Athenian Black Gloss Pottery: a View From
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Attic Black Figure from Samothrace
ATTIC BLACK FIGURE FROM SAMOTHRACE (PLATES 51-56) 1 RAGMENTS of two large black-figure column-kraters,potted and painted about j1t the middle of the sixth century, have been recovered during recent excavations at Samothrace.' Most of these fragments come from an earth fill used for the terrace east of the Stoa.2 Non-joining fragments found in the area of the Arsinoeion in 1939 and in 1949 belong to one of these vessels.3 A few fragments of each krater show traces of burning, for either the clay is gray throughout or the glaze has cracked because of intense heat. The surface of many fragments is scratched and pitted in places, both inside and outside; the glaze and the accessory colors, especially the white, have sometimes flaked. and the foot of a man to right, then a woman A. Column krater with decoration continuing to right facing a man. Next is a man or youtlh around the vase. in a mantle facing a sphinx similar to one on a 1. 65.1057A, 65.1061, 72.5, 72.6, 72.7. nuptial lebes in Houston by the Painter of P1. 51 Louvre F 6 (P1. 53, a).4 Of our sphinx, its forelegs, its haunches articulated by three hori- P.H. 0.285, Diam. of foot 0.203, Th. at ground zontal lines with accessory red between them, line 0.090 m. and part of its tail are preserved. Between the Twenty-six joining pieces from the lower forelegs and haunches are splashes of black glaze portion of the figure zone and the foot with representing an imitation inscription. -
Epilykos Kalos
EPILYKOS KALOS (PLATES 63 and 64) N TWO EARLIERPAPERS, the writerattempted to identifymembers of prominent Athenian families in the late 6th century using a combinationof kalos names and os- traka.1 In the second of these studies, it was observed that members of the same family occurredin the work of a single vase painter,2whether praised as kalos or named as partici- pant in a scene of athletics or revelry.3The converse,i.e. that the same individual may be namedon vases by painterswho, on the basis of stylistic affinities,should belong to the same workshop,seems also to be true.4The presentpaper tries to demonstrateboth these proposi- tions by linking membersof another importantfamily, the Philaidai, to a circle of painters on whose vases they appear. The starting point is Epilykos, who is named as kalos 19 times in the years ca. 515- 505, 14 of them on vases by a single painter, Skythes.5Of the other 5, 2 are cups by the Pedieus Painter, whom Beazley considered might in fact be Skythes late in the latter's career;61 is a cup linked to Skythes by Bloesch,7 through the potter work, and through details of draughtsmanship,by Beazley;8 1 is a cup placed by Beazley near the Carpenter Painter;9and the last is a plastic aryballos with janiform women's heads, which gives its name to Beazley's Epilykos Class.10 The close relationshipof Epilykos and Skythesis especiallystriking in view of Skythes' small oeuvre, so that the 14 vases praising Epilykos accountfor fully half his total output. -
Amazons, Thracians, and Scythians , Greek, Roman and Byzantine Studies, 24:2 (1983:Summer) P.105
SHAPIRO, H. A., Amazons, Thracians, and Scythians , Greek, Roman and Byzantine Studies, 24:2 (1983:Summer) p.105 Amazons, Thracians, and Scythians H A. Shapiro HE AMAZONS offer a remarkable example of the lacunose and T fragmented state of ancient evidence for many Greek myths. For while we hear virtually nothing about them in extant litera ture before the mid-fifth century, they are depicted in art starting in the late eighth! and are extremely popular, especially in Attica, from the first half of the sixth. Thus all we know about the Greeks' con ception of the Amazons in the archaic period comes from visual rep resentations, not from written sources, and it would be hazardous to assume that various 'facts' and details supplied by later writers were familiar to the sixth-century Greek. The problem of locating the Amazons is a good case in point. Most scholars assume that Herakles' battle with the Amazons, so popular on Attic vases, took place at the Amazon city Themiskyra in Asia Minor, on the river Thermodon near the Black Sea, where most ancient writers place it.2 But the earliest of these is Apollodoros (2.5.9), and, as I shall argue, alternate traditions locating the Ama zons elsewhere may have been known to the archaic vase-painter and viewer. An encounter with Amazons figures among the exploits of three important Greek heroes, and each story entered the Attic vase painters' repertoire at a different time in the course of the sixth century. First came Herakles' battle to obtain the girdle of Hippolyte (although the prize itself is never shown), his ninth labor. -
Pottery from Roman Malta
Cover Much of what is known about Malta’s ancient material culture has come to light as a result of antiquarian research or early archaeological work – a time where little attention Anastasi MALTA ARCHAEOLOGICAL REVIEW SUPPLEMENT 1 was paid to stratigraphic context. This situation has in part contributed to the problem of reliably sourcing and dating Maltese Roman-period pottery, particularly locally produced forms common on nearly all ancient Maltese sites. Pottery from Roman Malta presents a comprehensive study of Maltese pottery forms from key stratified deposits spanning the first century BC to mid-fourth century AD. Ceramic material from three Maltese sites was analysed and quantified in a bid to understand Maltese pottery production during the Roman period, and trace the type and volume of ceramic-borne goods that were circulating the central Mediterranean during the period. A short review of the islands’ recent literature on Roman pottery is discussed, followed by a detailed Pottery from Roman Malta contextual summary of the archaeological contexts presented in this study. The work is supplemented by a detailed illustrated catalogue of all the forms identified within the assemblages, presenting the wide range of locally produced and imported pottery types typical of the Maltese Roman period. Maxine Anastasi is a Lecturer at the Department of Classics and Archaeology, University of Malta. She was awarded a DPhil in Archaeology from the University of Oxford for her dissertation on small-island economies in the Central Mediterranean. Her research primarily focuses on Roman pottery in the central Mediterranean, with a particular Malta from Roman Pottery emphasis on Maltese assemblages. -
Attic Pottery of the Later Fifth Century from the Athenian Agora
ATTIC POTTERY OF THE LATER FIFTH CENTURY FROM THE ATHENIAN AGORA (PLATES 73-103) THE 1937 campaign of the American excavations in the Athenian Agora included work on the Kolonos Agoraios. One of the most interesting results was the discovery and clearing of a well 1 whose contents proved to be of considerable value for the study of Attic pottery. For this reason it has seemed desirable to present the material as a whole.2 The well is situated on the southern slopes of the Kolonos. The diameter of the shaft at the mouth is 1.14 metres; it was cleared to the bottom, 17.80 metres below the surface. The modern water-level is 11 metres down. I quote the description from the excavator's notebook: The well-shaft, unusually wide and rather well cut widens towards the bottom to a diameter of ca. 1.50 m. There were great quantities of pot- tery, mostly coarse; this pottery seems to be all of the same period . and joins In addition to the normal abbreviations for periodicals the following are used: A.B.C. A n tiquites du Bosphore Cimmerien. Anz. ArchaiologischerAnzeiger. Deubner Deubner, Attische Feste. FR. Furtwangler-Reichhold, Griechische Vasenmxlerei. Kekule Kekule, Die Reliefs an der Balustrade der Athena Nike. Kraiker Kraiker,Die rotfigurigenattischen Vasen (Collectionof the ArchaeologicalIn- stitute of Heidelberg). Langlotz Langlotz, Griechische Vasen in Wiirzburg. ML. Monumenti Antichi Pu'bblicatiper Cura della Reale Accadenia dei Lincei. Rendiconti Rendiconti della Reale Accademia dei Lincei. Richter and Hall Richter and Hall, Red-Figured Athenian Vases in the Metropolitan Museum of Art. -
Aphrodite on a Ladder
APHRODITE ON A LADDER (PLATES 17-19) N JULY OF 1981, in Byzantinelevels above and west of what was soonto be identified as the Stoa Poikile, the excavatorsof the Athenian Agora found two joining fragmentsof a Classical votive relief (P1. 17:a).1 The relief is framed by simple moldings: taenia and ovolo at top and a plain band at the right side. In the pictorial field is preservedthe head of a young woman carved in low relief. She gazes down to the left at a vessel raised in her right hand. Her head is coveredby a short veil. Above and behind the veil are two rungs and the vertical supports of a ladder whose upper end disappearsbehind the frame. Although frag- mentary and weathered, the relief provides a precious document for the study of Classical relief sculpture, and its unusual iconographygives a valuable clue to the identity of one of the deities worshiped in the area. Most of the figure'sprofile is broken away, but the carefully carvedlines of the lips and eye show that the sculptor took pains to give her delicate features. Her hair, where it ap- pears below the veil, is mostly worn away. Along the side of her face appear waves of hair with a scallopedcontour. No trace of her ear is preserved.It was either very small or hidden beneath her hair. Folds of the veil cross her head in bifurcating linear patterns of rounded ridges. Below her hair two folds fall down along her neck, while others, from the hidden right side of her head, blow out behind in sweeping curves. -
A Quick Start Guide to the Art of Drinking
A QUICK START GUIDE TO THE ART OF DRINKING • Bacchus, the god of wine, has four common cult titles: Bromius, Iacchus, Lenaeus, and Lyaeus. Obsopoeus uses them all, and each can be a poetic word for wine; hence “worshipping Bacchus” can also mean to literally drink wine. • The most famous wine of antiquity was Falernian. Like champagne, its name comes from the region it was produced in, and like “champagne,” Obso- poeus uses it as a general word for wine. • Greeks and Romans had scads of different vessels for storing, preparing, serving, and drinking wine. Obsopoeus sometimes uses their names in their original sense and sometimes for analogous vessels of his own time. The illustration and chart on the following pages show which are which. xxix A QUICK START GUIDE Greek Latin Modern equivalent STORAGE pithos dolium barrel amphora cadus bottle PREPARATION krater crater N/A (a bowl for mingling water and wine) N/A obba decanter SERVING kyathos cyathus a drink or “round” of drinks (a ladle) N/A trulla a drink or “round” of drinks (a dipping cup) N/A capedo pitcher or carafe DRINKING kylix calix wineglass (Italian calice, English chalice) kantharos cantharus trophy cup skyphos scyphus bowl phiale patera saucer or wineglass karchesion carchesium stein or mug The Latin word poculum (cup) denotes any of these drinking vessels, but, like the serving vessels, it is usually used metaphori- cally for “a drink” or “a round” (as in the phrase inter pocula, “over drinks”). xxx Greek and Roman wine vessels, in Obsopoeus’ Latin spelling. For their use and Greek spelling, see the table. -
The Study of Ancient Territories Chersonesos & South Italy
The STudy of AncienT TerriTorieS Chersonesos & south Italy reporT for 2008–2011 inSTiTuTe of clASSicAl ArchAeology The univerSiTy of TexAS at Austin In Memoriam Dayton Blanchard Warren Larson Mary Link Malone Brooke Shearer Vitaly Zubar Friends and supporters Front Cover: Polynomial texture map (PTM) image of a Hellenistic or Roman banded agate intaglio signet. The PTM was created during the Reflectance Transformation Imaging workshop led by Cultural Heritage Imaging at Chersonesos in 2008. The gem, 8 mm long, bears an image of a seated, draped male figure holding a staff in one hand and perhaps sheaves of wheat in the other. Copyright © 2011 Institute of Classical Archaeology, The University of Texas at Austin www.utexas.edu/research/ica ISBN 978-0-9748334-5-3 The STudy of AncienT TerriTorieS Chersonesos & south Italy reporT for 2008–2011 inSTiTuTe of clASSicAl ArchAeology The univerSiTy of TexAS at AuSTin Copyright © 2011 Institute of Classical Archaeology The director and staff of The Institute of Classical Archaeology gratefully acknowledge the extraordinary support for operations and projects provided by The Packard Humanities Institute For additional support, special thanks to: Non-profit Organizations The Brown Foundation The James R. Dougherty, Jr. Foundation Dumbarton Oaks The Liss Foundation Cultural Heritage Imaging The Trust for Mutual Understanding Governmental Institutions Embassy of Ukraine in the United States Ministero dei Beni Culturali ed Ambientali Embassy of the United States in Ukraine Museo Archeologico Nazionale, -
Durham E-Theses
Durham E-Theses Rethinking mythology in Greek museums through contemporary culture Antonopoulou, Marina How to cite: Antonopoulou, Marina (2010) Rethinking mythology in Greek museums through contemporary culture, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2511/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk lml'Hlm:ING MYTHOLOGY IN <mEEK »KUSE{]Ml$ THROUGH CONTEMPORARY ClJL1UllB MARINAANTONOPOULOU Appendices The copyright of this thesis rests with the author or the university to which it was submitted. No quotation from it, or information derived from it may be published without the prior written consent of the author or university, and any information derived from it should be acknowledged. 2 6 MAY 2010 Appendix 1 Socratis Malamas Date: 15/01/2005 Venue: Hotel'Olympia', Thessaloniki. Q: Could you tell me what is the first thing that comes to mind when you hear the words 'Greek mythology'? A: The usual, what we learned in school. -
VII Signatures, Attribution and the Size and Organisation of Workshops
UvA-DARE (Digital Academic Repository) Pottery to the people. The producttion, distribution and consumption of decorated pottery in the Greek world in the Archaic period (650-480 BC) Stissi, V.V. Publication date 2002 Link to publication Citation for published version (APA): Stissi, V. V. (2002). Pottery to the people. The producttion, distribution and consumption of decorated pottery in the Greek world in the Archaic period (650-480 BC). General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:04 Oct 2021 VII Signatures, attribution and the size and organisation of workshops 123 VII.1 Signatures, cooperation and specialisation The signatures tell us something about more than only the personal backgrounds of potters and painters, individually or as a group. -
Campanian Red-Figure Bell Krater 350–325 Bce Attributed to the Cumae ‘A’ Painter Southern Italy Terra-Cotta, Gloss 8–3814; L2009.1001.025
Campanian red-figure bell krater 350–325 bce attributed to the Cumae ‘A’ Painter Southern Italy terra-cotta, gloss 8–3814; L2009.1001.025 On this krater, a nude youth with a spear is depicted seated on a drapery-covered rock. He converses with a woman who holds a wreath phiale, and a libation dish used to pour wine or other liquid offerings to gods. Education Program 2 Scenes from Myths and Daily Life: Ancient Mediterranean Pottery from the Collections of the Phoebe A. Hearst Museum of Anthropology Ancient Mediterranean painted pottery, a Mediterranean and Black Seas. Greek arts remarkable craft from classical antiquity, flourished from 700 to 300 bce. During continues to captivate viewers thousands this time, two of the main ceramic centers of years later. Pottery is more commonly in Greece, Corinth and Athens, exported the excavated and preserved than any other early art distinctive and highly sought-after painted form. Scenes depicted on Greek and Etruscan pottery throughout the Mediterranean region. vases reveal many of the cultural practices and The Etruscans inhabited north-central Italy, a daily lives of these ancient peoples. Ceramic region in classical times referred to as Etruria. vessels explore a wide variety of subject matter They developed a taste for Greek painted pottery, including myths, gods and demons, warriors at which they imported from Corinth around battle, animals, social gatherings, athletics, 630 to 540 bce. By the second and the roles of men and women in quarter of the sixth century, the society. Etruscans purchased an increasing Clay, which was plentiful in many number of vessels from Athens. -
Non-Standard Plural Forms (.PDF)
Foreign and Irregular Plurals in CSW by David Sutton **** Now amended for CSW19 **** This document attempts to list all singular nouns in CSW (the official Scrabble word list) that have nine letters or fewer and that have irregular plurals; those plurals are shown together with a brief definition. Ten-letter singular nouns are included where they yield a nine-letter plural. By 'irregular plural' is meant a plural that is not formed according to the usual rules of English orthography, i.e. in one of the following ways: · by the addition of –S, as in CATS · by the addition of –ES, where the word ends in s, x, z, ch or sh, as in PRINCESSES, BOXES, QUARTZES, BEECHES, SASHES. Note that in the case of ch this applies only where ch has the soft sound, not the hard sound as in EPOCH or LOCH, where a simple S is added · by the addition of –ES plus change of a terminal –Y to I, as in LAUNDRIES For completeness I have also included the following categories of word: · words that do not change at all in the plural; these are denoted by a dash in the second column. Note that I have excluded 'collective' nouns that are normally used in the singular but which do have an –S form e.g. one would normally speak of a herd of twenty BISON, but BISONS does exist and might be used when speaking of different individuals. This is unlike MOOSE, where there is no MOOSES* · words ending in –O that take a plural in –OES rather than, or in addition to, –OS · words ending in –I that take a plural in –IES rather than, or in addition to, –IS · words ending in –S or -Z that double the S or Z It should be noted that a great many of these nouns with irregular plurals also have regular plurals.