Sssssssticky Bingoes
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Ancient Greek Vessels Pattern and Image
ANCIENT GREEK VESSELS PATTERN AND IMAGE 1 ACKNOWLEDGMENTS It is my pleasure to acknowledge the many individuals who helped make this exhibition possible. As the first collaboration between The Trout Gallery at Dickinson College and Bryn Mawr and Wilson Colleges, we hope that this exhibition sets a precedent of excellence and substance for future collaborations of this sort. At Wilson College, Robert K. Dickson, Associate Professor of Fine Art and Leigh Rupinski, College Archivist, enthusiasti- cally supported loaning the ancient Cypriot vessels seen here from the Barron Blewett Hunnicutt Classics ANCIENT Gallery/Collection. Emily Stanton, an Art History Major, Wilson ’15, prepared all of the vessels for our initial selection and compiled all existing documentation on them. At Bryn Mawr, Brian Wallace, Curator and Academic Liaison for Art and Artifacts, went out of his way to accommodate our request to borrow several ancient Greek GREEK VESSELS vessels at the same time that they were organizing their own exhibition of works from the same collection. Marianne Weldon, Collections Manager for Special Collections, deserves special thanks for not only preparing PATTERN AND IMAGE the objects for us to study and select, but also for providing images, procuring new images, seeing to the docu- mentation and transport of the works from Bryn Mawr to Carlisle, and for assisting with the installation. She has been meticulous in overseeing all issues related to the loan and exhibition, for which we are grateful. At The Trout Gallery, Phil Earenfight, Director and Associate Professor of Art History, has supported every idea and With works from the initiative that we have proposed with enthusiasm and financial assistance, without which this exhibition would not have materialized. -
Greek Pottery Gallery Activity
SMART KIDS Greek Pottery The ancient Greeks were Greek pottery comes in many excellent pot-makers. Clay different shapes and sizes. was easy to find, and when This is because the vessels it was fired in a kiln, or hot were used for different oven, it became very strong. purposes; some were used for They decorated pottery with transportation and storage, scenes from stories as well some were for mixing, eating, as everyday life. Historians or drinking. Below are some have been able to learn a of the most common shapes. great deal about what life See if you can find examples was like in ancient Greece by of each of them in the gallery. studying the scenes painted on these vessels. Greek, Attic, in the manner of the Berlin Painter. Panathenaic amphora, ca. 500–490 B.C. Ceramic. Bequest of Mrs. Allan Marquand (y1950-10). Photo: Bruce M. White Amphora Hydria The name of this three-handled The amphora was a large, two- vase comes from the Greek word handled, oval-shaped vase with for water. Hydriai were used for a narrow neck. It was used for drawing water and also as urns storage and transport. to hold the ashes of the dead. Krater Oinochoe The word krater means “mixing The Oinochoe was a small pitcher bowl.” This large, two-handled used for pouring wine from a krater vase with a broad body and wide into a drinking cup. The word mouth was used for mixing wine oinochoe means “wine-pourer.” with water. Kylix Lekythos This narrow-necked vase with The kylix was a drinking cup with one handle usually held olive a broad, relatively shallow body. -
Catalogue 8 Autumn 2020
catalogue 8 14-16 Davies Street london W1K 3DR telephone +44 (0)20 7493 0806 e-mail [email protected] WWW.KalloSgalleRy.com 1 | A EUROPEAN BRONZE DIRK BLADE miDDle BRonze age, ciRca 1500–1100 Bc length: 13.9 cm e short sword is thought to be of english origin. e still sharp blade is ogival in form and of rib and groove section. in its complete state the blade would have been completed by a grip, and secured to it by bronze rivets. is example still preserves one of the original rivets at the butt. is is a rare form, with wide channels and the midrib extending virtually to the tip. PRoVenance Reputedly english With H.a. cahn (1915–2002) Basel, 1970s–90s With gallery cahn, prior to 2010 Private collection, Switzerland liteRatuRe Dirks are short swords, designed to be wielded easily with one hand as a stabbing weapon. For a related but slightly earlier in date dagger or dirk with the hilt still preserved, see British museum: acc. no. 1882,0518.6, which was found in the River ames. For further discussion of the type, cf. J. evans, e Ancient Bronze Implements, Weapons and Ornaments of Great Britain and Ireland, london, 1881; S. gerloff and c.B. Burgess, e Dirks and Rapiers of Great Britain and Ireland, abteilung iV: Band 7, munich, Beck, 1981. 4 5 2 | TWO GREEK BRONZE PENDANT BIRD)HEAD PYXIDES PRoVenance christie’s, london, 14 may 2002, lot 153 american private collection geometRic PeRioD, ciRca 10tH–8tH centuRy Bc Heights: 9.5 cm; 8 cm liteRatuRe From northern greece, these geometric lidded pendant pyxides are called a ‘sickle’ type, one with a broad tapering globular body set on a narrow foot that flares at the base; the other and were most likely used to hold perfumed oils or precious objects. -
A Prize Aryballos
A PRIZE ARYBALLOS (PLATES 63 AND 64) T nHE most interesting single find from the excavation of 1954 on Temple Hill in Corinth was the fine aryballos of Middle Corinthian date with a representationof a dancing chorus (see above, pp. 151-152). Its significance is readily apparent: in it are combbinedneat and very careful workmanship,a fresh and lively scene, which is one of the earliest representations of a dancing chorus, and one of the longest archaic Corinthian inscriptions, other than a list of names, yet discovered on a vase (PIs. 63, 64). The subject of the scene and the inscription imply that this was not an ordin- ary product of the potter's workshop, but a special order, made as a prize, or in com- memoration of a vrictoryin a dancing contest, and dedicated by the chorus leader, Pyrvias (Pyrrhias). It is a vase worthy of a place in the early archaic temple in spite of its small size,' for every element of its decoration shows great care and the scene, with its youthful chorus and leader, is no comast dance, but a serious and proper performance, gracefully and simply executed. The vase is complete except for a piece of the front part of the lip, conveniently broken in antiquity to reveal the scene better to its modern viewers. It shows no signs of actual use, but is worn slightly on the sides and back of the handle by abrasion from the rough filling in which it lay. The clay is a typical Corinthian buff, the surface smooth and polished. -
Perfume Vessels in South-East Italy
Perfume Vessels in South-East Italy A Comparative Analysis of Perfume Vessels in Greek and Indigenous Italian Burials from the 6th to 4th Centuries B.C. Amanda McManis Department of Archaeology Faculty of Arts University of Sydney October 2013 2 Abstract To date there has been a broad range of research investigating both perfume use in the Mediterranean and the cultural development of south-east Italy. The use of perfume was clearly an important practice in the broader Mediterranean, however very little is known about its introduction to the indigenous Italians and its subsequent use. There has also been considerable theorising about the nature of the cross-cultural relationship between the Greeks and the indigenous Italians, but there is a need for archaeological studies to substantiate or refute these theories. This thesis therefore aims to make a relevant contribution through a synthesis of these areas of study by producing a preliminary investigation of the use of perfume vessels in south-east Italy. The assimilation of perfume use into indigenous Italian culture was a result of their contact with the Greek settlers in south-east Italy, however the ways in which perfume vessels were incorporated into indigenous Italian use have not been systematically studied. This thesis will examine the use of perfume vessels in indigenous Italian burials in the regions of Peucetia and Messapia and compare this use with that of the burials at the nearby Greek settlement of Metaponto. The material studied will consist of burials from the sixth to fourth centuries B.C., to enable an analysis of perfume use and social change over time. -
SPECIAL TOURS MYTHOLOGY Gallery of Greek and Roman Casts
SPECIAL TOURS MYTHOLOGY Gallery of Greek and Roman Casts Battle of the Greeks and Amazons Temple of Apollo at Phigaleia (Bassai) Greek, late 5th c. B.C. The Mausoleion at Halikarnassos Greek, ca. 360-340 B.C. Myth: The Amazons lived in the northern limits of the known world. They were warrior women who fought from horseback usually with bow and arrows, but also with axe and spear. Their shields were crescent shaped. They destroyed the right breast of young Amazons, to facilitate use of the bow. The Attic hero Theseus had joined Herakles on his expedition against them and received the Amazon Antiope (or Hippolyta) as his share of the spoils of war. In revenge, the Amazons invaded Attica. In the subsequent battle Antiope was killed. This battle was represented in a number of works, notably the metopes of the Parthenon and the shield of the Athena Parthenos, the great cult statue by Pheidias that stood in the Parthenon. Symbolically, the battle represents the triumph of civilization over barbarism. Battle of the Gods and Giants Altar of Zeus and Athena, Pergamon (Zeus battling Giants) Greek, ca. 180 B.C. Myth: The giants, born of Earth, threatened Zeus and the other gods, and a fierce struggle ensued, the so-called Gigantomachy, or battle of the gods and giants. The giants were defeated and imprisoned below the earth. This section of the frieze from the altar shows Zeus battling three giants. The myth may reflect an event of prehistory, the arrival ca. 2000 B.C. of Greek- speaking invaders, who brought with them their own gods, whose chief god was Zeus. -
Kerch Vases in the Black Sea
Kerch vases in the Black sea Tsochataridou Despoina SCHOOL OF HUMANITIES A thesis submitted for the degree of Master of Arts (MA) in Black Sea cultural Studies. January 2017 Thessaloniki – Greece Page 1 Student Name: Despoina Tsochataridou SID: 2201140017 Supervisor: Prof. Manolis Manoledakis I hereby declare that the work submitted is mine and that where I have made use of another’s work, I have attributed the source(s) according to the Regulations set in the Student’s Handbook. 01/2017 Thessaloniki – Greece Page 2 Table of contents PREFACE........................................................................................................................4 ABSTRACT ......................................................................................................................... 5 INTRODUCTION ................................................................................................................ 6 KERCH VASES .................................................................................................................... 8 Level 1 general characteristics ................................................................................... 8 Level 2 name .............................................................................................................. 9 Level 3 shapes ............................................................................................................ 9 Level 4 iconography ................................................................................................. 10 ARTISTS -
The Vrysoula Classical Deposit from Ancient Corinth 267
THE VRYSOULA CLASSICALDEPOSIT FROM ANCIENT CORINTH (PLATES 66-75 ) INTRODUCTION T HE pottery comprising the Vrysoula Classical Deposit was excavated in Ancient Corinth by Mrs. Gladys Weinberg from April 12 to April 30, 1964.1 The name of the deposit is taken from a spring at the site, located in a ravine descending from the slopes of Acrocorinth. Vrysoula lies below Anaploga and above the crossroads west of Kokkinovrysi and east of the Potters' Quarter Hill (plan, Fig. 1). The pottery ". so thickly packed that there is little earth between the sherds . ." 2 came from a natural rock-cut channel and the surrounding area on the steeply sloping bank of the ravine. In the cliff backing the pottery dump was a limekiln of the Turkish period; its contents were not kept. An investigation of the top of the cliff failed to reveal any architectural remains contemporary with the pottery. On May 25, 1964, further exploration of the site failed to uncover any more fragments of the pottery, so the excavation was terminated. In June, the site was filled in. Although the excavation was short, the amount of pottery is astonishing.3 Yet, 1 Brief reports appeared in B.C.H., LXXXIX, 1965, pp. 690-693, and Archaeological Reports for 1964-65, p. 8. A preliminary report was presented at the- sixty-seventh general meeting of the Archaeological Institute of America, 1965 (A.J.A., LXX, 1966, p. 190). I wish to thank Henry S. Robinson, former Director of the American School of Classical Studies at Athens, for suggesting that I study the deposit. -
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. -
An Analysis of Attic White-Ground Lekythoi and Athenian Notions of the Afterlife
Dining with Death: An Analysis of Attic White-ground Lekythoi and Athenian Notions of the Afterlife in Classical Greece by Maia Sian Peck Some of the most valuable and unusual visual records of Athenian concepts of the afterlife, the soul, and death in Classical Greece are Attic white-ground, funerary lekythoi from the 6th and 5th centuries BCE. Despite the fact that these polychromatic, ceramic, oil vessels were a short-lived phenomenon that emerged out of Classical red-figure pottery (ca. 450 – 425 BCE) (Cook, 1960: 172), and were predominant grave offerings in Athens only from c. 560 BCE until the end of the 5th century (Oakley, 2004: 9), to archaeologists and art historians alike, they are remarkable not only for the wealth of information they offer as tomb artifacts used for ritual libations and as burial gifts, but also for their uncommon iconography. Their imagery documents both the Athenian burial rites involving food and drink and the Attic notion of the deceased’s journey to the afterworld during the Classical period (Garland, 1985: 107 – 108). Indeed, the white-ground, funerary lekythoi are especially notable for their depictions of tomb visits, unprecedented among pottery vessels of this type, and for their portrayals of the Greek soul bearers such as the ferryman Charon and the god Hermes (Beazley, 1938: 8). Although these faded relics leave many questions unanswered, a few scholars have been able to surmise what social and religious factors, and what new Athenian attitudes toward death and the afterlife may have led to this deviation from the popular mythological subjects depicted on black- and red- figure funerary pots. -
Two Red Figure Vases and the Stories They Tell
Two Red Figure Vases and the Stories They Tell Anna Haritos [email protected] A History of the Ancient World in a Half Dozen Objects Professor Lisa Nevett CLCIV: 121 Haritos 2 Preface August is the month I look forward to the most in the year, as it is marked by my family’s yearly vacation to Greece. During the time spent there, my mom makes sure that I visit the archaeological dig sites, and museums deemed a necessity by any classical scholar. So, when Professor Nevett led my class into the Kelsey for the first time to study objects from ancient Karanis, I felt very comfortable walking through the brightly lit and peaceful gallery. Among the valuable artifacts I saw in The Kelsey Museum of Archaeology, and from the Jackier Collection, in this essay I want the spotlight to fall upon two specific objects that open up windows into everyday life in Ancient Greece. The first is an Apulian krater (Figure1) from the second half of the 4th century BCE decorated with funerary images. The second is an Attic lekythos (Figure2) from the Golden age of Athens, which depicts a scene mythic in nature. The krater (Figure1) and the lekythos (Figure2) are compared in order to shed light on the history of ancient Greece, the way in which ancient pottery was created, who created them, the meanings of the icons on the vases, and their functionality. Introduction To the naked eye she is a busy city, streets lined with tall white apartment buildings, bustling with people, each following their own internal rhythm to get through the chaos that is daily life. -
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.