Artifacts Flashcards
Linear B clay tablet from Pylos
Lefkandi. Proto-Geometric building
Proto-Geometric period: Karphi, female figurine
Sub-Mycenaean pottery
Proto-Geometric rhyton in the shape of a centaur from Lefkandi
Use of faster wheel Geometric motifs started to appear, although the decoration was still limited;
Sub-Mycenaean pottery
Proto-Geometric style
Proto-Geometric style
Concentric circles, drawn with compasses and multiple brushes;
Crosshatched triangles;
Panels;
Zigzags;
Horizontal lines;
Unpainted surfaces, left plain;
Broad black bands.
Proto-Geometric style:
-Use of faster wheel Geometric motifs started to appear, although the decoration was still limited;
-Concentric circles, drawn with compasses and multiple brushes;
-Crosshatched triangles;
- Panels;
-Zigzags;
- Horizontal lines;
- Unpainted surfaces, left plain;
- Broad black bands.
Proto-Geometric period: Euboic Proto-Geometric pottery, from Lefkandi
A. Kraterfrom the so-called ‘heroon’
B. Skyphos with pendent semicircles
Attic Proto-Geometric pottery
Late-Geometric bronze figurines:
a – from Olympia
b – from Athenian Acropolis
c – from Athenian Acropolis
The Geometric period:
A. Bronze tripods from Olympia
B. Tripod handle decorated with cast bronze horse, from Crete
Geometric bronze figurines from Olympia
A. the display of the corpse on a ceremonial bad, surrounded by mourners
B. the procession to the graveyard,
The Geometric period
Lip
A. Prosthesis
B. Ekphora
The Geometric period
A. Athens, Kerameikos cemetery. Incineration pyre remains with offerings.
B. Athens, Kerameikos cemetery. Remainsof a inhumated woman with offerings.
The Geometric period
The Geometric period
The Geometric period
Neck
Lip
Neck
Shoulder
Body
Foot
Middle-Geometric amphorae
The Geometric period
Shoulder
The Geometric period
Foot
The Geometric period
Body
The Geometric period
Athens, Dipylon amphora, 760 c. B.C.
The Geometric period
Athens, Areopagus, Rich Athenian Lady Tomb, 850 B.C.
The Tomb included the cinerary urn, 34 Geometric-style vases, a clay granary, 3 bronze pins, 1 iron pin, golden and bronze rings, imported golden earrings, faience necklace, 3 seals, an amphora containing the remains of a fetus of four weeks; anthropological exams established that the adult female maybe died pregnancy or premature childbirth.
The Geometric period
Athens, Kerameikos, Middle-Geometric pyxis, with horses figurines on the lid
The Geometric period
Athens, Areopagus, Rich Athenian Lady Tomb, 850 B.C.
The Geometric period
Attic Middle-Geometric skyphos from Eleusis, decorated with a land and naval war.
The Geometric period
Late-Geometric funerary krater (750-730 B.C.), attributed to the Hirshfeld workshop, showing the funeral procession, with the dead man laid out on a bier over a horse-drawn carriage.
Late-Geometric oinochoe from Athens, 730 c. B.C.
Late-Geometric krater from Thebes, 730 c. B.C.
The Orientalizing period: the sculpture
A. Protomes
The Orientalizing period: the sculpture
Griffin-shaped protome
The Orientalizing period: the sculpture
Bronze cauldrons decorated with sirens and griffins protome
The Orientalizing period: the sculpture
Griffin-shaped protomes from the sanctuary of Olympia.
The Orientalizing period: the sculpture
Bronze shield umbone. Olympia, National Archaeology Museum.
The Orientalizing period: the sculpture
Bronze protome from the sanctuary of Olympia
The Orientalizing period: the sculpture
Mantiklos bronze from Thebes (Beotia), dedicated to Apollo
The Orientalizing period: the sculpture
Mantiklos bronze from Thebes (Beotia), dedicated to Apollo
The Orientalizing period: pottery
Most attested shapes of Proto-Corinthian pottery are:
A - aryballos
B - olpe
C - oinochoe
D - kotyle
The Orientalizing period: pottery
Ancient Proto-Corinthian pottery.
A - Oinochoe from Cuma, attributed to Cuma group;
B - Aryballos attributed to the Evelyn painter
C - Aryballos from Cuma
The Orientalizing period: pottery
Middle Proto-Corinthian olpe
The Orientalizing period: pottery
Middle Proto-Corinthian kotyle, attributed to the Hound painter
The Orientalizing period: pottery
Middle Proto-Corinthian pottery
A. aryballos from Corinth, attributed to the Aiax painter
B. Macmillan aryballos, attributed to the Chigi painter
The Orientalizing period: pottery
Late Proto-Corinthian pottery, Olpe Chigi (650 B.C.), from a grave in Formello, now at the Villa Giulia Etruscan National Museum
The Orientalizing period: pottery
Middle Proto-Attic pottery (675-630 B.C.),
Polyphemos Painter From Eleusis
Used techniques: Silhouette, incision, outline, white painting
Main frieze: Gorgons in pursuit of Perseus, who just decapitated their sister Medusa
Snaked heads and torsos are shown frontally, while they advance with profile legs
On the neck: Odysseus and his companions blind Polyphemos
The Orientalizing period: pottery
Late Proto-Attic/early Archaic black-figure amphora (625/600 B.C.),
Known as “Nessos amphora”
The Orientalizing period: pottery
Proto-Attic pottery
Most used forms are:
A. Amphora
B. Krater
C. Oinochoe
D. skyphos
The Orientalizing period: pottery
Ancient Proto-Attic pottery (700-675 B.C.), Analatos Painter
A. hydria from Analatos, Attica
B. details of the hydria from Analatos
C. krater from Egina
D. amphora
The Orientalizing period: pottery
Middle Proto-Attic oinochoe by the Ram Jug Painter (650 B.C.), from Aegina
Odysseus and his companions escape from Polyphemos’ cave as the animals go off to pasture
The Orientalizing period: pottery
Beothian amphora, 700 B.C.
The Orientalizing period: pottery
Fragment of a krater from Argos, 650 B.C.
The Orientalizing period: pottery
Terracotta amphora from Mykonos, 650 B.C., decorated with panels of figured
scenes in relief representing a series of incidents from the capture of Troy.
Below, a detail of the Trojan horse.
The Archaic period : the pottery
Example of a urban area dedicated to clay pots production, Locri
The Archaic period : the pottery
storage and transport vessels:
1-2 amphora;
3. pelìke;
4. stàmnos.
The Archaic period : the pottery
storage and transport vessels: amphora;
The Archaic period : the pottery
storage and transport vessels:
3. pelìke;
The Archaic period : the pottery
storage and transport vessels: stàmnos.
The Archaic period: the pottery
Mixing vessels, vases for symposia or male drinking occasions:
1, 3, 4, 6. krater;
2. psyktèr;
5. lebès.
The Archaic period: the pottery
Mixing vessels, vases for symposia or male drinking occasions:
1, 3, 4, 6. krater;
The Archaic period: the pottery
Mixing vessels, vases for symposia or male drinking occasions: psyktèr;
The Archaic period: the pottery
Mixing vessels, vases for symposia or male drinking occasions: lebès.
The Archaic period : the pottery
Vases to pour water and other liquids: 1. hydrìa; 2. kalpìs; 3. kyathos; 4. oinochòe; 5. òlpe.
The Archaic period : the pottery
Vases to pour water and other liquids: 1. hydrìa;
The Archaic period : the pottery
Vases to pour water and other liquids: kalpìs
The Archaic period : the pottery
Vases to pour water and other liquids: kyathos
The Archaic period : the pottery
Vases to pour water and other liquids: oinochòe
The Archaic period : the pottery
Vases to pour water and other liquids: òlpe.
The Archaic period : the pottery
Cult vases: 1. kèrnos; 2. phiàle; 3. loutrophòros; 4. Panathenaic amphoras; 5. lebès gamikòs (nuptial vase).
The Archaic period : the pottery
Cult vases: kèrnos;
The Archaic period : the pottery
Cult vases: phiàle
The Archaic period : the pottery
Cult vases: loutrophòros
The Archaic period : the pottery
Cult vases: Panathenaic amphoras;
The Archaic period : the pottery
Cult vases: lebès gamikòs (nuptial vase).
The Archaic period : the pottery
Drinking vases: 1. kàntharos; 2. rhytòn; 3. skyphos; 4. kylix; 5. mastòs; 6. kylix; 7. kòthon.
The Archaic period: the pottery
Drinking vases: kàntharos;
The Archaic period : the pottery
Drinking vases: rhytòn
The Archaic period : the pottery
Drinking vases: skyphos
The Archaic period : the pottery
Drinking vases: kylix
The Archaic period: the pottery
Drinking vases: mastòs
The Archaic period : the pottery
Drinking vases: kòthon.
The Archaic period: the pottery
Vases for oils, perfumes and cosmetics: 1. alàbastron; 2. aryballos; 3. lèkythos; 4. askòs; 5. pyxis; 6. plemochòe; 7. lekànis (Goette, 2001).
The Archaic period: the pottery
Vases for oils, perfumes and cosmetics: alàbastron;
The Archaic period: the pottery
Vases for oils, perfumes and cosmetics: aryballos;
The Archaic period: the pottery
Vases for oils, perfumes and cosmetics: 3. lèkythos;
The Archaic period: the pottery
Vases for oils, perfumes and cosmetics: 6. plemochòe;
The Archaic period: the pottery
Vases for oils, perfumes and cosmetics: 5. pyxis;
The Archaic period: the pottery
Vases for oils, perfumes and cosmetics: 4. askòs;
The Archaic period: the pottery
Vases for oils, perfumes and cosmetics: 7. lekànis (Goette, 2001).
The Archaic period: the pottery
Late Proto-Attic/early Archaic black-figure amphora (625/600 B.C.), knowns as “Nessos amphora”
The Archaic period: the pottery
First black figures painters:
Gorgon Painter: 600-580 B.C. ca. Perhaps a student of the Nessos painter. Eponymous vase: dèinos over a support, from Etruria. Paris, Musée du Louvre (formerly the Campana collection).
The uppermost register shows an entirely figurative and narrative frieze, depicting the Gorgons running after Perseus, who beheaded their sister, Medusa. Figured frieze on the opposite side: fight between hoplites.
Below: palmettoes friezes, animals like lions, cows, deer, along with fantastic creatures like sirens and sphinxes friezes in the Corinthian tradition.
The Archaic period : the pottery
Komasts group 585-570 B.C.
Two painters in the black-figure style: KX (Komast Group, Painter X); KY (Komast Group, Komast Painter Y)The group’s most commonly painted motif is komasts, after which the group is named. While the older KX Painter still mostly painted animals and only the occasional komast scene, the komos became a standard motif for the KY painter and successors.
The Archaic period : the pottery
Sophilos: 580-570 B.C.
Potter and vase painter, perhaps a student of the Gorgon Painter Innovation + influences from the Orientalizing period/proto-Corinthian pottery
The deinos combines a narrative frieze with friezes of animals and floral motifs. Inscriptions identify main actors of the narrative scene, depicting the arrival of guests at the house of Peleus, on the occasion of his wedding with Thetis, who stays inside the house, whose façade shows Doric columns and metopes
Amphora by Sophilos
The Archaic period : the pottery
Sophilos: 580-570 B.C.
a. Dinos by Sophilos, The uppermost frieze depicts the wedding of Peleus and Thetis. Signature: “Sophilos megraphsen”
b. Detail of the upper frieze, first chariot in the procession, carrying Zeus and Hera
c. Dinos by Sophilos, detail of the upper frieze with Peleus welcoming his guests with a kantharos on his hand, the artist’s signature, the house façade
The Archaic period : the pottery
580-570 BC. Fragment of a dinos by Sophilos, depicting the funeral games in honor of Patroklos. The inscription reads: ‘Games for Patroklos, Sophilos painted me’. From Pharsala (Palaiokastro). Athens, National Archaeological Museum.
The Archaic period : the pottery
Volute krater known as François vase, after the name of the excavator who found it in in Etruria. 66 cm, 570 B.C., now in Florence, Archaeological Museum. Signed by Ergotimos as potter and Kleitias as painter. The krater is decorated with six figured friezes, only one showing the Orientalizing frieze with animals and floreals, that, from now on, looses its importance and it’s relegated to unimportant areas. Influenced by Sophilos and Gorgon painter. Black-filled figures against the orange-red ground, whose contours are carefully defined and whose internal details are rendered through incision.
Encyclopaedia of mythological events: 270 figures, 121 inscriptions, subjects: from the top: Kalydonian boar hunt (side A), dance of Athenian youths led by Theseus (side B); funeral games for Patroklos (side A), centauromachy (side B) marriage of Peleus and Thesis (sides A and B); ambush of Troilos (side A), return of Hephaistos to Olympus (side B); sphinxes and griffins flanking lotus blossom, palmettoes, panthers and lions attacking bulls, a boar, and a deer. On the foot of the vessel, there is on both sides a depiction of the battle between the Pygmies and the cranes. Attention for the representation of architectures (e.g. Peleus and Thetis house).
François vase, Ajax carrying the dead body of Achilles
The Archaic period : the pottery
Fragment of Athenian black-figure kantharos representing Achille harnessing his horses, by Nearchos, potter and vase painter (570-555 B.C.), Athens, National Museum
The Archaic period : the pottery
Fragment of Athenian black-figure kantharos representing Achille harnessing his horses, by Nearchos, potter and vase painter (570-555 B.C.), Athens, National Museum
The Archaic period : the pottery
Amasis 560-515 a.C., maybe a foreigner, an Egyptian Interested in the representation of Dionysos thiasos, daily life scenes; combines the precision and delicacy of Kleitias with an enlarged/monumental scale (see Lydos)
Amasis painter, lekythos representing women making woolen cloth, ca. 550-530 B.C.
The Archaic period : the pottery
Amasis 560-515 a.C., maybe a foreigner, an Egyptian Interested in the representation of Dionysos thiasos, daily life scenes; combines the precision and delicacy of Kleitias with an enlarged/monumental scale (see Lydos)
Amasis painter, lekythos representing a wedding procession, ca. 550-530 B.C. Not a representation of the myth, but the representation of an actual Attic wedding.
The bridal couple sit on a chariot drawn by two donkeys. A mule cart with four guests follows. Other members of the procession are on foot. The woman in the lead holds two torches, indicating that the scene takes place at night. The procession heads toward the bridegroom’s house where a woman, probably the mother of the groom, awaits. The architecture of the house is carefully indicated; the white columns of the porch may be painted wood.
The Archaic period : the pottery
A. Amasis painter, amphora representing Dionysos and satires
B. Amasis painter, amphora representing Dionysos, identified by the inscription, bearded and holding a kantharos, and a pair of dancing maenads
C. ???
The Archaic period : the pottery
Amasis painter, kylix representing horses’ domestication inside a stable
The Archaic period : the pottery
Exekias 550-530 B.C. Focused on psychological insights Representation of the pathos, of emotional states, of the moment prior to the tragedy, suggesting a sense of tension: See, for instance, the intensity of the eye contact between Achilles and Penthesilea at the moment of her death.
A. Exekias: amphora representing Herakles fighting the Nemean lion
B. Amphora representing Achilles killing Penthesilea, 540-530 B.C.,
The Archaic period : the pottery
Exekias, neck amphora representing Ajax preparing his suicide: Ajax appears in the middle, bent over his sword which he is placing in the ground. There is a tree to one side of him and his weapons to the other side.
The Archaic period : the pottery
A. Black figure amphora representing Ajax and Achilles playing a game
B. The Dioskouroi returning home from a hunt
60 cm, 540-530 B.C.
Although apparently a peaceful scene, with the two heroes represented seemingly calm while playing; nevertheless, their destiny of death is suggested by the presence of the weapons behind them and the spears, that draw the observer’s attention towards the game. The ancient user of the amphora knew Achilles will soon die and Ajax will subsequently commit suicide: the scene is dominated by foreboding and by presage of the imminent tragic fate. The figures of both Achilles and Ajax are decorated with fine incised details, showing elaborate textile patterns.
The Archaic period : the pottery
Exekias, funerary pinakes:
A. preparation of the funeral chariot
B. mourning of the dead scene
The Archaic period : the pottery
Little masters cups, miniaturistic figures in the Attic black-figure style 560-530 BC. Band cups/lip cups
The Archaic period : the pottery
Exekias, eye-cup, 540-530 B.C. Staatliche Antikensammlungen in Munich
Only the gods can escape the tragic destiny:
In the centre of the tondo, a salling ship is depicted, travelling from right to left. Within the ship is a over life sized figure, the god Dionysos; vines grow from the mast, with three large clusters of grapes on the right and four on the left. Dolphins swim below the ship (maybe the Tyrrenian pirates transformed by Dionyses)
The Archaic period : the pottery
Nikosthenes, 550-515 B.C. Potter, works for black figures and red figures painters and is interested in the morphology of the vessels. His vases are largely exported to Etruria, so that his production promotes the diffusion of the Attic iconography in Etruria.
The Archaic period : the pottery
Panathenaic amphorae
The Archaic period : the pottery
A. Laconian black-figure cup by the Arkesilas painter. King Arkesilas of Cyrene, seated, supervises the weighting and loading of cargo, 560 B.C.
B. Laconian black-figure cup by the Hunt painter. Hunt of a boar, 550 B.C
The Archaic period : the pottery
Bilingual amphora by Andokides painter, representing Herakles driving a bull, 520 B.C.,
The Archaic period : the pottery
Bilingual amphora by Andokides painter, representing Herakles banqueting in front of Athena, 520 B.C.
The Archaic period : the pottery
Red-figure kylix krater by Euphronios, representing Herakles wrestling with the giant
Antaios, in a difficult pose, 510 B.C., Paris, Louvre Museum
Representation of awkward poses, motion, detail of anatomies, muscles, veins, hair, beard, soreness (see the giant’s expression, disclosing the mouth in pain)
–> Interest in anatomy description and movement in pottery / in sculpture
The Archaic period : the pottery
Red-figure kylix krater by Euphronios, representing the death of Sarpedon, son of Zeus and Laodamia. The reverse of the krater shows a contemporary scene of Athenian youths arming themselves before battle. In the scene of Sarpedon’s death, the god Hermesdirects the personifications of Sleep (Hypnos) and Death (Thanatos) to carry the fallen away to his homeland for burial. Naturalistic poses, study of the body anatomy
The Archaic period : the pottery
Red-figure amphora by Euthymides, 510 B.C., Staatliche Antikensammlungen, Munich
Side A: Hector between Priam and Ecuba;
side B: three revelers / komos scene.
Three-quarter view, Three figures within the metope perfectly fitting the available space, Inscription reading “as never Euphronios”
The Archaic period : the pottery
Red-figure amphora by Euthymides, 510 B.C., Theseus’ abduction of Helen,
The Archaic period : the pottery
Hydria Vivenzio by Kleophrades painter. Sack of Troy encircles the shoulder. From handle left to right: Aeneas flees, with his father Anchises on his back and his son Askanios leading the way. Casandra holds on to the Palladion, beseeching Ajax not to harm her. Priam, who took refuge at an altar, holds the body of Astyanax, already killed by Neopotolemos, on his lap. A woman attacks with a pestle, others mourn,
The Archaic period : the pottery
Berlin Painter (510-470 B.C.). Usually paints elegant, single figures or small groups on ground-lines, against a black background (spotlighting effect).
The Archaic period : the pottery
Cup painters. On the left, Brygos Painter, 500-470 B.C., maenad (he depicts mythological scenes and Dionysiac ones of revelry and drinking) On the right, Douris (500-470), banquet scene (thousands of pots are attributed to his workshop)
The Classical period: Pottery
A. Persian
B.Attica
C. Athenian
D. Ilioupersis
E. Theseus
F. Boreas
The Classical period: Pottery
A. Polignoto
B. 5th
C. ‘Mannerists’
D. Berlin Painter
E. Painter of Pan
F. Ceramographers
G. Niobid Painter
H. funeral lekythoi
I. Painter of Achilles
The Classical period: Pottery
Mannerists, Painter of Pan: 480 – 460
Krater from Cuma, Pan chasing a shepherd and Artemis killing Aktaion, bitten by dogs (Boston, Museum of Fine Arts).
The ‘Mannerists’, who lead to the extreme consequences of the elegance of certain representations of late archaism (with a specific reference, for example, to the Berlin Painter). Among them is the Painter of Pan.
The Classical period: Pottery
Hermonax (470 – 450). Stamnos. Detail with Filottete, wounded, abandoned during the Greek expedition to Troy. (Paris, Musée du Louvre).
The ‘Mannerists’, who lead to the extreme consequences of the elegance of certain representations of late archaism (with a specific reference, for example, to the Berlin Painter). Among them is the Painter of Pan.
The Classical period: Pottery
Hermonax (470 – 450). Stamnos. Orpheus’s death (Paris, Musée du Louvre).
The ‘Mannerists’, who lead to the extreme consequences of the elegance of certain representations of late archaism (with a specific reference, for example, to the Berlin Painter). Among them is the Painter of Pan.
The Classical period: Pottery
Painter of Pistoxenos (475- 465).
Kylix from the Acropolis of Athens depicting, over a white background, the death of Orpheus (Athens, National Museum).
The Classical period: Pottery
Painter of Pistoxenos (475- 465).
Kylix from Locri representing, on a white background, a satyr and a maenad (Taranto, Museo Archeologico Nazionale)
The Classical period: Pottery
Painter of Pistoxenos (475- 465)
Kylix from Rhodes with Aphrodite on a swan (London, British Museum).
The Classical period: Pottery
Workshop of the Penthesilea Painter (480-430 BC). Penthesilea painter (465-450). Kylix with representation of Achilles and Penthesilea (Munich, Antikensammlungen)
The Classical period: Pottery
Penthesilea painter (465-450). Kylix (diameter: 72 cm) representing Theseus’s labors (Ferrara, Museo Archeologico Nazionale).
The Classical period: Pottery
Penthesilea painter (465-450). Kylix depicting Apollo and Tityos (Munich, Staatliche Antikensammlungen)
The Classical period: Pottery
Painter of Achilles (460- 430).
Eponymous amphora from Vulci, with a representation of Achilles (on a side) and Briseis in the act of making a libation (on the other side). (Roma, Museo Greogoriano Etrusco).
The Classical period: Pottery
Painter of Achilles (460- 430).
Stamnos from Vulci, depicting the departure of a warrior, (London, British Museum).
The Classical period: Pottery
Niobid Painter (465- 450). Eponymous krater from Orvieto, depicting, on one side, Heracles and Athena with the Argonauts and, on the other side, Apollo and Artemis killing the Niobids (Paris, Musée du Louvre). The figures are placed over multiple ground-lines, so to distribute them over the surface of the vase in various poses and gestures, three quarter and intermediate views. The calmness of Heracles and Athena’s scene of rest, sharply contrasts with the violence and action dominating Apollo and Artemis’ scene.
The Classical period: Pottery
Niobid Painter (465- 450). Eponymous crater, Niobe’s children massacre (Niobe boastfully compared the greater number of her own offspring with that of Leto, Apollo’s and Artemis’ mother: a classic example of hybris). Paris, Musée du Louvre.
The Classical period: Pottery
Penthesilea painter (465-450). Kylix depicting Zeus and Ganymede (Ferrara, Museo Archeologico Nazionale).
The Classical period: Pottery
Painter of Achilles (460- 430)
Funeral Lekythos, from Eretria, with farewell scene, (Athens, National Museum)
The Classical period: Pottery
Painter of Achilles (460- 430). Funeral lekythos depicting a girl (the deceased) with her gaze turned towards a muse (Munich, Antikensammlungen).
The Classical period: Pottery
Painter of the Phiale (440- 430), pupil of the Painter of Achilles. Calyx krater, from Vulci, depicting Hermes entrusting infant Dionysus to Papposileno (Roma, Museo Gregoriano Etrusco)
The Classical period: Pottery
Painter of the Phiale (440- 430). Funeral Lekythos, the deceased adorns herself for the last time (right), Hermes psychopomp (left) (Munich, Antikensammlungen)
The Classical period: Pottery
Lekythos in white background. Lekythos from Eretria, with the deceased at his own grave (Athens, National Museum)
The Classical period: Pottery
Lekythos in white background. (Painter of the Reed) Lekythos representing the deceased at the tomb (Athens, National Museum).
The Classical period: Pottery
Painter of Polignoto (440). Stamnos representing centaurs and Kaineus.
The Classical period: Pottery
Painter of Meidias (410- 400).
Eponymous Hydria with the abduction of the daughters of King Leucippus (London, British Museum).
The Classical period: Pottery
Polignoto Group: Kleophon Painter (430). Krater depicting a sacrificial procession (Ferrara, Museo Archeologico Nazionale).
The Classical period: Pottery
Polignoto Group: Painter of the Deinos (420). Stamnos with maenads (Napoli, Museo Nazionale).
The Classical period: Pottery
Painter of Eretria (440- 420): eponymous epinetron, from Eretria, with representation of the preparations for the wedding of Harmony, Alcestis, Peleus and Thetis (Athens, National Museum).
The Classical period: Pottery
Painter of Meidias (410- 400).
The Classical period: Pottery
Aristophanes
The Classical period: Pottery
Painter of Pronomos.
The Classical period: Pottery
Painter of Pronomos. Volute krater by Ruvo, depicting Flautist Pronomos (below) and Dionysus and Ariadne embracing (above); around, the chorus and the actors of a theatrical work. (Napoli, Museo Archeologico Nazionale)
The Classical period: Pottery
Kerch Group: Painter of Marsia (mid-4th century). Pelike da Kamiros (Rhodes), depicting Peleus and Thetis (London, British Museum)
Classical Archaeology. Hellenistic Art
House of Dionysos’ mosaics: lion’s hunt (by Alexander and Hephaestion, above), a topic typically connected to royal iconography, and Dionysos seated on a panther, holding a thyrsus in his hand (maybe an allusion to Alexander’s victories)
Classical Archaeology. Hellenistic Art
Pebble mosaic depicting a deer hunt, signed by Gnosis
Classical Archaeology. Hellenistic Art
Verghina/Aigai, royal tumulus, tomb attributed to Philip II, vestibule
Marble door (from inside), gold quiver and bronze greaves
Detail of the alabastra, the gold quiver and the bronze greaves
Classical Archaeology. Hellenistic Art
Verghina/Aigai, royal tumulus, tomb attributed to Philip II, internal room marble sarcophagus
Verghina/Aigai, royal tumulus, tomb attributed to Philip II, internal room Marble sarcophagus containing a gold larnax, whose lid was decorated with a star, symbol of the Macedonian power
Classical Archaeology. Hellenistic Art
Pompeii, House of the Faun, ‘Alexander mosaic’ depicting the battle of Issos between the Greeks (lead by Alexander, on the left) and the Persians (lead by Darius, in the center), an adaptation of a previous (310 B.C.) wall painting by Philoxenos of Eretria. I century B.C., Naples, National Archaeological Museum
Classical Archaeology. Hellenistic Art
Verghina/Aigai, royal tumulus, tomb attributed to Philip II, internal room Bronze and silver banquet vessels
Classical Archaeology. Hellenistic Art
Verghina/Aigai, royal tumulus, tomb attributed to Philip II, internal room Iron and gold armor (on the left) and ivory shield representing Achille and Penthesilea
Classical Archaeology. Hellenistic Art
House abduction of Helen’s mosaics: Deer hunt (above) and abduction of Helen by Theseus (on the left: figures are identified by inscriptions; a four-horsed chariot lead by Phorbas is depicted; Theseus has seized Helen, who outstretches her arms towards her companion)
Classical Archaeology. Hellenistic Art
Verghina/Aigai, royal tumulus, tomb attributed to Philip II, internal room Gold funerary larnax containing the burnt remains of the deceased and, above them, a golden crown. Possible identifications of the deceases: Philip II (also cause of the analyses suggesting the dead was wounded to the eye) and his young wife Cleopatra or his previous wife Olympias, mother of Alexander the Great; Philip III Arrhidhaios, Alexander’s successor, and his wife Eurydice. Gold box containing burnt remains of the deceased wrapped in a gold and purple cloth
Classical Archaeology. Hellenistic Art
Verghina/Aigai, royal tumulus, tomb attributed to Philip II, internal room Golden crown
Classical Archaeology. Hellenistic Art
Verghina/Aigai, royal tumulus, tomb attributed to Philip II, vestibule Detail of the gold and purple cloth
Classical Archaeology. Hellenistic Art
Verghina/Aigai, royal tumulus, tomb III (the so called ‘Prince tomb’), Hydria containing the ashes of the deceased surmounted by a gold crown
Classical Archaeology. Hellenistic Art
Verghina/Aigai, royal tumulus, tomb III (the so called ‘Prince tomb’), Chandelabrum and bronze vessels
Classical Archaeology. Hellenistic Art
Verghina/Aigai, royal tumulus, tomb III (the so called ‘Prince tomb’), Detail of the internal painted frieze depicting a chariots race in the hippodrome
Classical Archaeology. Hellenistic Art
Verghina/Aigai, royal tumulus, tomb I (the so called tomb of Kore, whose mythological tale is strongly connected to death and to the the after-life) The painted walls offer a unique insight into IV-century wall painings. Demeter over a monochrome background.
Classical Archaeology. Hellenistic Art
Verghina/Aigai, royal tumulus, tomb I (the so called tomb of Kore) Painted scene representing Hades carrying off Kore, who tries to fling herself sideways to escape, with her arms outstretched towards her kneeling and scare companion, who is left behind. The wheel of the chariot is rendered in perspective to create an illusion of depth. Brush strokes are rapid, creating a sense of movement
Classical Archaeology. Hellenistic Art
Verghina/Aigai, royal tumulus, tomb IV
Classical Archaeology. Hellenistic Art
Lefkadià /Mieza, tomb of Lyson and Kallikles, II B.C. People belonging to four generations of the samefamily were buried in special compartments in the walls, each marked by their name: Lyson, Euhippos, Kallikles, Sparte, Thessalonike etc. Probably they played an important role in the military system, as indicated by the items decorating the walls, including shields, helmets, greaves
Classical Archaeology. Hellenistic Art
Pergamon, mosaics from palace V
