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This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. All in the family: The Apollonian triad in Attic art of the sixth and fifth centuries BC Lavinia Foukara PhD University of Edinburgh 2014 I declare that this thesis is my own work and has not been submitted for any other degree or professional qualification. Signed: i Abstract This dissertation examines the iconographical motif of the Apollonian triad in Attic art of the sixth and fifth centuries BC. Attic vase paintings constitute the chief evidence for this study, but other evidence, such as inscriptions, literary sources, sculptures and coins is considered, as well. My thesis focus on scenes without a clear mythological context, where the triad appears alone or accompanied by other, mostly, divine figures, and on what messages or information these images of the Apollonian triad convey. This study contributes to the ongoing discussion of the iconography and iconology of Attic vases, which enriches our understanding of Athenian socio-political and religious life and of Greek culture, more generally. ii Acknowledgements I wish to express my deepest gratitude to my Supervisor, Professor Judith M. Barringer, who has enriched my understanding of the intersection between art, myth, and religion in Archaic and Classical Greece. I am grateful to her for all the support she has offered me, guidance and advice, constant encouragement, friendship, and particularly for her faith in my ability to complete this thesis. I would also like to thank Dr. Glenys Davies and Professor Keith Rutter for the valuable discussions I had with them throughout the years I studied in the University of Edinburgh. Additional thanks go to my examiners, Professor Andrew Erskine and Professor François Lissarrague, who provided me with valuable feedback, helpful advice and interesting ideas for future work. Moreover, I owe my gratitude to Dr. Vassos Karageorghis for encouraging me to pursue a postgraduate research (PhD) at the Department of Classics at the University of Edinburgh and the A.G. Leventis Foundation for providing me the financial support to undertake this research. I am also thankful for the Baldwin Brown Travelling Scholarship in Classical Archaeology that I have been granted in 2010 (May-June) and which gave me the opportunity to visit museums and archaeological sites in Athens and elsewhere in Greece that were related to my topic. During my stay in Athens, I also had the chance to collect data from the library at the British School at Athens which was essential for the progress of my work. This thesis would not have been completed without the warm encouragement of my family and friends. Special heartfelt thanks go to my parents for their financial and emotional support and whose lifelong devotion to art inspired me to undertake the particular field of research. I would especially like to thank my sister, Katerina, for all her support and love. Also, I wish to express my sincere thanks to my friends and colleagues Maria Konstantinou, Nicola Nenci and Dr. Diana Rodriguez Pérez for their valuable comments on several aspects of my thesis, as well as to my friend Jon Hancock for his useful remarks and suggestions during the final stages of my thesis. Furthermore, big thanks to Mannia Georgiadou, Thanasis Kapelonis, Georgia Seiti, Stella Mazeri, Theodoris Koletsos, Filippos Filippou, Antonis Foukaras, Christos Svigkos, Tasos, Spathas, Eleni Mitsoula, Nikos Mitropoulos, Yianna Antoniou, Anastasia Chrysostomou, Natasa Aristodemou, Despo Hadjigeorgiou, Elena Michaola, Natalie Anastasiou, and Elena Michael, whose friendship and humour kept me smiling throughout the years as I work on this research in Edinburgh. Finally, my greatest thanks go to Vakis, for his never-ending patience, moral support, and for always being by me side and making me laugh. iii List of Abbreviations Abbreviations of periodicals and books are those recommended in the American Journal of Archaeology 111 (2007), 14-34 and http://www.ajaonline.org. Abbreviations of ancient authors and works follow those listed in Hornblower, S., and A. Spawforth (eds), Oxford Classical Dictionary (OCD3), 3rd edn., Oxford, xxix- liv. Exceptions to this format are the abbreviations Para for Beazley, J. D. (1971), Paralipomena, Additions to Attic Black-figure Vase-painters and to Attic Red-figure Vase-painters, Oxford, and Add2 for Carpenter, T. H. (1989), Beazley Addenda, 2nd edn., Oxford. ABV: Beazley, J. D. (1956), Attic Black-figure Vase-painters, Oxford. ARV2: Beazley, J. D. (1963), Attic Red-figure Vase-painters, 2nd edn., Oxford. BAPD: Beazley Archive Pottery Database: www.beazley.ox.ac.uk. CVA: Corpus Vasorum Antiquorum (1925- ). CID: Corpus des Inscriptions de Delphes (Paris, 1977- ). DNP: Cancik, H., and H. Schneider (1996-2003), eds., Der Neue Pauly Encyclopädie der Antike, Stuttgart, Weimar. FGrH: Jacoby, F. (1923- ), Die Fragmente der Griechischen Historiker, Berlin. IC: Guarducci, M. (1935-1950), ed. Inscriptiones Creticae, 4 vols, Rome. ID: Inscriptions de Délos (Paris, 1926- ). IG: Inscriptiones Graecae (Berlin, 1873- ). LIMC: Lexicon Iconographicum Mythologiae Classicae, Zurich, Munich, and Düsseldorf (1981-2009). LSCG: Sokolowski, F. (1969), Lois Sacrées des Cités Grecques, Paris. LSS: Sokolowski, F. (1962) Lois Sacrées des Cités Grecques, Supplement, Paris. M.-W.: Merkelbach, R., and M. L. West (1967), Fragmenta Hesiodea, Oxford. RE: Pauly, A., G. Wissowa, G., W. Kroll, and K. Ziegler (1893-1978), eds., Paulys Real-Encyclopädie der klassichen Altertumswissenschaft, Stuttgart, Munich. PMG: Page, D. L. (1962), Poetae Melici Graeci: Alcmanis, Stesichori, Ibyci, Anacreontis, Simonidis, Corinnae, poetarum minorum reliquias, carmina popularia et convivialia quaeque adespota feruntur, Oxford. SEG: Supplementum Epigraphicum Greaecum (1923- ). TAM: Tituli Asiae Minoris (Vienna, 1901- ). TrGF IV: Radt, S. (1977), Tragicorum Graecorum Fragmenta IV, Göttingen. iv Contents Abstract ................................................................................................................ ii Acknowledgements ............................................................................................. iii List of Abbreviations ........................................................................................... iv Introduction .......................................................................................................... 1 Chapter 1. Apollonian triad: the establishment of a motif ....................................11 1.1 The Apollonian triad in Greek Literature .......................................................12 1.2 The Apollonian triad in Greek art ..................................................................17 Chapter 2. Apollo playing the kithara between Artemis and Leto .........................45 2.1 Vase paintings ...............................................................................................45 2.2 Previous interpretations .................................................................................52 Chapter 3. The Apollonian triad in libations scenes .............................................60 3.1 Vase paintings ...............................................................................................61 3.2 Previous interpretations .................................................................................71 Chapter 4. The Apollonian triad in sixth and fifth centuries Attic vase painting: an iconological analysis. ..........................................................................................84 4.1 The Apollonian triad, the Symposion, and Aristocrats ....................................85 4.2 The Apollonian triad in ritual performance: image, context, and meaning .... 127 Conclusion ........................................................................................................ 157 Appendix I. Depictions of the Apollonian triad on Attic vases of the sixth and fifth centuries BC and. .............................................................................................. 159 Appendix II. Tables ........................................................................................... 188 Bibliography ..................................................................................................... 191 Illustrations ....................................................................................................... 222 v Introduction Leto, the Titaness daughter of Coeus and Phoebe (Hes. Theog. 406-408), gave birth to the most glorious children, Apollo and Artemis, who instantly became part of the Olympian family. The close family ties between Apollo, Leto and Artemis are confirmed in the earliest works of Greek literature, that is, in the works
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  • 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

    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.