) Hermes moving to right, looking back; he is bearded, with hair looped up under a fillet, short chiton, embroidered chlamys, petasos, endromides, and caduceus; in his right hand he also holds ivy-branches; (2) Artemis moving to left looking back, with long tresses, mitra, long chiton and himation, both embroidered, and bow raised in left hand; in the field, ivy-branches. Below, frieze of animals: Panther to right confronting goat, twice repeated; lion and panther confronted, between them a goat to left. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 5, British Museum 4, London, BMP, 1929
130. Thetis and Peleus
- Description
- Pottery: black-figured neck-amphora. On the neck the usual double palmette pattern, but on a white ground. (a) On the shoulder: Lion to right and goat confronted, twice. On the body, Peleus seizing Thetis: Peleus to right, bearded, with short embroidered chiton, seizes Thetis round waist with left hand, and with right grasps her clothing. Thetis moves to right looking to left, with long hair, laurel-wreath, long embroidered chiton, and himation, right arm round Peleus' body; two of her transformations are indicated by the lion's head issuing from her left shoulder with open jaws and flowing mane, and by the panther which has leapt upon Peleus from behind, with its forepaws on his shoulder. On the right is a Siren to left; on the left, a similar figure to right, with a bearded male head, and flesh painted white (an almost unique exception to the usual rule); both have long hair wreathed with myrtle, and their bodies are formed by large eyes, with black pupils surrounded by purple and white rings, and black outlines, the ground being left red (b) On the shoulder, lion to right confronting goat, twice. On the body, Apollo Citharoedos to right; he is beardless, with long hair, tresses in front of ears, fillet, long chiton and embroidered himation, and holds the plectrum in right hand; from his chelys hangs drapery. By his side is a hind to right; on either side bird-figures with human heads and bodies formed by eyes, as on (a). Under the handles: (i) Hermes moving to right, looking back; he is bearded, with hair looped up under a fillet, short chiton, embroidered chlamys, petasos, endromides, and caduceus; in his right hand he also holds ivy-branches; (2) Artemis moving to left looking back, with long tresses, mitra, long chiton and himation, both embroidered, and bow raised in left hand; in the field, ivy-branches. Below, frieze of animals: Panther to right confronting goat, twice repeated; lion and panther confronted, between them a goat to left. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 5, British Museum 4, London, BMP, 1929
131. Peleus and Thetis
- Description
- Pottery: black-figured neck-amphora. On the neck the usual double palmette pattern, but on a white ground. (a) On the shoulder: Lion to right and goat confronted, twice. On the body, Peleus seizing Thetis: Peleus to right, bearded, with short embroidered chiton, seizes Thetis round waist with left hand, and with right grasps her clothing. Thetis moves to right looking to left, with long hair, laurel-wreath, long embroidered chiton, and himation, right arm round Peleus' body; two of her transformations are indicated by the lion's head issuing from her left shoulder with open jaws and flowing mane, and by the panther which has leapt upon Peleus from behind, with its forepaws on his shoulder. On the right is a Siren to left; on the left, a similar figure to right, with a bearded male head, and flesh painted white (an almost unique exception to the usual rule); both have long hair wreathed with myrtle, and their bodies are formed by large eyes, with black pupils surrounded by purple and white rings, and black outlines, the ground being left red (b) On the shoulder, lion to right confronting goat, twice. On the body, Apollo Citharoedos to right; he is beardless, with long hair, tresses in front of ears, fillet, long chiton and embroidered himation, and holds the plectrum in right hand; from his chelys hangs drapery. By his side is a hind to right; on either side bird-figures with human heads and bodies formed by eyes, as on (a). Under the handles: (i) Hermes moving to right, looking back; he is bearded, with hair looped up under a fillet, short chiton, embroidered chlamys, petasos, endromides, and caduceus; in his right hand he also holds ivy-branches; (2) Artemis moving to left looking back, with long tresses, mitra, long chiton and himation, both embroidered, and bow raised in left hand; in the field, ivy-branches. Below, frieze of animals: Panther to right confronting goat, twice repeated; lion and panther confronted, between them a goat to left. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 5, British Museum 4, London, BMP, 1929
132. Arming
- Description
- Pottery: black-figured neck-amphora. (a) Warrior arming: In the centre is the warrior stooping to right, nude and bearded, placing a greave on left leg; before him is his high-crested helmet. Facing him is a female figure with long tresses, and long chiton and himation, both embroidered, holding his spear and Boeotian shield on which is a panther's head between two snakes. Behind her is an archer to left, bearded, with high peaked cap, short chiton, quiver at side, and bow in left hand. On the left is an old man to right, with white beard and hair, and long chiton and himation, both embroidered, in left hand a staff; behind him an archer to right, as the former, bow and quiver at side, left hand raised. (b) Acamas and Demophon conducting Aethra: In the centre is Aethra between them, all three to right; she has a long embroidered chiton, and embroidered himation drawn over her head. Demophon, on the right, is looking back at her; he and Acamas both have short chitons, visored helmets, cuirasses, and greaves, and are bearded; the latter has a high-crested helmet, sword drawn in right hand, and embroidered chlamys. On the right is a youth to left, with long chiton and embroidered himation; behind him an old man to right, with white beard and hair, in long chiton and striped himation. On the left an old man to right, as the last, with long white tresses; each of these three has a staff 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; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 5, British Museum 4, London, BMP, 1929
133. Dragging Hektor
- Description
- Pottery: black-figured lekythos (oil-flask). Accessories faded. On the neck, palmettes; above the design, maeander. Quadriga of Achilles at full speed to right, the horses having very long tails and pendants from their collars; the charioteer in long white chiton, holding goad and reins, his head obliterated. It is passing by the tomb of Patroclos, represented by a white bell-shaped mound, over which is the hero's ghost, in archaic running attitude to right, fully armed, with two spears, and winged. By the side of the horses is a dog running 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
134. Dragging Hektor
- Description
- Pottery: black-figured lekythos (oil-flask). Accessories faded. On the neck, palmettes; above the design, maeander. Quadriga of Achilles at full speed to right, the horses having very long tails and pendants from their collars; the charioteer in long white chiton, holding goad and reins, his head obliterated. It is passing by the tomb of Patroclos, represented by a white bell-shaped mound, over which is the hero's ghost, in archaic running attitude to right, fully armed, with two spears, and winged. By the side of the horses is a dog running 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
- Description
- Pottery: black-figured lekythos (oil-flask). Accessories faded. On the neck, palmettes; above the design, maeander. Quadriga of Achilles at full speed to right, the horses having very long tails and pendants from their collars; the charioteer in long white chiton, holding goad and reins, his head obliterated. It is passing by the tomb of Patroclos, represented by a white bell-shaped mound, over which is the hero's ghost, in archaic running attitude to right, fully armed, with two spears, and winged. By the side of the horses is a dog running 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
136. Dragging Hektor
- Description
- Pottery: black-figured lekythos (oil-flask). Accessories faded. On the neck, palmettes; above the design, maeander. Quadriga of Achilles at full speed to right, the horses having very long tails and pendants from their collars; the charioteer in long white chiton, holding goad and reins, his head obliterated. It is passing by the tomb of Patroclos, represented by a white bell-shaped mound, over which is the hero's ghost, in archaic running attitude to right, fully armed, with two spears, and winged. By the side of the horses is a dog running 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
137. Dragging Hektor
- Description
- Pottery: black-figured lekythos (oil-flask). Accessories faded. On the neck, palmettes; above the design, maeander. Quadriga of Achilles at full speed to right, the horses having very long tails and pendants from their collars; the charioteer in long white chiton, holding goad and reins, his head obliterated. It is passing by the tomb of Patroclos, represented by a white bell-shaped mound, over which is the hero's ghost, in archaic running attitude to right, fully armed, with two spears, and winged. By the side of the horses is a dog running 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
138. Sack of Troy
- Description
- Pottery: black-figured amphora: the death of Priam; Priam is being battered to death with the body of his grandson Astyanax. Designs in black on red panels with interlacing lotus and honeysuckle pattern above. The sides of the handles are chequered black and red. (a) Death of Priam: In the centre is Priam fallen to right on his back on the top of the altar of Zeus Herkeios, with white hair and beard, long purple chiton and embroidered himation, left hand raised in supplication to Neoptolemos, who stands over him to right. The latter is bearded and fully armed, with short embroidered chiton and Boeotian shield, and in right hand holds Astyanax by the right leg, about to hurl him on the ground; Astyanax is nude, and is represented on a small scale. Behind Priam is Hecuba to left, with long hair, fillet, long chiton, and diploidion, right hand raised to tear her hair, left extended in supplication. Behind her are two bearded figures, one moving to right, nude, looking back, the other has a fillet, long chiton, and striped himation. On the left is Andromache to right, with long hair, long striped chiton and diploidion, both arms raised; by her side a nude youth with long hair, running away to left and looking back (perhaps Polites). (b) Contest of Theseus and the Minotaur: Theseus to right, bearded, with long hair, cuirass, short chiton, and sheath at side, holds the Minotaur round the neck with left hand, and plunges sword into him. The latter has a bull's head, and kneels on one knee to right, looking to left, with stone in left hand; blood flows from the wound. On either side, looking on, is a female figure with long hair, fillet, long chiton tied at the waist and himation, and a nude youth with hair tied in a club. --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
139. 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
140. Youth Departing
- Description
- Pottery: red-figured pelike: Youth leaving home (back: youths). --The British Museum
141. Youth departing
- Description
- Pottery: red-figured pelike: Youth leaving home (back: youths). --The British Museum
142. Symposium
- Description
- Pottery: red-figured kylix (drinking-cup) showing boys serving wine. INTERIOR: komast. A bearded komast moves to the right with head turned back to left. He wears a chlamys over his upper arms and a red apicate fillet in his hair. He holds a cup back in his right hand and a knotty stick across his body in his left. Relief line for vertical strokes of fringe over forehead and for horizontal lines of hair tied up at back (relief line fringe for beard); dilute glaze line above and below eye. Preliminary sketch indicates that the chlamys was intended to be longer on the right. Border: alternating false maeander (twelve-stroke, alternately clockwise and anticlockwise) and blackened cross-square. EXTERIOR: symposium. Side A (lower): three banqueters on couches attended by two boys. On the couch on the left a bearded man reclines to the left, his head turned back to the right. He wears a himation over his left shoulder and around his waist and legs and a red apicate fillet in his hair. He rests against a folded cushion decorated with pairs of stripes, while he grips a cup in his left hand and holds out his right hand palm upward as if holding another. Above him hang two cups, seen from underneath, and a flat-bottomed oinochoe. His couch rests on a dais, the corner of which is visible on the left, and in front of it (ie. alongside) is a three-legged table on which are three red garlands. In front of the left hand end of the central couch stands a naked boy with a red fillet in his hair. He holds an oinochoe in his right hand and stretches out his left hand towards the symposiast on the central couch. Here a bearded man reclines to the left (cushion decorated with a pair of stripes and a stripe flanked by pairs of lines). He holds out a cup high in his right hand; his left hand is empty. He wears a himation in the same manner as the first symposiast, but has a thick reserved fillet (alternately vertical line and rows of dots at each bunching) in his hair. Above him and the boy hang two footless oinochoai and a cup seen from underneath. Alongside his couch is a three-legged table over which hang three red garlands. The couch on the right is seen in end view from the back. On it reclines a bearded man with a himation round his waist and a red apicate fillet in his hair. He is seen from the back, his left elbow resting on his cushion and his raised right knee splayed out to the right. He holds a cup up to his lips in his left hand and gestures with his right to the boy who stands between him and the central couch. Either side of the end of the couch project the ends of his striped cushion. Alongside the couch is a three-legged table, also seen from the end, the two legs in profile in the foreground, the third in back view beyond. The naked boy attendant who stands on the left of the couch, behind the table, has a frontal torso and left leg. His hair has a long straight fringe of relief lines over his neck. He holds an oinochoe in his left hand, tipped down so that the trefoil mouth is shown foreshortened. He gestures with his right hand as he looks at the symposiast. Above these two figures are two cups seen from underneath and a small foodess oinochoe. Side Β (upper): three couches and one boy attendant. The couch and its occupant on the left repeats the form of the central couch on side A, although the symposiast's himation has a line border and his cushion pairs of lines. As on the first couch on side A, the corner of the dais is visible. Above this couch hang two cups seen from underneath and a footed oinochoe. At the left hand end of the central couch stands a naked boy with a red hair-band, holding a small chytra in his right hand as he holds up his left hand. The bearded man on this couch repeats the scheme of the central couch on side A, save that here he holds a cup in his left hand and extends his right arm out towards the boy. From the fingers of his right hand hangs a red circlet. Above hang a footless oinochoe, a cup seen from underneath and a small chytra. The couch on the right is seen from behind, as on side A. The man here, however, holds a cup in his left hand as he leans on his left elbow, and his right hand is held out further to the left (no hair-band). The corner of the dais is visible and there is a three-legged table alongside the couch, but no attendant, nor are there any red garlands on the table and the cushion is plain. Above hang two cups seen from underneath and a small footless oinochoe. At either handle: floral complex with a circumscribed palmette either side of the handles and a large and a small palmette addorsed under the handles; spiral terminals and dots. Ground line: single reserved line. Graffiti under foot Relief line contours throughout (double for hair, except on AI); dilute glaze for minor interior markings; reserved line inside and outside lip; added red for inscriptions. --The British Museum, Williams, Dyfri, Corpus Vasorum Antiquorum: Great Britain 17, British Museum 9, London, BMP, 1993; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
143. 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
144. 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
145. 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
146. Fight
- Description
- Pottery: black-figured band-cup. Finely executed; purple accessories only. Exterior: Two friezes with combat of warriors: (a) On the left, a quadriga at full speed to right, the charioteer beardless, with long hair, long chiton and cuirass, goad in right hand, reins in left. By his side is a fully-armed warrior to right pursuing another, who retreats and turns back to thrust at him with his spear; the latter has a shield. Beneath the horses is a warrior fallen on his face to right, bearded, and fully armed, his shield by his side. Next to right, two fully-armed warriors, one wearing a chlamys and short embroidered chiton, thrust with their spears at a warrior with high-crested helmet, greaves, and shield with a purple pellet, who is beaten down on his knees to left. Behind him is a warrior fully armed, with short diapered chiton, retreating to right and looking back. Next, a combat of two warriors over a fallen one; the one on the left is bearded and fully armed, with a Boeotian shield covered with scales; he thrusts with spear at the other, who is fully armed, his shield painted purple; he is bending over the fallen one, who is bearded and fully armed, and lies on his back, holding his shield. Next is a quadriga at full speed to right, in which is a bearded warrior, fully armed, attacked by a similar warrior, whose cuirass is covered with scales; the right-hand horse has fallen wounded on his back. Next, a combat of three fully-armed warriors over a fallen one; two on the left (one in a high-crested helmet and short diapered chiton, the other with long hair) thrust with their spears; the fallen warrior is fully armed, and looks up at them; he is defended by the other, who is also fully armed, with short diapered chiton and a sword. Next is a quadriga at full speed to left, the charioteer bearded, with long chiton and a Boeotian shield. At the further side of the horses a bearded fully-armed warrior to right pursues a similar one, who retreats brandishing his spear; the former has a Boeotian shield. Behind the charioteer is a fully-armed warrior retreating to right, and turning back to hurl his spear. (b) On the left, two warriors to right, bearded, each wearing pilos and greaves; one has long hair, a cuirass, spear and shield with the device of a bearded face to left, the other has a short embroidered chiton. In front of them is a mounted warrior galloping to right, bearded, with pilos, chlamys and short chiton, and spear, leading a second horse. Before him is a warrior falling forward to right, bearded and fully armed, with high-crested helmet, short purple chiton, spear, and Boeotian shield; he is defended by a similar warrior advancing to left, with shield and spear. Next is a quadriga at full speed to left, the charioteer beardless, with long chiton, and goad in right hand; at the further side of the horses is a fully-armed warrior to right, thrusting with his spear at another, who retreats looking back at him. Next, a combat of two pairs of fully-armed warriors; one on the left has a short embroidered chiton, one on the right has the forepart of a boar to left as device on his shield; between them is a warrior, as before, fallen on his back to left. Next, a quadriga at full speed to right, the charioteer bearded, with petasos, long chiton, and Boeotian shield; by its side is a warrior with long hair and a scaly Boeotian shield, in combat with another in a short embroidered chiton and scaly cuirass; both are fully armed. Next, a fully-armed warrior to right, bearded, with scaly Boeotian shield, has beaten down another on one knee to right; the latter has a high-crested helmet, and looks back at him; he is defended by two fully-armed warriors. On the right is a nude youth on horseback, galloping to left, with a spear, at his further side a second horse; behind him, a warrior to left, fully armed, thrusting with his spear. Under one handle, inscriptions. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Smith, A H; Pryce, F N, Corpus Vasorum Antiquorum: Great Britain 2, British Museum 2, London, BMP, 1926
- Description
- Pottery: red-figured stamnos (jar) with lid: Herakles and the Lernian Hydra. --The British Museum
148. Mourning
- Description
- Pottery: White-ground lekythos (oil-flask). Offerings at a tomb. In the centre is a broad shaft on a double plinth, surmounted by a double moulding, from the centre of which rises a small tapering stele with a triangular top. Both shaft and stele are encircled with taeniae. On the right of the stele, resting on the shaft, are a large prothesis-vase and an alabastron; on the left an alabastron, beside which hangs in the background a strigil. On each side hangs from the upper border a festooned taenia. In the foreground on the upper plinth is seated to right a woman with arms folded (representing the deceased), looking round to left; she wears a long chiton, himation around her legs, sandals, and a necklace of beads. On right a woman in a long chiton advances, holding in her left a basket containing taeniae, and with her right places on the upper plinth a large lekythos which she holds by the lip. On left, a figure, the drawing of whose body is almost entirely worn away, is seated on a tumulus on raised ground, with left hand on knees, and feet resting on the lower plinth. Late fine style. Red outline, hair in red wash with details red; chiton on left, border of himation in centre, and taeniae, red silhouette; prothesis-vase, shoulder and foot of lekythos, and some of the taeniae, black; himation in centre blue; chiton on right and some of the taeniae, green; necklace, orange-yellow. Most of the colour was added after firing, and much of it has not survived. The two faces which are preserved are in three-quarter face, and the lower eyelashes are drawn in. Above, the usual ornaments, black on a white ground; the alternate petals of the palmettes are red. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
- Description
- Pottery: red-figured vessel in the form of a knucklebone (astragalos), showing a male figure, perhaps Aeolus at the mouth of his cave, directing the dance of the clouds. The design occupies the two long flat sides (a and c), and three figures are drawn on the upper side, and three on the end (b). The surface has been injured in parts (e.g. the figure of the man, the right hand of the foremost girl, &c). At one end of the long side (a) is an opening in the form of an archaic eye; beside this the design starts. Finest style. The hair over the forehead is usually arranged in rows of dots. Dance of girls, (a) A bearded man, beside the opening of the vase, with mantle wrapped around his waist, gesticulates with both arms to a band of three girls who dance from the right towards him with joined hands. The foremost looks at him, the second looks back at the third, who is only half seen, her figure being cut off by the edge of the vase. Each has a long sleeved chiton; the two foremost wear a mantle fastened on the left shoulder, and a saccos, which in the case of the foremost is black. (b) Two groups, each of three girls floating in air; in the lower group, the central figure, to left, has a sphendone, her arms covered to the hands in her sleeves; the left-hand one, to right, raises her skirt in both hands so as to form a lap; she has a saccos; the third, to right, extends one arm on each side, looking back at her companions; she wears a stephane with dentated edge. In the upper group the foremost, wearing a sphendone, raises the edge of the skirt with her left and extends her right. The second has her arms covered with her sleeves, and looks back at the third, whose arms are covered by her himation; the second and third have a saccos; that of the second is dotted with minute trefoils. (c) Reverse of (a): Four girls floating in air to left. The foremost has her arms in her sleeves and looks back; the second holds over the first in her right a long tendril with flower, and raises the edge of her skirt with her left hand; the third extends her right; the fourth raises her skirt with her right hand and looks back; her drapery is dotted with minute trefoils; all but the first have a saccos; the second and fourth have no girdle. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 5, British Museum 4, London, BMP, 1929; Hoffmann, H, Sotades: Symbols of Immortality on Greek Vases, Oxford, Clarendon Press, 1997
- Description
- Pottery: red-figured vessel in the form of a knucklebone (astragalos), showing a male figure, perhaps Aeolus at the mouth of his cave, directing the dance of the clouds. The design occupies the two long flat sides (a and c), and three figures are drawn on the upper side, and three on the end (b). The surface has been injured in parts (e.g. the figure of the man, the right hand of the foremost girl, &c). At one end of the long side (a) is an opening in the form of an archaic eye; beside this the design starts. Finest style. The hair over the forehead is usually arranged in rows of dots. Dance of girls, (a) A bearded man, beside the opening of the vase, with mantle wrapped around his waist, gesticulates with both arms to a band of three girls who dance from the right towards him with joined hands. The foremost looks at him, the second looks back at the third, who is only half seen, her figure being cut off by the edge of the vase. Each has a long sleeved chiton; the two foremost wear a mantle fastened on the left shoulder, and a saccos, which in the case of the foremost is black. (b) Two groups, each of three girls floating in air; in the lower group, the central figure, to left, has a sphendone, her arms covered to the hands in her sleeves; the left-hand one, to right, raises her skirt in both hands so as to form a lap; she has a saccos; the third, to right, extends one arm on each side, looking back at her companions; she wears a stephane with dentated edge. In the upper group the foremost, wearing a sphendone, raises the edge of the skirt with her left and extends her right. The second has her arms covered with her sleeves, and looks back at the third, whose arms are covered by her himation; the second and third have a saccos; that of the second is dotted with minute trefoils. (c) Reverse of (a): Four girls floating in air to left. The foremost has her arms in her sleeves and looks back; the second holds over the first in her right a long tendril with flower, and raises the edge of her skirt with her left hand; the third extends her right; the fourth raises her skirt with her right hand and looks back; her drapery is dotted with minute trefoils; all but the first have a saccos; the second and fourth have no girdle. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 5, British Museum 4, London, BMP, 1929; Hoffmann, H, Sotades: Symbols of Immortality on Greek Vases, Oxford, Clarendon Press, 1997
151. Sirens and Odysseus
- Description
- Pottery: red-figured stamnos. (a) The ship of Odysseus passing the Sirens. The sea is represented by a narrow space in the foreground shaded in thinned black, and with a wavy outline of the same colour. In this the ship moves to left, propelled by oars, of which six are seen on the port side; the heads and shoulders of five bearded rowers are visible above the gunwale; the fourth and fifth are seated on the same thwart: the stroke oar looks round to left at no. 2; the rowers of the second and fifth oars are not shown, and there is a seventh port near the bows which is not occupied by an oar. High up in the stern seat sits the steersman between the two steering-oars (πηδάλια), which work on cords attached to the ship's side; with his left hand he steers, his right is extended, and his mouth open, as if he were encouraging the rowers; he is bearded and has an himation around the lower part of his body. This figure and the first two rowers are wreathed, the other rowers have a fillet. Over the aphlaston a fringed piece of drapery decorated with crosses is hung (as ensign or σημείου?). The fore part of the hull is formed like the snout of a boar, with a large eye of archaic form painted in black; above it is a raised platform or forecastle formed of crossed spars, which reaches to the mast. Near the top of the mast is the καρχήσιον, probably of metal, as it is shaded differently from the mast, with two projecting eyelet holes (τροχίλίαί) in which the halyards (ιμάντες) run. The yard, with sail attached to it by a rope (coloured brown), is hoisted to the top of the mast, in a position oblique to the keel, and is kept in position by two braces (ύπέραι), of which one is attached at the bows, the other at the stern, immediately in front of the steersman. The sail is brailed up along its whole length, the brailing ropes (μηρνματα καλωδίων) indicated by brown lines here and there on the sail, and attached on deck within the steersman's reach. Odysseus, wreathed and bearded, is fastened against the bottom of the mast, facing the stern, with his arms behind his back lashed to it. His head is thrown back, looking upwards towards the Sirens. On each side of the scene a rocky promontory projects over the sea, with a Siren standing on the top. The Sirens are represented as birds with woman's heads, their hair looped up with a dotted stephane, a single tress hanging beside the ear (parotis): their lips are parted as though singing. The one on the left flaps her wings: over her is inscribed ΗΙΜEPΟΠΑ, Ίμερόπα. The one on the right stands still with folded wings. In front of her a third Siren flings herself down from the edge of the cliff, and falls headlong with closed eyes, as though already dead. (b) Three Erotes flying over the sea. The sea is represented as in a. The Erotes fly in single file to right, the foremost inscribed HIMEPOΣ, Ιμερος, carrying in both hands a long taenia decorated with key pattern and fringed ends; he looks round at the others, who carry a long tendril and a hare respectively. Their type is that of a full-grown boy, with long hair coiled above the neck (cf. Ε67) and hanging over the ear, and a fillet. Beside each of the second and third figures is inscribed KAΛΟΣ, καλός. At the bottom of the foot an incised character. Purple rigging of ship, wreaths, fillets, and inscriptions. Brown inner markings, shading of the sea and sails, gunwale of boat, feathers of Sirens, earth in b, pinions of wings, and skin of hare. Eye in archaic form (both angles slightly open). Each design is enclosed in a panel, formed by (below) sets of three maeanders separated by chequer squares, (above) tongue surmounting egg pattern, (at sides) net pattern. In b the design partly cuts and is partly cut by the border at the top. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
- Description
- Pottery: White-ground lekythos. Thanatos (Death) and Hypnos (Sleep) (?) bringing dead warrior to tomb. The tomb is in the form of a plain stele on a double plinth, decorated with numerous taeniae, and surmounted by a double projecting moulding. About one quarter of the way down from the top is a band of egg pattern, above which is painted a helmet with long hanging crest to right, the eye-holes filled in with red. The body of the warrior is about to be laid, with feet to left, on the upper plinth it has a cuirass, and a mantle is rolled up over the arms; the head, which is beardless, is held by a youthful winged figure (Hypnos), who places his hand under the warrior's arms, resting the head against his breast. A bearded winged figure (Thanatos) bends forward, supporting with his left the thighs, with his right the lower part of the legs; the beard of this figure is shaggy and the hair straight; on his body are markings in red, as if of plumage. Drawing of good period. Brown outline throughout, except wings, which are in black outline; hair in black or brown strokes on brown wash; body of Hypnos, thinned red wash; taeniae and mantle of warrior red with black folds. Eye in profile. Usual patterns. --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: White-ground lekythos. Thanatos (Death) and Hypnos (Sleep) (?) bringing dead warrior to tomb. The tomb is in the form of a plain stele on a double plinth, decorated with numerous taeniae, and surmounted by a double projecting moulding. About one quarter of the way down from the top is a band of egg pattern, above which is painted a helmet with long hanging crest to right, the eye-holes filled in with red. The body of the warrior is about to be laid, with feet to left, on the upper plinth it has a cuirass, and a mantle is rolled up over the arms; the head, which is beardless, is held by a youthful winged figure (Hypnos), who places his hand under the warrior's arms, resting the head against his breast. A bearded winged figure (Thanatos) bends forward, supporting with his left the thighs, with his right the lower part of the legs; the beard of this figure is shaggy and the hair straight; on his body are markings in red, as if of plumage. Drawing of good period. Brown outline throughout, except wings, which are in black outline; hair in black or brown strokes on brown wash; body of Hypnos, thinned red wash; taeniae and mantle of warrior red with black folds. Eye in profile. Usual patterns. --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: White-ground lekythos. Thanatos (Death) and Hypnos (Sleep) (?) bringing dead warrior to tomb. The tomb is in the form of a plain stele on a double plinth, decorated with numerous taeniae, and surmounted by a double projecting moulding. About one quarter of the way down from the top is a band of egg pattern, above which is painted a helmet with long hanging crest to right, the eye-holes filled in with red. The body of the warrior is about to be laid, with feet to left, on the upper plinth it has a cuirass, and a mantle is rolled up over the arms; the head, which is beardless, is held by a youthful winged figure (Hypnos), who places his hand under the warrior's arms, resting the head against his breast. A bearded winged figure (Thanatos) bends forward, supporting with his left the thighs, with his right the lower part of the legs; the beard of this figure is shaggy and the hair straight; on his body are markings in red, as if of plumage. Drawing of good period. Brown outline throughout, except wings, which are in black outline; hair in black or brown strokes on brown wash; body of Hypnos, thinned red wash; taeniae and mantle of warrior red with black folds. Eye in profile. Usual patterns. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
155. Symposium
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
- Description
- Pottery: White-ground lekythos. Thanatos (Death) and Hypnos (Sleep) (?) bringing dead warrior to tomb. The tomb is in the form of a plain stele on a double plinth, decorated with numerous taeniae, and surmounted by a double projecting moulding. About one quarter of the way down from the top is a band of egg pattern, above which is painted a helmet with long hanging crest to right, the eye-holes filled in with red. The body of the warrior is about to be laid, with feet to left, on the upper plinth it has a cuirass, and a mantle is rolled up over the arms; the head, which is beardless, is held by a youthful winged figure (Hypnos), who places his hand under the warrior's arms, resting the head against his breast. A bearded winged figure (Thanatos) bends forward, supporting with his left the thighs, with his right the lower part of the legs; the beard of this figure is shaggy and the hair straight; on his body are markings in red, as if of plumage. Drawing of good period. Brown outline throughout, except wings, which are in black outline; hair in black or brown strokes on brown wash; body of Hypnos, thinned red wash; taeniae and mantle of warrior red with black folds. Eye in profile. Usual patterns. --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: White-ground lekythos. Thanatos (Death) and Hypnos (Sleep) (?) bringing dead warrior to tomb. The tomb is in the form of a plain stele on a double plinth, decorated with numerous taeniae, and surmounted by a double projecting moulding. About one quarter of the way down from the top is a band of egg pattern, above which is painted a helmet with long hanging crest to right, the eye-holes filled in with red. The body of the warrior is about to be laid, with feet to left, on the upper plinth it has a cuirass, and a mantle is rolled up over the arms; the head, which is beardless, is held by a youthful winged figure (Hypnos), who places his hand under the warrior's arms, resting the head against his breast. A bearded winged figure (Thanatos) bends forward, supporting with his left the thighs, with his right the lower part of the legs; the beard of this figure is shaggy and the hair straight; on his body are markings in red, as if of plumage. Drawing of good period. Brown outline throughout, except wings, which are in black outline; hair in black or brown strokes on brown wash; body of Hypnos, thinned red wash; taeniae and mantle of warrior red with black folds. Eye in profile. Usual patterns. --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
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
- Description
- Pottery: red-figured hydria. (1) Menelaos pursuing Helen. Menelaos, a bearded warrior with cuirass, helmet with raised cheek-pieces, and himation, pursues to right with drawn sword and outstretched left arm Helen, who with left on bosom turns as she flees, extending her right towards him with a gesture of supplication. She wears a Doric chiton with border of zigzags and a row of dots near each edge, and apoptygma, undertied, an himation over her shoulders, earrings and sphendone: her hair hangs down her back. On right a woman in long sleeved chiton, mantle and earrings, and head-dress like that of Helen, moves to left, extending both arms as if to protect Helen. In the field above Helen, καλή. On left of her, ό παις; on right of the woman, KAΛΟΣ, καλός. (2) On shoulder: Symposion. Three wreathed figures wearing himation covering the legs and left shoulder recline to left, leaning each against a folded striped cushion. The one on right is bearded, and looks to right, extending to left on his right palm a cotyle: the central one also looks to right with his right resting on his breast; the third looks to left and twirls aloft on his right forefinger a kylix (κοτταβίζων); between these two hangs a basket. In the field, ό παϊς καλός. Strong style. Purple inscriptions, wreaths, cords of baskets. Eye archaic. The design on the body (1) is enclosed within a border formed by, below, pairs of maeanders separated by red cross squares; above, zigzag pattern; at sides, net pattern, which also forms the sides of the design 2; above 2, tongue. The lower part of the body is encircled by two thin lines of purple, and below, by a band of rays, black on red. The lip is left red. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B; Forsdyke, E J, Corpus Vasorum Antiquorum: Great Britain 7, British Museum 5, London, BMP, 1930
160. Menelaos and Helen?
- Description
- Pottery: red-figured hydria. (1) Menelaos pursuing Helen. Menelaos, a bearded warrior with cuirass, helmet with raised cheek-pieces, and himation, pursues to right with drawn sword and outstretched left arm Helen, who with left on bosom turns as she flees, extending her right towards him with a gesture of supplication. She wears a Doric chiton with border of zigzags and a row of dots near each edge, and apoptygma, undertied, an himation over her shoulders, earrings and sphendone: her hair hangs down her back. On right a woman in long sleeved chiton, mantle and earrings, and head-dress like that of Helen, moves to left, extending both arms as if to protect Helen. In the field above Helen, καλή. On left of her, ό παις; on right of the woman, KAΛΟΣ, καλός. (2) On shoulder: Symposion. Three wreathed figures wearing himation covering the legs and left shoulder recline to left, leaning each against a folded striped cushion. The one on right is bearded, and looks to right, extending to left on his right palm a cotyle: the central one also looks to right with his right resting on his breast; the third looks to left and twirls aloft on his right forefinger a kylix (κοτταβίζων); between these two hangs a basket. In the field, ό παϊς καλός. Strong style. Purple inscriptions, wreaths, cords of baskets. Eye archaic. The design on the body (1) is enclosed within a border formed by, below, pairs of maeanders separated by red cross squares; above, zigzag pattern; at sides, net pattern, which also forms the sides of the design 2; above 2, tongue. The lower part of the body is encircled by two thin lines of purple, and below, by a band of rays, black on red. The lip is left red. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B; Forsdyke, E J, Corpus Vasorum Antiquorum: Great Britain 7, British Museum 5, London, BMP, 1930
161. Dionysiac Scene
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
162. Troilos Polyxene
- Description
- Pottery: red-figured hydria: Troilos and Polyxena. Design curving up over shoulder, with maeander and plain black and oblique cross-squares below; round the lip, egg-pattern. Troilos rides at full speed to the right, thrusting a goad into his horse's crupper; at his side is a second led horse. On the right Polyxena runs away at full speed, holding a sash in both hands over her head. Her hydria has fallen beneath the horse and is broken in two, water gushing out from the mouth and from the fracture. --The British Museum
163. Troilos
- Description
- Pottery: red-figured hydria: Troilos and Polyxena. Design curving up over shoulder, with maeander and plain black and oblique cross-squares below; round the lip, egg-pattern. Troilos rides at full speed to the right, thrusting a goad into his horse's crupper; at his side is a second led horse. On the right Polyxena runs away at full speed, holding a sash in both hands over her head. Her hydria has fallen beneath the horse and is broken in two, water gushing out from the mouth and from the fracture. --The British Museum
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
165. Birth of Athena
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
166. Horseman
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
167. Horseman
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
168. Nike and Warrior
- Description
- Pottery: red-figured pelike. (a) Nike pouring libation before young warrior. On the left Nike, in a long sleeved chiton with apoptygma, her hair looped up with a fillet, flies to right, holding downwards in her left hand a blazing torch; from an oinochoe in her right she pours wine into a phiale which the warrior holds sloping downwards, so that the wine falls on the ground. He stands en face, but looks towards Nike, holding a spear upright in his left hand. He wears a short chiton, a cuirass decorated with stars on the shoulders, and a wreath of laurel; over his left forearm hangs a mantle. (b) An ephebos, closely draped, confronted on right by a woman in himation and sleeved chiton, who holds out in her right a long taenia; below, a square box decorated with a rosette. Refined execution, but proportions heavy. Purple wine, flame, wreath, fillets, and ends of taenia. Brown inner markings, markings of torch and wings, and for relieving the folds of drapery in a. Eye in profile. Below a, the strip of groups of three maeanders separated by chequer squares; in b they are separated by red cross squares; above each side, egg pattern. A splash of black paint has fallen on the cuirass of the warrior. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
169. Achilles and Hektor
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
- Description
- Pottery: black-figured amphora. Designs black on red panels, having accessories of purple and white, and bands of lotus and honeysuckle patterns interlacing along the top. (a) Leto with the infants Apollo and Artemis in her arms: On the left, Hermes to right, bearded, with petasos, short chiton, and embroidered chlamys, caduceus in right hand, left raised. Next, Dionysos to right, bearded, with long hair, ivy-wreath, long chiton with purple spots, and purple and black himation with rosettes, in right hand a vine-branch with three clusters of grapes, in left a keras; next to him is Leto to right, looking back at him, with long tresses, fillet, and long embroidered chiton, with diploidion; in her arms are the infant Apollo (in the left) and Artemis (in the right), the latter in a short chiton, flesh painted black. On right is a youthful Satyr (?) to left, with ivy-wreath, and an ivy-branch in right hand. (b) Four Satyrs: In the centre, one with long hair rides on a goat, left hand holding its horns, in right hand an ivy-branch. Behind is a Satyr with fillet, belabouring the goat with open right hand; behind him another, to right, dancing, with left hand raised. In front of the goat is a fourth Satyr to left, carrying an askos on his shoulder. --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
171. Troilos Polyxene
- Description
- Pottery: red-figured hydria: Troilos and Polyxena. Design curving up over shoulder, with maeander and plain black and oblique cross-squares below; round the lip, egg-pattern. Troilos rides at full speed to the right, thrusting a goad into his horse's crupper; at his side is a second led horse. On the right Polyxena runs away at full speed, holding a sash in both hands over her head. Her hydria has fallen beneath the horse and is broken in two, water gushing out from the mouth and from the fracture. --The British Museum
- Description
- Pottery: black-figured amphora showing the sacrifice of the Trojan princess Polyxene. On the reverse are four dancing men between two cocks, and two friezes of animals. --The British Museum
- Description
- Pottery: black-figured amphora showing the sacrifice of the Trojan princess Polyxene. On the reverse are four dancing men between two cocks, and two friezes of animals. --The British Museum
- Description
- Pottery: black-figured amphora showing the sacrifice of the Trojan princess Polyxene. On the reverse are four dancing men between two cocks, and two friezes of animals. --The British Museum
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
176. Horseman
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
177. Horseman
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
178. Zeus and Nike
- Description
- Pottery: red-figured pelike: Zeus and Nike at an altar (back: Hera and Hebe). --The British Museum
- Description
- Pottery: black-figured amphora showing the sacrifice of the Trojan princess Polyxene. On the reverse are four dancing men between two cocks, and two friezes of animals. --The British Museum
180. Nike and Warrior
- Description
- Pottery: red-figured pelike, with ribbed handles. (a) Nike pouring wine for a warrior. On the left, Nike, in a sleeved Ionic chiton, and over it a Doric chiton schistos with black border (cf. BM Vase Ε494), hair looped up with a fillet, and a caduceus in her left hand, looks down, pouring-wine from an oinochoe in her right hand; beside her is inscribed NIKF, Νίκη. In the centre a bearded warrior stands en face, but looks at Nike, holding out in his right a phiale (half broken away); on his left arm is a shield, the interior coloured black and decorated with a wreath; he wears a helmet with cheek-pieces lowered, decorated on the crown with a sea-horse, a sword hanging at his waist, and a mantle hanging over his arms; in his left hand is a spear, point downwards. On the right a bearded man, bald on the crown, Antandros, stands en face, but looking to the left; he is draped and wreathed, and wears shoes; his right hand rests on a crutch-staff. Above him is inscribed ΑΝΤΑΝΔΡΟΣ, Άντανδρος. On the left of the scene above Nike is inscribed EVAION KAΛΟΣ, Eύαίων καλός. (b) A king (?) and two women with armour. In the centre a bearded man, draped and wreathed with laurel, stands to right, holding upright in his right a sceptre. The woman on the right holds a sword by the sword-belt, the one on the left a tall crested helmet; each wears a long sleeved chiton and himation; the one on the right has a saccos, the other has her hair looped up with a fillet. Large style. Purple inscriptions and sword-belt. White is used for handles of swords and shield, for wreath on interior of shield, wreath of Antandros, sea-horse, and taenia in hand of one of the female figures in b. Brown inner markings. Eye in developed profile type. The edge of the hair and beard, and crest of helmet in a, are painted in brown. The shield and left arm of the warrior in a are drawn in bold foreshortening. Below, a continuous band, sets of three maeanders separated by dotted cross squares. Above a, a strip of alternate palmette and anthemion; above b, a strip of double palmettes set obliquely; below each handle, an ornament composed of seven palmettes. --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
181. Departure of Lykaon
- Description
- Pottery: red-figured pelike, with ribbed handles. (a) Nike pouring wine for a warrior. On the left, Nike, in a sleeved Ionic chiton, and over it a Doric chiton schistos with black border (cf. BM Vase Ε494), hair looped up with a fillet, and a caduceus in her left hand, looks down, pouring-wine from an oinochoe in her right hand; beside her is inscribed NIKF, Νίκη. In the centre a bearded warrior stands en face, but looks at Nike, holding out in his right a phiale (half broken away); on his left arm is a shield, the interior coloured black and decorated with a wreath; he wears a helmet with cheek-pieces lowered, decorated on the crown with a sea-horse, a sword hanging at his waist, and a mantle hanging over his arms; in his left hand is a spear, point downwards. On the right a bearded man, bald on the crown, Antandros, stands en face, but looking to the left; he is draped and wreathed, and wears shoes; his right hand rests on a crutch-staff. Above him is inscribed ΑΝΤΑΝΔΡΟΣ, Άντανδρος. On the left of the scene above Nike is inscribed EVAION KAΛΟΣ, Eύαίων καλός. (b) A king (?) and two women with armour. In the centre a bearded man, draped and wreathed with laurel, stands to right, holding upright in his right a sceptre. The woman on the right holds a sword by the sword-belt, the one on the left a tall crested helmet; each wears a long sleeved chiton and himation; the one on the right has a saccos, the other has her hair looped up with a fillet. Large style. Purple inscriptions and sword-belt. White is used for handles of swords and shield, for wreath on interior of shield, wreath of Antandros, sea-horse, and taenia in hand of one of the female figures in b. Brown inner markings. Eye in developed profile type. The edge of the hair and beard, and crest of helmet in a, are painted in brown. The shield and left arm of the warrior in a are drawn in bold foreshortening. Below, a continuous band, sets of three maeanders separated by dotted cross squares. Above a, a strip of alternate palmette and anthemion; above b, a strip of double palmettes set obliquely; below each handle, an ornament composed of seven palmettes. --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
182. Departure of Lykaon
- Description
- Pottery: red-figured pelike, with ribbed handles. (a) Nike pouring wine for a warrior. On the left, Nike, in a sleeved Ionic chiton, and over it a Doric chiton schistos with black border (cf. BM Vase Ε494), hair looped up with a fillet, and a caduceus in her left hand, looks down, pouring-wine from an oinochoe in her right hand; beside her is inscribed NIKF, Νίκη. In the centre a bearded warrior stands en face, but looks at Nike, holding out in his right a phiale (half broken away); on his left arm is a shield, the interior coloured black and decorated with a wreath; he wears a helmet with cheek-pieces lowered, decorated on the crown with a sea-horse, a sword hanging at his waist, and a mantle hanging over his arms; in his left hand is a spear, point downwards. On the right a bearded man, bald on the crown, Antandros, stands en face, but looking to the left; he is draped and wreathed, and wears shoes; his right hand rests on a crutch-staff. Above him is inscribed ΑΝΤΑΝΔΡΟΣ, Άντανδρος. On the left of the scene above Nike is inscribed EVAION KAΛΟΣ, Eύαίων καλός. (b) A king (?) and two women with armour. In the centre a bearded man, draped and wreathed with laurel, stands to right, holding upright in his right a sceptre. The woman on the right holds a sword by the sword-belt, the one on the left a tall crested helmet; each wears a long sleeved chiton and himation; the one on the right has a saccos, the other has her hair looped up with a fillet. Large style. Purple inscriptions and sword-belt. White is used for handles of swords and shield, for wreath on interior of shield, wreath of Antandros, sea-horse, and taenia in hand of one of the female figures in b. Brown inner markings. Eye in developed profile type. The edge of the hair and beard, and crest of helmet in a, are painted in brown. The shield and left arm of the warrior in a are drawn in bold foreshortening. Below, a continuous band, sets of three maeanders separated by dotted cross squares. Above a, a strip of alternate palmette and anthemion; above b, a strip of double palmettes set obliquely; below each handle, an ornament composed of seven palmettes. --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
183. Lukaon leaving home
- Description
- Pottery: red-figured pelike, with ribbed handles. (a) Nike pouring wine for a warrior. On the left, Nike, in a sleeved Ionic chiton, and over it a Doric chiton schistos with black border (cf. BM Vase Ε494), hair looped up with a fillet, and a caduceus in her left hand, looks down, pouring-wine from an oinochoe in her right hand; beside her is inscribed NIKF, Νίκη. In the centre a bearded warrior stands en face, but looks at Nike, holding out in his right a phiale (half broken away); on his left arm is a shield, the interior coloured black and decorated with a wreath; he wears a helmet with cheek-pieces lowered, decorated on the crown with a sea-horse, a sword hanging at his waist, and a mantle hanging over his arms; in his left hand is a spear, point downwards. On the right a bearded man, bald on the crown, Antandros, stands en face, but looking to the left; he is draped and wreathed, and wears shoes; his right hand rests on a crutch-staff. Above him is inscribed ΑΝΤΑΝΔΡΟΣ, Άντανδρος. On the left of the scene above Nike is inscribed EVAION KAΛΟΣ, Eύαίων καλός. (b) A king (?) and two women with armour. In the centre a bearded man, draped and wreathed with laurel, stands to right, holding upright in his right a sceptre. The woman on the right holds a sword by the sword-belt, the one on the left a tall crested helmet; each wears a long sleeved chiton and himation; the one on the right has a saccos, the other has her hair looped up with a fillet. Large style. Purple inscriptions and sword-belt. White is used for handles of swords and shield, for wreath on interior of shield, wreath of Antandros, sea-horse, and taenia in hand of one of the female figures in b. Brown inner markings. Eye in developed profile type. The edge of the hair and beard, and crest of helmet in a, are painted in brown. The shield and left arm of the warrior in a are drawn in bold foreshortening. Below, a continuous band, sets of three maeanders separated by dotted cross squares. Above a, a strip of alternate palmette and anthemion; above b, a strip of double palmettes set obliquely; below each handle, an ornament composed of seven palmettes. --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
![[No Caption] Steven Lowenstam Collection](/thumbnails/5/9/oregondigital-df6918795.jpg "[No Caption] Steven Lowenstam Collection")
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
- 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 neck-amphora. (a) Type of Menelaus pursuing Helen. Warrior with drawn sword pursuing a woman. He is bearded, wreathed, nude, with petasos hanging by cord at back, chlamys as shield on left arm, scabbard at waist, with brown snake ornament twisted round it, and rushes to right with a drawn sword in his right hand; the woman in chiton, himation, bracelets, earrings, and a radiated stephane, looks back, extending her right with a gesture of entreaty; with her left she raises the edge of her skirt. Between the figures, ΔΙΟΝΟΚΛΕΣ KAΛΟΣ, Διωνοκλής καλός. (b) A bald-headed old man (or woman?) in long chiton, himation and fillet, and carrying a crutch staff on his left arm, running to left, extending his right arm as if to aid the woman in a. In the field, KAΛΛΙΑΣ, above, KAΛΟΣ, Καλλίας καλός. Later stage of strong style. Purple inscriptions, wreath, fillet, cord of petasos, and swordbelt. Brown inner markings, folds of chiton in b, and bracelets. Hair of warrior edged with dots, beard with wavy strokes; hair and beard of old man left in brown outline. Eye of warrior of transition type (dotted circle in place of inner angle); the other eyes archaic. Below the scenes a continuous band, sets of five maeanders separated by red cross and dotted chequer squares. On the lower insertion of each handle, an inverted palmette. --The British Museum
186. Menelaos and Helen
- Description
- Pottery: red-figured neck-amphora. (a) Type of Menelaus pursuing Helen. Warrior with drawn sword pursuing a woman. He is bearded, wreathed, nude, with petasos hanging by cord at back, chlamys as shield on left arm, scabbard at waist, with brown snake ornament twisted round it, and rushes to right with a drawn sword in his right hand; the woman in chiton, himation, bracelets, earrings, and a radiated stephane, looks back, extending her right with a gesture of entreaty; with her left she raises the edge of her skirt. Between the figures, ΔΙΟΝΟΚΛΕΣ KAΛΟΣ, Διωνοκλής καλός. (b) A bald-headed old man (or woman?) in long chiton, himation and fillet, and carrying a crutch staff on his left arm, running to left, extending his right arm as if to aid the woman in a. In the field, KAΛΛΙΑΣ, above, KAΛΟΣ, Καλλίας καλός. Later stage of strong style. Purple inscriptions, wreath, fillet, cord of petasos, and swordbelt. Brown inner markings, folds of chiton in b, and bracelets. Hair of warrior edged with dots, beard with wavy strokes; hair and beard of old man left in brown outline. Eye of warrior of transition type (dotted circle in place of inner angle); the other eyes archaic. Below the scenes a continuous band, sets of five maeanders separated by red cross and dotted chequer squares. On the lower insertion of each handle, an inverted palmette. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B; Forsdyke, E J, Corpus Vasorum Antiquorum: Great Britain 7, British Museum 5, London, BMP, 1930
187. Peleus and Thetis
- Description
- Pottery: red-figured column-krater. (a) Peleus seizing Thetis. Peleus, beardless and wreathed, with short chiton and apoptygma, striding forward from left, has locked his arms around the body of Thetis, his hands clasped on her left shoulder. She moves away to right, looking round to left and extending her right arm, on which is an arching snake which bites the back of Peleus' head. She wears a long chiton, over which is a second long chiton of thicker material, undertied and with apoptygma, decorated with rows of dots and zigzags, and a necklace of beads. (b) A bearded satyr running at full speed to left, with one arm extended in front, the other behind, like the runners in the short foot-race on Panathenaic amphorae. Large style. Purple wreath. Fine brown inner markings, and folds of the upper part (not apoptygma) of Peleus' chiton. Eye in transition type. The hair of Peleus is edged with single wavy lines. Below, a thin purple line. Round the lowest part of the body, rays; round the neck, linked lotus-buds. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
188. Peleus and Thetis
- Description
- Pottery: red-figured column-krater. (a) Peleus seizing Thetis. Peleus, beardless and wreathed, with short chiton and apoptygma, striding forward from left, has locked his arms around the body of Thetis, his hands clasped on her left shoulder. She moves away to right, looking round to left and extending her right arm, on which is an arching snake which bites the back of Peleus' head. She wears a long chiton, over which is a second long chiton of thicker material, undertied and with apoptygma, decorated with rows of dots and zigzags, and a necklace of beads. (b) A bearded satyr running at full speed to left, with one arm extended in front, the other behind, like the runners in the short foot-race on Panathenaic amphorae. Large style. Purple wreath. Fine brown inner markings, and folds of the upper part (not apoptygma) of Peleus' chiton. Eye in transition type. The hair of Peleus is edged with single wavy lines. Below, a thin purple line. Round the lowest part of the body, rays; round the neck, linked lotus-buds. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
189. Peleus and Thetis
- Description
- Pottery: red-figured column-krater. (a) Peleus seizing Thetis. Peleus, beardless and wreathed, with short chiton and apoptygma, striding forward from left, has locked his arms around the body of Thetis, his hands clasped on her left shoulder. She moves away to right, looking round to left and extending her right arm, on which is an arching snake which bites the back of Peleus' head. She wears a long chiton, over which is a second long chiton of thicker material, undertied and with apoptygma, decorated with rows of dots and zigzags, and a necklace of beads. (b) A bearded satyr running at full speed to left, with one arm extended in front, the other behind, like the runners in the short foot-race on Panathenaic amphorae. Large style. Purple wreath. Fine brown inner markings, and folds of the upper part (not apoptygma) of Peleus' chiton. Eye in transition type. The hair of Peleus is edged with single wavy lines. Below, a thin purple line. Round the lowest part of the body, rays; round the neck, linked lotus-buds. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
190. Leave-taking
- Description
- Pottery: red-figured neck-amphora, with twisted handles. (a) Nike pouring wine, warrior. The warrior, on left, stands en face, with right hand on hip, and holding a spear upright in his left, and looks to right at Nike, who is also en face, but looks at him: she holds up in her left a caduceus, and pours wine on the ground from a jug in her right, her wings are spread on each side, and she wears a Doric chiton schistos, and a broad buckled band round her looped up hair: the warrior has a helmet with raised cheekpieces, frontal of projecting spirals, and a honeysuckle ornament on the crown, a cuirass with central stripe of scales and shoulder-pieces decorated with stars, a short chiton, and a sword. (b) Nike and a woman. Nike on right stands as before, extending her right as if addressing the woman on left, who holds a short-headed spear (?) or sceptre upright in her right; she wears an Ionic chiton and mantle; Nike a Doric chiton with apoptygma and broad girdle; each has the hair looped up with a fillet. Strong good period. Purple wine. Brown edge of hair and inner markings. Below, sets of three maeanders separated by oblique red cross squares. Round shoulder, guilloche: round lip, egg pattern: on each side of neck, a palmette with four tendrils: below each handle, two palmettes back-to-back, with a spiral tendril on each side. -- 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
191. Hektor and Kebrione
- Description
- Pottery: black-figured hydria (water-jar). Designs black on red ground, with purple and faded white accessories. Round the lip inside, interlacing lotus- and honeysuckle-pattern; round the neck, lotus-buds and flowers. The body is almost globular; on it are two designs divided by a band of lotus-buds and flowers. (1) Departure of Hector: In the centre a quadriga seen from the front; in it the charioteer Kebriones looking to right, with long hair, long chiton, and goad. He is inscribed: KEBPIONE, Kεβριόνη[ς]. On one side of the horses is a palmette on a stalk, on the other a lotus-bud; the horses' tails are plaited. On the left is Hector to right, bearded, with long hair, fillet, long chiton and purple himation, in right hand a spear; in front of him ΞEKTOP, ‘Εκτορ. Behind him is a warrior to right, with visored helmet, greaves, shield, and spear; behind him an eagle flying to left. On the left, Troilos (?) on horseback to right, nude and beardless, with long hair and sword at side; in the field behind him is a lotus-bud. On the right is Glaucos to left, beardless, with long hair, fillet, long chiton, purple himation, and spear in left hand. In front of him, ΣΟΚΥΑΛ... [Γ]λαΰκος. Behind him a warrior (as the other) to left, and another similar warrior (but with no spear) walking to left and leading a horse. On the shield of the former is the forepart of a goat running to left, on that of the latter an eagle flying to left. (2) Cretan goat to left between panthers; panther to left between goats (cf. B 42). --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: white-ground oinochoe. Late black figure style; design black on drab ground, with purple accessories and finely-incised lines. Trefoil mouth, and three-ribbed handle. On the neck, chequer-pattern; below, tongue-pattern, alternately black and outlined. Peleus bringing the infant Achilles to Cheiron: On the left is Cheiron to right, with a horse's body and hind-legs attached behind; he is bearded, with long tresses, striped himation over left shoulder, right hand extended, in left a pine-tree held over the shoulder. In front of him is a tree. On the right is Peleus advancing to left, bearded, with hair curly in front and striped himation, holding the infant Achilles in both arms, the latter also wearing a striped himation. Before them is a dog to right, with right hind-paw and head raised, as if greeting them. The handle terminates on each side of the mouth in a snake's head in relief, with black markings on red; at each junction of the handle with the vase is a female head in relief coloured red, of later date than the rest of the design. Under the handle is a palmette inverted, with tendrils ending in buds. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
193. Thetis brings arms
- Description
- Pottery: black-figured neck-amphora. Palmettes and lotus flowers on neck. Side A: Thetis and Nereid bringing armour to Achilles. Thetis holds out a shield (purple rosette as device) to Achilles, who is bearded and holds up a helmet. On the right a Nereid holds greaves and a spear. On the left an elderly man with spear. Side B: Two cocks confronted, with lotus flower between and two lotus buds above. --The British Museum, Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
194. Thetis brings arms
- Description
- Pottery: black-figured neck-amphora. Palmettes and lotus flowers on neck. Side A: Thetis and Nereid bringing armour to Achilles. Thetis holds out a shield (purple rosette as device) to Achilles, who is bearded and holds up a helmet. On the right a Nereid holds greaves and a spear. On the left an elderly man with spear. Side B: Two cocks confronted, with lotus flower between and two lotus buds above. --The British Museum, Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
- Description
- Pottery: red-figure stemless kylix. Interior: Nereid on Hippocamp with greave of Achilles. Through the sea (indicated by wavy lines) the Hippocamp moves to right, bearing on its back, side-saddle, a Nereid in long chiton with apoptygma tied, long hair tied at the back and wreathed with olive, and earrings: she holds upright on her left palm, by its lower end, a greave, and extends her right as if directing the animal; it has the head and fore-quarters of a horse, wide open jaws with teeth, a spiny back in place of mane, and fins in place of fore-legs. The exergue is left red. Exterior: (a) Three youthful athletes: one in the centre sits on a bema of two steps, talking to one on right, who confronts him: on the left a third stands scraping his left arm with a strigil (apoxyomenos). Each wears a plain fillet with a vertical piece over the forehead. (b) Similar scene. A youth on right leans his left on a low fluted stele, and extends his right arm as if directing the movement of a second, who stands in a bent attitude, as if about to leap or run to right. On the left a third moves away, looking back and holding up in his left a lighted torch, such as was used in the torch-race (lampadedromia). All these have a fillet with three upright pieces rising from it. Late style. Waves, berries and stalks of wreaths, and centrepiece of fillet, white; brown wash on body of sea monster. Around the moulding on interior of lip, a wreath of ivy with berries. Around interior design, a band of sets of five maeanders separated by red cross squares. Beneath and beside the handles, triple palmette ornament. --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
196. Aias and Kassandra
- Description
- Pottery: red-figured volute-krater. (a) Ajax seizing Cassandra at the Palladion. The image of the goddess stands in the centre on a double plinth; the feet, which are only suggested in the drawing, are close together; the pose is that of an archaic xoanon (wooden cult figurine), but the drapery, right arm and head, are quite free in treatment; the image stands en face, dressed in a long chiton with apoptygma, of which the skirt is decorated with a central band and two vertical rows of circles, and a short calathos spreading outwards; the spear is held across the body, as though she were striking downwards to right, and the shield has for device a horse (? seen in perspective) galloping to left; the hair is arranged over the forehead in a row of large formal curls. At the base of this on the right a woman (in the act of fleeing to left) has fallen and extends both arms to left, one on each side of the statue; on the left another woman flees, looking back and extending both arms; these two figures (perhaps Medesicaste and Polyxena) are dressed in Doric chiton with apoptygma, and saccos. On the right Ajax, beardless, with helmet tilted back, short chiton, cuirass, mantle at back over arms, spear and shield (device, a snake coiled, to left), runs to left, pursuing Cassandra, who extends both arms towards the Palladion; his right hand already grasps her long hair; she wears long chiton with sleeves undertied. (b) Departure of a youth. On the left Nike stands en face in long sleeved chiton, himation fastened on right shoulder, hair looped up with dotted fillet, wings spread on each side, resting left on the edge of a shield, and holding in right an oinochoe; she looks to right towards a youth in a short tied chiton, and radiated fillet, with mantle on left arm and petasos hanging at back, two spears in his left hand, who holds out in right a phiale towards her. Behind him a bearded man wreathed with laurel, wearing long sleeved chiton and himation, who looks on, holding upright in his right a staff; his hair has probably been white, now faded. On the right stands a woman holding a sceptre upright in her right; she wears a long sleeved chiton and an himation, and her hair is looped up with a radiated stephane decorated with maeander pattern. Late style. Surface discoloured by fire. Below, a band of maeanders broken by chequered squares; round shoulder, tongue-pattern; on moulding above neck, band of oblique pairs of palmettes back-to-back. Below handles, double palmette with tendrils. On moulded sides of handles, ivy 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
197. Woman at Altar
- Description
- Pottery: red-figured kylix. Interior: Within a circle of alternate maeanders and red cross squares, a woman standing to right before a burning altar in form of an Ionic capital with volutes and egg moulding, half seen on right, on which she is pouring wine from a phiale. She wears a sleeved chiton, a himation, and a saccos with purple loop at the end. Exterior: (a) Symposion: Three figures reclining to right on the ground-line; each leans his left arm on a cushion folded in two. The central figure, who is bearded, holds up in his right a chelys towards the left hand youth, who turns to receive it; the youth on the right holds against his breast a cotyle (black silhouette). Beside this figure hangs a basket, and beside the left hand figure his staff leans against the background. (d) Similar scene: In this case the central figure (a youth) turns to right, playing on the flutes, towards the youth on right, who, with head thrown back and right arm clasped over the crown, seems to be singing. The left hand youth holds out on his right a cotyle towards the left. On the right of the central figure hangs a basket, on the left a lyre. All the figures in both scenes wear himation over left shoulder, and fillet. Below the exterior scenes a red band, on which are painted a series of objects in black silhouette, as follows: below the bearded man in (a), a basket, next on right a pair of boots, a cotyle, oinochoe, kylix, keras, pair of sandals seen in perspective, a pair of boots, a cotyle, pair of boots, cotyle, kylix, oinochoe, pair of sandals in perspective. Purple is used for the flame, head-dresses, cords of basket and plectrum in exterior scenes. No inner markings. Eye in profile. Beneath each handle, a palmette, with tendrils terminating in a leaf. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
198. Thamyris, blind bard
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
![[no caption] Steven Lowenstam Collection](/thumbnails/h/2/oregondigital-df694862h.jpg "[no caption] Steven Lowenstam Collection")
- Description
- On left is Lekythos, Vase E588 attributed to the Bowdoin Painter, created in 480-440 BCE, and measuring 13.335 cm in height. The vase was created in Attica, Central Greece and Euboea, Greece and is housed at British Museum, London, England, United Kingdom under Repository ID: 1851,0227.1. Pottery: red-figured lekythos. An owl to right looking back; behind, a tendril springing from the ground. The clay has been burnt to a pale ashen colour, and a foot in red clay, which does not belong, has been added. Drawing of good period. Below, key pattern; on the shoulder, a group of two palmettes, with one inverted between them, and two single palmettes; round the neck, rays. --The British Museum; In center is Lekythos, Old Catalogue 747, Vase E584 attributed to the Bowdoin Painter, created in 480-440 BCE, and measuring 29.21 cm in height. The vase was created in Attica, Central Greece and Euboea, Greece, discovered in Sicily, Italy and is housed at British Museum, London, England, United Kingdom under Repository ID: 1836,0224.70. Pottery: red-figured lekythos. Nike in a long undertied chiton, with hair falling loose (one tress in front of ear), fillet, and bracelets, flies to right, holding out in her right an oinochoe, in her left a phiale, from which wine flows on to a blazing altar having an Ionic capital, with three sashes attached to its shaft. Late and careless stage of severe style. Purple flames, wine, inscription and fillet. Below, pairs of maeander separated by black cross squares. On shoulder, which is left red, five black palmettes; round the neck, black rays. --The British Museum; On right is Lekythos, Vase E643 attributed to the Palermo Painter, created in 480-460 BCE, and measuring 29.21 cm in height. The vase was created in Attica, Central Greece and Euboea, Greece, discovered in Fikellura Cemetery, Tomb 43, Kámiros, Aegean Islands, Greece and is housed at British Museum, London, England, United Kingdom under Repository ID: 1864,1007.191.Pottery: red-figured lekythos. Nike, in long chiton, bordered mantle fastened on left shoulder, bracelets and fillet, hair falling loose down back, flies to right, holding phiale in left, and with right pouring wine from a jug over a blazing altar of a form developed from an Ionic capital, with necking of dots. The lower part of her legs and her feet are missing. Left-hand lower part of design missing. Late stage of severe style. Purple flame, inscription, wine, and ends of fillet. Eye in archaic type (inner angle open). Below, strip of maeander with red cross squares (mostly broken away). Round the neck, a band of rays. --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
- ne side of this vase shows the Judgment of Paris, a myth with a long history in Greek art. The young Trojan prince Paris sits amid three goddesses and their guide Hermes, god of travelers. Paris's task is to decide which goddess is the most beautiful: Hera, queen of the gods; Athena, goddess of wisdom; or Aphrodite, goddess of love. But this was no mere beauty contest. Paris chose Aphrodite because her bribe was the best: He could have whomever among mortal women he thought most beautiful. His choice of Helen, queen of Sparta, was the ultimate cause of the Trojan War. The other side of the vase depicts a battle of Greeks and Amazons, a favorite theme for vase painters in this period. The bold use of color, raised relief areas, and gilding on this vase is typical of the Kerch Style of Athenian red-figure vase painting, named for an area on the Black Sea coast of southern Russia where many of these vases were found. The pelike was a favorite shape for Athenian vase painters of the 300s B.C. --J. Paul Getty Museum, "Acquisitions/1983." The J. Paul Getty Museum Journal 12 (1984), pp. 241 - 242, no. 52.; Schefold, Karl. "Parisurteil der Zeit Alexanders des Grossen," Greek Vases in the J. Paul Getty Museum, 2. Occasional Papers on Antiquities, 3 (1985), pp. 119-126 .; The J. Paul Getty Museum Handbook of the Collections. 1st ed. (Malibu: J. Paul Getty Museum, 1986), p. 51.; Schefold, Karl, and Franz Jung. Die Sagen von den Argonauten, von Theben und Troja in der klassischen und hellenistischen Kunst. Munich: 1989. p. 110; fig. 89.; Valavanes, P. D. Panathenaic Amphorai from Eretria, 1991. p. 295, 352, ill. pls. 140-141; The J. Paul Getty Museum Handbook of the Collections. 3rd ed. (Malibu: J. Paul Getty Museum, 1991), p. 50.; Vallera-Rickerson, I. and M. Korma. "Merika ellenika ekthemata tou Mouseiou Getty", Archaiologia 43 (1992), pp. 84-87. p. 86, fig. 14.; Kossatz-Deissmann, Anneliese. "Paris Iudicium," Lexicon Iconographicum Mythologiae Classicae VII (1994), pp. 176-188. p. 181, no. 52a; pl. 118.; Sparkes, Brian A. The Red and the Black. Studies in Greek Pottery. London and New York: 1996. p. 26; fig. I:19.; Towne Markus, Elana. Masterpieces of the J. Paul Getty Museum: Antiquities. (Los Angeles: J. Paul Getty Museum, 1997) p. 56.; The J. Paul Getty Museum Handbook of the Collections. 4th ed. (Los Angeles: J. Paul Getty Museum, 1997), pp. 52-53.; The J. Paul Getty Museum Handbook of the Collections. 6th ed. (Los Angeles: J. Paul Getty Museum, 2001), pp. 14 (detail), 52-53.; The J. Paul Getty Museum Handbook of the Antiquities Collection (Los Angeles: J. Paul Getty Museum, 2002) p. 83.; Cohen, Beth, ed. The Colors of Clay: Special Techniques in Athenian Vases, exh. cat. (Los Angeles: The J. Paul Getty Museum, 2006) pp. 11-12, fig. 3. (incorrectly cited as 87.AE.10), pp. 337-338, cat. no. 104, figs. 104.1-104.2.; The J. Paul Getty Museum Handbook of the Collections. 7th ed. (Los Angeles: J. Paul Getty Museum, 2007), p. 35, ill.
