"Chronology","Redirect","Id","dc-creator","Icon","Type","Collection","dc-subject","dc-title","dc-description","UserLevel","dc-date","Name","dc-publisher"
"","","Agora:PublicationPage:Agora-23-396","","Agora:PublicationPage:Agora-23-396::/Agora/Publications/Agora/Agora 023/Agora 023 396 (380).png::1495::2048","PublicationPage","Agora","","Paris, Musée du Louvre, F 120","Agora 23","","","Agora 23, s. 396, p. 380",""
"575-550 B.C.","","Agora:Object:Agora XII:247","","","Object","Agora","Black and Plain Pottery | Olpe | 6th Century Types | Round Mouth | High or Low Handle","","Handle missing.; ; Flaring foot, concave beneath. Reserved: the upper part of the body and a band at the greatest circumference. Added red: a broad band in the reserved band, a band at the edge of the foot, and possible traces of red outside and inside the neck.; ; Two closely similar jugs have been found outside Athens and are doubtless from the same workshop: Rhodes 6595, from Ialysos: Cl. Rh., III, pl. 3 (Grave IV, 7), found with the neck-amphora ABV 99, 55; Lipari W/B 2.; ; Similar, but not so close, is an olpe in the Petit Palais, Paris, inv. 441: CVA (15) pl. 2(642) 9; it has reserved upper body, but no reserved band with red stripe. It is most likely Attic.","","","Agora XII, no. 247",""
"","","Agora:Object:P 23214","","Agora:Image:2000.01.1278::/Agora/2000/2000.01/2000.01.1278.tif::438::513","Object","Agora","Red Figured And White Ground | Amphorae Or Pelikai","Red Figure Amphora Fragment","Broken all around.; ; Bearded head with long loose hair, right; he wears a chiton. Relief contour.; ; Light red clay. Good glaze.; ; Probably by the Altamura Painter; cf. CVA, Palermo, V 780, pl. 39,3; and CVA, Petit Palais, pl. 23,3 (B.Ph.).; ; ADDENDA (Sept. 2020), according to Agora XXX, Amphora or Pelike fragment.","","28 April 1953","P 23214",""
"Probably early 5th century B.C.","","Agora:Object:Agora XXX:1673","","","Object","Agora","Red Figured And White Ground | Fragments: Uncertain If Closed Or Open Shape","","Wall fragment from the receptacle of a rhyton(?). Max. dim. 0.063.; ; Maenad (most of draped legs, hanging leg of her nebris), probably dancing to right. Above her right thigh at the break is a bit of reserve that is very likely part of her extended forearm. Overlapping her left leg is a horn in added clay and, around it, the fingermarks of the potter where he smoothed the clay. Preliminary sketch. Relief contour. Dilute glaze: nebris.; ;  1673, with the bovine horn in added clay, probably comes from a rhyton, but so little remains that it did not seem to warrant a separate category. It is difficult to find a good parallel among similar rhyta.; ; During his visit to the Agora in the summer of 1953, Beazley suggested that 1673 is a fragment of a plastic vase, presumably a rhyton. The shape of the horn is that of a cow, but cow-head rhyta known to me are quite different and considerably later than 1673: Paris, Petit Palais 371 (ARV2 777, ---, 1) and New York, M.M.A. 06.1021.203 (ARV2 777, ---, 2; Paralip. 417, 2; H. Hoffmann, Attic Red-Figured Rhyta, Mainz 1962, pl. 13), both from the Cow-Head Group; Naples Stg. 62 by the Eretria Painter (ARV2 1251, 37; Lezzi-Hafter, Eretria-Maler, p. 348, cat. no. 258, pl. 170); Boston, M.F.A. 01.8105 (ARV2 1551, 11; Hoffmannn, pl. 19:1, 2); and Ruvo, Jatta 1116 (ARV2 1551, 12) from the Group of Class W to which Hoffmann assigns a third, Bayonne 118 (p. 42, cat. no. 112, pl. 22:1) but which Beazley (ARV2 1704) places near the Group. None of these has the horn in relief attached to the receptacle. Instead it is three dimensional. For rhyta, see Lezzi-Hafter, Eretria-Maler, pp. 263--276; also H. Hoffmann, ""Rhyta and Kantharoi in Greek Ritual,"" Greek Vases in the J. Paul Getty Museum 4 [OPA 5], pp. 131--166. I have not seen the Harvard dissertation by Marion True: ""Pre-Sotadean Red-Figure Statuette Vases and Related Vases with Relief Decoration"" (cited by Hoffmann, p. 134, note 27).","","","Agora XXX, no. 1673",""
"","","Agora:PublicationPage:Agora-6-100","","Agora:PublicationPage:Agora-6-100::/Agora/Publications/Agora/Agora 006/Agora 006 100 (88).png::1438::2048","PublicationPage","Agora","","Summary","Agora 6","","","Agora 6, s. 100, p. 88",""
"Ca. 440-430 B.C.","","Agora:Object:Agora XXX:8","","","Object","Agora","Red Figured And White Ground | One-Piece Amphorae | Pictures Not Framed","","Lower half of body, all of torus foot, start of handle B/A. Strengthened with plaster. Thin reddish glaze on inside. Misfired reddish in places on outside. Pitted here and there. P.H. 0.035. R. R. Holloway, Archaeology 19, 1966, p. 113, figs. 1--3, p. 114, fig. 6; Beck, Album, pl. 44:237, 238; Goddess and Polis, fig. 38; Matheson, Polygnotos, p. 445, cat. no. PEM 14.; ; A, musical contest. At the left, Nike (drapery from the knees down, feet) flies to right toward a musician (lower part of chiton with a decorated robe over it, feet) who stands to right on a two-stepped platform playing the kithara (the ends of its sash hang down in front of him). He faces a man (head, shoulders missing) who sits on a klismos dressed in a himation and holds a staff. He is the judge, although originally the artist intended him to hold a lyre but changed his mind and turned the arm of the lyre into a staff. B, the like. At the left, Nike (lower part of himation and chiton, feet) flies to right toward a musician (head, shoulders missing) who plays the aulos (most of each pipe). He stands to right wearing a long decorated chiton and faces a man dressed in a himation who stands frontally holding a staff in his right hand. His head was probably turned to left. Below the figures on each side, maeander pattern with saltire-squares.; ; For a fuller kitharode scene than 8, see London, B.M. E 460, a calyx-krater in the manner of the Peleus Painter (ARV2 1041, 2; Addenda 319; Matheson, p. 442, cat. no. PEM 3). There, the moment shown is a slightly earlier one, for the musician mounts the bema. A standing Nike faces him, a small one flies in from the left, holding two stacked phialai in her left hand. On the right sits the judge, balanced on the left by a seated woman holding a spear. For the two scenes reflecting musical contests at the Greater Panathenaia, see R. R. Holloway, ""Music at the Panathenaic Festival,"" Archaeology 19, 1966, pp. 112--119.; ; Manner of the Peleus Painter. Although said by Holloway to be by the Peleus Painter himself (Hesperia 35, 1966, p. 83; Archaeology 19, 1966, p. 115), 8 seems closer to his manner. The drawing is not as crisp and as sure as it is on vases by the Peleus Painter himself, and the drapery does not relate as well to the figures. Compare, e.g., Terpsichore on London, B.M. E 271 (ARV2 1039, 13; Paralip. 443, 13; Addenda 319; Matheson, p. 439, cat. no. PE 16, pl. 95) and Kalliope on Paris, Petit Palais 308 (ARV2 1040, 22; Addenda 319; Matheson, p. 441, cat. no. PE 26) with the seated judge on Side A: the manner in which the himation is pulled across the lower legs is, by comparison, rather mechanically rendered on 8. Also, the drawing of the ankle bone is more carefully articulated on vases by the painter: e.g., the namepiece, Ferrara 2893 = T.617 (ARV2 1038, 1; Paralip. 443, 1; Addenda 319; Reeder, Pandora, pp. 349--351, cat. no. 110; Matheson, p. 436, cat. no. PE 1, pl. 91). Compare also the man announcing the victories in a contest for boy athletes on Taranto 52368 (ARV2 1040, 15; Addenda 319; Matheson, p. 439, cat. no. PE 19) with the judge on Side B of 8. The drawing of the Agora figure is much sketchier by comparison. Finally, the ornament below the figures: the Peleus Painter and for the most part those decorating vases in his manner prefer the stopped-maeander pattern with saltire-squares. For two or three continuous units with saltire-squares, see Syracuse 44291, a bell-krater in his manner (ARV2 1041, 9; Addenda 319; Matheson, p. 444, cat. no. PEM 10, pl. 155).","","","Agora XXX, no. 8",""
"","","Agora:PublicationPage:Agora-23-45","","Agora:PublicationPage:Agora-23-45::/Agora/Publications/Agora/Agora 023/Agora 023 045 (29).png::1495::2048","PublicationPage","Agora","","Kraters; Type Uncertain","Agora 23","","","Agora 23, s. 45, p. 29",""
"","","Agora:PublicationPage:Agora-23-44","","Agora:PublicationPage:Agora-23-44::/Agora/Publications/Agora/Agora 023/Agora 023 044 (28).png::1495::2048","PublicationPage","Agora","","London, B.M. B 298","Agora 23","","","Agora 23, s. 44, p. 28",""