"UserLevel","Redirect","dc-creator","Id","Chronology","dc-title","dc-publisher","Collection","dc-date","dc-description","Name","Icon","dc-subject","Type"
"","","","Agora:Object:Agora XXX:8","Ca. 440-430 B.C.","","","Agora","","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","","Red Figured And White Ground | One-Piece Amphorae | Pictures Not Framed","Object"
"","","","Agora:Object:S 2154","","Statue of Apollo Patroos","","Agora","1907","For detailed description see H. A. Thompson's article in ArchEph (1953-1954), pp. 30-44.; ; Cf. A 41 for fragments of kithara.","S 2154","Agora:Image:2008.01.0085::/Agora/2008/2008.01/2008.01.0085.tif::2340::4038","","Object"
"","","","Agora:Object:S 182","5th century B.C.","Draped Female Figure: Nereid Akroterion","","Agora","12 February 1932","A life-size female figure. Missing: head, right arm below elbow, left arm just below shoulder legs below knees.; Left shoulder mended from several fragments. ; Island (Parian) marble.; Cf. S 1852 (Η' 920), the fragments may be from the same figure.; ; ***Fragments in Conservation for Desalination.","S 182","Agora:Image:2008.01.0076::/Agora/2008/2008.01/2008.01.0076.tif::2628::4220","","Object"
"","","","Agora:Object:P 27581","","Moldmade Bowl Fragment","","Agora","10 August 1966","Wall fragment.; ; Below zone of egg and dart, Centaur running left, apparently in a race or procession. Below, two rosettes with a winged figure between them.; ; Glaze brown to red.","P 27581","","","Object"
"","","","Agora:Object:I 994","Ca. 375 B.C.","Dedication Fragments","","Agora","a) (Ι 454) 16 June 1933; b) (Π 48) 31 December 1934; c) (Π 63) 3 January 1935; c) (Π 63) 9 February 1935; e) (Π 221) 18 March 1935; f) (Τ 525) 21 April 1936; g) (Ρ 421) 3 March 1937; h) (Τ 1074) 9 February 1952; i) (Τ 1265) 24 March 1952; j) (Τ 2467) 19 May 1953; k) (Π 976) January 1935; l) (Π 977) January 1935; m) (Σ 3020) 15 June 1947; n) (Τ 1578) 22 May 1952","Inscribed fragments.; Dedication of Demos and soldiers in Mytilene.; ; Fragment Ι 454 a), broken all round.; Parts of two lines of the inscription preserved.; ; Fragment Π 48 b), smooth picked top preserved; elsewhere broken.; ; Fragment Π 63 c), mended from two pieces.; Another fragment with a bit of wreath, but no letters, does not join.; ; Fragment Π 122 d), inscribed face and top only preserved. At the back is the trace of a vertical cutting rough picked, which may be original. It is not the back of the stone. Three lines of the inscription remain. ; Joins with I 421.; ; Fragment Π 221 e), smooth picked top and inscribed face only preserved.; ; Fragment Τ 525 f), two joining fragments. Part of dressed top surface preserved; otherwise broken. Trace of wreath below letters. Three lines of the inscription preserved. ; Another fragment joins at the left of those first found. Part of top surface preserved; otherwidse broken. Two lines of the inscription preserved.; ; Fragment Ρ 421 g) (I 4587), joins with Π 122 d.; ; Fragment Τ 1074 h), inscribed face and smooth picked top only preserved. Two lines of the inscription preserved.; ; Fragment Τ 1265 i), front surface and smooth picked bottom side only preserved. Part of laurel crown; no letters.; ; Fragment Τ 2467 j), broken all around; part of laurel wreath on front surface. Uninscribed.; Joins to fragment Π 48 b).; ; Fragment Π 976 k), four joining fragments preserving parts of two wreaths and original bottom surface smooth picked. Fragments at upper right and lower left; lower right hand fragment marked from section T, but a number with two digits following has been painted over; provenience of upper left hand corner fragment unknown. Lower left fragment published as I 994i, and upper right fragment as I 994k, by Schweigert without cataloguing either fragment; both published as fragment k) in Hesperia 30 (1961), p. 74.; Cf. Hesperia 9 (1940), p. 314.; Entered 19 September 1966.; ; Fragment Π 977 l), smooth picked bottom; three finished surfaces preserved, one with the lower part of a wreath. Published as I 994j) in Hesperia 9 (1940), p. 314 and as fragment j) in Hesperia 30 (1961), p. 74.; Entered 19 September 1966.; ; Fragment Σ 3020 m), badly weathered fragment of pentelic marble preserving the lower part of a handsome relief wreath, original bottom and left edge, both smooth picked. From lower left of left face of Chabrias monument.; ; Fragment Τ 1578 n), a small fragment original from edge and part of a wreath. Joins with fragment h at lower left.; Entered 19 September 1966.; ; White marble.; ; ADDENDA I 3710 (Τ 255), joins at the right of fragment I 454 a) and gives part of the adjacent inscribed face also.; An unscribed fragment with lower part of wreath, original bottom at left edge, found in 15 June 1957, in a marble pile, northeast of the Odeion (H. 0.32m.; Th. 0.085m.; W. 0.32m.); published as I 994 m.; Another uniscribed fragment found in 1 August 1959; joins with fragment b).; I 1018, uniscribed, belongs, but does not join.; ; Cf. Agora III, no. 693, p. 209.","I 994","Agora:Image:2008.16.0268::/Agora/2008/2008.16/2008.16.0268.tif::3052::1134","","Object"
"","","","Agora:Object:Agora XXX:256","Ca. 480 B.C.","","","Agora","","Fifteen non-joining fragments of wall, P 18278 b--c and P 19582 a--d of torus rim with zone of ornament below. Glaze mottled here and there; has a greenish cast in places; abraded in part on rim. Max. dim. P 6103: 0.117; P 18278 a) 0.11, b) 0.111, c) 0.085, d) 0.069; P 19582 a) 0.136, b) 0.09, c) 0.078, d) 0.065, e) 0.083, f) 0.05, g) 0.033, h) 0.055, i) 0.072, j) 0.138. Est. diam. of rim 0.52. A. Ashmead, Hesperia 35, 1966, pl. 9 (P 19582 j and P 6103); pl. 10: on this plate, a =P 19582 a; h =P 19582 h; g =P 19582 i; k =P 18278 d; m =P 19582 e; n =P 19582 f; l (mispoised)=P 18278 a); G. Neumann, Gesten und Gebärden in der griechischen Kunst, Berlin 1965, p. 143, fig. 72 (P 6103, P 19582 a, c, and j); LIMC I, 1981, pp. 111--112, no. 462 and p. 127, no. 541a, both s.v. Achilleus (A. Kossatz-Deissmann).; ; A, Achilleus Mourning. P 19582 j (illustrated) shows the filleted head of the hero bent downward, his right hand resting against his forehead, the elbow on his thigh. His eyeball has slipped up a little bit beneath the upper eyelid. Achilleus wears a himation, which is pulled up to cover the back of his head, then swings down across his chest and around his right forearm. His left arm and hand are hidden beneath the garment, the hand probably clasping a bunch of the material (his covered fist overlaps his right elbow at the break); this would account for the fall of folds at the far left of P 6103 (see below). At the far right of P 18278 d (illustrated) there are drapery folds that ought to belong to the drapery that falls over the hero's knee. P 6103 (illustrated) preserves part of the klismos (a little of the seat and part of two legs) and a few folds of the himation. Near the bottom of the fragment there is the head of a spear pointed downward, not touching ground; at the very bottom is the ground line and start of the cul. The only other fragments that seem for certain to belong to this side are P 19582 g and i. Fragment i (illustrated) preserves the upper part of a woman to right wearing a long garment decorated with a lozenge pattern, the intersection of each lozenge being a dot of glaze, the rest in dilute. At the bottom right is the thumb of her right hand. Fragment g (illustrated) probably gives the top part of her head with diadem and forelock, or that of another, perhaps Thetis (see below: discussion of composition and subject). B, fight. P 19582 e (illustrated) shows part of a bent right arm of a warrior about to deliver a death blow to an opponent whose helmet crest appears above the lower break. It is difficult to be certain from which side the rest of the figured fragments come and where they fit in the composition (see below). P 18278 a (illustrated) preserves part of a round shield seen in three-quarter view from the inside and the shaft of a spear. Confronted pairs of figures placed in metopes decorate the shield band, and above the band is a shield cord from which the tassel hangs. P 19582 h (illustrated) shows the left shoulder draped with a himation and part of the chest of a man as well as his lower lip and the end of his beard. He stands frontally, head turned to right. P 19582 f, from just below the start of the rim, preserves a little bit of a curved object. The remaining six fragments (P 18278 b and c, P 19582 a--d) come from the rim with the frieze of upright encircled palmettes below the torus. Preliminary sketch. Relief contour. Dilute glaze: lozenges on woman's garment; inside of shield; muscles. Red: fillet.; ; Corbett and Edwards recognized that P 18278 and P 19582 were from the same krater, and Shefton added P 6103. The character of the glaze and clay confirms this, but placing the fragments is problematic. It would seem obvious that the shield fragment, P 18278 a, should come from Side A, the shaft of the spear continuing on down to the spear point on P 6103. But there are objections to this. First of all, the thickness of the wall between the shield fragment and the two Achilleus fragments differs by one to two millimeters, a difference that does not seem much in print but is important if one considers that the thickness of the wall of a well-potted calyx-krater, like this one, is usually consistent horizontally, although it may vary considerably from top to bottom. Secondly, if the positioning of P 18278 d as part of Achilleus' himation is correct, then the shield fragment would have to be placed quite high in the picture, about level with the hero's head. This would help with the thickness problem but would raise the question of how the shield, as well as the spear, was supported. One would like to imagine that the shield rested on the ground, steadied by the hand of a standing figure, perhaps the man on P 19582 h. But the thickness of the shield fragment as well as the glaze of the wall requires that it belong rather high in the composition. A technical feature links these two fragments with the fight fragment, P 19582 e, namely, the presence of very thin lines incised in the glaze on the inside, a rather common occurrence on such vases, but which does not appear on the three fragments assigned to Side A (such lines do not always continue around the entire inside). Thus, it would appear that P 19582 h and P 18278 a come from Side B. P 19582 f may come from either side. Ashmead (Hesperia 35, 1966, p. 26) thought it was the crest of a helmet, but the two incised concentric lines at the contour suggest instead the narrow rim of a shield. Perhaps it is one hanging on the wall above the head of Achilleus or slightly in front of him.; ; The composition of Side A, from what remains, seems to be as follows: at the left, a woman, probably Thetis or a Nereid, stands to right, surely holding something in her now missing left hand, perhaps a helmet or a greave (see below). At the right, Achilleus sits dejectedly to left. Between the two, there has to be someone who holds the spear, the point of which appears on P 6103. He (or she) must hold it rather tightly, otherwise its point would touch ground. The woman on P 19582 i cannot hold the spear because, if she did, part of the shaft would appear in front of her, and here there is only black glaze (as already noted by Ashmead, Hesperia 35, 1966, p. 29).; ; If this arrangement is correct, it remains to determine the subject. What comes to mind immediately, of course, is the Achaeans' mission to Achilleus described by Homer in Book IX of the Iliad and illustrated by the Kleophrades Painter on his hydria in Munich, inv. 8770 (Paralip. 341, 73 bis; Addenda 189). The problem with this identification, as others have recognized (see Ashmead, Hesperia 35, 1966, p. 29; A. Kossatz-Deissmann in LIMC I, 1981, pp. 111--112, no. 462 where P 6103 is included with uncertain representations of the Mission; P. Hellström, ""Achilles in Retirement,"" Medelhavsmuseet [The Museum of Mediterranean and Near Eastern Antiquities, Stockholm] 25, 1990, pp. 19--31), is that a woman should not be present, at least not as we know it from Homer and from the representations (see LIMC I, pp. 106--114). Occasionally, the Mission Scene is combined with a representation of the leading away of Briseis, as on the Louvre skyphos by Makron (G 146: ARV2 458, 2; Paralip. 377, 2; Addenda 243; Denoyelle, Chefs-d'oeuvre . . . Louvre, pp. 132--133, cat. no. 61), but there each subject appears on a different side of the vase. On the namepiece of the Briseis Painter (London, B.M. GR 1843.11--3.92 = E 76: ARV2 406, 1; Paralip. 371, 1; Addenda 232; CVA, London 9 [Great Britain 17], pl. 73 [849]), Briseis is led away while Achilleus sits in his tent wrapped in his himation, but this is not comparable to 256 because the woman on 256 faces Achilleus and she does not wear traveling clothes, although this might not be necessary for movement from one tent to another within the Greek camp.; ; A better possibility for the scene on Side A, although not without problems, is the Second Arming of Achilleus, a theme suggested by Ashmead (Hesperia 35, 1966, pp. 29--30) but rejected by Boardman (AK 19, 1976, p. 4), chiefly because the subject is only popular in red figure somewhat later than 256. In red-figured representations of the second arming, Thetis and her sisters, the Nereids, present the new set of armor to Achilleus, a contradiction with Homer, who has Thetis act alone, but which may have been inspired by a different version. In the Nereids (fr. 237 = H. J. Mette, Der verlorene Aischylos, Berlin 1963, p. 118), Aischylos introduces a chorus of Nereids mounted on dolphins, and they bring Achilleus his new set of armor, but since the date of the trilogy of which the Nereids was the second play is not assured, it cannot be proven that the early-5th-century illustrations of this story depend on the play. For a discussion of the trilogy in relation to Attic vases, see B. Döhle, ""Die `Achilleis' des Aischylos in ihrer Auswirkung auf attischen Vasenmalerei des 5. Jahrhunderts,"" Klio 49, 1967, pp. 63--143, esp. pp. 125--136; more briefly, Kossatz-Deissmann in LIMC I, pp. 122--128, where on p. 127, no. 541 a, 256 is included as an uncertain example of the Second Arming: it is unclear to me how she arrives at a date of 490 B.C. for the trilogy (p. 127).; ; If the Second Arming is the correct identification of the scene on 256, then the woman on P 19582 i is a Nereid and stands at the left of the composition with someone (Thetis[?]) between her and Achilleus. It is tempting to suggest that she held a piece of Achilleus' armor in her right hand, of which only the thumb is preserved in the lower right of P 19582 i. But when one tries to reconstruct any piece of the set (helmet, corslet, sheathed sword), part of the weapon or armor would have to appear in front of her, where all there is is black glaze. More likely, either her right hand was empty or a pair of greaves may have been suspended from her wrist, and her outstretched left hand held something else, perhaps the hero's helmet or his sword. Since the woman on P 19582 g wears a stephane, just as Thetis does on an unpublished fragmentary stamnos in Malibu, the J. Paul Getty Museum, 81.AE.220.5 (only there the band is decorated with dots), this might argue for keeping this fragment separate from P 19582 i. (Iris wears a similar headdress on Munich 2426: ARV2 189, 76; Paralip. 341, 76; Addenda 189.) Thus, the composition might have looked like this: (1) a Nereid holding a helmet or sword and perhaps the greaves; (2) Thetis with shield and spear, facing (3) Achilleus.; ; This interpretation is not without problems. First of all, it would be more compelling if we could include in this composition P 18278 a, the fragment with the shield, but for the reasons given above, this does not seem possible. For sheer size and impressiveness, there does not seem to be another shield quite like it in the rest of the Kleophrades Painter's work, and it fulfills well the requirements for a shield crafted by Hephaistos to be given to the best of the Achaeans. Secondly, if what remains on P 19582 f represents a shield hanging on the wall, it would be inappropriate in a scene that shows the Second Arming, because at that time Achilleus was without armor and weapons.; ; If the scene on 256 represents the Second Arming of Achilles, it would be the earliest known red-figured example, and it would show once again the ability of the Kleophrades Painter to depict a Trojan theme imaginatively and powerfully.; ; For the decoration on the shield band, see E. Touloupa in New Perspectives [ pp. 241--271], pp. 257--261.; ; The Kleophrades Painter (ARV2 185, 39; Paralip. 340, 39).","Agora XXX, no. 256","","Red Figured And White Ground | Calyx-Kraters | Single Register","Object"
"","","","Agora:Object:Agora XXX:589","Ca. 500 B.C.","","","Agora","","Five non-joining wall fragments, a with start of keel. Glaze much pitted on underside of bowl. P.H. a) 0.18; max. dim. a) 0.25, b) 0.174, c) 0.087, d) 0.107, f) 0.062; est. circumference at ground line 0.90. A. Ashmead, Hesperia 35, 1966, pl. 11:5.a--d, f.; ; Athletes. Fragment a preserves most of a trainer (head missing but for tip of beard) standing to left in a himation and boots (his toes are not indicated), a wand held in his left hand and resting on his shoulder. The trainer's right arm was bent at the elbow and held out. In front of him is the right foot, with the heel raised very high, of an athlete to left; the end of a javelin overlapping the feet of the trainer belongs to this athlete. Behind the trainer are the buttocks, left leg, and part of right of an athlete to right and between the two: ; ; From what remains of this athlete, it is clear that his right leg was raised slightly above the ground; he is taller than the trainer, and he is probably a discus thrower, although the position of his legs is a bit unusual (see below). Below, key pattern to left. Fragment b gives more of the pattern, the lower parts of a musician to right draped in a long chiton decorated with a vertical stripe. Like the trainer on fragment a, he probably also wears boots because his toes are not indicated as they are on the foot of the athlete in front of him. Behind the musician's foot, at the break, is a little bit of diagonal relief contour whose meaning is unclear (possibly the end of a javelin[?]). Next to the musician's feet is a javelin belonging to the youth who stands further over (left leg frontal, right in profile, the tip of one finger at the break above the javelin). He overlaps the handle of a pick, its head (mostly missing) stuck firmly in the ground (this would explain the vertical position of the head). Fragment c preserves the lower calf and left foot of an athlete to right, the right wrist and hand, the fingers lightly touching ground of one who has fallen or sits on the ground. Fragment d shows most of the left arm resting on the bent left knee, part of the right leg of an athlete sitting on the ground to right, his torso frontal. In front of him are the legs of another athlete, also to right. The legs of this athlete are not the same as those of the one on fragment c: the dilute glaze, the preliminary sketch, and the size are different. On the far right, relief line and traces of an object that looks like a jumping weight. Fragment f shows the back of the head of an athlete (at the left break), to left. Behind his head: ; ; Above, tongue pattern at the junction with the neck. Preliminary sketch. Incised contour for hair. Relief contour. Dilute glaze: muscles. Red: fillet; inscriptions.; ; It is not easy to determine what each athlete is doing or the exact sequence of the figures. The following seems to be the best possibility but not without problems. There were probably nine figures. We may begin with one that is certain and move from left to right. This is the figure of the trainer on fragment a. The athlete behind him looks like a discus thrower (compare Antiphon on the reverse of Berlin 2180 by Euphronios: ARV2 13, 1; Paralip. 321, 1; Addenda 152; Mind and Body, cat. no. 44; Euphronios, cat. no. 1). Then there seems to be a gap of about 0.08--0.10 cm. in which there would have been an athlete, an acontist whose javelin appears at the far lower left of fragment b. Next probably comes fragment b with the musician and the acontist (the character of the glaze and the potting lines on the inside suggest this arrangement). Fragments c and d are more difficult to place, but I propose that they come in alphabetical order. The slanting position of the left calf and foot on fragment c indicates an athlete in a fairly active pose (cf. the javelin thrower in the tondo of Munich 2637 by Onesimos [ ARV2 322, 28; Paralip. 359, 28; Mind and Body, cat. no. 46; Addenda 215]). The hand lightly touching ground seems to belong to the left athlete on fragment d, who sits on the ground, and the athlete in front of him is very likely a jumper, who may have looked something like the one on the outside of Florence PD 265 by Onesimos (ARV2 322, 29; Addenda 215). The last figure is the one whose right foot with heel raised appears on the far left of fragment a, the end of whose javelin overlaps the feet of the trainer. The position of this acontist may have been very similar to one on the psykter in a Swiss private collection, attributed to a painter of the Pezzino Group (ARV2 1621, 3 bis; Addenda 157; NumAntClass 16, 1987, pl. 5:7), only reversed. My identification of the last athlete as an acontist differs from that of Ashmead, who interpreted him as a wrestler and suggested that the hand on fragment c belongs to him, his victorious opponent being the one whose left calf and foot appear at the left of this fragment (p. 32). This interpretation does not explain how the javelin overlapping the feet of the trainer on fragment a fits into the composition, for as Ashmead rightly remarks (p. 31, note 53), ""there is not room for an acontist's body"" in the space that would be available. The athlete whose head is partly preserved on fragment f might belong to the one on fragment b, if he is not bent over, or to the missing athlete who would have appeared between the athlete on fragment a and the musician on fragment b (the character of the glaze suggests this placement of the fragment). If this is correct, then the small bit of relief contour at the break just behind the heels of the musician on fragment b could be the end of a javelin. Perhaps it is just a javelin stuck in the ground (cf. the two on the skyphos by the Brygos Painter, Boston 10.176 [ ARV2 381, 173; Paralip. 368, 173; Addenda 227]).; ; Manner of the Kleophrades Painter (ARV1 129, 5); near the Kleophrades Painter (ARV2 193, 1; Paralip. 341, ---, 1).","Agora XXX, no. 589","","Red Figured And White Ground | Psykters","Object"