Focus on Ancient Greek Pottery Teacher Notes
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A Geometric Cemetery on the Areopagus: 1897, 1932, 1947*
A GEOMETRIC CEMETERY ON THE AREOPAGUS: 1897, 1932, 1947* with Appendices on the Geometric Graves found in the Dorpfeld Excavations on the Acropolis West Slope in 1895 and on Hadrian Street ("Phinopoulos' Lot") in 1898 (PLATES 65-80) I. Introduction and the Problem a. The D6rpfeld Excavations p. 325 b. The Agora Excavations and the Search p. 327 c. Disiecta Membra p. 328 II. The Areopagus Cemetery a. General Remarks and Conclusions p. 329 b. Catalogue of Graves and Finds p. 334 Appendix A: Sources for the D6rpfeld Geometric Graves p. 365 Appendix B: The Two Geometric Graves on the Acropolis West Slope: 1895 p. 372 Appendix C: Two Geometric Graves in Phinopoulos' Lot at No. 3, Hadrian Street: 1898 p. 374 Appendix D: A Note on Poulsen's "Akropolisvasen" p. 385 Appendix E: List of Known Finds from the D6rpfeld Geometric Graves p. 387 Appendix F: The Submycenaean Child's Grave South of the Amyneion: 1892 p. 389 I. INTRODUCTION AND THE PROBLEM' A. THE DORPFELD EXCAVATIONS For seven seasons between 1892 and 1899 the German Archaeological Institute, under the general supervision of Wilhelm Dorpfeld, carried out regular excavations in * Professor Penuel P. Kahane died suddenly on February 13, 1974 in Basel. This paper is dedicated to his memory. 1 I am deeply grateful to Professor Homer A. Thompson and to the American School of Classical Studies for the opportunity to study the Agora material; to the German Archaeological Institute in Athens and to Professor Emil Kunze for permission to use the Daybook material; to Dr. Ulf Jantzen for permission to publish the vases in the Institute, and to reproduce the photographs from the Photoabteilung; and to Dr. -
University of Groningen Greek Pottery on the Timpone Della Motta and in the Sibaritide from C. 780 to 620 BC Kindberg Jacobsen
University of Groningen Greek pottery on the Timpone della Motta and in the Sibaritide from c. 780 to 620 BC Kindberg Jacobsen, Jan IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2007 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): Kindberg Jacobsen, J. (2007). Greek pottery on the Timpone della Motta and in the Sibaritide from c. 780 to 620 BC: reception, distribution and an evaluation of Greek pottery as a source material for the study of Greek influence before and after the founding of ancient Sybaris. [s.n.]. Copyright Other than for strictly personal use, 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), unless the work is under an open content license (like Creative Commons). The publication may also be distributed here under the terms of Article 25fa of the Dutch Copyright Act, indicated by the “Taverne” license. More information can be found on the University of Groningen website: https://www.rug.nl/library/open-access/self-archiving-pure/taverne- amendment. Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. -
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. -
Dottorato in Scienze Storiche, Archeologiche E Storico-Artistiche
DOTTORATO IN SCIENZE STORICHE, ARCHEOLOGICHE E STORICO-ARTISTICHE Coordinatore prof. Francesco Caglioti XXX ciclo Dottorando: Luigi Oscurato Tutor: prof. Alessandro Naso Tesi di dottorato: Il repertorio formale del bucchero etrusco nella Campania settentrionale (VII – V secolo a.C.) 2018 Il repertorio formale del bucchero etrusco nella Campania settentrionale (VII – V secolo a.C.) Sommario Introduzione ........................................................................................................................................... 6 Storia degli studi sul bucchero rinvenuto in Campania ...................................................................... 8 1. I siti e i contesti ............................................................................................................................ 16 1.1 Capua .................................................................................................................................... 18 1.2 Calatia ................................................................................................................................... 28 1.3 Cales ...................................................................................................................................... 31 1.4 Cuma ..................................................................................................................................... 38 1.5 Il kolpos kymaios ................................................................................................................... 49 2. Catalogo -
A Black-Figured Kylix from the Athenian Agora
A BLACK-FIGUREDKYLIX FROM THE ATHENIAN AGORA (PLATES 31 AND 32) I N THE spring of 1950 an ancientwell was discoveredin the area behindthe Stoa of Attalos, just east of the sixth shop from the south.' It was excavated to the bottom which was reached at a depth of 7.70 meters below the present surface of bedrock. The well was beautifully cut, round and true, in the soft green clayey bed- rock, and on two sides, the northwest and southwest, there was a series of fifteen footholds designed to help the workman who was digging the well in going down and coming up. No trace was found of the house that this well was designed to serve nor was the contemporary ground level preserved at any point near by. A pillaged foundation trench of classical Greek times passed over the mouth of the well except for the very northernmost segment, the broad deep footing trench for the back wall of the Stoa of Attalos passed about two meters to the west of the well, and a drain of the Roman period barely a meter to the east. The few remaining " islands " where bedrock stood to a higher level preserved no trace of ancient deposit. The fill in the upper meter or so of the well was loose bedrock without sherds. The next two meters produced scattered fragments of pottery of the first half of the sixth century B.C., one box full in all, among which we may note two black-figured frag- ments with animal friezes, rudely drawn, a fragmentary lid of a powder-box pyxis belonging to the Swan Group,2a fragment of a small late Corinthian skyphos with a zone of elongated animals, and several fragmentary unfigured kylixes, one of "komast " shape and two shaped like "Ionian" kylixes and having their off-set lips decorated inside with bands of thinned glaze.4 The next four and a half meters contained no sherds whatsoever, and the fill consisted sometimes of loose bedrock, occasionally of black mud. -
Technical Specifications for Kitchen Utensils
Technical Specifications for Kitchen Utensils Ref. Code: ITEM 1 - Polycarbonate inmate food Tray ( 40cm x 28cm ) KA-41 Made of polycarbonate Dishwasher safe with stacking lugs for faster drying Measures 40 cm wide by 30 cm deep by cm high Rounded edges for safer handling Six compartments for a greater variety of serving combinations, including cup holders Superior resistance to food acids, oils and stains Smooth surface and rounded interior for easier cleaning Almond colour Ref. Code: ITEM 2 - Polycarbonate cup –rigid (250 ml ) KA-42 250ml Made of polycarbonate Dishwasher safe Accommodates both cold and hot beverages; stays cool to the touch for hot beverage service Lightweight, durable and shatterproof Pebbled texture provides slip-resistance and hides wear and tear Tapered sides for easy stacking and pulling apart Stain, chip and scratch resistant Translucent amber color Ref. Code: ITEM 3 - Stainless steel Inmate food Tray KA-43 • Stainless steel 201 with weight more than 442 g divided in 5 parts. • Height minimum 2.5 cm. • Material thickness minimum 0.5 mm • ( 40cm x 28cm) Ref. Code: ITEM 4 - Polycarbonate dish for soup – PVC- rigid ( 22cm) KA-44 • Made of polycarbonate • Bowl diameter 22-24 cm • Capacity 350-360 ml Ref. Code: ITEM 5 - Plastic dish for salad – PVC- rigid KA-45 • Made of polycarbonate • Bowl diameter 22-24 cm • Capacity 225-250 ml ITEM 6- Heavy Duty Frying-pan from ( 2 set of 6 pcs from the biggest until Ref. Code: the smallest size) KA-46 Set of 6 Pcs from the biggest until the smallest size) Size fir the biggest one : 30-035 x 15-19.0-15 x 2.5 6.0 • Weight: 0.6-1.5 kg • Material: stainless steel Ref. -
Bowl Round 5 Bowl Round 5 First Quarter
NHBB B-Set Bowl 2017-2018 Bowl Round 5 Bowl Round 5 First Quarter (1) The remnants of this government established the Republic of Ezo after losing the Boshin War. Two and a half centuries earlier, this government was founded after its leader won the Battle of Sekigahara against the Toyotomi clan. This government's policy of sakoku came to an end when Matthew Perry's Black Ships forced the opening of Japan through the 1854 Convention of Kanagawa. For ten points, name this last Japanese shogunate. ANSWER: Tokugawa Shogunate (or Tokugawa Bakufu) (2) Xenophon's Anabasis describes ten thousand Greek soldiers of this type who fought Artaxerxes II of Persia. A war named for these people was won by Hamilcar Barca and led to his conquest of Spain. Famed soldiers of this type include slingers from Rhodes and archers from Crete. Greeks who fought for Persia were, for ten points, what type of soldier that fought not for national pride, but for money? ANSWER: mercenary (prompt on descriptive answers) (3) The most prominent of the Townshend Acts not to be repealed in 1770 was a tax levied on this commodity. The Dartmouth, the Eleanor, and the Beaver carried this commodity from England to the American colonies. The Intolerable Acts were passed in response to the dumping of this commodity into a Massachusetts Harbor in 1773 by members of the Sons of Liberty. For ten points, identify this commodity destroyed in a namesake Boston party. ANSWER: tea (accept Tea Act; accept Boston Tea Party) (4) This location is the setting of a photo of a boy holding a toy hand grenade by Diane Arbus. -
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. -
Epilykos Kalos
EPILYKOS KALOS (PLATES 63 and 64) N TWO EARLIERPAPERS, the writerattempted to identifymembers of prominent Athenian families in the late 6th century using a combinationof kalos names and os- traka.1 In the second of these studies, it was observed that members of the same family occurredin the work of a single vase painter,2whether praised as kalos or named as partici- pant in a scene of athletics or revelry.3The converse,i.e. that the same individual may be namedon vases by painterswho, on the basis of stylistic affinities,should belong to the same workshop,seems also to be true.4The presentpaper tries to demonstrateboth these proposi- tions by linking membersof another importantfamily, the Philaidai, to a circle of painters on whose vases they appear. The starting point is Epilykos, who is named as kalos 19 times in the years ca. 515- 505, 14 of them on vases by a single painter, Skythes.5Of the other 5, 2 are cups by the Pedieus Painter, whom Beazley considered might in fact be Skythes late in the latter's career;61 is a cup linked to Skythes by Bloesch,7 through the potter work, and through details of draughtsmanship,by Beazley;8 1 is a cup placed by Beazley near the Carpenter Painter;9and the last is a plastic aryballos with janiform women's heads, which gives its name to Beazley's Epilykos Class.10 The close relationshipof Epilykos and Skythesis especiallystriking in view of Skythes' small oeuvre, so that the 14 vases praising Epilykos accountfor fully half his total output. -
Thesis Front Matter
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. -
THE DIONYSIAN PARADE and the POETICS of PLENITUDE by Professor Eric Csapo 20 February 2013 ERIC CSAPO
UCL DEPARTMENT OF GREEK AND LATIN HOUSMAN LECTURE UCL Housman Lecture THE DIONYSIAN PARADE AND THE POETICS OF PLENITUDE by Professor Eric Csapo 20 February 2013 ERIC CSAPO A.E. Housman (1859–1936) Born in Worcestershire in 1859, Alfred Edward Housman was a gifted classical scholar and poet. After studying in Oxford, Housman worked for ten years as a clerk, while publishing and writing scholarly articles on Horace, Propertius, Ovid, Aeschylus, Euripides and Sophocles. He gradually acquired such a high reputation that in 1892 he returned to the academic world as Professor of Classics at University College London (1892–1911) and then as Kennedy Professor of Latin at Trinity College, Cambridge (1911–1936). Housman Lectures at UCL The Department of Greek and Latin at University College London organizes regular Housman Lectures, named after its illustrious former colleague (with support from UCL Alumni). Housman Lectures, delivered by a scholar of international distinction, originally took place every second year and now happen every year, alternating between Greek and Roman topics (Greek lectures being funded by the A.G. Leventis Foundation). The fifth Housman lecture, which was given by Professor Eric Csapo (Professor of Classics, University of Sydney) on 20 February 2013, is here reproduced with minor adjustments. This lecture and its publication were generously supported by the A.G. Leventis Foundation. 2 HOUSMAN LECTURE The Dionysian Parade and the Poetics of Plenitude Scholarship has treated our two greatest Athenian festivals very differently.1 The literature on the procession of the Panathenaea is vast. The literature on the Parade (pompe) of the Great Dionysia is miniscule. -
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.