DOCSLIB.ORG

The Childhood of Art, Or the Ascent of Man ; a Sketch of The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Childhood of Art, Or the Ascent of Man ; a Sketch of The NOTICES OF BOOKS 143 Iphitos-amphora is republished and a pretty hydria with women at a fountain pleases the eye. New photographs of the b.-f. and r.-f. amphora signed AvSoKiSts erroetrcv make certain what seemed likely from Bienkowski's publication, that it is not from the same hand as the other Andokides-vases ; it stands closer to the Menon-amphora in Philadelphia and the name of Psiax may possibly fit it. Of the red-figured vases, part of the well-known Dioxippos-cup, and details of the cup signed by the painter Aison are presented in excellent photographs. Leroux rightly mentions the name of Hieron when discussing No. 154 ; it is indeed by the painter Makron who painted most of the Hieronian vases. On the other hand, there is no reason for connecting No. 152, a charming athlete cup, with the work of Euphronios or any of his employes. The word ' atelier' is used too loosely in one or two places ; Nos. 169 and 170 are not connected, nor does it serve any good purpose to say that the so-called Nolan amphorae may come from a single workshop ; they cannot : see also p. 95 on No. 170. Hermonax and Polygnotos are still grouped together (p. 74) although Ducati has already protested with good reason. To speak generally, the introductory passages to the several sections, though they contain acute observations, are uneven and not quite sober enough for a catalogue. Is a youth with earrings possible (p. 107), and can the outline of the hair be incised on No. 173 (p. 97) ? The photographs are mostly very fair and some uncommonly good ; but it was not incumbent on the author to depreciate other methods of reproducing vase-drawings (pp. x-xi). The ideal publication of a vase is not a photograph, nor a series of photographs; but a series of photographs accompanied by a careful drawing. The camera is always stupid if always honest; and if honesty cannot be said to lie, yet it often gives false information : the camera cannot distinguish in certain cases between the brush-lines of the artist, accidental scratches, dirt, or smudges, restorations, and the incised sketch-lines: only the student or the artist can do that consistently, holding the vase in human hands and scanning it with human eyes. It is to be hoped that before long we shall have fuller publications of some of the finer vases in Madrid : the krater with Perseus and Medusa (169), the soldiers at the well (197) ; the delicate hydria'198 (two women see-sawing, Eros in the middle) ; and the r.-f. hydria of b.-f. shape published by Ossorio, No. 160 in Leroux, which must be a charming example of this archaic vase-form : the figure on the left, it may be added, is surely meant for a younger girl : to speak of the old ' law of isocephaly' seems gratuitous. Though the book has faults, it is a most respectable performance and the author merits our gratitude. J. D. B. The Childhood of Art, or the Ascent of Man ; a Sketch of the Vicissitudes of his Upward Struggle, based chiefly on the Relics of his Artistic Work in Prehistoric Times. By H. E. SPEARING. Pp. xxx+584; 482 illustrations in text, 4 plates, 1 map. London : Kegan Paul, 1912. 21s. Mr. Spearing's elaborate title prepared us for the perusal of a work of remarkable idiosyncrasy, nor were we disappointed. With so much of the book as relates to the relics of man's artistic work in prehistoric times we were sufficiently well pleased, but we could well have dispensed with Mr. Spearing's manifold worries about Man's Upward Struggle. If, indeed, the author had strictly confined himself to the Childhood of Art, and not bothered about the Ascent of Man, he would have written a much better book, and a more readable one. Mr. Spearing is greatly given to the insertion in his work of superficial political platitudes, which take up a deal of space and add to the great length and inordinate weight of the book. What is the use of such a passage as the following, taken at random (p. 201) : ' If art is the expression of a nation's feelings and aspirations, what form can we expect to be evolved by a 144 NOTICES OF BOOKS people whose upper class were (aic) mainly actuated by a coarse desire for domination and for more material luxuries while the rest had but a sense of utter carelessness, or perhaps of dumb despair ?' This is amusing to those who know what a light-hearted, joyful people the Ancient Egyptians really were. And this : ' Freedom and originality were as unwelcome to the Pharaohs as to the Roman Emperors or to any other autocratic rulers. How could art flourish under such conditions 1' (p. 230). Mr. Spearing has forgotten the Greek tyrants and the mediaeval Italian rulers; and how does he know that the ' Minoan' princes whose subjects produced the wonderfully untrammelled and naturalistic art of prehistoric Crete were not as dreadfully despotic as any horrid Pharaoh of them all? In saying this we fear that Mr. Spearing will undoubtedly class us among those ' men with mediaeval minds ' who ' still sing the praises of such degeneration, and would have us worship the pretentious falsities which are evolved spontaneously in an atmosphere of cruelty and oppression ' (ibid). Most annoying of them, and in the twentieth century, too : but let us turn from this harrowing subject to the Childhood of Art. Mr. Spearing gives us one of the best collections of illustrations of early art that has yet appeared, ranging from the palaeolithic cave-paintings of Altamira and Cogol (some reproduced in colour) to—we do not know where the ' childhood ' comes in now— the masterpieces of Greek art. He illustrates many things that are not well known, and the illustrations are all good and well chosen. But here again redundancy is apparent, and we do not know why many of the Egyptian and Greek examples are included in a history of the ' Childhood of Art.' Does Mr. Spearing consider all art infantile because it is ancient ? all ancient art infantile ? Human art has had many lives ; it has died and been born again times out of number. Our author describes ancient art in Europe and the Near East only, and does not by any means confine himself to its childhood. As a history of ancient western art the book will be very useful on account of its illustrations. So far as the letter- press is concerned, Mr. Spearing 'knows a good thing when he sees it,' his criticism is often suggestive, he has read widely, and, so far at any rate as Egypt and prehistoric Greece are concerned, he knows his authorities. But sometimes he blunders. On p. 355, in respect of the Minoans he says that ' no pictures of their ships have yet been found nor any representatives of actual fighting.' In a note on pp. 523-4 he corrects this so far as to note the seal-impression of a horse on ship-board, but holds still to his idea, forgetting that other representations of vessels exist. And as for fighting, he forgets the silver vase fragment from Mycenae and the gold rings. Again, on p. 446 he talks of ' the early efforts' of the northern continental Greeks as 'so similar to those of the Cretans that we need not do more than mention the proofs of their existence which have recently been brought to light by the excavations in Boeotia by Professor Tsountas, Dr. Sotiriadhis ('Ecprmepis ap% (sic), 1908, p. 63), and in Thessaly by Messrs. Droop, Wace, and Thompson ' If there is anything more obvious than another in prehistoric Greek archaeology it is the fact of complete dissimilarity between the north-Greek art and that of the Aegaean and Crete : the two belong to two radically distinct artistic worlds. Errors such as these must detract from the usefulness of Mr. Spearing's text. His chapter on later Greek art is weak, and seems to contain nothing particularly original or suggestive. Malta and the Mediterranean Race. By R. N. BRADLEY. Pp. 336, 54 plates. London : Fisher Unwin, 1912. 8s. 6d. net. Had Mr. Bradley confined himself to describing the results of recent excavations in Malta and collecting Maltese legends he would have written a very useful book. His photographs are good, and he has seen something of the work of excavation at first hand. But unluckily he has views on the ' Mediterranean Race,' and has made the excavations.
Load more

Recommended publications
  • (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.
    [Show full text]
  • 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.
    [Show full text]
  • Red-Figured Pottery from Corinth Plate 64
    RED-FIGUREDPOTTERY FROM CORINTH SACRED SPRING AND ELSEWHERE (PLATES 63-74) THE PRESENT ARTICLE publishes the inventoried pieces of Attic red-figured pottery discovered during the excavations of the Sacred Spring. Four fragments, 49-52, belong to an unidentified fabric which does not appear to be Attic. The article also includes fragments from the Peribolos of Apollo and the Lechaion Road East, and ends with two miscellaneous sherds and an importantstemless cup. This is, in fact, the first of two articles which will cover most of the Attic red figure that has been found at Corinth since 1957.1The second article will deal with the pottery from the recent exca- vations in the central and southwesternarea of the Forum. Some 71 pieces, mainly fragments, are presented here: 52 (1-52) come from the Sacred Spring, 6 (53-58) from the Peribolos of Apollo, 10 (59-68) from excavations below Roman Shop V, east of the Lechaion Road, 3 (69-71) from various findspots. The catalogue is arrangedby shape and, within each shape, by date so far as possible. A. SACRED SPRING (Pls. 63-69) The early excavations in the Sacred Spring were published by B. H. Hill. The area was re-examined from 1968 to 1970 and again in 1972, during which eight architectural phases were distinguished, the earliest beginning in the later 8th century, the latest ending with the destruction of Corinth in 146 B.C.2 All the inventoried Attic red figure from the new excavations is listed in the following catalogue, but other fragments, of less significance, are kept in the relevant Corinth pottery lots.
    [Show full text]
  • Downloaded License
    chapter 4 Dionysos, a God for the Athenians Developments after 480 BC Hermonax and his Contemporaries We have seen that in the decades before 480 Dionysos was most frequently depicted among his thiasos of satyrs and maenads, as was already the case with black-figure vases. Another important motif of that time was his encoun- ter with a standing woman or, less frequently, with a satyr. We also see him, surrounded by his retinue, as a symposiast or at the arrival or departure of his quadriga. Depictions of Dionysos participating in mythological events, such as the return of Hephaistos and the Gigantomachy, are much rarer; the admis- sion of Herakles to the Olympus is found only sporadically. In general, there does not seem to have been much interest in Dionysos’ relations with the other gods. New elements in the iconography of Dionysos are, however, emerging in the second quarter of the century and becoming ever more visible towards 450 BC. These developments will be the subject of the next three chapters. As far as Dionysiac imagery is concerned, Hermonax stands out among the painters of larger vessels of the generation following that of the Kleophrades and Berlin Painter; Beazley assumes he was a pupil of the latter. Over 160 vases are attributed to him, an extensive oeuvre even though much of it remains only in a fragmentary state. His work includes large, high-quality vases (more than twenty stamnoi, almost thirty pelikai, and one bell krater) as well as many large and small amphorae, several loutrophoros fragments found in Athens, hydriai, oinochoai, lekythoi, and even cups.1 Most of his vases with non- anonymous subjects are Dionysiac in character.
    [Show full text]
  • Geryon and Others in Los Angeles
    GERYON AND OTHERS IN LOS ANGELES (PLATES 1-1 1) GERYON G ERYON has always been a creature of the West; and as West has been extended westward, so that poor monster has constantly been dislocated, until at last he finds himself at home whether in Berkeley (C.V., University of California, 1, pl. 21, I a) or now in Los Angeles, where he is located on the following. 1. Los Angeles County Museum A 5832.50.137. Amphora type B. Plates 1-2. Ht. 427 to 431, diam. body 292 to 294 (I give dimensions in millimeters and warn that maximum and minimum figures reflect measurements at no more than two or three points). Put together from fragments with missing pieces restored in plaster on both A and B. A, Herakles fights Geryon; on the ground between them Eurytion, dying, clutches his head (crushed, I suppose, by Herakles' club). Leftmost Geryon falls; rightmost will be next. Modern paint (P1. 1, a) along a fracture-line from Herakles' right buttock downward to a point on his left thigh, thence northeast-southwest across left thigh, pelt's legs, and Herakles' right thigh above knee; Herakles' right leg from (and including) knee to middle of calf, except for a small section of ancient black from upper part of knee to fracture-line across thigh. Modern paint for Eurytion's left leg from knee to middle of calf, the lower part of his right leg and his right ankle, the lower edge of his left thigh and buttock, and the fracture-line crossing his left wrist, chest, neck, and right forearm.
    [Show full text]
  • The Iconography of the Athenian Hero in Late Archaic Greek Vase-Painting
    The Iconography of the Athenian Hero in Late Archaic Greek Vase-Painting Elizabeth Anne Bartlett Tucson, Arizona Bachelor of Art, Scripps College, 2006 Master of Art, University of Arizona, 2008 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy McIntire Department of Art University of Virginia May 2015 ______________________________ ______________________________ ______________________________ ______________________________ –ABSTRACT– This study questions how Athenian vase-painters represented heroic figures during the late sixth and early fifth centuries B.C. – specifically from the death of Peisistratos in 528 B.C. to the return of Theseus' bones to Athens in 475/4 B.C. The study focuses on three specific Attic cult heroes with a strong presence both in the Greek world and on Athenian vases: Herakles, Theseus, and Ajax. Although individual studies have been published regarding various aspects of these three heroes, such as subject matter, cult worship, literary presence, and social history, the current one departs from them by categorizing, comparing, and contrasting the different portrayals of the three chosen heroes. Using Athenian vases as the primary form of evidence, the current study endeavors to uncover how individual iconography can – or cannot – identify the heroic figure. By using an iconographic approach of looking at attributes, dress, gestures, poses, and composition, a more complete picture of the image of the hero may be understood. Evidence of both the cult of, and importance of, the Athenian hero is stressed both in ancient texts and through archaeological evidence, thus supplemental material is taken into consideration. Illustrations of Greek heroes can be found on a variety of vase shapes of various techniques, and the accompanying catalogue includes almost 300 examples.
    [Show full text]
  • Masters, Pupils and Multiple Images in Greek Red-Figure Vase Painting
    MASTERS, PUPILS AND MULTIPLE IMAGES IN GREEK RED-FIGURE VASE PAINTING DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of the Ohio State University By Sue Allen Hoyt, B.A., M.A. ***** The Ohio State University 2006 Dissertation Committee: Approved by Professor Mark D. Fullerton, Adviser Professor Timothy J. McNiven __________________________ Adviser Professor Howard Crane History of Art Graduate Program Text copyright by Sue Allen Hoyt 2006 ABSTRACT Little is known about Athenian vase-painting workshops of the 6th through 4th centuries BC. Almost no references exist in ancient literature, and there are few archaeological remains besides the vases themselves. I examined the technical details of vase-painting “copies”–images of uncommon scenes on vases by painted different painters– and compared the steps in the painting process, (especially the preliminary sketches), to see if these could supply any information about workshop practices. The research revealed that there are differences in sketches executed by different painters, and that there were often obvious differences in the care exercised in the different steps of the painting process. When the different steps consistently exhibit different levels of skill in execution, this suggests that workshops were organized so that workers with few skills performed the tasks that demanded the least; more-skilled workers painted the less-important borders etc., and the most-advanced painted the figures. On a few vases the sketch lines were more skillfully executed than the paintings that overlay them. Further, in the case of the Marsyas Painter and the Painter of Athens 1472, more than one pair of vases with replicated rare scenes ii exists.
    [Show full text]
  • Dionysos, a God for the Athenians Developments After 480 BC
    chapter 4 Dionysos, a God for the Athenians Developments after 480 BC Hermonax and his Contemporaries We have seen that in the decades before 480 Dionysos was most frequently depicted among his thiasos of satyrs and maenads, as was already the case with black-figure vases. Another important motif of that time was his encoun- ter with a standing woman or, less frequently, with a satyr. We also see him, surrounded by his retinue, as a symposiast or at the arrival or departure of his quadriga. Depictions of Dionysos participating in mythological events, such as the return of Hephaistos and the Gigantomachy, are much rarer; the admis- sion of Herakles to the Olympus is found only sporadically. In general, there does not seem to have been much interest in Dionysos’ relations with the other gods. New elements in the iconography of Dionysos are, however, emerging in the second quarter of the century and becoming ever more visible towards 450 BC. These developments will be the subject of the next three chapters. As far as Dionysiac imagery is concerned, Hermonax stands out among the painters of larger vessels of the generation following that of the Kleophrades and Berlin Painter; Beazley assumes he was a pupil of the latter. Over 160 vases are attributed to him, an extensive oeuvre even though much of it remains only in a fragmentary state. His work includes large, high-quality vases (more than twenty stamnoi, almost thirty pelikai, and one bell krater) as well as many large and small amphorae, several loutrophoros fragments found in Athens, hydriai, oinochoai, lekythoi, and even cups.1 Most of his vases with non- anonymous subjects are Dionysiac in character.
    [Show full text]
  • Herakles and Theseus on a Red-Figured Louterion 337
    HERAKLESAND THESEUS ON A RED-FIGURED LOUTERION (PLATES 105-110) PART I: THE VASE AND ITS SCENES RECONSTRUCTED Pr HE red-figured louterion published herein was found in a well in the Athenian Agora on May 5th, 1938, shattered in many fragments. Not enough is pre- served to reconstitute the entire shape physically, though there can be little doubt about the main elements of the reconstruction on paper shown in Figure 1. The same can be said about the painting on its two sides. There are large gaps, but again the main lines are clear and a drawing with restorations can be attempted (Fig. 2).' The paintings on the vase, which can be attributed to the group of Polygnotos,2 date the pot to the late forties or early thirties of the 5th century. It is a piece of exceptional interest not only on account of its shape, which is rare indeed, but also The proof of this article, presented for publication in 1960, has not been read by the author. 1 My thanks are due to Professor Homer A. Thompson for allowing me to work on Agora material when I was first in Athens as a Student of the British School, and more specifically for his permission to publish this louterion. Both he and Miss Lucy Talcott have put me under deep obligation for help and kindness in many ways. Mrs. S. Karouzou gave me cordial welcome and help at the National Museum in difficult times. It was she who first suggested to me that the shape of the pot might have been a louterion.
    [Show full text]
  • Dionysiac Mythology in Flux Vase Imagery Between 480 and 430 BC
    chapter 5 Dionysiac Mythology in Flux Vase Imagery between 480 and 430 BC Traditional Dionysiac Subjects It is well known that for Athens the decades between the victory over the Persians and the beginning of the Peloponnesian war were a period of self- confidence and secured prestige in the Greek world. In Greek art the punc- tilious late archaic style is followed by the so-called severe style which is most markedly expressed by the figures of the metopes and pediments of the temple of Zeus at Olympia, completed in 456. The invention of counterpose for free- standing figures added spatiality and movement to the bodies; the faces were allowed to express feelings. These changes probably next made themselves felt in monumental painting, of which no examples remain, and only somewhat later—and less noticeably—in vase painting. In the more modest production of column kraters, pelikai and hydriai that Beazley attributes to the so-called early mannerists, archaic formulae continued in use, albeit in a more fluent manner.1 Nevertheless, the severe style may already be discerned in Hermonax’ oeuvre and also turns up in the work of other painters, in the softer and richer folds of the robes and in the perspectival traits of the lively bodies. It is only from 460 BC onwards that the direct influence of monumental painting becomes manifest in vase painting: figures become bigger, their move- ments more spatial, the background becomes deeper creating the impression of a genuine landscape—even though this could, at the same time, spoil the aesthetic effect of the curved surface of the vase.
    [Show full text]
  • Corpus Vasorum Antiquorum, Fascicule 10
    UNION ACADÉMIQUE INTERNATIONALE CORPUS UASORUM ANTIQUORUM THE J. PAUL GETTY MUSEUM • MALIBU Athenian Red-Figure Column- and Volute-Kraters DESPOINA TSIAFAKIS THE J. PAUL GETTY MUSEUM FASCICULE 10 • [U.S.A. FASCICULE 40] 2019 CORPUS UASORUM ANTIQUORUM UNITED STATES OF AMERICA • FASCICULE 40 The J. Paul Getty Museum, Malibu, Fascicule 10 UNION ACADÉMIQUE INTERNATIONALE CORPUS UASORUM ANTIQUORUM THE J. PAUL GETTY MUSEUM • MALIBU Athenian Red-Figure Column- and Volute-Kraters DESPOINA TSIAFAKIS THE J. PAUL GETTY MUSEUM FASCICULE 10 • [U.S.A. FASCICULE 40] 2019 The free online edition of this catalogue is available at http://www.getty.edu/publications The J. Paul Getty Museum’s prior CVA fascicules 1–9 are /cva10. Also available are free PDF, EPUB, and MOBI downloads of the book, CSU and available for free download in our Uirtual Library at JSON downloads of the object data, and JPG downloads of the catalogue images. www.getty.edu/publications/virtuallibrary. © 2019 J. Paul Getty Trust Also from Getty Publications: ✦ Ancient Lamps in the J. Paul Getty Museum Jean Bussière and Birgitta Lindros Wohl This work is licensed under a Creative Commons Attribution 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/. ✦ Ancient Terracottas from South Italy and Sicily in the J. Paul Getty Museum Published by the J. Paul Getty Museum, Los Angeles Maria Lucia Ferruzza Getty Publications 1200 Getty Center Drive, Suite 500 ✦ Roman Mosaics in the J. Paul Getty Museum Los Angeles, California 90040-1682 Alexis Belis www.getty.edu/publications Greg Albers, Project Manager Rachel Barth, Project Editor Laura diZerega, Editorial and Digital Assistant Sharon Herson, Manuscript Editor Michelle Woo Deemer, Production David Saunders, Curatorial Liaison Toby Schreiber, Profile Drawings Distributed in the United States and Canada by the University of Chicago Press Distributed outside the United States and Canada by Yale University Press, London Library of Congress Cataloging-in-Publication Data Corpus vasorum antiquorum.
    [Show full text]
  • Courtship Scenes in Attic Vase-Painting Author(S): H. A. Shapiro Source: American Journal of Archaeology, Vol
    Courtship Scenes in Attic Vase-Painting Author(s): H. A. Shapiro Source: American Journal of Archaeology, Vol. 85, No. 2 (Apr., 1981), pp. 133-143 Published by: Archaeological Institute of America Stable URL: http://www.jstor.org/stable/505033 Accessed: 15-04-2015 16:44 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/505033?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Archaeological Institute of America is collaborating with JSTOR to digitize, preserve and extend access to American Journal of Archaeology. http://www.jstor.org This content downloaded from 165.124.144.190 on Wed, 15 Apr 2015 16:44:07 UTC All use subject to JSTOR Terms and Conditions Courtship Scenes in Attic Vase-Painting H.A. SHAPIRO (Pls. 24-28) Abstract Attic "courtship scenes," as Beazley first termed Scenesof men courtingyouths on Attic black-and them,2 in trying to correlate their content with the red-figure vases of ca. 560-475, first collected by testimonia of Plato, Aristophanes and other writ- in are Beazley 1947, re-examinedwithin their histori- ers, even as Dover himself the cal and societalcontext.
    [Show full text]