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NOTE TO USERS This reproduction is the best copy available. UNIVERSITY OF CALGARY The Prostitute and Her Headdress: the Mitra, Sakkos and Kekryphalos in Attic Red-figure Vase-painting ca. 550-450 BCE by Marina Fischer A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF GREEK AND ROMAN STUDIES CALGARY, ALBERTA APRIL, 2008 © Marina Fischer 2008 ISBN:ϵϳϴͲϬͲϰϵϰͲϯϴϮϲϰͲϲ Abstract This study documents the problematic headdress iconography of Attic Red-figure vase-painting ca. 550-450 BCE. The findings demonstrate that more prostitutes than wives, or any other female figures, are illustrated with the mitra (turban), sakkos (sack) and kekryphalos (hair-net). These headdresses were prostitutes’ common apparel as well as their frequent attributes and social markers. The study also shows that prostitutes were involved in manufacturing of textiles, producing the headdresses on the small sprang hand frames chosen for their practicality, convenience and low cost. In this enquiry, two hundred and thirty (230) fully catalogued and thoroughly analyzed images include twenty (20) such scenes, in addition to two hundred and ten (210) depicting prostitutes wearing the headdresses. This iconography is the primary evidence on which the study’s conclusions are based. ii Acknowledgements I would like to thank the University of Calgary Staff Tuition Support Program for their generous contributions, the Department of Greek and Roman Studies for their consideration and understanding of my demanding schedule, Geraldine Chimirri-Russell for inspiration, Dr. Mark Golden for support, and above all Dr. Lisa Hughes for her thoughtfulness, thoroughness and encouragement. I am greatly indebted to the University of Oxford and their digital version of the Beazley Archive and the Perseus Digital Library from the Tufts University for making this study possible. Finally, I am forever grateful to my husband for his endless hours of scanning and programming allowing me to create this amazing catalogue and database. iii Dedication To my loving Johannes iv Table of Contents Approval Page ..................................................................................................................... ii Abstract ............................................................................................................................... ii Acknowledgements ............................................................................................................ iii Dedication .......................................................................................................................... iv Table of Contents .................................................................................................................v List of Tables .................................................................................................................... vii List of Figures and Illustrations ....................................................................................... viii CHAPTER ONE: INTRODUCTION ..................................................................................1 CHAPTER TWO: THE THREE HEADDRESSES ..........................................................10 Definitions .....................................................................................................................10 Current Scholarship .......................................................................................................11 Classifications ................................................................................................................13 Archaeological Evidence ...............................................................................................24 CHAPTER THREE: EASTERN ORIGIN ........................................................................30 Etymology of Mitra, Sakkos and Kekryphalos ..............................................................30 Eastern Roots .................................................................................................................33 The Goddess Aphrodite .................................................................................................40 Aphrodite’s Prostitutes ..................................................................................................58 CHAPTER FOUR: THE HEADDRESSES AND THE SPRANG TECHNIQUE ...........69 The Sprang Technique ...................................................................................................69 Evidence ...................................................................................................................69 The Technique ..........................................................................................................71 Rediscovery and Research ........................................................................................74 Origin of the Sprang Technique ...............................................................................78 The Sprang Frames in Attic Vase-painting ....................................................................81 Iconography and Interpretation ......................................................................................83 Shapes and Functions ...............................................................................................84 Gender and Sexuality ...............................................................................................88 Women “Quarters” and Doors ..................................................................................93 Luxury: Clothing and Adornment ............................................................................97 Skirt-Lifting ..............................................................................................................99 Girdle Gesture ........................................................................................................100 Mirrors ....................................................................................................................103 Oil Containers: the Alabastron, Aryballos and Lekythos .......................................108 Musical Instruments: the Aulos, Lyra, Barbitos and Krotala .................................118 Erotic Magic ...........................................................................................................124 Love Gifts ...............................................................................................................128 Money-Bags ...........................................................................................................130 Architectural Elements ...........................................................................................134 Animals: Birds and Dogs ........................................................................................137 v Sport Objects ..........................................................................................................145 Wool-working: the Kalathos ..................................................................................147 Headdresses: the Mitra, Sakkos and Kekryphalos ..................................................151 CHAPTER FIVE: PROSTITUTES AND THE TEXTILE INDUSTRY ........................156 History and Evidence ...................................................................................................156 “Spinning Hetaira”: A Re-examination ......................................................................165 Brothels: Textiles and Sex ...........................................................................................180 Aphrodite and Wool-working ......................................................................................191 CHAPTER SIX: THE HEADDRESSES IN ATTIC VASE-PAINTING .......................200 Evidence .......................................................................................................................200 Maenads vs. Prostitutes ................................................................................................202 Prostitutes and Headdresses on Pottery .......................................................................213 Female Head-Vases with the Headdress ......................................................................216 Notes on the Catalogue ................................................................................................220 Iconography and Interpretation ....................................................................................221 Vessel Shapes .........................................................................................................221 Gender and Sexuality .............................................................................................226 Symposion, Komos and Music Entertainment ........................................................229 Nudity .....................................................................................................................229 Clothing and Adornment ........................................................................................230 Footwear: Boots and Sandals .................................................................................232 Mirrors ....................................................................................................................234 Money-Bags ...........................................................................................................234 Oil Containers
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