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Death, Mourning and the Expression of Sorrow on White-Ground Lêkythoi

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Death, Mourning and the Expression of Sorrow on White-Ground Lêkythoi Portraits of Grief: Death, Mourning and the Expression of Sorrow on White-Ground Lêkythoi Molly Evangeline Allen Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2017 © 2017 Molly Evangeline Allen All rights reserved ABSTRACT Portraits of Grief: Death, Mourning and the Expression of Sorrow on White-Ground Lêkythoi Molly Evangeline Allen In Athens in the early 5th century BCE, a new genre of funerary vase, the white-ground lêkythos, appeared and quickly grew to be the most popular grave gift for nearly a century. These particular vases, along with their relatively delicate style of painting, ushered in a new funerary scene par excellence, which highlighted the sorrow of the living and the merits of the deceased by focusing on personal moments of grief in the presence of a grave. Earlier Attic funerary imagery tended to focus on crowded prothesis scenes where mourners announced their grief and honored the dead through exaggerated, violent and frenzied gestures. The scenes on white-ground lêkythoi accomplished the same ends through new means, namely by focusing on individual mourners and the emotional ways that mourners privately nourished the deceased and their memory. Such scenes combine ritual activity (i.e. dedicating gifts, decorating the grave, pouring libations) with emotional expressions of sadness, which make them more vivid and relatable. The nuances in the characteristics of the mourners indicate a new interest in adding an individual touch to the expression, which might “speak” to a particular moment or variety of sadness that might relate to a potential consumer. To facilitate a meaningful discussion of the range of ways that white-ground painters articulated grief and lament in their vases, the dissertation is divided into six chapters, each of which concentrates on a particular type of mourner: women, men, elderly men, infants, vocal visitors1 and the deceased. Discussing the visual iconography across these different groups demonstrates that the shared and individual, public and private, intentional and candid aspects of grief and mourning can be shown simultaneously and that it was of interest to the Athenians to look at images that incorporated all of these aspects. 1 This chapter is more thematic than the other five. It concentrates on the role of ephemeral sound and silent permanence in the context of the creation of memory of the dead. Table of Contents Figure Abbreviations……………………………………………………………………...iii List of Figures………………………………………………………………………………iii Abbreviations……………………………………………………………………………..viii Acknowledgments…………………………………………………………………………ix Introduction…………………………………………………………………………………1 The Material: Scholarship, Production and Usage……………………………….7 The Greek Funeral…………………………………………………………………14 Mourning and the Study of Emotion in Ancient Greece……………………….17 Description of Chapters…………………………………………………………...21 Chapter 1: The Changing Face of Female Grief…………………………………32 Overview of Female Mourning in Greek Art (8th – 5th Centuries)……………..34 Female Mourners on White-Ground Lêkythoi…………………………………...44 Gift-Giving at the Grave …………………………………………………………..50 Chapter 2: Mourning Men…………………………………………………………..83 Male Mourning in Epic and Tragedy……………………………………………..84 Male Mourning in Pre-Classical Attic Imagery…………………………………87 Male Mourning on White-Ground Imagery………………………………….…..90 Gift-Giving…………………………………………………………………………99 Chapter 3: ‘ὀλοός γῆρας’ and Elderly Lament…………………………………103 Elderly Mourners on White-Ground Lêkythoi…………………………………110 Sorrowful Countenances………………………………………………………...111 Hidden Emotions…………………………………………………………….…...120 Chapter 4: Death and Mourning of the Very Young…………………………...129 Representing the Deceased Infant………………………………………………137 Representing the Mourning Infant………………………………………….…...149 The Sadness of Separation: Parents and Children……………………………...164 Chapter 5: From Vocal Memorials to Silent Graves…………………………...167 Lament in the Greek Funeral…………………………………………………….169 Sound at the Grave: The Exception Makes the Rule…………………………...174 i Silent Commemoration…………………………………………………………..176 Chapter 6: Did the Deceased Mourn? ……………………………………………186 General Remarks…………………………………………………………………188 The Deceased as Corpse…………………………………………………………190 The Deceased as Sêma…………………………………………………………...192 The Deceased as Eidôlon………………………………………………………...197 Phases I-II…………………………………………………………………….…...197 Phase III…………………………………………………………………………...202 Phase IV…………………………………………………………………………...210 The Emotive Group R……………………………………………………………215 Explanations for the Emotionality of Group R Eidôla………………………...223 Concluding Remarks………………………………………………………………..229 Bibliography…………………………………………………………………………236 Appendix (Figures included as supplemental document) ……………………………264 Figures………………………………………………………………………………...265 ii Figure Abbreviations Antiken. – Antikensammlungen (Berlin and Munich) BF – Black-figure BM – British Museum, London Kunst. – Kunsthistorisches Museum (Vienna) MdeBA – Musee des Beaux Artes MFA – Museum of Fine Arts, Boston MMA – Metropolitan Museum of Art in New York NM – National (Archaeological) Museum (Athens and Tarquinia) P – Painter RF – Red-figure V&A – Victoria and Albert Museum, London W – Workshop WGL – White-ground lêkythos List of Figures Fig. 1 – Geometric krater, Attica, Hirschfeld W, c. 750-735, New York, MMA 14.130.14……………265 Fig. 2 – Geometric oinochoê, Attica, W of Athens 897, c. 720-710, London, BM 1912.0522.1…………266 Fig. 3 – Protoattic hydria, Attica, Unknown artist, c. 700, Victoria, National Gallery D23……………266 Fig. 4 – Archaic BF pinax, Kolias, Sappho P, c. 500, Paris, Louvre MNB 905…………………………267 Fig. 5 – Archaic BF pinax, Attica, Unknown artist, c. 520-510, New York, MMA 54.11.5……………267 Fig. 6 – Archaic BF loutrophoros, Attica, Unknown artist, c. 525-500, New York, MMA 27.228……268 Fig. 7 – Archaic BF loutrophoros, Attica, Unknown artist, c. 525-500, New York, MMA 25.70.1……..270 Fig. 8 – Classical RF loutrophoros, Attica, Unknown artist, c. 460, Berlin, Antiken. 31008…………….271 Fig. 9 – Classical RF loutrophoros, Pikrodaphni, P of Bologna 228, c. 465-460, Athens, NM 1170……271 iii Fig. 10 – Geometric krater, Dipylon (Attica), Hirschfeld W, c. 750-735, Athens, NM 990……………272 Fig. 11 – WGL, Athens, Woman P, c. 420, Karlsruhe, Landesmuseum B1528………………………….274 Fig. 12 – WGL, Attica, Inscription P, c. 460-450, Paris, Louvre CA1846………………………………274 Fig. 13 – WGL, Unknown provenance, Unknown artist, c. 460, Paris, Louvre MNC199………………275 Fig. 14 – WGL, unknown provenance, Vouni P, c. 460-450, New York, MMA 35.11.5………………275 Fig. 15 – RF kylix, Tarquinia, Brygos P, c. 480-470, Tarquinia, NM RC6846…………………………276 Fig. 16 – WGL, Eretria, Thanatos P, c. 450-420, Athens, NM 1942……………………………………276 Fig. 17 – WGL, Eretria, Manner of Bird P, c. 430, Athens, NM 1941…………………………………277 Fig. 18 – WGL, Ampelokepoi, Group of Huge Lekythoi, c. 410-400, Berlin, Antiken. F2684…………277 Fig. 19 – WGL, Gela (Sicily), Timokrates P, c. 450, Oxford, Ashmolean V267………………………278 Fig. 20 – WGL, Athens, Sabouroff P, c. 460-450, Athens, NM 1926……………………………………278 Fig. 21 – WGL, Athens, Triglyph P, c. 420-410, Berlin, Antiken. F2681………………………………279 Fig. 22 – WGL, Athens, Triglyph P, c. 420-410, Stockholm, Millesgården 94…………………………280 Fig. 23 – WGL, Eretria, Group R, c. 410, Athens, NM 1816……………………………………………280 Fig. 24 – WGL, Unknown provenance, Beldam Class, c. 460, London, BM D65………………………281 Fig. 25 – WGL, Athens, Triglyph P, c. 420-410, Berlin, Antiken. F2682………………………………281 Fig. 26 – WGL, Unknown provenance, Group R, c. 410, Cleveland, Museum of Art, 28.859…………282 Fig. 27 – WGL, Unknown provenance, Group R, c. 410, London, BM D71……………………….……282 Fig. 28 – WGL, Unknown provenance, Group R, c. 410, New York, MMA 07.286.45…………………283 Fig. 29 – WGL, Athens, Group R, c. 410, Vienna, Kunst. 143…………………………………………283 Fig. 30 – WGL, Eretria, Inscriptions P, c. 450, Athens, NM 1958………………………………………284 Fig. 31 – WGL, Unknown provenance, Group R, c. 410, Gottingen, K746……………………………..284 Fig. 32 – WGL, Sounion, Sounion Group, c. 460-450, Berlin, Antiken. F2446…………………………285 iv Fig. 33 – Archaic BF plate, Kerameikos, Lydos P, c. 560-540, Athens, Kerameikos 1909……………...285 Fig. 34 – Archaic BF bowl, Kerameikos, Lydos P, c. 560-540, Athens, Kerameikos 1687……………286 Fig. 35 – Archaic BF pinax, Athens, Burgon Group, c. 560, Paris, Louvre CA255……………………286 Fig. 36 – WGL, Unknown provenance, Sabouroff P, c. 460-450, London, BM D62……………………287 Fig. 37 – WGL, Athens, Sabouroff P, c. 460-450, New York, MMA 07.286.40………………………287 Fig. 38 – WGL, Unknown provenance, Tymbos P, c. 470-450, Athens, Cycladic Museum 6…………288 Fig. 39 – WGL, Unknown provenance, Manner of Tymbos P, c. 450, Private…………………………288 Fig. 40 – WGL, Athens, Quadrate P, c. 420, Paris, Louvre MNB1147…………………………………289 Fig. 41 – WGL, Unknown provenance, Inscription P, c. 450, Athens, NM 1790………………………289 Fig. 42 – WGL, Unknown provenance, Sabouroff P, c. 460-450, Munich, Antiken. SS76……………290 Fig. 43 – WGL, Unknown provenance, Near P of Athens 1826, c. 430, Athens, NM 13701……………290 Fig. 44 – WGL, Athens, Sabouroff P, c. 460-450, Munich, Antiken. SS77……………………………...291 Fig. 45 – WGL, Unknown provenance, Achilles P, c. 440, Cambridge, Fitzwilliam GR36.1937……….291 Fig. 46 – WGL, Unknown provenance, Unknown artist, c. 460, Paris, Louvre CA1640 ………………292 Fig. 47 – WGL, Eretria, Timokrates P, c. 450, Athens, NM 1929………………………………………292 Fig. 48 – WGL, Athens, Near P of Berlin 2464, c. 430, Berlin, Antiken. F2463………………………293
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