"dc-creator","dc-description","Collection","UserLevel","Icon","dc-title","Type","dc-date","Chronology","Id","Redirect","dc-publisher","dc-subject","Name"
"","Part of neck, mouth, handle, fragment from the foot missing. ""Little Lion"" shape.; ; Shoulder: strokes above rays.; Above scene: glazed stripes.; Scene: rider galloping right, two palmettes, woman(?) running right.","Agora","","Agora:Image:2010.18.0711::/Agora/2010/2010.18/2010.18.0711.tif::568::845","Black Figure Lekythos","Object","May-June 1954","","Agora:Object:P 24546","","","","P 24546"
"","Mended from many fragments with the missing pieces restored in plaster and painted, notably much of the wall under each handle and much of Side B. Ring on neck. Neck glazed on inside. Glaze abraded here and there. Chips on side of foot. H. 0.525; rest. diam. 0.125; diam. of mouth 0.172, of foot 0.125. P. E. Corbett, Hesperia 18, 1949, pls. 73, 74.; ; A--B, procession of youths, each wearing an olive wreath around his head and clad in a himation. On Side A, they walk past an olive tree. Figure 1 is completely preserved. The forearms, hands, and middle of figure 2 are missing. He looks back at 1, and the two carry a tray at hip level. Between figures 2 and 3 is the olive tree with fruit. All that remains of 3 is the top of his head, drapery over his right arm, lower drapery, and feet. He is an aulos-player (see below). Then comes a gap, where there was probably a fourth youth to balance the composition on this side. Side B preserves parts of three youths. The first (much of body and legs missing) moves to right, looking back, supporting a large amphora of Panathenaic shape on his left shoulder and steadying it with his right hand. Only the head of the next youth and the head and upper torso of the third remain. On side of mouth, olive sprig with fruit. At handle root, two addorsed palmettes. Below the figures, stopped-maeander pattern with checkerboard-squares. Inscribed on A, starting just above the forehead of the first youth: ; ; above the head of the third: ; ; on B, above the amphora: ; ; Partial dilute glaze for hair. White (flaked): inscriptions; fruit of tree, wreaths and sprig.; ; For a discussion of the inscriptions and subject, see P. E. Corbett, Hesperia 18, 1949 [ pp. 298--351], pp. 306--308. J. Binder recognized that the third figure on Side A is a flute-player; she restored ; ; as Χρυσο'γονος and identified him as the flute-player of Alkibiades (information conveyed by John Traill to Homer Thompson in a letter of February 13, 1986). For the name, see W. Pape-Benseler, Wörterbuch der griechischen Eigennamen, Brunswick1911, p. 1694:1: Χρυσο'γονος ; Kirchner in RE III, col. 2512, s.v. Χρυσο'γονος 2 (Chrysogonos).; ; For two youths carrying a tray on a Panathenaic amphora, see the pair on the obverse of Newcastle-upon-Tyne, Univ. no no. from the Group of Polygnotos (Paralip. 445, 128 bis, Matheson, Polygnotos, p. 476, cat. no. PGU 150).; ; Corbett saw that the drawing on 22 resembled that of the Talos Painter, but he concluded from the treatment of the hair and drapery that it is by another, less talented artist, a conclusion that seems correct, although one should mention specific similarities that draw 22 closer to the Talos Painter than to his contemporaries. For the furrowed brows of the youths, cf. Polydeukos on both sides of the Talos Painter's namepiece, Ruvo, Jatta 1501 (ARV2 1338, ---, 1; Paralip. 481, 1; Addenda 366). For the double median line on the right youth on Side B, cf. Poseidon and the Boreads on the namepiece and the two youthful warriors on Amsterdam inv. 2474 (ARV2 1339, 4; Addenda 367). For the profiles of our youths, cf. especially that of Athena on a fragment near the painter in Boston, M.F.A. 03.845 (ARV2 1340, 7).","Agora","","","","Object","","Ca. 410 B.C.","Agora:Object:Agora XXX:22","","","Red Figured And White Ground | Panathenaic Amphorae | Pictures Not Framed","Agora XXX, no. 22"
"","Three non-joining fragments, a + b + e and c with rim and wall as well as start of handle, d of wall. Reserved line at top of rim. Some of the drawing abraded. P.H. a/b/e) 0.118; est. diam. at rim 0.17; max. dim. c) 0.048, d) 0.052. A. D. Trendall, Charites: Studien zur Altertumswissenschaft (Festschrift Ernst Langlotz), Bonn 1957, pl. 25, 3; LIMC II, 1984, p. 269, no. 690:c, s.v. Apollon; J. Oakley, Hesperia 57, 1988, p. 186, cat. no. 58, pl. 53; LIMC VI, 1992, p. 670, no no., s.v. Mousa, Mousai.; ; A, Apollo and Muse. Fragment a + b + e (illustrated) shows Apollo (wreathed head, shoulders, right arm, hands) sitting to right with his lyre, dressed in a chiton. Before him stands a Muse (right arm, most of legs missing) holding a lyre in her left hand. She wears a peplos and has a leaved fillet around her head. Above Apollo's head is an uncertain object (a small shrine[?]). Above his lyre: ; ; On the right, crosshatching, then a lozenge pattern with dots. Fragment c gives more of the crosshatching, and fragment d, both patterns. White (flaked): cord of Apollo's plektron; inscription; vine and berries of wreath; strings of fillet.; ; For the ornamental pattern beneath the handles, see Oakley, Hesperia 57, 1988 [ pp. 165--191], p. 171, note 25 with bibliography; also K. Schauenburg, JdI 103, 1988 [ pp. 67--85], pp. 81--84. Crosshatching to either side of the handle recurs on a skyphos Type A by the Marlay Painter, St. Petersburg, St. 808 (ARV2 1278, 33): I do not know what pattern appears directly below the handle. Lozenge pattern at the handles may also occur on skyphoi of Type A. Some examples are: Chiusi C 1828 by the Painter of Brussels R 330: three vertical bands of lozenges separated by chevrons (ARV2 930, 99; Addenda 306); Oxford 1966.709, compared with the Marlay Painter (ARV2 1281, ---; Paralip. 473); three unattributed: Utica (Tunisia), no no.: lozenges framed by crosshatching; A, satyr and maenad; B, lost; Louvre S 4055: lozenges framed by crosshatching; A--B, two satyrs; Warsaw 142210 (CVA, Varsovie 3 [Pologne 6], pl. 48 [279]:5). I know the Utica and Louvre examples from Bothmer's photographs. For the lozenge pattern on a stemless cup, see 1348.; ; C. Clairmont (""Studies in Greek Mythology and Vase Painting,"" Yale Classical Studies 15, 1957 [ pp. 161--178], p. 165, note 6) thinks that 1327 represents the contest between Apollo and Marsyas, for he did not accept Beazley's suggestion, made in the summer of 1953, that 1337, which shows a satyr, does not belong to 1327.; ; The Marlay Painter (ARV2 1278, 35).","Agora","","","","Object","","Ca. 430 B.C.","Agora:Object:Agora XXX:1327","","","Red Figured And White Ground | Skyphoi | Corinthian Type","Agora XXX, no. 1327"
"","Base intact; lip, neck, shoulder and handles largely complete; lower body fragmentary. Restored in plaster. Shape: late variety of amphora, type B.; A) Charioteer in long chiton driving a team of four horses, left; toward him, behind the horses, flies Nike. She wears a Doric chiton and an embroidered sakkos open at the top, and she carries an amphora of Panathenaic shape. Border at top, palmette and lotus; below, maeander with saltire squares. ; B) Winged female figure, wearing chiton and himation, holds out a patera to a bearded male figure. He wears an himation which leaves his right shoulder bare, and holds a lotus-tipped staff in his right hand. Slanting palmettes above maeander and saltire squares below. ; ; Around the vertical face of the lip, ivy wreath: leaves reserved, stem and berries in white. Tongue pattern around lower handle attachments. Considerable relief contour on A; none on B. Brown inner drawing on the horses. Brown wash under the charioteer's hair; brown also for a few details: palmettes on neck of Nike's amphora; horses' eyes and ears; details of harness.","Agora","","Agora:Image:2007.01.1699::/Agora/2007/2007.01/2007.01.1699.tif::3040::2008","Red Figure Amphora","Object","23 March 1937","Ca. 440-430 B.C.","Agora:Object:P 9486","","","Red Figured And White Ground | One-Piece Amphorae | Pictures Not Framed","P 9486"