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1. Departure
- Description
- Pottery: red-figured lekythos. Woman pouring wine for a warrior. On the right stands a bearded warrior en face, with left foot turned to right, with short tied chiton, mantle over shoulders, helmet with raised cheek-pieces, greaves, spear held upright in right, and shield (device, an ithyphallic satyr standing to left with right leg advanced, body thrown back, right hand on hip, blowing a long trumpet; in black silhouette, resting on a thin black ground-line). From the shield hangs an apron attached to the rim by three black studs, with a border of zigzags between them; the lower edge is fringed with tabs in form of spear-heads; above this is an embattled line, and then a large human left eye and eyebrow, with eyelashes above and below, indicated in thinned black. The warrior looks to left at a woman in long Ionic chiton and mantle, hair looped up with fillet, who offers him with her right a phiale filled from an oinochoe in her left hand. Late stage of large style. Brown inner markings and edge of hair. Below and above, maeander. On shoulder, central inverted palmette with two side palmettes and two flowers (partly broken away); round neck, egg pattern. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
- Description
- Pottery: 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: 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: 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: black-figure kylix. Rough style. Interior, in a medallion: A potter, nude and beardless, with drapery over left shoulder, seated to right before a wheel, on which is a kylix of archaic shape, the handle of which he is moulding; on a shelf above him are four kylikes, in two piles, and an oinochoe. Exterior: (a) Gigantomachia: Athene advancing to right, with high-crested helmet, long chiton and himation, both embroidered, aegis on left arm, attacks Enkelados with spear; he has fallen back with right leg drawn up; he has an embroidered chlamys over his shoulder. On either side, eyes, black, with a white ring round the pupil. In the field, branches and bunches of grapes. (b) The same design. Under each handle, a dolphin to right. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Smith, A H; Pryce, F N, Corpus Vasorum Antiquorum: Great Britain 2, British Museum 2, London, BMP, 1926
- 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
- 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 hydria. Designs in black on red panels, with borders of ivy down the sides and palmettes along the bottom; accessories of white and purple. 1. On the shoulder: Troilos and Polyxena surprised by Achilles: On the right is a fountain represented by a Doric column with white abacus, and a panther's head seen from the front, from which water is pouring over Polyxena's hydria. On the right behind the column is Achilles crouching down to left, with tall visored helmet, short chiton, sword, spear, and Boeotian shield on which is a pellet. On the other side of the fountain is Polyxena to left, with long hair, fillet, long embroidered chiton, left hand raised; behind her are branches. On the left is Troilos approaching on horseback, beardless, with embroidered chlamys and two spears; a second horse by his side. Behind him is a nude youth to right, with a fillet and two spears, left hand raised. 2. On the body: Combat of warriors: In the centre two warriors thrusting at each other with spears; they are bearded and fully armed, with embroidered chitons, but the one on the left has no cuirass; the other has a bird flying to left as device on his shield. Between them is a fallen warrior to left, with eyes closed; he is fully armed and has long tresses; on shield device of an ivy-wreath. Behind each of the two centre combatants is a fully armed warrior, with long tresses, also thrusting with spear; the one on the left has two pellets on shield, the other, an uncertain device; the latter also has parameridia. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J, Corpus Vasorum Antiquorum: Great Britain 7, British Museum 5, London, BMP, 1930
- Description
- Pottery spouted krater. Clay: orange-buff clay, brown and white grits, lustrous brown paint. Shape: short inward-leaning lip, flat above, with bridge across spout; shallow hemispherical body, high ring foot; rising round handles. Decoration: Groups of bars on rim, dots below on lip. Between handles, figured zones: (A) ship scene: from left, woman with long hair and latticed skirt holding circular object surrounded by dots; her forearm is grasped by a man looking towards her and advancing towards the ship, his forward leg overlapping with the two steering oars. Ship: nineteen and twenty rowers shown in two registers, presumably seated on opposite sides of the vessel; near the stern, a small Dipylon shield in silhouette; above the prow, a silhouette bird. As filling ornaments, single zigzags, columns of double chevron, loose pile of zigzags, double axes. (B) two chariot groups with single horses, followed by one horseman. Both charioteers wear long robes. The horseman, holding the reins in his left hand, crosses his legs below the animal. A silhouette bird behind the horseman. Filling ornaments: latticed lozenges with double outline, loose piles of zigzags, columns of single chevron, double axes. Below: massed lines interrupted by a zone of floating sigmas; paint on and above foot. On handles, curved stripes; zigzags above, large hatched bird below. --The British Museum
- 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
- 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
- Description
- Black-figured pottery amphora. Under each handle, two patterns of spirals. (a) Achilles slaying Penthesilea: Achilles steps to right, bearded, with long tresses, fully armed, high-crested helmet and short striped chiton, and has beaten down the Amazon queen Penthesilea on one knee, and plunges spear into her throat. She has a high-crested helmet with cheek-pieces and serpent in relief, short diapered chiton, over which is a pardalis (leopard skin), sword and shield, and looks back at him, thrusting vainly with spear; a stream of blood gushes from her wound. In front of Achilles is inscribed: ΑΧΙΛΕΥΣ; in front of Penthesilea: ΠΕΝΘΕΣΙΛΥΑ. On the left is inscribed: Έχσηκίας έπτοίησε; on the right: Όνητορίδης καλός. (b) Dionysos and Oinopion: Dionysos to left (facing left), bearded, with hair looped up and wreathed with ivy, long white chiton and embroidered himation, holds in left hand vine-branches, and with right gives a cantharos to his son, Oinopion, who stands facing him, nude and beardless, his hair looped up with a myrtle wreath, holding an oinochoe in right hand. In front of Dionysos is inscribed: ΣΟΣΝΟΙΔ (retr.), Διόνυσος; above Oinopion: OINOΠION; behind him: Όνητορίδης καλός, as on (a). --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
13. Symposium
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
- Description
- Pottery: red-figured covered kantharos, with closed-in top, at one side of which is an aperture 3.2 cm long by 1.9 cm, communicating with the centre of the bottom by means of a shaft walled off from the interior. The lid is painted black and decorated with concentric mouldings: in its centre is a moulded Gorgon mask (3.2 cm diameter) painted white with black hair and red tongue. (a) Odysseus and Nausicaa. On the left Odysseus, nude, with rough hair and beard, stands as if in astonishment, holding a long beaded fillet (the credemnon) in both hands: he gazes at Nausicaa, who sinks away on the right, looking back at him; she wears a Doric chiton with apoptygma, and her hair is knotted behind with a fillet wound thrice round it. Beside Odysseus is inscribed his name, ΟΔΥΣΕΥΣ, Όδυσεύς. Beside Nausicaa, KAΛΕ, καλή. (b) Oedipus and the Sphinx. On a high rock on the left, drawn in purple outline, the Sphinx is seated to right, her long hair knotted behind with a fillet, which has a vertical piece over the forehead: her fore and hind legs join on to her body like the arms and legs of a woman. In front of her stands Oedipus, beardless, en face, but looking towards her, his left hand on his hip, his right holding two spears: he wears a chlamys, fillet, a petasos hanging at his back, and high endromides. Purple inscriptions, fillet, belt, and rock. Brown markings. Eye in profile. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 5, British Museum 4, London, BMP, 1929
- Description
- 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
- 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
- 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
- Description
- Pottery lekythos showing Peleus wrestling with Thetis. Black figure on white ground. --The British Museum
19. Six Technique
- Description
- Pottery lekythos decorated in the Six Technique with Eos and the body of Memnon. --The British Museum
20. Battle Scene
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
- Description
- Pottery: black-figured hydria. Designs in black on red panels, with borders of ivy down the sides and palmettes along the bottom; accessories of white and purple. 1. On the shoulder: Departure of warriors: In the centre, a warrior to right, beardless, with long hair, fillet, short chiton, and sword, fastening a greave on his left leg, which rests on his helmet; the other greave is already on. Facing him, stands a female figure with long tresses, fillet, long chiton and diploidion, holding his spear in right hand. Behind her is a warrior to left with tall visored helmet, chlamys, greaves, spear and shield with device of a bent leg supporting with right hand the shield of the first warrior, which has a tripod as device. Behind him is an archer departing to right, and looking back, bearded, with peaked cap, short embroidered chiton, double-headed axe in right hand, left hand raised, quiver at side. Confronting him is a warrior, as last, with three pellets on shield. On the left of the centre group is a similar warrior to left, with three pellets on shield, confronting an archer, as the former, but beardless; also a beardless figure to right in long chiton and embroidered himation, holding in left hand a wand or spear. 2. On the body: Achilles and Penthesilea: In the centre is Achilles moving to right, bearded, with long tresses, fully armed, two spears in right hand, carrying over left shoulder the body of Penthesilea. Her head hangs down in front with eyes closed, long tresses and a purple wreath, and she wears a short chiton and cuirass, on right arm a bracelet, on right leg an anklet, at side a sword, with sheath terminating in a panther's head. By the side of Achilles is a Boeotian shield with device of an ivy-wreath. In front of him are a warrior and archer departing to right; the warrior, who is looking back, is fully armed, with triquetra as device on shield; the archer is bearded, with Phrygian cap, short embroidered chiton, and greaves, in left hand an axe, at back a quiver. On the left is a fallen Amazon lying back with left leg drawn up, long tresses, fillet, high-crested cap, cuirass, short embroidered chiton, greaves, spear, and shield with two pellets. Over her strides a warrior to left, fully armed, shield with device of a bull's head transfixing her with spear. Above this warrior is inscribed: KAΛOΣ; in front of Achilles is inscribed : KPITI ... Κρίτί[ας]. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 8, British Museum 6, London, BMP, 1931
- Description
- Pottery: red-figured stamnos. (a) Departure of a warrior. In the centre a bearded warrior stands en face, with helmet, short chiton, ornamented cuirass, and greaves, sword at waist, shield on arm, and holding a spear upright in left hand; his cuirass is decorated with a star on each shoulder-piece, and a band of key pattern; the strings are fastened upon a stud in the centre of this band, which is formed like an eight-spoked wheel, with dots between the spokes. He looks to left, grasping the hand of a bearded man, in long chiton and mantle, who holds upright in his left hand a staff. On the right, a woman, with bordered Doric chiton with apoptygma undertied, and hair looped up with fillet, stands with a phiale in her left, and an oinochoe hanging at her side in her right hand. Behind the warrior a hound stands in the background to left: around its neck is a collar with bead (?) attached. (b) Similar scene. In the centre, a beardless warrior as in (a), but with his body mostly hidden by his shield (device, a Pegasos springing to left), with helmet tilted back and with a mantle over his arms, stands en face, holding out to left a phiale to be filled from the oinochoe of a woman with Doric chiton schistos, and hair looped up with radiated fillet. On the right stands a bearded man, as in a. Large style. Purple fillets, brown inner markings and edge of hair. Eye in profile. Below, pairs of maeanders separated by dotted cross squares. Above, tongue pattern; round lip, egg pattern. Below and above handles, a pattern of four palmettes. The helmet in both cases overlaps the border. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
- Description
- Pottery: black-figured hydria. Designs in black on red panels, with borders of ivy down the sides; accessories of white and purple. 1. On the shoulder: Contest of Achilles and Memnon?: In the centre lies the body of Antilochos (?) flat on the face, the head to left; he is nude and beardless. Over it Achilles and Memnon are confronted, both fully armed, with spears and Boeotian shields; that of Memnon has a rosette, incised, between four pellets, painted; Achilles also has a sword. Behind them are two beardless male figures, looking on, with long hair, fillets, long chitons and striped himatia; behind each of these, a beardless male figure, also looking on, wearing a fillet and chlamys; all four hold wands. 2. On the body: Marriage procession: A quadriga to right, in which are a beardless male figure with fillet, long chiton, and himation, holding reins in both hands, and a female figure in a long purple chiton and himation over her head. By the side of the quadriga walks a female figure with long hair, fillet, long chiton, and embroidered himation, clapping her hands. In advance, at further side of horses and looking back towards her, is a male figure with fillet, long white chiton, and striped himation, playing on the chelys. At the horses' heads is the proegetes (leader of the procession) to right, looking back; he has petasos, chlamys, endromides, and caduceus. In the field above is inscribed Λυσιππίδης καλός, Ρόδον καλέ. 3. Below, a frieze of animals: In the centre a Siren to right looking back, with wings outspread; on either side a panther and doe confronted. --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
- Bronze casket (cista) engraved with a scene of Bellerophon (Melerpanta) holding Pegasus by the reins. The handle is cast in the form of a girl holding a perfume bottle, and a young man with oil-flask and scraper (strigil). The feet have lion's paws surrounded by sphinxes. Ladies' toilet articles were kept in such caskets. --The British Museum, Walters, H B, Catalogue of the Bronzes in the British Museum. Greek, Roman & Etruscan., I-II, London, BMP, 1899
- Description
- Bronze cista or container for cosmetic articles; engraving perhaps re-cut in the 19thC, possibly over an existing image. Main scene perhaps represents a parody of the Judgement of Paris; the figures forming the handle are a young satyr and a maenad. --The British Museum, Walters, H B, Catalogue of the Bronzes in the British Museum. Greek, Roman & Etruscan., I-II, London, BMP, 1899
- Description
- Bronze cista or container for cosmetic articles; engraving perhaps re-cut in the 19thC, possibly over an existing image. Main scene perhaps represents a parody of the Judgement of Paris; the figures forming the handle are a young satyr and a maenad. --The British Museum, Walters, H B, Catalogue of the Bronzes in the British Museum. Greek, Roman & Etruscan., I-II, London, BMP, 1899
- 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
28. Stele
- Description
- Marble tombstone showing a beardless, muscular youth taking an oil flask (lekythos) from a boy attendant. The scene is framed within an architectural setting and on the side of one of the pilasters is an inscription. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892
- Description
- Pottery: black-figured amphora: the ambush of Troilos; as Achilles attacks Troilos, Polyxena drops her water-jar and flees in terror. --The British Museum
- Description
- Pottery: red-figured hydria. Thersites insulting Agamemnon. On the right stands Thersites, an old, bald-headed man with hooked nose and grotesque features, and peculiarly shaped head; he leans on a staff and wears a long chiton and an himation, which is passed over the back of his head. He looks at Agamemnon, who moves away with bearded face to front, carrying his spear sloped over his right shoulder, and shield (device, a lion to left) seen edgewise on his left arm; he wears a broad fillet, short chiton, cuirass, and a mantle hangs over his arms. On the left a bearded figure in a chlamys and a hemispherical helmet (Nestor?), with a spear over his right shoulder, moves away, looking back; the action of his left hand is not certain; he may possibly be touching the arm of Agamemnon. The cuirass of Agamemnon seems to be made in narrow vertical slips overlapping each other, and is decorated with a star on the shoulder-piece. Late stage of good period; drawing careless. Eye in profile. Below, a strip of maeander; above, of alternate palmette and lotus; round lip and handles, egg pattern. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B; Forsdyke, E J, Corpus Vasorum Antiquorum: Great Britain 7, British Museum 5, London, BMP, 1930
31. Leave-taking
- Description
- Design red on a black background. 1. Farewell scene: a youthful male figure, attired for the chase, stands before a female figure, who holds out to him in her hand a phiale; she has her hair bound with a opisthosphendone, and wears a talaric chiton with sleeves and a peplos; the youthful male figure wears a petasus hanging at his back, and a chlamys fastened by a perone on the breast; in his right hand he holds two spears; behind him stands a youthful male figure leaning on his staff and advancing his right hand as if conversing; he wears a diadem and a mantle; both males are young and beardless., A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851
32. Lyre
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
33. 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
34. 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
35. Pygmy and Crane
- Description
- Pottery skyphos decorated in the 'Kabirion' style. Designs black on deep buff ground, with incised lines. On the top of the handles, a zigzag pattern; below the designs a double wave-pattern. (a) Centaur to right, with shaggy hair, beard, and tail, holding a crooked staff in right hand, and a tree in left, confronts two grotesque beardless male figures in himatia, carrying sticks, that of the front one knotted; behind them, a tree. (b) Pigmy to left with hump-back, attacking a crane; the crane retreats to left, looking back. Behind, a vine with large bunches of grapes. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
- Description
- Pottery: black-figured oinochoe (jug). Design black on a red panel, with maeander above; accessories of white and purple. Quadriga seen from the front, the charioteer slightly bearded, with purple pilos and long white chiton, the folds indicated by wavy lines; on either side of him a small bird flying away. On the left is a male figure, bearded, with long hair, fillet, long white chiton, folds as before, and purple himation, spear in left hand. On the right is a nude beardless male figure with long tresses, purple pilos, and spear in right hand. Below the handle is painted the face of a tiger, with black markings on red, the ears in purple and white. --The British Museum
37. Linear B Script
- Description
- Clay tablet inscribed with Linear B script, recording offerings of oil to a number of religious personnel and deities. --The British Museum, Ventris, M; Chadwick, J, Documents in Mycenaean Greek, Cambridge, Cambridge University Press, 1956; Chadwick, J; Godart, L; Killen, J T; Olivier, J-P; Sacconi, A; Sakellarakis, I A, Corpus of Mycenaean Inscriptions from Knossos, I, I, Cambridge/Rome, Cambridge University Press/Edizioni dell'Ateneo, 1986
38. Suicide of Ajax
- Description
- Pottery: red-figured calyx-krater (wine-bowl). Designs red on black ground, with white accessories; Etruscan style. Below the designs, palmettos. (a) Suicide of Ajax (Aivas): Ajax, nude and bearded, wearing a wreath, is fallen on his knees to left over his sword, which comes out through his body by his left shoulder; blood is visible round the wound and the handle of the sword. On the left is his shield; above, a garment with border of dots suspended on two pegs. On the right are a large sheath suspended by a white band, a tree-stump, and a garment suspended on two pegs. The scene takes place in Ajax's tent; the ground is indicated below. Above Ajax is painted a retrograde inscription in white. (b) Actaeon devoured by his hounds: Actaeon is nude and bearded, with wreath and white endromides; he moves away to right, turning back and endeavouring to drive back the hounds with a crook held in right hand; two attack him on either side, and one seizes his right thigh in his teeth. Below him is inscribed as before, in Etruscan characters: NVIATA, ‘Α(κ)ταίων. --The British Museum
39. Paris and Helen?
- Description
- Pottery spouted krater. Clay: orange-buff clay, brown and white grits, lustrous brown paint. Shape: short inward-leaning lip, flat above, with bridge across spout; shallow hemispherical body, high ring foot; rising round handles. Decoration: Groups of bars on rim, dots below on lip. Between handles, figured zones: (A) ship scene: from left, woman with long hair and latticed skirt holding circular object surrounded by dots; her forearm is grasped by a man looking towards her and advancing towards the ship, his forward leg overlapping with the two steering oars. Ship: nineteen and twenty rowers shown in two registers, presumably seated on opposite sides of the vessel; near the stern, a small Dipylon shield in silhouette; above the prow, a silhouette bird. As filling ornaments, single zigzags, columns of double chevron, loose pile of zigzags, double axes. (B) two chariot groups with single horses, followed by one horseman. Both charioteers wear long robes. The horseman, holding the reins in his left hand, crosses his legs below the animal. A silhouette bird behind the horseman. Filling ornaments: latticed lozenges with double outline, loose piles of zigzags, columns of single chevron, double axes. Below: massed lines interrupted by a zone of floating sigmas; paint on and above foot. On handles, curved stripes; zigzags above, large hatched bird below. --The British Museum
40. Helen?
- Description
- Pottery spouted krater. Clay: orange-buff clay, brown and white grits, lustrous brown paint. Shape: short inward-leaning lip, flat above, with bridge across spout; shallow hemispherical body, high ring foot; rising round handles. Decoration: Groups of bars on rim, dots below on lip. Between handles, figured zones: (A) ship scene: from left, woman with long hair and latticed skirt holding circular object surrounded by dots; her forearm is grasped by a man looking towards her and advancing towards the ship, his forward leg overlapping with the two steering oars. Ship: nineteen and twenty rowers shown in two registers, presumably seated on opposite sides of the vessel; near the stern, a small Dipylon shield in silhouette; above the prow, a silhouette bird. As filling ornaments, single zigzags, columns of double chevron, loose pile of zigzags, double axes. (B) two chariot groups with single horses, followed by one horseman. Both charioteers wear long robes. The horseman, holding the reins in his left hand, crosses his legs below the animal. A silhouette bird behind the horseman. Filling ornaments: latticed lozenges with double outline, loose piles of zigzags, columns of single chevron, double axes. Below: massed lines interrupted by a zone of floating sigmas; paint on and above foot. On handles, curved stripes; zigzags above, large hatched bird below. --The British Museum
41. 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: black-figured lekythos. Designs: on shoulder, black on red, with purple and white accessories; on body, black on drab, with purple accessories. 1. On the shoulder: A Satyr on all-fours to right, with face to front, pursuing a Maenad, who runs away, looking back at him; she has a long chiton with diploidion, and hair knotted up. In the field, vine-branches, with grapes. 2. On the body: Heroes casting lots at the statue of Athene: In the centre is the statue of Athene to right looking to left, with long hair, high-crested helmet with fillet, long chiton and striped himation, spear in right hand, left raised. Behind her is a table, on either side of which is a bearded warrior crouching down on one knee; the one on the left has a helmet with fillet, short striped chiton, chlamys, greaves, shield and two spears; his right hand is stretched out to the table. The other has long hair with fillet, greaves, Boeotian shield, and spear. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
44. Suicide of Ajax
- Description
- Pottery: red-figured calyx-krater (wine-bowl). Designs red on black ground, with white accessories; Etruscan style. Below the designs, palmettos. (a) Suicide of Ajax (Aivas): Ajax, nude and bearded, wearing a wreath, is fallen on his knees to left over his sword, which comes out through his body by his left shoulder; blood is visible round the wound and the handle of the sword. On the left is his shield; above, a garment with border of dots suspended on two pegs. On the right are a large sheath suspended by a white band, a tree-stump, and a garment suspended on two pegs. The scene takes place in Ajax's tent; the ground is indicated below. Above Ajax is painted a retrograde inscription in white. (b) Actaeon devoured by his hounds: Actaeon is nude and bearded, with wreath and white endromides; he moves away to right, turning back and endeavouring to drive back the hounds with a crook held in right hand; two attack him on either side, and one seizes his right thigh in his teeth. Below him is inscribed as before, in Etruscan characters: NVIATA, ‘Α(κ)ταίων. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
- 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
- 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
47. Hermes
- Description
- Pottery: red-figured neck-amphora, with twisted handles. (a) Anacreon type. A bearded reveller walking to right, wreathed in ivy and playing on the chelys: his head hangs forward to left, with eyes upturned as if partly drunk. The nose is curiously squat and broad, like that of a bearded satyr. His mantle flies back with the motion; and he has a staff under his left shoulder. (b) Ephebos, wreathed, walking to right, holding in his right hand horizontally a crutch staff, and extending his left on a level with his shoulder, holding on the palm upright a kylix: a mantle, rolled up, flies back from both arms. Extremities carefully drawn. Purple wreaths, tuning pegs, and cord of plectrum. Elaborate brown inner markings: the beard and the edge of the hair in a are indicated throughout in carefully traced-brown lines, which are also used for the knuckles of the bent hand and nostril in b and the hair on the cheek. Eye in archaic type, with inner angle open. Edge of hair dotted: and a dotted rosette for the left breast. Below a, a strip, alternate maeander and dotted cross squares: below b, a strip of key pattern. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
48. Fountain Scene
- Description
- Pottery: black-figured hydria. Designs in black on red panels, with borders of ivy down the sides and lotus and honeysuckle along the bottom; accessories of white and purple. 1. On the shoulder: Combat of warriors, perhaps Achilles and Memnon: In the centre, a warrior to left, fully armed, with two pellets on shield, beaten back on one knee by a similarly armed warrior, who also has a short embroidered chiton, and a Boeotian shield. On the right is another warrior coming up to the defence of the fallen one, with helmet, short embroidered chiton, sword, spear, and shield with the device of an eight-point star. Behind each of the two latter warriors is a female figure looking on and clapping her hands; each has long hair with a fillet, long embroidered chiton and striped himation. Behind them are beardless male figures, with fillets, and drapery over the lower part of their bodies, carrying spears. 2. On the body: Water-drawing at Callirrhoe: On the left is a building supported by a Doric column painted white, on the left side of which is a fountain with water pouring from a lion's head into a hydria placed on a step. In the field is inscribed: Καλ(λ)ιρ(ρό)η κρήνη. Outside stands a maiden to left; above her is inscribed: Σίμυλις. The next one stands to left holding a hydria on her head; behind her: Σίμυλις (as before); next to her is one to right holding a hydria on her head; in front of her: Έπηράτη. The next one, also to right, has a hydria on her head, in left hand a wreath; in front of her: Κυάνη. On the right are two more, to left, the first with an empty hydria carried horizontally on a pad on her head, to which she raises right hand; behind her is inscribed: Εύήνη. The other has a hydria on her head, and right hand raised; behind her is inscribed: Χορονίκη. All have long hair and fillets, long chitons and himatia, both embroidered, and hold branches, except the second, who has no himation, but a diapered chiton with diploldion; their faces have been much repainted. Above is inscribed : Ίπ(π)οκράτης καλός. --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
49. Warrior
- Description
- Pottery: red-figured neck-amphora, with twisted handles. (a) Departure of warrior. Young warrior with long hair, short chiton with studded sleeves, mantle at back over arms, decorated with crosses, crestless helmet tilted back, cuirass, greaves, sword with twisted snake round scabbard hanging from a cross-belt, stands en face, looking to right, with shield on left arm, left hand holding spear upright, right holding out phiale to left towards (b) A woman in undertied chiton with apoptygma, with long hair fastened at ends in a club, radiated stephane, earrings, moves to right with oinochoe (silhouette against body), and raising the left edge of her dress from her shoulder, towards an altar in form of Ionic capital with volutes and necking of acanthus, on which is placed a high thymiaterion with wire cap, forming an acorn-shaped head (καλύπτρα), probably perforated. Brown inner markings, upper folds of chiton, edge of hair, and hair on cheek: also toe-nails of the foot en face. Eye archaic. Below, a strip of pattern, alternate dotted cross and maeander. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
- Description
- Terracotta relief plaque ('Melian relief'): a man with a female lyre-player; he grasps the lyre (barbiton) as though demanding her attention. --The British Museum, Burn, Lucilla; Higgins, Reynold; Walters, H B; Bailey, D M, Catalogue of Terracottas in the British Museum, I-IV, London, BMP, 1903
51. Animals
- Description
- Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
- Description
- Pottery: black-figured hydria. Designs in black on red panels, with borders of ivy down the sides and palmettes along the bottom; accessories of white and purple, somewhat faded. 1. On the shoulder: In the centre Dionysos seated on an okladias to right, bearded, with ivy-wreath, long chiton and himation, keras in left hand. Facing him is Ariadne, seated on a block, right hand raised as if conversing; she has long hair with fillet, long chiton and himation, in left hand a wreath. On the right is a Satyr to right with left hand raised, pursuing a Maenad who runs away to right, looking back at him, with arms extended; she has long hair with fillet, and a long chiton. Behind Dionysos is another Maenad, as the last, running to right, pursued by a Satyr who stoops forward to seize her. Behind him is Hermes to right, bearded with short chiton and chlamys, both embroidered, petasos, and endromides; in right hand a wand, left extended. In the field, vine-branches. 2. On the body: perhaps the Strife of Ajax and Odysseus over the arms of Achilles: Between the combatants is Agamemnon to right looking to left, bearded, with a chlamys over his arms, interposing to separate them. On the left is Ajax to right, nude, bearded, with drawn sword in right hand, sheath in left, confronting Odysseus, who is nude and beardless, and holds sword in left hand, sheath in right. Each of them is seized round the waist by a nude male figure, who prevents them from attacking one another. On the right is a bearded male figure to left with drapery round his loins, who has seized Odysseus by the left arm to prevent his using his sword; on the left, behind Ajax, is a beardless male figure wearing a fillet and chlamys, who has seized his right wrist for the same purpose. --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
53. Departure
- Description
- Pottery: red-figured lekythos. Woman pouring wine for a warrior. On the right stands a bearded warrior en face, with left foot turned to right, with short tied chiton, mantle over shoulders, helmet with raised cheek-pieces, greaves, spear held upright in right, and shield (device, an ithyphallic satyr standing to left with right leg advanced, body thrown back, right hand on hip, blowing a long trumpet; in black silhouette, resting on a thin black ground-line). From the shield hangs an apron attached to the rim by three black studs, with a border of zigzags between them; the lower edge is fringed with tabs in form of spear-heads; above this is an embattled line, and then a large human left eye and eyebrow, with eyelashes above and below, indicated in thinned black. The warrior looks to left at a woman in long Ionic chiton and mantle, hair looped up with fillet, who offers him with her right a phiale filled from an oinochoe in her left hand. Late stage of large style. Brown inner markings and edge of hair. Below and above, maeander. On shoulder, central inverted palmette with two side palmettes and two flowers (partly broken away); round neck, egg pattern. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
54. Parthenon metope
- Description
- Marble metope from the Parthenon (South metope XXXI). This metope is from the eastern half of the south side of the temple. The South metopes in the British Museum show the battle between Centaurs and Lapiths at the marriage-feast of Peirithoos. A Centaur, on the left, and a Lapith tussle like two wrestlers. The Lapith has seized the Centaur by the hair with his right hand, pressing his right knee on the Centaur’s breast, his left arm is drawn back. The Centaur, rearing up, grasps the Lapith by the throat, twisting his forelegs round the Lapith’s right leg. The Centaurs right arm, made separately, and right hind foreleg are missing, as are the Lapith’s left forearm and foot, and parts of the frame. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892; Smith, A, A Catalogue of Sculpture in the Department of Greek and Roman Antiquities, British Museum, London, William Clowes and Sons, 1892; Choremi-Spetsieri, Alkistis, The Sculptures of the Parthenon: Acropolis, British Museum, Louvre, Athens, Ephesus Publishing, 2004; Brommer, Frank, Die Metopen des Parthenon, Mainz, Verlag Philipp von Zabern, 1967; Smith, A, The sculptures of the Parthenon, London, William Clowes and Sons, 1910; Berger, Ernst, Der Parthenon in Basel; Dokumentation zu den Metopen, Mainz, Verlag Philipp von Zabern, 1986
- 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
56. Athena
- Description
- Pottery: red-figured neck-amphora, with twisted handles. (a) Hermes, bearded, wreathed, with hair in long single tresses, short sleeved chiton, chlamys, petasos at back, endromides of skin (surface covered with minute dots) with crescent-form flaps, moves to right looking back, extending to right his left hand, holding caduceus, with index finger extended, apparently beckoning. (b) Athene in long sleeved chiton, mantle fastened on left shoulder and hanging in pteryges, aegis with fringe of spiral snakes on lower edge, and dotted surface, bracelets, her hair hanging loose with a fillet wound twice round it, holding spear across her body in left, and extending a high crested helmet held by cheek-piece in right, moves to left, looking back; her left foot in foreshortening, her body en face. The aegis is short in front, but at the back hangs down below the waist. Late stage of large severe style. Purple wreath, cord of petasos, and bracelets. Brown inner details, upper folds of chiton, necklace, and hair over forehead. Eye in transition type (inner angle open). Below each side, a strip of pattern, pairs of maeanders set alternate ways, separated by dotted cross squares. At lower insertion of handles, 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
57. Warrior
- Description
- Pottery: red-figured neck-amphora, with twisted handles. (a) Departure of warrior. Young warrior with long hair, short chiton with studded sleeves, mantle at back over arms, decorated with crosses, crestless helmet tilted back, cuirass, greaves, sword with twisted snake round scabbard hanging from a cross-belt, stands en face, looking to right, with shield on left arm, left hand holding spear upright, right holding out phiale to left towards (b) A woman in undertied chiton with apoptygma, with long hair fastened at ends in a club, radiated stephane, earrings, moves to right with oinochoe (silhouette against body), and raising the left edge of her dress from her shoulder, towards an altar in form of Ionic capital with volutes and necking of acanthus, on which is placed a high thymiaterion with wire cap, forming an acorn-shaped head (καλύπτρα), probably perforated. Brown inner markings, upper folds of chiton, edge of hair, and hair on cheek: also toe-nails of the foot en face. Eye archaic. Below, a strip of pattern, alternate dotted cross and maeander. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
- Description
- Pottery: black-figured hydria. Designs in black on red panels, with borders of ivy down the sides and palmettes along the bottom; accessories of white and purple, somewhat faded. 1. On the shoulder: In the centre Dionysos seated on an okladias to right, bearded, with ivy-wreath, long chiton and himation, keras in left hand. Facing him is Ariadne, seated on a block, right hand raised as if conversing; she has long hair with fillet, long chiton and himation, in left hand a wreath. On the right is a Satyr to right with left hand raised, pursuing a Maenad who runs away to right, looking back at him, with arms extended; she has long hair with fillet, and a long chiton. Behind Dionysos is another Maenad, as the last, running to right, pursued by a Satyr who stoops forward to seize her. Behind him is Hermes to right, bearded with short chiton and chlamys, both embroidered, petasos, and endromides; in right hand a wand, left extended. In the field, vine-branches. 2. On the body: perhaps the Strife of Ajax and Odysseus over the arms of Achilles: Between the combatants is Agamemnon to right looking to left, bearded, with a chlamys over his arms, interposing to separate them. On the left is Ajax to right, nude, bearded, with drawn sword in right hand, sheath in left, confronting Odysseus, who is nude and beardless, and holds sword in left hand, sheath in right. Each of them is seized round the waist by a nude male figure, who prevents them from attacking one another. On the right is a bearded male figure to left with drapery round his loins, who has seized Odysseus by the left arm to prevent his using his sword; on the left, behind Ajax, is a beardless male figure wearing a fillet and chlamys, who has seized his right wrist for the same purpose. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 8, British Museum 6, London, BMP, 1931
- Description
- Pottery lekythos decorated in the Six Technique with Eos and the body of Memnon. --The British Museum
![[No Caption] Steven Lowenstam Collection](/thumbnails/f/8/oregondigital-df692038f.jpg "[No Caption] Steven Lowenstam Collection")
- Description
- Mycenaean pottery Pictorial Style krater, Furumark Shape 53; wheel-made; piriform body on a stem with a flat foot; short, slightly concave neck with an everted rim; pair of opposing handles vertical handles from shoulder to rim; fine cream clay, with lustrous brown-purple painted decoration: on each side is a large octopus with big eyes whose wavy tentacles cover the entire field; parallel bands below the creature; solid paint on the foot and neck. --The British Museum
![[No Caption] Steven Lowenstam Collection](/thumbnails/g/1/oregondigital-df692071g.jpg "[No Caption] Steven Lowenstam Collection")
- Description
- Tall pottery stirrup jar (or false-necked jar); thick, coarse clay with buff slip and black-red paint; decorated on each side with a large painted octopus occupying most of the vessel, framed on top and bottom by parallel lines; restored from fragments; each handle is incised with a ￂ sign; Late Minoan fabric from Crete. --The British Museum, Kiely, Thomas, Kourion, 2011; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Furumark, A, The Mycenaean Pottery. Analysis and Classification., Stockholm, Kungl. Vitterhets Historie och Antikvitets Adademien, 1941; Åström, Paul, The Swedish Cyprus Expedition vol. IV. Part IC. The Late Cypriot Bronze Age. Architecture and pottery, Lund, Swedish Cyprus Expedition, 1972; Murray, A S; Smith, A H; Walters, H B, Excavations in Cyprus, London, BMP, 1900
- Description
- Pottery: black-figured lekythos: the Weighing of Souls. Design black on drab ground, with purple accessories. On the shoulder, lotus-buds; on the body, above, an ivy-wreath. Contest of Achilles and Memnon (or Hector): On either side is a warrior, bearded and fully armed, thrusting with spear, each having a short chiton with purple spots; the one on the left has a Boeotian shield, the other has the device of a crab (?). In the centre Hermes Pyschopompos to right, bearded, with petasos, short chiton and chlamys, both with purple spots, and endromides, holds out a pair of scales in left hand, each scale containing a small winged male figure, representing the souls of the two heroes. In the field, imitation inscriptions. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
- Description
- Panel from a painted wall: Ulysses resists the songs of the Sirens. Ulysses is tied to the mast of his ship. The Sirens perch on high rocks, with the bones of earlier victims around them. The painting shows one siren playing the twin pipes, another the lyre, and the third presumably singing. This painting is a companion to 1867.5-8.1355. --The British Museum, Hinks, R P, Catalogue of the Greek, Etruscan & Roman Paintings & Mosaics in the British Museum: Paintings, London, BMP, 1933
64. Nen Kheftka
- Description
- Painted limestone statue of Nenkheftka; damage to feet. --The British Museum, Jones, Mark; Craddock, Paul; Barker, Nicolas, Fake? The Art of Deception, London, BMP, 1990; Strudwick, Nigel, Masterpieces of ancient Egypt, London, BMP, 2006
- 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
66. Athletics
- Description
- Pottery: black-figured 'Tyrrhenian' amphora: Designs black on red ground; no accessories. (a) Combat of warriors over a fallen warrior: The prostrate man has helmet, cuirass, greaves, sword, and shield by his side; over him strides a fully-armed warrior with short bound-up chiton, parameridia (armour on thighs), and Boeotian shield, defending him with spear. On the left a warrior to right (helmet, short chiton, greaves, sword-belt, shield, and spear), is about to transfix another, with long hair, high-crested helmet, short chiton, greaves, shield, and sword, whom he has beaten down on his knees. On the right is a warrior fleeing to right and looking back, with helmet, short embroidered chiton, greaves, sword, and shield; next, a similar warrior moving to right, thrusting with spear at a warrior prostrate to right, of whom the legs and part of the body (in a short chiton) are alone visible. On the extreme right the head of another warrior is visible, with high-crested helmet. (b) Athletic contests: On the left is a brabeus (arbitrator), bearded, in a himation; next to him, two wrestlers about to engage, the one on the left bearded; a bearded athlete to right with two leaping-poles, or spears for throwing, a similar athlete to right with halteres (weights used to aid momentum), leaping over eskammena (pegs fixed in the ground to mark the distance); a paidotribes (trainer) to left, bearded, in long chiton and himation, with staff, directing the movements of the last with right hand; a diskobolos (discus thrower) to right, bearded, with diskos in right hand, which he is about to throw. All the athletes are nude. Below, three friezes of animals: (1) Two Sirens confronted, each having one wing advanced; between them a palmette- and lotus-pattern, of Corinthian type (cf. B 24-25) behind each Siren a panther; at the back, a group of two swans flanked by panthers; on the left a swan to right preening itself, on the right a goat to left. (2) Sphinx to right, with one wing advanced, flanked by a cock and panther on either side; at the back a panther and ram confronting a similar pair. (3) Goat to right, on either side a lion; at the back a panther to right, on either side a ram; before the panther, a rosette. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
67. Parthenon metope
- Description
- Marble metope from the Parthenon (South metope III). The South metopes in The British Museum show the battle between Centaurs and Lapiths at the marriage-feast of Peirithoos. A Lapith, on the right, attacks a Centaur, from behind, resting his right knee on the Centaur’s hindquarters and extending his right arm to seize the Centaur’s neck. The upper body of the Centaur is turned back towards his attacker. An animal skin is wound around his left arm. A long chlamys hangs from the shoulders of the Lapith and he wears boots. Dowel holes, in his left side and at the junction of the chlamys, are visible and probably served for the attachment of metal weapons. The left arm and left foot of the Lapith, the Centaur’s right arm and three of his legs, and the heads of both figures and parts of the frame are missing. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892; Smith, A, The sculptures of the Parthenon, London, William Clowes and Sons, 1910; Choremi-Spetsieri, Alkistis, The Sculptures of the Parthenon: Acropolis, British Museum, Louvre, Athens, Ephesus Publishing, 2004; Smith, A, A Catalogue of Sculpture in the Department of Greek and Roman Antiquities, British Museum, London, William Clowes and Sons, 1892; Brommer, Frank, Die Metopen des Parthenon, Mainz, Verlag Philipp von Zabern, 1967; Berger, Ernst, Der Parthenon in Basel; Dokumentation zu den Metopen, Mainz, Verlag Philipp von Zabern, 1986
68. Parthenon metope
- Description
- Marble metope from the Parthenon (South metope XXVII). This metope is from the eastern half of the south side of the temple. The South metopes in the British Museum show the battle between Centaurs and Lapiths at the marriage-feast of Peirithoos. A young Lapith, on the left, holds a Centaur’s head from behind with his left hand, while preparing to deliver a blow with the other. The Centaur, wounded in the back, rears up and presses his right hand against the wound. A chlamys falls over both Lapith’s arms, hanging behind his back. Both heads, the Lapith’s foreleg and right forearm, and the Centaurs left arm and right leg are missing. Parts of the frame in the top left hand corner are restored. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892; Smith, A, A Catalogue of Sculpture in the Department of Greek and Roman Antiquities, British Museum, London, William Clowes and Sons, 1892; Choremi-Spetsieri, Alkistis, The Sculptures of the Parthenon: Acropolis, British Museum, Louvre, Athens, Ephesus Publishing, 2004; Brommer, Frank, Die Metopen des Parthenon, Mainz, Verlag Philipp von Zabern, 1967; Smith, A, The sculptures of the Parthenon, London, William Clowes and Sons, 1910; Berger, Ernst, Der Parthenon in Basel; Dokumentation zu den Metopen, Mainz, Verlag Philipp von Zabern, 1986
- Description
- Marble statue of Demeter seated on a throne (the back part and arm-rails of the throne have broken away and are missing); her lower arms and hands are missing, but probably held a torch or libation bowl. The head was carved separately from the body and socketed into the neck. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892
- Description
- Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892; enkins, Ian, The Parthenon Frieze, London, BMP, 1994
- Description
- Limestone standing figure of Tjayasetimu: in archaising dress, based on the conventional standing mortuary figures of the Old Kingdom, wearing short wig and kilt; the waist-band of the kilt, the base and the dorsal pillar are inscribed with hieroglyphs. Curator's comments Jones 1990 [Information relating to registration nos. 1897,1009.1 (a) and 1921,0507.1 (b)] The period from about 700 BC to the Roman conquest witnessed a remarkable revival in Egyptian art, seemingly stimulated by the Nubian rulers who gained control of Egypt towards the end of the eighth century BC. One of the most influential factors in this revitalisation of art was the so-called 'archaising tendency', a harking back to the glories of what were regarded as the 'golden ages' of Egypt's past - the Old, Middle and New Kingdoms. The monuments of those periods were studied in detail and those qualities considered to be their finest were imitated in contemporary art, architecture, writing and religion. This was not done with any intention to deceive, but rather out of respect and admiration for the great achievements of the past, and out of a desire to identify the present more closely with those earlier epochs. Nowhere is this tendency more apparent than in private sculpture. The statue of the priest Tjayasetimu (b), which would have been placed in a temple to enable the owner's spirit to partake of the offerings, is clearly copied from the tomb statues made for private individuals in the Old Kingdom. That of Nenkheftka from Deshasha (a), is an excellent example of such a figure. The sculptor of the late statue has copied both the stiff formal pose, with left foot advanced and arms held rigidly at the sides, and the simple costume, reproducing carefully the short curled wig, fashionable in the Old Kingdom but not usual in the Late Period. Archaising sculptures of the 25th and 26th Dynasties are sometimes such successful imitations of earlier works that dating would be difficult were it not for the inscriptions, which provide essential clues. Since there is no reason to suppose that the texts of the present statue were later additions, the name of the owner, Tjayasetimu - not attested before the Late Period - is a reliable guide, while among his titles is that of Priest of the statues of King Psammetichus I (664-610 BC), demonstrating that the figure cannot be dated earlier than the middle of the seventh century BC. --The British Museum, Russmann, Edna R, Eternal Egypt: Masterworks of Ancient Art from the British Museum, London, BMP, 2001; Jones, Mark; Craddock, Paul; Barker, Nicolas, Fake? The Art of Deception, London, BMP, 1990
- Description
- Pottery: black-figured amphora. Designs black on red panels, with lotus and honeysuckle borders along the top; accessories of white and purple. (a) Judgment of Paris: On the right is Paris seated to left on a rock, bearded, with long hair looped up by a fillet, long chiton and himation, both embroidered with white rosettes, in left hand a lyre. Hermes, who is leading the three goddesses to him, is bearded, with long tresses, petasos, short white chiton, embroidered chlamys, and endromides, caduceus in right hand, left hand extended towards Paris. Behind him advance the three goddesses, each raising left hand. First, Hera, wearing long chiton and embroidered himation; next Athene, with high-crested helmet with cheek-pieces, long embroidered chiton with diploidion, and aegis, of which only the borders of snakes are visible, in right hand a spear; Aphrodite comes last, in long chiton and embroidered himation; all three have long hair, fillets, and necklaces. (b) Departure of a warrior: In the centre is the warrior to left, bearded, with visored helmet with fillet, chlamys, greaves, shield with device of a pellet, and two spears; facing him is a nude youth, wearing a fillet, who is receiving a garment (?) from the warrior. On the left an old man advances to right; he has a white beard and long white tresses with fillet, long purple chiton and striped himation, embroidered with white rosettes; his right hand leans on a knotted staff, and his left is extended to the warrior. On the right is a female figure to left, in a long chiton and striped embroidered himation drawn over her head; behind her is a youth to left, with fillet, long chiton, and striped himation embroidered with white rosettes. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
- 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
74. Suicide of Ajax
- Description
- Pottery: red-figured calyx-krater (wine-bowl). Designs red on black ground, with white accessories; Etruscan style. Below the designs, palmettos. (a) Suicide of Ajax (Aivas): Ajax, nude and bearded, wearing a wreath, is fallen on his knees to left over his sword, which comes out through his body by his left shoulder; blood is visible round the wound and the handle of the sword. On the left is his shield; above, a garment with border of dots suspended on two pegs. On the right are a large sheath suspended by a white band, a tree-stump, and a garment suspended on two pegs. The scene takes place in Ajax's tent; the ground is indicated below. Above Ajax is painted a retrograde inscription in white. (b) Actaeon devoured by his hounds: Actaeon is nude and bearded, with wreath and white endromides; he moves away to right, turning back and endeavouring to drive back the hounds with a crook held in right hand; two attack him on either side, and one seizes his right thigh in his teeth. Below him is inscribed as before, in Etruscan characters: NVIATA, ‘Α(κ)ταίων. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
75. Parthenon metope
- Description
- Marble metope from the Parthenon (South metope VII). The South metopes in The British Museum show the battle between Centaurs and Lapiths at the marriage-feast of Peirithoos. With his left hand a Lapith, on the left, grasps a Centaur. His right arm is drawn back and he probably once held a metal sword, now lost, in his hand, about to strike the Centaur. A chlamys fastened on his right shoulder falls over his left arm and flies out behind his back. The Centaur, rearing up, tries to pull away the Lapith’s left hand. From the shoulders of the Centaur hangs a small chlamys. The head of the Centaur is in the Acropolis Museum, Athens, and the Lapith’s head is in the Musée du Louvre, Paris. The Lapith’s hands, left foot and the right leg below the knee are missing. As are the Centaur’s left arm below the shoulder and part of his left hind leg and parts of the frame. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892; Smith, A, A Catalogue of Sculpture in the Department of Greek and Roman Antiquities, British Museum, London, William Clowes and Sons, 1892; Choremi-Spetsieri, Alkistis, The Sculptures of the Parthenon: Acropolis, British Museum, Louvre, Athens, Ephesus Publishing, 2004; Brommer, Frank, Die Metopen des Parthenon, Mainz, Verlag Philipp von Zabern, 1967; Smith, A, The sculptures of the Parthenon, London, William Clowes and Sons, 1910; Berger, Ernst, Der Parthenon in Basel; Dokumentation zu den Metopen, Mainz, Verlag Philipp von Zabern, 1986
- Description
- Pottery: black-figured lekythos. Designs: on shoulder, black on red, with purple and white accessories; on body, black on drab, with purple accessories. 1. On the shoulder: A Satyr on all-fours to right, with face to front, pursuing a Maenad, who runs away, looking back at him; she has a long chiton with diploidion, and hair knotted up. In the field, vine-branches, with grapes. 2. On the body: Heroes casting lots at the statue of Athene: In the centre is the statue of Athene to right looking to left, with long hair, high-crested helmet with fillet, long chiton and striped himation, spear in right hand, left raised. Behind her is a table, on either side of which is a bearded warrior crouching down on one knee; the one on the left has a helmet with fillet, short striped chiton, chlamys, greaves, shield and two spears; his right hand is stretched out to the table. The other has long hair with fillet, greaves, Boeotian shield, and spear. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
![[No Caption] Steven Lowenstam Collection](/thumbnails/x/2/oregondigital-df691452x.jpg "[No Caption] Steven Lowenstam Collection")
- Description
- Pottery neck-handled amphora; the shape suggests that it was probably used for a male burial. Clay: orange-buff clay, white grits, lustrous brown-black paint. Shape: torus lip, tall concave neck, ovoid body, disc foot; strap handles. Decoration: Light ground. Bands inside and outside lip, and at base of neck. Shoulder: two sets of nine compass-drawn concentric circles; band between lines below. Three lines around lower body. Handles: intersecting diagonal lines, rings around lower roots. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
- 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
79. Symposium
- Description
- Pottery: red-figured column-krater. (a) Symposion. Two bearded men recline to left on two couches, leaning left arm on striped cushions; the one on the right has a broad radiated band (ampyx?) tied in a bow behind the ear, with end hanging down; he raises on his right a phiale, addressing his companion, who turns towards him, holding up in his right by the stem a large kylix; this one is wreathed, and has his left arm wrapped in his mantle; both have the legs draped. In the foreground between the two a flute-player stands, to right, playing on flutes; she wears a long chiton with apoptygma, and her hair is looped up with a radiated fillet. In the background hang a taenia (on left) and a ring-shaped object (wreath ?). In front of each couch is a table, on which is a dish with flowers. (b) Three draped ephebi. The one on left moves away to left, looking back at the other two; his right arm projects over the border of the design. The central one holds a staff. In the field hangs a pair of halteres (jumping-weights). Style late and careless. Yellowish-white is used for wreath and fillet of flute-player and flowers. Round the lip, in black silhouette on red, two pairs of animals, a lion and boar, stepping towards each other. --The British Museum, Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
- Description
- Pottery: red-figured stamnos. (a) Departure of a warrior. In the centre a bearded warrior stands en face, with helmet, short chiton, ornamented cuirass, and greaves, sword at waist, shield on arm, and holding a spear upright in left hand; his cuirass is decorated with a star on each shoulder-piece, and a band of key pattern; the strings are fastened upon a stud in the centre of this band, which is formed like an eight-spoked wheel, with dots between the spokes. He looks to left, grasping the hand of a bearded man, in long chiton and mantle, who holds upright in his left hand a staff. On the right, a woman, with bordered Doric chiton with apoptygma undertied, and hair looped up with fillet, stands with a phiale in her left, and an oinochoe hanging at her side in her right hand. Behind the warrior a hound stands in the background to left: around its neck is a collar with bead (?) attached. (b) Similar scene. In the centre, a beardless warrior as in (a), but with his body mostly hidden by his shield (device, a Pegasos springing to left), with helmet tilted back and with a mantle over his arms, stands en face, holding out to left a phiale to be filled from the oinochoe of a woman with Doric chiton schistos, and hair looped up with radiated fillet. On the right stands a bearded man, as in a. Large style. Purple fillets, brown inner markings and edge of hair. Eye in profile. Below, pairs of maeanders separated by dotted cross squares. Above, tongue pattern; round lip, egg pattern. Below and above handles, a pattern of four palmettes. The helmet in both cases overlaps the border. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
- Description
- Terracotta relief plaque ('Melian relief'): a man with a female lyre-player; he grasps the lyre (barbiton) as though demanding her attention. --The British Museum, Burn, Lucilla; Higgins, Reynold; Walters, H B; Bailey, D M, Catalogue of Terracottas in the British Museum, I-IV, London, BMP, 1903
- Description
- Pottery: red-figured hydria: Centauromachy, with Kaineus. In the centre is Kaineus, armed with cuirass and shield, his body visible as far as the hips and holding out his sword. A Centaur, carrying a branch, seizes him by the left hand round the neck. On the right another Centaur gallops up, about to throw a rock on Kaineus. Behind him advances a warrior in a Persian cap and tunic of skin, carrying a shield with device of a rectangular object. On the left, a Greek warrior, carrying a shield with device of a cock (?) and apron on which an eye is painted, strides forward against an unseen opponent, brandishing a spear (?). --The British Museum
83. Achilles
- Description
- Pottery: black-figured hydria. Designs in black on red panels, with borders of ivy down the sides and palmettes along the bottom; accessories of white and purple. 1. On the shoulder: Departure of warriors: In the centre, a warrior to right, beardless, with long hair, fillet, short chiton, and sword, fastening a greave on his left leg, which rests on his helmet; the other greave is already on. Facing him, stands a female figure with long tresses, fillet, long chiton and diploidion, holding his spear in right hand. Behind her is a warrior to left with tall visored helmet, chlamys, greaves, spear and shield with device of a bent leg supporting with right hand the shield of the first warrior, which has a tripod as device. Behind him is an archer departing to right, and looking back, bearded, with peaked cap, short embroidered chiton, double-headed axe in right hand, left hand raised, quiver at side. Confronting him is a warrior, as last, with three pellets on shield. On the left of the centre group is a similar warrior to left, with three pellets on shield, confronting an archer, as the former, but beardless; also a beardless figure to right in long chiton and embroidered himation, holding in left hand a wand or spear. 2. On the body: Achilles and Penthesilea: In the centre is Achilles moving to right, bearded, with long tresses, fully armed, two spears in right hand, carrying over left shoulder the body of Penthesilea. Her head hangs down in front with eyes closed, long tresses and a purple wreath, and she wears a short chiton and cuirass, on right arm a bracelet, on right leg an anklet, at side a sword, with sheath terminating in a panther's head. By the side of Achilles is a Boeotian shield with device of an ivy-wreath. In front of him are a warrior and archer departing to right; the warrior, who is looking back, is fully armed, with triquetra as device on shield; the archer is bearded, with Phrygian cap, short embroidered chiton, and greaves, in left hand an axe, at back a quiver. On the left is a fallen Amazon lying back with left leg drawn up, long tresses, fillet, high-crested cap, cuirass, short embroidered chiton, greaves, spear, and shield with two pellets. Over her strides a warrior to left, fully armed, shield with device of a bull's head transfixing her with spear. Above this warrior is inscribed: KAΛOΣ; in front of Achilles is inscribed : KPITI ... Κρίτί[ας]. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 8, British Museum 6, London, BMP, 1931
- Description
- Pottery: 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
- 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
- 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
87. Ionic Freeze
- Description
- Marble relief (Block XLVII) from the North frieze of the Parthenon. The frieze shows the procession of the Panathenaic festival, the commemoration of the birthday of the goddess Athena. Like the southern branch of the procession, the northern branch comprises mounted horsemen, chariots, elders, musicians, pitcher-bearers, tray-bearers and figures leading sacrificial victims. As in the South frieze, so in the North the cavalcade comprised sixty riders. Whereas in the South these are carved over twenty-four blocks, in the North they are compressed into nineteen blocks. The groups of riders are not divided equally, as they are in the South. Dress varies from figure to figure. Some are heavily draped in mantle and tunic, while others are all but naked. Some ride bareheaded, while others wear a distinctive form of cap or a helmet. Metal reins, which are now lost, were inserted in drill-holes. Block XLVII shows a scene of preparation for the cavalcade that lies ahead, echoing the major theme of the West frize. Its return on the West side is carved with a marshal. On the right a boy, wearing drapery over his shoulder, is tying a girdle around the waist of the waiting horseman, dressed in a tunic. The heads of the youth and the boy are both dipped, just as the head of the horse, waiting patiently by. On the left a figure, wearing a cloak, stands by his horse, which he restrains with his right arm, while his left is raised to the head with the index finger extended. His head is turned back to his unprepared companions. A fragment, the horse’s head, is in the Acropolis Museum, Athens. --The British Museum, Pryce, F N; Smith, A H, Catalogue of Greek Sculpture in the British Museum, I-III, London, BMP, 1892; enkins, Ian, The Parthenon Frieze, London, BMP, 1994
- 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
89. Rosetta Stone
- Description
- Part of grey and pink granodiorite stela bearing priestly decree concerning Ptolemy V in three blocks of text: Hieroglyphic (14 lines), Demotic (32 lines) and Greek (53 lines). Curator's comments Compass text: The Rosetta Stone From Fort St Julien, el-Rashid (Rosetta), Egypt Ptolemaic Period, 196 BC The inscription on the Rosetta Stone is a decree passed by a council of priests, one of a series that affirm the royal cult of the 13-year-old Ptolemy V on the first anniversary of his coronation. In previous years the family of the Ptolemies had lost control of certain parts of the country. It had taken their armies some time to put down opposition in the Delta, and parts of southern Upper Egypt, particularly Thebes, were not yet back under the government's control. Before the Ptolemaic era (that is before about 332 BC), decrees in hieroglyphs such as this were usually set up by the king. It shows how much things had changed from Pharaonic times that the priests, the only people who had kept the knowledge of writing hieroglyphs, were now issuing such decrees. The list of good deeds done by the king for the temples hints at the way in which the support of the priests was ensured. The decree is inscribed on the stone three times, in hieroglyphic (suitable for a priestly decree), demotic (the native script used for daily purposes), and Greek (the language of the administration). The importance of this to Egyptology is immense. Soon after the end of the fourth century AD, when hieroglyphs had gone out of use, the knowledge of how to read and write them disappeared. In the early years of the nineteenth century, some 1400 years later, scholars were able to use the Greek inscription on this stone as the key to decipher them. Thomas Young, an English physicist, was the first to show that some of the hieroglyphs on the Rosetta Stone wrote the sounds of a royal name, that of Ptolemy. The French scholar Jean-François Champollion then realized that hieroglyphs recorded the sound of the Egyptian language and laid the foundations of our knowledge of ancient Egyptian language and culture. Soldiers in Napoleon's army discovered the Rosetta Stone in 1799 while digging the foundations of an addition to a fort near the town of el-Rashid (Rosetta). On Napoleon's defeat, the stone became the property of the English under the terms of the Treaty of Alexandria (1801) along with other antiquities that the French had found. The Rosetta Stone has been exhibited in the British Museum since 1802, with only one break. Towards the end of the First World War, in 1917, when the Museum was concerned about heavy bombing in London, they moved it to safety along with other, portable, 'important' objects. The Rosetta Stone spent the next two years in a station on the Postal Tube Railway fifty feet below the ground at Holborn. --The British Museum, Newton, C T; Hicks, E L; Hirschfeld, Gustav; Marshall, F H, The Collection of Ancient Greek Inscriptions in the British Museum, I-IV, London, British Museum, 1874; Strudwick, Nigel, Masterpieces of ancient Egypt, London, BMP, 2006
90. Rosetta Stone
- Description
- Part of grey and pink granodiorite stela bearing priestly decree concerning Ptolemy V in three blocks of text: Hieroglyphic (14 lines), Demotic (32 lines) and Greek (53 lines). Curator's comments Compass text: The Rosetta Stone From Fort St Julien, el-Rashid (Rosetta), Egypt Ptolemaic Period, 196 BC The inscription on the Rosetta Stone is a decree passed by a council of priests, one of a series that affirm the royal cult of the 13-year-old Ptolemy V on the first anniversary of his coronation. In previous years the family of the Ptolemies had lost control of certain parts of the country. It had taken their armies some time to put down opposition in the Delta, and parts of southern Upper Egypt, particularly Thebes, were not yet back under the government's control. Before the Ptolemaic era (that is before about 332 BC), decrees in hieroglyphs such as this were usually set up by the king. It shows how much things had changed from Pharaonic times that the priests, the only people who had kept the knowledge of writing hieroglyphs, were now issuing such decrees. The list of good deeds done by the king for the temples hints at the way in which the support of the priests was ensured. The decree is inscribed on the stone three times, in hieroglyphic (suitable for a priestly decree), demotic (the native script used for daily purposes), and Greek (the language of the administration). The importance of this to Egyptology is immense. Soon after the end of the fourth century AD, when hieroglyphs had gone out of use, the knowledge of how to read and write them disappeared. In the early years of the nineteenth century, some 1400 years later, scholars were able to use the Greek inscription on this stone as the key to decipher them. Thomas Young, an English physicist, was the first to show that some of the hieroglyphs on the Rosetta Stone wrote the sounds of a royal name, that of Ptolemy. The French scholar Jean-François Champollion then realized that hieroglyphs recorded the sound of the Egyptian language and laid the foundations of our knowledge of ancient Egyptian language and culture. Soldiers in Napoleon's army discovered the Rosetta Stone in 1799 while digging the foundations of an addition to a fort near the town of el-Rashid (Rosetta). On Napoleon's defeat, the stone became the property of the English under the terms of the Treaty of Alexandria (1801) along with other antiquities that the French had found. The Rosetta Stone has been exhibited in the British Museum since 1802, with only one break. Towards the end of the First World War, in 1917, when the Museum was concerned about heavy bombing in London, they moved it to safety along with other, portable, 'important' objects. The Rosetta Stone spent the next two years in a station on the Postal Tube Railway fifty feet below the ground at Holborn. --The British Museum, Newton, C T; Hicks, E L; Hirschfeld, Gustav; Marshall, F H, The Collection of Ancient Greek Inscriptions in the British Museum, I-IV, London, British Museum, 1874; Strudwick, Nigel, Masterpieces of ancient Egypt, London, BMP, 2006
- Description
- Bronze mirror engraved with Aiax (Aivas) arming, helped by Telis (Thetis). Alcumena plays a lyre. The three names are inscribed. --The British Museum, Walters, H B, Catalogue of the Bronzes in the British Museum. Greek, Roman & Etruscan., I-II, London, BMP, 1899
92. Linear B Script
- Description
- Clay tablet inscribed with Linear B script, recording offerings of oil to a number of religious personnel and deities. --The British Museum, Ventris, M; Chadwick, J, Documents in Mycenaean Greek, Cambridge, Cambridge University Press, 1956; Chadwick, J; Godart, L; Killen, J T; Olivier, J-P; Sacconi, A; Sakellarakis, I A, Corpus of Mycenaean Inscriptions from Knossos, I, I, Cambridge/Rome, Cambridge University Press/Edizioni dell'Ateneo, 1986
- 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: black-figured hydria. Designs in black on red panels, with borders of ivy down the sides; accessories of white and purple. 1. On the shoulder: Contest of Achilles and Memnon?: In the centre lies the body of Antilochos (?) flat on the face, the head to left; he is nude and beardless. Over it Achilles and Memnon are confronted, both fully armed, with spears and Boeotian shields; that of Memnon has a rosette, incised, between four pellets, painted; Achilles also has a sword. Behind them are two beardless male figures, looking on, with long hair, fillets, long chitons and striped himatia; behind each of these, a beardless male figure, also looking on, wearing a fillet and chlamys; all four hold wands. 2. On the body: Marriage procession: A quadriga to right, in which are a beardless male figure with fillet, long chiton, and himation, holding reins in both hands, and a female figure in a long purple chiton and himation over her head. By the side of the quadriga walks a female figure with long hair, fillet, long chiton, and embroidered himation, clapping her hands. In advance, at further side of horses and looking back towards her, is a male figure with fillet, long white chiton, and striped himation, playing on the chelys. At the horses' heads is the proegetes (leader of the procession) to right, looking back; he has petasos, chlamys, endromides, and caduceus. In the field above is inscribed Λυσιππίδης καλός, Ρόδον καλέ. 3. Below, a frieze of animals: In the centre a Siren to right looking back, with wings outspread; on either side a panther and doe confronted. --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
95. Amasis and OlHSN
- Description
- Pottery: black-figured amphora. On the neck, double honeysuckle. Under the handles, patterns of palmettes and spirals; below, maeander and lotus-buds. (a) In the centre Memnon to right, bearded and fully armed; on his helmet the figure of a dog, the tail supporting the crest; he has long curls ending in spirals, a white cuirass, probably of linen, richly ornamented, short striped chiton, shield and spear. On either side facing him is an beardless African attendant; the one on the right has a short striped chiton and a pelta, on which is a pellet; the other has a cuirass and short diapered chiton; each has a club in right hand. Above Memnon behind is inscribed έπ]οίησ(ε)ν (?); in front: AMAΣIΣ, Αμασις. (b) Achilles slaying Penthesilea: Achilles to right, fully armed, bearded, with hair as Memnon's in (a), short striped chiton, sword, and Boeotian shield, is thrusting with spear at Penthesilea, who retreats to right. She has long tresses, high-crested helmet with cheek-pieces, and meander border on crest, cuirass, and short striped chiton, and defends herself with spear and shield with device of an ivy-wreath. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 5, British Museum 4, London, BMP, 1929
96. Death of Troilos
- Description
- Pottery: black-figured hydria. Designs in black on red panels, with borders of ivy down the sides and palmettes along the bottom; accessories of white and purple. 1. On the shoulder: Pentathlon: On the left a pair of wrestlers with arms raised, about to engage; next, an akontistes to left with two spears in right hand and one in left, and a diskobolos to right, the diskos raised in both hands; in advance of him and looking back, an athlete with two leaping-poles in right hand. Next is a paidotribes (trainer) to right, with fillet, long chiton, and himation, in left hand a wand; on the right two runners to right. All the athletes are nude and beardless and wear fillets. 2. On the body: Achilles slaying Troilos: On the left is the quadriga of Achilles, only the horses' heads and forelegs being visible; Achilles, bearded, with long tresses, fully armed, with a sword, and two spears in left hand, mounts the steps of the altar of Apollo, holding aloft in right hand the severed head of Troilos, which has long hair. On the altar lies the nude body, which two fully-armed warriors (probably Aeneas and Hector) are defending with their spears; one has the forepart of a lion to left as device on his shield, the other an ivy-wreath. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 8, British Museum 6, London, BMP, 1931
97. Arming
- Description
- Pottery: black-figured oinochoe (wine-jug). High grooved handle. Design black on a red panel, with chequer-pattern above; accessories of white and purple. Warrior arming: In the centre is the warrior to right, beardless, with cuirass, short embroidered chiton, sword at side, and a greave on right leg, painted purple; he holds up left leg to put on the other greave. Facing him is a female figure with long hair, fillet, and long striped chiton, holding his spear and shield; the device on the latter is a bull's head. Behind her is a warrior to left, with visored helmet, greaves, the left one painted purple, spear and shield with the device of a bent leg; behind him an archer departing to right, looking back, with peaked cap, short purple chiton, and quiver with lid in the form of a wing. On the left is a warrior departing and looking back, armed as the last with a chlamys; on his shield is a bull's head. --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 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
- 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
100. 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