Red-Figured Pottery from Corinth Plate 64
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Reshaping East Roman Diplomacy with Barbarians During the 5Th Century
Chapter 1 From Hegemony to Negotiation: Reshaping East Roman Diplomacy with Barbarians during the 5th Century Audrey Becker Introduction During the first half of the 4th century ad, thanks to their military power, the Romans had been giving the barbarian tribes bordering the Danube and the Rhine no choice but to accept the conclusion of deditio after losing the war, leav- ing them in a very humiliating position.1 Yet, the military and political events of the second half of the 4th century ad, and even more of the 5th century ad, led the Romans to reconsider their relationship with the barbarian tribes.2 The characteristics of diplomatic relationship changed even before the defeat at Andrinople in 378, because the barbarian tribes, in the middle of the 4th cen- tury, gradually became able to restore the balance of power, leading the Eastern Roman Empire to reconsider its relations with its barbarian neighbours. This compelled the Byzantine Empire, from the end of the 4th century onward, to take into account barbarian leaders or kings who became, at that time, real dip- lomatic actors playing, of necessity, with formal rules of diplomatic protocol to 1 For instance, Constantinus with the Sarmatians in 323: Zosimus, Historia Nova 2.21.3, ed.Paschoud (Paris, 2000), p. 92; Julian in 358 with the Alemanni kings Suomarius and Hor- tarius: Ammianus Marcellinus, Res Gestae 17.10.3, ed. Sabbah (Paris, 1989), p. 64; Ammianus Marcellinus 17.10.9, p. 66; Constantius ii, in 358 as well, with the kings of the Sarmatians and Quadi: Ammianus Marcellinus 17.12.9–16, pp. -
THE MAIN RULES of TRIBUTE PAYMENT in MID 5Th CENTURY ATHENIAN ARCHE ACCORDING to CLEINIAS DECREE
GRAECO-LATINA BRUNENSIA 20, 2015, 1 LUKÁŠ KUBALA (MASARYK UNIVERSITY, BRNO) THE MAIN RULES OF TRIBUTE PAYMENT IN MID 5th CENTURY ATHENIAN ARCHE ACCORDING TO CLEINIAS DECREE The main priority of my paper is to point out, through epigraphic sources and evidence from the 5th century Athens, one of the most characteristic features and objectives of Athenian “imperialism” during the last two decades of the period called Pentekontaetia (the period of fifty years – 479–431 B.C.). I will especially focus my attention on one of the most important epigraphic sources from this period – Cleinias decree (448/7, 425/4(?) B.C.). The impor- tance of this decree is significant, because it puts an exact view on the process of collection of the tribute (foros) in the mid-5th century Athenian arche. The financial regulations pre- scribed in the decree were valid for all members of the Athenian arche, and had a great im- pact on restriction of their autonomy at the expense of growth of Athenian dominance in the symmachy. The main objective I want to achieve in this paper, the importance of epigraphic material and evidence as one of the most important (and in some cases irreplaceable) sourc- es of information about the image of Athenian “imperialism” and Athenian relationship towards their subject-allies in the 5th century B.C. The reason why I choose particularly this decree as a representative type of epigraphic evidence, is to show how important the annual collection of the tribute was for the Athenians, and how the Athenians used the collection of the foros, as Isocrates mentions to “publicly humiliate” the allies and how they strengthened their hegemonic position in Delian symmachy transforming it into their own thalassocratic “empire” and allies into their “subjects”. -
The Ependytes in Classical Athens
THE EPENDYTES IN CLASSICAL ATHENS (PLATES 51-55) To the memoryof Richard D. Sullivan T HE FEW REFERENCES to the ependytes in Classical Greek literature occur in three fragments of Attic drama preserved by Pollux (VII.45): XLTWV EpELSSXLTCTVLOTKOS' XLTCeJVLOV, LaTLOV. ETEL E KaL 0 E(XEV8VVT7)S- EOTLV EV T7 TCV 7OXX XP7OEL, OOTLS' /3OVXOLTO KaL TOVTC TO ovo4LalTL /07)OE^LV .avIX() OVTL, XA7pTTEOvavro EK TCeV 1o00OK\EOVS1 IXvvTpLCOV (TrGF, F 439): 7rE-atXOVSTE v77oaL XLVOYEVE^LST' E'JTEv8VTas. KaL ?EOT7LS UE 7TOVO')TLV EV T^ HEvOEZL(TrGF, I, F 1 c): 'pyq( VOMLJ'EVE/3PL' EXELTEV 3VT7_VV. aVTLKPVS'86E OKELTO E'VTi- NLKOXacpovs,'HpaKXEL X0PopYW (I, p. 771.5 Kock): 4pEPEVVZV TaXECos, XLTCvJa TOVO E7XEV8VTflV Tf VVVXP/3VVXEL EL LV. The lines are disappointingly undescriptive,indicating only that an ependytes can be of linen and is somehow associatedwith the chiton, and that at an earlier period (?) it had a more general meaning, closer to the root of the word, as "thatwhich is put on over."1 Works frequently cited are abbreviatedas follows: Add = L. Burn and R. Glynn, Beazley Addenda,Oxford 1982 Bieber = M. Bieber, History of the Greekand Roman Theater,2nd ed., Princeton 1981 Burn = L. Burn, The Meidias Painter, Oxford 1987 Laskares = N. Laskares, Mop4aL LEpE'(V (X;r'LapXaLov MV7JEfLV?>>, AE?\T 8, 1923 (1925), pp. 103-116 LSAM = F. Sokolowski,Lois sacre'esde l'Asie Mineure, Paris 1955 LSCG = F. Sokolowski,Lois sacreesdes cite'sgrecques, Paris 1969 LSCG-S = F. Sokolowski,Lois sacre'esdes cite'sgrecques. Supple'ment, Paris 1962 Mantes = A. G. -
(Eponymous) Heroes
is is a version of an electronic document, part of the series, Dēmos: Clas- sical Athenian Democracy, a publicationpublication ofof e Stoa: a consortium for electronic publication in the humanities [www.stoa.org]. e electronic version of this article off ers contextual information intended to make the study of Athenian democracy more accessible to a wide audience. Please visit the site at http:// www.stoa.org/projects/demos/home. Athenian Political Art from the fi h and fourth centuries: Images of Tribal (Eponymous) Heroes S e Cleisthenic reforms of /, which fi rmly established democracy at Ath- ens, imposed a new division of Attica into ten tribes, each of which consti- tuted a new political and military unit, but included citizens from each of the three geographical regions of Attica – the city, the coast, and the inland. En- rollment in a tribe (according to heredity) was a manda- tory prerequisite for citizenship. As usual in ancient Athenian aff airs, politics and reli- gion came hand in hand and, a er due consultation with Apollo’s oracle at Delphi, each new tribe was assigned to a particular hero a er whom the tribe was named; the ten Amy C. Smith, “Athenian Political Art from the Fi h and Fourth Centuries : Images of Tribal (Eponymous) Heroes,” in C. Blackwell, ed., Dēmos: Classical Athenian Democracy (A.(A. MahoneyMahoney andand R.R. Scaife,Scaife, edd.,edd., e Stoa: a consortium for electronic publication in the humanities [www.stoa.org], . © , A.C. Smith. tribal heroes are thus known as the eponymous (or name giving) heroes. T : Aristotle indicates that each hero already received worship by the time of the Cleisthenic reforms, although little evi- dence as to the nature of the worship of each hero is now known (Aristot. -
Classical Images – Greek Pegasus
Classical images – Greek Pegasus Red-figure kylix crater Attic Red-figure kylix Triptolemus Painter, c. 460 BC attr Skythes, c. 510 BC Edinburgh, National Museums of Scotland Boston, MFA (source: theoi.com) Faliscan black pottery kylix Athena with Pegasus on shield Black-figure water jar (Perseus on neck, Pegasus with Etrurian, attr. the Sokran Group, c. 350 BC Athenian black-figure amphora necklace of bullae (studs) and wings on feet, Centaur) London, The British Museum (1842.0407) attr. Kleophrades pntr., 5th C BC From Vulci, attr. Micali painter, c. 510-500 BC 1 New York, Metropolitan Museum of ART (07.286.79) London, The British Museum (1836.0224.159) Classical images – Greek Pegasus Pegasus Pegasus Attic, red-figure plate, c. 420 BC Source: Wikimedia (Rome, Palazzo Massimo exh) 2 Classical images – Greek Pegasus Pegasus London, The British Museum Virginia, Museum of Fine Arts exh (The Horse in Art) Pegasus Red-figure oinochoe Apulian, c. 320-10 BC 3 Boston, MFA Classical images – Greek Pegasus Silver coin (Pegasus and Athena) Silver coin (Pegasus and Lion/Bull combat) Corinth, c. 415-387 BC Lycia, c. 500-460 BC London, The British Museum (Ac RPK.p6B.30 Cor) London, The British Museum (Ac 1979.0101.697) Silver coin (Pegasus protome and Warrior (Nergal?)) Silver coin (Arethusa and Pegasus Levantine, 5th-4th C BC Graeco-Iberian, after 241 BC London, The British Museum (Ac 1983, 0533.1) London, The British Museum (Ac. 1987.0649.434) 4 Classical images – Greek (winged horses) Pegasus Helios (Sol-Apollo) in his chariot Eos in her chariot Attic kalyx-krater, c. -
THE SYMBIOSIS BETWEEN DEMOCRACY and WAR: the CASE of ANCIENT ATHENS David M
THE SYMBIOSIS BETWEEN DEMOCRACY AND WAR: THE CASE OF ANCIENT ATHENS David M. Pritchard (University of Queensland) Introduction This edited collection significantly advances our understanding of the two-way relationship of causation between democracy and war in world history. In particular it explores the almost entirely neglected question of the impact of the democracy of the classical Athenians on their waging of war. Today ancient Athens is not widely known for its intensification and transformation of war-making among the Greeks. It is famous instead for what is arguably the most fully developed democracy of pre- modern times and for its innovative culture, which helped lay the foundations for the arts, literature and sciences of the ancient and modern worlds. In 508/7 BC the Athenian dmos (‘people’) rose up against a leader who was once again aiming for tyranny, expelled him and the foreign troops backing his attempt, and arrested and executed his upper-class supporters (Ath. Pol. 20.1-21.2; Herodotus 5.65.5-74.1).1 They could no longer tolerate the internecine struggles of the elite and demanded an active role in the decision-making of the city. This was quickly realised by the reforms of Cleisthenes, which made the assembly and a new popular council of five- hundred members the final arbiters of public actions and laws.2 By the early 450s the people had consolidated their new dmokratia (‘democracy’) by making decisions on an increasing range of public affairs and by taking over entirely the administration of justice and the oversight of magistrates (e.g. -
Children on Attic Vases Detail from a Similar Krater Metropolitan Mus., NY
Children on Attic Vases Detail from a similar Krater Metropolitan Mus., NY Funeral for a Man Attic Krater c. 750 BCE Athens, Kerameikos Mus. Funeral for a Woman Amphora c. 750 B.C.E. Athens, Kerameikos Mus. 6th century Black Figure Children in myths Achilles pursues Troilos and Polyxena, children of Priam Neoptolemos (son of Achilles) kills Astyanax (son of Hector) during the fall of Troy. Priam (to the left of the altar) looks on. The birth of Athena from the head of Zeus was a popular black figure subject during the 6th cent. The death of Astyanax continues to appear on red figures vases of the 5th century. Red figure crater by the Altamura Painter ca 470-60 BCE Red figure vase by Hermonax ca 470-460 BCE Red figure painters frequently depicted the birth of Erichthonios, an early king of Attica. Hephaistos (left) sired the child upon Gaia (Earth) who hands the newborn to Athena (right) for safekeeping. On this cup by the Kodros Painter (440-430 BCE) Gaia hands Erichthonios to Athena. To the left stands the first king of Attica, Kekrops (with a serpent’s tail). To the right, Hephaistos, the child’s father, looks on. Detail of a vase by the Erichthonios Painter, ca 450-40 (left). A krater by the Nikias Painter ca 410 BCE (below) The birth of Erichthonios remained a popular subject throughout the 5th century. Danae and her son are set adrift in a box by her father Acrisius who feared an oracle that Perseus would one day kill him. As part of the increasing interest in children during the 5th century, the story of Danae and her son, Perseus (whose later heroic deeds Include the decapitation of Medusa) became popular. -
Greek Dramatic Monuments from the Athenian Agora and Pnyx
GREEK DRAMATIC MONUMENTS FROM THE ATHENIAN AGORA AND PNYX (PLATES 65-68) T HE excavations of the Athenian Agora and of the Pnyx have produced objects dating from the early fifth century B.C. to the fifth century after Christ which can be termed dramatic monuments because they represent actors, chorusmen, and masks of tragedy, satyr play and comedy. The purpose of the present article is to interpret the earlier part of this series from the point of view of the history of Greek drama and to compare the pieces with other monuments, particularly those which can be satisfactorily dated.' The importance of this Agora material lies in two facts: first, the vast majority of it is Athenian; second, much of it is dated by the context in which it was found. Classical tragedy and satyr play, Hellenistic tragedy and satyr play, Old, Middle and New Comedy will be treated separately. The transition from Classical to Hellenistic in tragedy or comedy is of particular interest, and the lower limit has been set in the second century B.C. by which time the transition has been completed. The monuments are listed in a catalogue at the end. TRAGEDY AND SATYR PLAY CLASSICAL: A 1-A5 HELLENISTIC: A6-A12 One of the earliest, if not the earliest, representations of Greek tragedy is found on the fragmentary Attic oinochoe (A 1; P1. 65) dated about 470 and painted by an artist closely related to Hermonax. Little can be added to Miss Talcott's interpre- tation. The order of the fragments is A, B, C as given in Figure 1 of Miss T'alcott's article. -
The Art and Archaeology of Ancient Greece Judith M
Cambridge University Press 978-1-107-00123-7 - The Art and Archaeology of Ancient Greece Judith M. Barringer Frontmatter More information The Art and This richly illustrated, color textbook introduces the art and Archaeology of archaeology of ancient Greece, from the Bronze Age through the Roman conquest. Suitable for students with no prior knowledge of Ancient Greece ancient art, this book reviews the main objects and monuments of the ancient Greek world, emphasizing the context and function of these artefacts in their particular place and time. Students are led to a rich understanding of how objects were meant to be perceived, what “messages” they transmitted, and how the surrounding environment shaped their meaning. The book includes more than 500 illustrations (with over 400 in color), including specially commissioned photographs, maps, fl oorplans, and reconstructions. Judith Barringer examines a variety of media, including marble and bronze sculpture, public and domestic architecture, painted vases, coins, mosaics, terracotta fi gurines, reliefs, jewelry, armor, and wall paintings. Numerous text boxes, chapter summaries, and timelines, complemented by a detailed glossary, support student learning. • More than 500 illustrations, with over 400 in color, including specially commissioned photographs, maps, plans, and reconstructions • Includes text boxes, chapter summaries and timelines, and detailed glossary • Looks at Greek art from the perspectives of both art history and archaeology, giving students an understanding of the historical and everyday context of art objects Judith M. Barringer is Professor of Greek Art and Archaeology in Classics at the University of Edinburgh. Her areas of specialization are Greek art and archaeology and Greek history, myth, and religion. -
Corpus Vasorum Antiquorum Malibu 2 (Bareiss) (25) CVA 2
CORPVS VASORVM ANTIQVORVM UNITED STATES OF AMERICA • FASCICULE 25 The J. Paul Getty Museum, Malibu, Fascicule 2 This page intentionally left blank UNION ACADÉMIQUE INTERNATIONALE CORPVS VASORVM ANTIQVORVM THE J. PAUL GETTY MUSEUM • MALIBU Molly and Walter Bareiss Collection Attic black-figured oinochoai, lekythoi, pyxides, exaleiptron, epinetron, kyathoi, mastoid cup, skyphoi, cup-skyphos, cups, a fragment of an undetermined closed shape, and lids from neck-amphorae ANDREW J. CLARK THE J. PAUL GETTY MUSEUM FASCICULE 2 . [U.S.A. FASCICULE 25] 1990 \\\ LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA (Revised for fasc. 2) Corpus vasorum antiquorum. [United States of America.] The J. Paul Getty Museum, Malibu. (Corpus vasorum antiquorum. United States of America; fasc. 23) Fasc. 1- by Andrew J. Clark. At head of title: Union académique internationale. Includes index. Contents: fasc. 1. Molly and Walter Bareiss Collection: Attic black-figured amphorae, neck-amphorae, kraters, stamnos, hydriai, and fragments of undetermined closed shapes.—fasc. 2. Molly and Walter Bareiss Collection: Attic black-figured oinochoai, lekythoi, pyxides, exaleiptron, epinetron, kyathoi, mastoid cup, skyphoi, cup-skyphos, cups, a fragment of an undetermined open shape, and lids from neck-amphorae 1. Vases, Greek—Catalogs. 2. Bareiss, Molly—Art collections—Catalogs. 3. Bareiss, Walter—Art collections—Catalogs. 4. Vases—Private collections— California—Malibu—Catalogs. 5. Vases—California— Malibu—Catalogs. 6. J. Paul Getty Museum—Catalogs. I. Clark, Andrew J., 1949- . IL J. Paul Getty Museum. III. Series: Corpus vasorum antiquorum. United States of America; fasc. 23, etc. NK4640.C6U5 fasc. 23, etc. 738.3'82'o938o74 s 88-12781 [NK4624.B37] [738.3'82093807479493] ISBN 0-89236-134-4 (fasc. -
The Concept of “Impure Birth” in 5Th Century Athens and Judea
THE CONCEPT OF “IMPURE BIRTH” IN 5TH CENTURY ATHENS AND JUDEA Lisbeth S. Fried It is a great honor for me to participate in this tribute of appreciation to my friend and mentor Tikva Frymer-Kensky. Tikva was instrumental in directing scholars’ attention to the roles and concerns of women both in antiquity and in the present, and it is fitting therefore that I dedicate this study of the notion of “impure birth” in 5th-century Athens and Judah to her memory. The book of Ezra records that at the time of Ezra’s arrival in Jerusalem, the people of Israel were mingling the “holy seed” with that of the “peoples of the lands.” After these things were finished, the officials approached me and said, “The people of Israel, the priests, and the Levites have not separated themselves from the peoples of the lands whose abominations are like those of the Canaanites, the Hittites, the Perizzites, the Jebusites, the Ammonites, the Moabites, the Egyptians, and the Amorites. They have taken some of their daughters as wives for themselves and for their sons. Thus they mixed the holy seed with the peoples of the lands, and the hand of the officials and magistrates was first in this rebelliousness” (Ezra 9:1–2). The antidote to the problem was mass divorce: Then Ezra the priest stood up and said to them, “You have rebelled and have caused foreign women to dwell with you, and so increased the guilt of Israel. Now make confession to YHWH the God of your fathers, and do his will; separate yourselves from the peoples of the land and from the foreign women.” Then all the assembly answered with a loud voice, “Yes; it is incumbent upon us to do according to your word.” (Ezra 10:10–12). -
Bareiss Collection Attic Black-Figured Amphorae, Neck-Amphorae, Kraters, Stamnos, Hydriai, and Fragments of Undetermined Closed Shapes
CORPVS VASORVM ANTIQVORVM UNITED STATES OF AMERICA • FASCICULE 23 The J. Paul Getty Museum, Malibu, Fascicule 1 This page intentionally left blank UNION ACADÉMIQUE INTERNATIONALE CORPVS VASORVM ANTIQVORVM THE J. PAUL GETTY MUSEUM • MALIBU Molly and Walter Bareiss Collection Attic black-figured amphorae, neck-amphorae, kraters, stamnos, hydriai, and fragments of undetermined closed shapes ANDREW J. CLARK THE J. PAUL GETTY MUSEUM FASCICULE 1 • [U.S.A. FASCICULE 23] 1988 LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Corpus vasorum antiquorum. [United States of America.] The J. Paul Getty Museum, Malibu. (Corpus vasorum antiquorum. United States of America; fase. 23- ) Vol. i by Andrew J. Clark. At head of title : Union académique internationale. Includes index. Contents: v. i. Molly and Walter Bareiss Collection: Attic black-figured amphorae, neck-amphorae, kraters, stamnos, hydriai, and fragments of undetermined closed shapes. i. Vases, Greek—Catalogs. 2. Bareiss, Molly—Art collections—Catalogs. 3. Bareiss, Walter—Art collections—Catalogs. 4. Vases—Private collections— California—Malibu—Catalogs. 5. Vases—California— Malibu—Catalogs. 6. J. Paul Getty Museum—Catalogs. I. Clark, Andrew J., 1949- . II. J. Paul Getty Museum. III. Series: Corpus vasorum antiquorum. United States of America; fase. 23, etc. NK4640.C6.U5 fase. 23, etc. 73 8.3'82*0938074 s 88-12781 [NK4Ó24.B3 7] [73 8.3 '82J093 8074019493] ISBN 0-89236-134-4 © 1988 The J. Paul Getty Museum, Malibu, California All rights reserved Library of Congress Cataloging-in-Publication