John H. Oakley
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Herakles Iconography on Tyrrhenian Amphorae
HERAKLES ICONOGRAPHY ON TYRRHENIAN AMPHORAE _____________________________________________ A Thesis presented to the Faculty of the Graduate School University of Missouri-Columbia _____________________________________________ In Partial Fulfillment Of the Requirements for the Degree Master of Arts ______________________________________________ by MEGAN LYNNE THOMSEN Dr. Susan Langdon, Thesis Supervisor DECEMBER 2005 ACKNOWLEDGEMENTS I would like to thank my thesis advisor, Dr. Susan Langdon, and the other members of my committee, Dr. Marcus Rautman and Dr. David Schenker, for their help during this process. Also, thanks must be given to my family and friends who were a constant support and listening ear this past year. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS………………………………………………………………ii LIST OF ILLUSTRATIONS……………………………………………………………..v Chapter 1. TYRRHENIAN AMPHORAE—A BRIEF STUDY…..……………………....1 Early Studies Characteristics of Decoration on Tyrrhenian Amphorae Attribution Studies: Identifying Painters and Workshops Market Considerations Recent Scholarship The Present Study 2. HERAKLES ON TYRRHENIAN AMPHORAE………………………….…30 Herakles in Vase-Painting Herakles and the Amazons Herakles, Nessos and Deianeira Other Myths of Herakles Etruscan Imitators and Contemporary Vase-Painting 3. HERAKLES AND THE FUNERARY CONTEXT………………………..…48 Herakles in Etruria Etruscan Concepts of Death and the Underworld Etruscan Funerary Banquets and Games 4. CONCLUSION………………………………………………………………..67 iii APPENDIX: Herakles Myths on Tyrrhenian Amphorae……………………………...…72 BIBLIOGRAPHY………………………………………………………………………..77 ILLUSTRATIONS………………………………………………………………………82 iv LIST OF ILLUSTRATIONS Figure Page 1. Tyrrhenian Amphora by Guglielmi Painter. Bloomington, IUAM 73.6. Herakles fights Nessos (Side A), Four youths on horseback (Side B). Photos taken by Megan Thomsen 82 2. Tyrrhenian Amphora (Beazley #310039) by Fallow Deer Painter. Munich, Antikensammlungen 1428. Photo CVA, MUNICH, MUSEUM ANTIKER KLEINKUNST 7, PL. 322.3 83 3. Tyrrhenian Amphora (Beazley #310045) by Timiades Painter (name vase). -
Catullus, Archilochus and the 'Motto'. Two Poems of Catullus Have Long Been Compared with Fragments of Ar- Chilochus
I TWO CATULLIAN QUESTIONS L Catullus, Archilochus and the 'motto'. Two poems of Catullus have long been compared with fragments of Ar- chilochus. First, Catullus 40 and Archilochus 172 West (fully discussed by Hendrickson "CP" 20, 1925, 155); qwenan te mala mew, miselle Ravide, agit praccípítem in rrcos iambos ? quid dcus rtbi nonbene ad.vocatus ve cordcm parat excímre rimn? an uî penenias ín oravulgi? quidvis? qunlubet esse natus oPns? eris, quando quidcm mcos cttnores cwn longavoluisti amare poena. n&rep Auróppa, noîov Érppóoco tó6e tíg oùg rccr,p{epe epwctg fig cò rpìv ;1pfipqoOa; vOv òè 6l rol.ùq úocoîot gcwérrt fflog. This is known to be the beginning of a poem, since Hephaestion, who quotes l-2, only adduces the beginnings of poems; 2I0 ríg &pa òaíprov (quis d.eus) raì téoo 1oX,oúpevoE may well come from the same context. Moreover, as Hendrickson remarks, Lucian's (Pseudol. 1) paraphrase of the context of 223, which he says was addressed to one of toò6 repureteîg é,oopévoog (cf. praecípítem) rfi 1ol.fr t6v iópporv crúto0 who had re- viled the poet, seems to indicate that it went with 172; ín that case Lucian's 6 rcróòatpov &v0prone=míselle, and aiticq (qtoOvtc rai ùro0é- oeqtoî6 iúpporq will help to explain Catullus' application of iantbi to hen- decasyllables (though it does not need much explanation; cf. 54.6 and fr. 3). If Catullus had Archilochus in mind, he diverged from him in the last two lines, which envisage a situaúon quite different from that between Archilo- chus and Lycambes; the poem of Archilochus seems to have continued at considerable length and included the fable of the fox and the eagle (172- 181). -
(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. -
Attic Black Figure from Samothrace
ATTIC BLACK FIGURE FROM SAMOTHRACE (PLATES 51-56) 1 RAGMENTS of two large black-figure column-kraters,potted and painted about j1t the middle of the sixth century, have been recovered during recent excavations at Samothrace.' Most of these fragments come from an earth fill used for the terrace east of the Stoa.2 Non-joining fragments found in the area of the Arsinoeion in 1939 and in 1949 belong to one of these vessels.3 A few fragments of each krater show traces of burning, for either the clay is gray throughout or the glaze has cracked because of intense heat. The surface of many fragments is scratched and pitted in places, both inside and outside; the glaze and the accessory colors, especially the white, have sometimes flaked. and the foot of a man to right, then a woman A. Column krater with decoration continuing to right facing a man. Next is a man or youtlh around the vase. in a mantle facing a sphinx similar to one on a 1. 65.1057A, 65.1061, 72.5, 72.6, 72.7. nuptial lebes in Houston by the Painter of P1. 51 Louvre F 6 (P1. 53, a).4 Of our sphinx, its forelegs, its haunches articulated by three hori- P.H. 0.285, Diam. of foot 0.203, Th. at ground zontal lines with accessory red between them, line 0.090 m. and part of its tail are preserved. Between the Twenty-six joining pieces from the lower forelegs and haunches are splashes of black glaze portion of the figure zone and the foot with representing an imitation inscription. -
VI the Voice of the Workshop: Signatures As a Source of Information on Potters, Painters and the Ways They Worked Together
UvA-DARE (Digital Academic Repository) Pottery to the people. The producttion, distribution and consumption of decorated pottery in the Greek world in the Archaic period (650-480 BC) Stissi, V.V. Publication date 2002 Link to publication Citation for published version (APA): Stissi, V. V. (2002). Pottery to the people. The producttion, distribution and consumption of decorated pottery in the Greek world in the Archaic period (650-480 BC). General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:06 Oct 2021 VI The voice of the workshop: signatures as a source of information on potters, painters and the ways they worked together 97 VI. 1 Introduction: much discussion, little progress -
Amazons, Thracians, and Scythians , Greek, Roman and Byzantine Studies, 24:2 (1983:Summer) P.105
SHAPIRO, H. A., Amazons, Thracians, and Scythians , Greek, Roman and Byzantine Studies, 24:2 (1983:Summer) p.105 Amazons, Thracians, and Scythians H A. Shapiro HE AMAZONS offer a remarkable example of the lacunose and T fragmented state of ancient evidence for many Greek myths. For while we hear virtually nothing about them in extant litera ture before the mid-fifth century, they are depicted in art starting in the late eighth! and are extremely popular, especially in Attica, from the first half of the sixth. Thus all we know about the Greeks' con ception of the Amazons in the archaic period comes from visual rep resentations, not from written sources, and it would be hazardous to assume that various 'facts' and details supplied by later writers were familiar to the sixth-century Greek. The problem of locating the Amazons is a good case in point. Most scholars assume that Herakles' battle with the Amazons, so popular on Attic vases, took place at the Amazon city Themiskyra in Asia Minor, on the river Thermodon near the Black Sea, where most ancient writers place it.2 But the earliest of these is Apollodoros (2.5.9), and, as I shall argue, alternate traditions locating the Ama zons elsewhere may have been known to the archaic vase-painter and viewer. An encounter with Amazons figures among the exploits of three important Greek heroes, and each story entered the Attic vase painters' repertoire at a different time in the course of the sixth century. First came Herakles' battle to obtain the girdle of Hippolyte (although the prize itself is never shown), his ninth labor. -
15 Robertson 1502
MARTIN ROBERTSON Charles Martin Robertson 1911–2004 MARTIN ROBERTSON was born in Pangbourne on 11 September 1911, the first child of Donald Robertson, who had been appointed that year to an Assistant Lectureship in Classics at Trinity College, Cambridge, and Petica (née Coursolles Jones). The family, including his brother Giles who was born in 1913, lived in Huntingdon Road in Cambridge, moving after the First World War to Bateman Street overlooking the Botanic Gardens. Although Donald wanted his sons to follow him at Westminster School, Petica, a strong personality who ran a salon for the literary and artistic personalities of the day, wished them to stay at home, and, after a time at a prep school, they attended The Leys School in Cambridge. Martin (he was always ‘Martin’, never ‘Charles’, to his parents and his children) learned to read early and is reputed to have read from the newspaper, when four years old, to the noted Cambridge mathematician G. H. Hardy. His love of literature was deep and abiding, but he was not a practical boy nor good at physical pursuits. His father loved riding and arranged for Martin to have riding lessons; Martin did not like the instructor and the lessons were not a success. He found his father rather oppressive and felt that he was an inferior reproduction of him. Whether he would have fared better at the piano is unknown, as Petica decided that Giles was the musi- cal one and denied Martin the chance. He never learned to drive but enjoyed cycling (in his late sixties, on retirement from his Oxford chair and moving house to Cambridge, he cycled all the way from the one to the other). -
Volgei Nescia: on the Paradox of Praising Women's Invisibility*
Matthew Roller Volgei nescia: On the Paradox of Praising Women’s Invisibility* A funerary plaque of travertine marble, originally from a tomb on the Via Nomentana outside of Rome and dating to the middle of the first century BCE, commemorates the butcher Lucius Aurelius Hermia, freedman of Lucius, and his wife Aurelia Philematio, likewise a freedman of Lucius. The rectangular plaque is divided into three panels of roughly equal width. The center panel bears a relief sculpture depicting a man and woman who stand and face one another; the woman raises the man’s right hand to her mouth and kisses it. The leftmost panel, adjacent to the male figure, is inscribed with a metrical text of two elegiac couplets. It represents the husband Aurelius’ words about his wife, who has predeceased him and is commemorated here. The rightmost panel, adjacent to the female figure, is likewise inscribed with a metrical text of three and one half elegiac couplets. It represents the wife Aurelia’s words: she speaks of her life and virtues in the past tense, as though from beyond the grave.1 The figures depicted in relief presumably represent the married individuals who are named and speak in the inscribed texts; the woman’s hand-kissing gesture seems to confirm this, as it represents a visual pun on the cognomen Philematio/Philematium, “little kiss.”2 This relief, now in the British Museum, is well known and has received extensive scholarly discussion.3 Here, I wish to focus on a single phrase in the text Aurelia is represented as speaking. -
NOVEMBER 6-8, 1980 Headquarters: Holiday Inn Athens, Georgia
THE CLASSICAL JOURNAL 81 CLASSICAL ASSOCIATION OF THE MIDDLE WEST AND SOUTH THE SOUTHERN SECTION THE UNIVERSITY OF GEORGIA NOVEMBER 6-8, 1980 Headquarters: Holiday Inn Athens, Georgia PROGRAM WEDNESDAY, NOVEMBER 5 7:00-9:00 P.M. Registration. (Fee $8.00; students $2.00) THURSDAY, NOVEMBER 6 8:30 A.M. Registration. 9:00 A.M. Morning Session A. Parthenon Room Arthur F. Stocker, University of Virginia, presiding. 1. THE LANGUAGE OF EARLY ROMAN TRAGEDY. C Wayne Tucker, Hampden-Sydney College. 2. ON THE MEANING OF FORS FORTUNA, A HINT FROM TERENCE. Francis M. Lazarus, University of Dayton. 3. DIDEROT ON TERENCE: CHANGING FASHION IN THE JUDGMENT OF TERENCE. Walter E. Forehand, Florida State University. Ten-minute recess 4. CATO'SD£^Gi?/CL/LTC//?/4.THESTATEOFTHETEXT. George Graham Mason, King College. 5. TO READ A TEXT. Robert Dale Sweeney, Vanderbilt University. 6. TEACHING CLASSICS ON TELEVISION. Grace Starry West, University of Dallas. 7. DIRECTIONAL PREPARATION IN THE ELEMENTARY SCHOOL FOR AN ADVANCED CLASSICAL COURSE OF STUDY AT THE SECONDARY LEVEL. Stephen Lee Pearce, Jesuit High School, New Orleans. 9:00 A.M. Morning Session B. Delphi Room. James W. Alexander, University of Georgia, presiding. 1. HERODOTUS' INFLUENCE ON MARATHON AND THE IMPLICATIONS. Kimball Armayor, University of Alabama. 2. HERODOTUS 6.43.3: A RETRACTION? John D. Noonan, University of South Florida. 3. DID XENOPHON WRITE THE AGESILAUS? Christina Elliott Sorum, North Carolina State University at Raleigh. Ten-minute recess 4. THE CARMEN DE BELLO ACTIACO AND EARLY IMPERIAL EPIC. Herbert W. Benario, Emory University. 5. THE LAST LABOR OF SENECA'S HERCULES. -
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. -
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. -
Nancy Hirschland Ramage Source: American Journal of Archaeology, Vol
A Merrythought Cup from Sardis Author(s): Nancy Hirschland Ramage Source: American Journal of Archaeology, Vol. 87, No. 4 (Oct., 1983), pp. 453-460 Published by: Archaeological Institute of America Stable URL: http://www.jstor.org/stable/504103 Accessed: 09/10/2008 11:11 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=aia. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. 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 A MerrythoughtCup from Sardis* NANCY HIRSCHLAND RAMAGE (Pls.