"dc-publisher","Collection","dc-creator","Id","Name","UserLevel","dc-date","dc-title","Type","Chronology","Icon","dc-description","dc-subject","Redirect"
"","Agora","","Agora:Object:Agora XXX:6","Agora XXX, no. 6","","","","Object","Ca. 460-450 B.C.","","Two non-joining fragments, a of mouth, one handle, start of shoulder; b from lower part of wall just above the foot. Thinly glazed on inside. Glaze much abraded. Chips in rim. P.H. a) 0.26; diam. of mouth 0.289; max. dim. b) 0.22.; ; A, warrior (crest and top of helmet) to left, holding a spear (point) over his shoulder. The drawing is barely legible. B (illustrated), Nike (wing) flying to right. On neck, laurel wreath to left. Below handle, inverted palmette.","Red Figured And White Ground | One-Piece Amphorae | Pictures Not Framed",""
"","Agora","","Agora:Object:Agora XXX:7","Agora XXX, no. 7","","","","Object","Ca. 440-430 B.C.","","Mended with missing pieces restored in plaster and painted, notably sections of the lower part of the body. Glaze abraded around handle B/A. H. 0.563; rest. diam. 0.415. T. L. Shear, Hesperia 7, 1938, p. 345, fig. 28; R. R. Holloway, Archaeology 19, 1966, p. 115, fig. 4; Beck, Album, pl. 47:256 (A); Goddess and Polis, p. 50, fig. 31 (A); Matheson, Polygnotos, p. 440, cat. no. PE 22, pl. 88.; ; A, chariot team to left and Nike (victor at the Panathenaia). The charioteer (head, part of arms missing), dressed in a long chiton, leans forward, holding the reins in both hands as well as a goad in his right. Most of the chariot is missing, also parts of the horses, chiefly their muzzles and foreparts. The outstretched position of their hind legs and tails makes clear that they are galloping. On the right-hand side of the team, Nike, dressed in a long chiton with a sakkos on her head, flies toward the victor, holding out a Panathenaic amphora. Above, a chain of upright lotuses and encircled palmettes; below, stopped-maeander pattern with saltire-squares. B, king and Nike. The goddess, dressed in a long chiton with a himation over it, stands to right, holding a phiale in her outstretched right hand. Most of her face, the lower part of her body and legs, and a bit of her wings are missing. The king faces her, wearing a himation, and he holds a scepter in his outstretched right hand. Part of his body and his lower legs are lost. Above, a zone of diagonally addorsed palmettes; below, maeander pattern (part of one unit). On side of mouth, ivy (reserved) with berries. Around the root of each handle, tongue pattern. Relief contour on Side A. White (flaked): stems and berries of ivy vine.; ; For the ivy on the mouth of a one-piece amphora, see the one in Kos (RM 93, 1986, pl. 40; JdI 102, 1987, p. 117, fig. 39; Hayashi, Triptolemosbildes, pl. 7); also 12.; ; The Peleus Painter (ARV1 687, 12; ARV2 1040, 18; Addenda 319).","Red Figured And White Ground | One-Piece Amphorae | Pictures Not Framed",""
"","Agora","","Agora:Object:Agora XXX:8","Agora XXX, no. 8","","","","Object","Ca. 440-430 B.C.","","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).","Red Figured And White Ground | One-Piece Amphorae | Pictures Not Framed",""
"","Agora","","Agora:Object:Agora XXX:9","Agora XXX, no. 9","","","","Object","Ca. 460 B.C.","","Wall fragment with return. Thin reddish brown glaze on inside. Glaze fired greenish on outside. Max. dim. 0.122.; ; Athena (most of head, upper torso) standing frontally, head in profile to right, her hair bound with a fillet. Her right arm is outstretched and bent, holding a spear (a little of the shaft and part of her fingers appear at the far left). She wears a peplos with the aegis over it. Above, reserved line marking the top of the figured zone and, at the very top, a little bit of reserve, indicating that there was a zone of ornament. Dilute glaze: border of aegis.; ; Near Hermonax and his follower, the Painter of the Birth of Athena (ARV2 494, top: the number incorrectly given as P 25105).","Red Figured And White Ground | One-Piece Amphorae | Not Known If Pictures Framed Or Unframed",""
"","Agora","","Agora:Object:Agora XXX:10","Agora XXX, no. 10","","","","Object","Ca. 450 B.C.","","Four non-joining wall fragments, a and d with start of neck. Thin reddish glaze on inside. Glaze thin in places. Max. dim. a) 0.08, b) 0.17, c) 0.06, d) 0.065. C. Boulter, Hesperia 22, 1953, pl. 22:2; I. Scheibler, JdI 102, 1987, p. 74, fig. 11.; ; Fragment b (illustrated) preserves part of a figure (himation), probably a man, standing to right, holding a staff. In front of him is most of the body and one handle of a one-piece amphora decorated in silhouette technique with a nude man to right, looking back, his right arm outstretched, a staff in his left. He stands on a black ground line; above his head is a row of dots with a line above and below. Fragment d (illustrated) may come from either side of the vase. It shows the back of the crowned head of a woman to right. Above, a zone of diagonally addorsed palmettes. Fragment a gives a little more of this pattern but from the other side because it is slightly wider; fragment c preserves the frontal toes of a figure and a bit of the stopped-maeander pattern below. Red: two lines on neck above pattern on a.; ; The amphora on fragment b was probably held by someone, now missing, who stood at the right, facing to left. For a parallel (but with the figures reversed), see each side of Louvre CA 1852, an amphora Type B near the Boreas Painter (ARV2 540, 4; Addenda 256). The two amphorae on this vase are without decoration. Scheibler (JdI 102, 1987 [ pp. 57--118], p. 75) thinks that the figure partly preserved on fragment b held the amphora, but on the vase just cited the bottom of the amphora points toward its holder, and presumably the one on 10 did too. For a crown similar to the one on fragment d, cf. that of the woman (Helen[?]) on Ferrara 2739 = T.749 by the Boreas Painter (ARV2 536, 1; Paralip. 384, ---, 1; Addenda 255).; ; Not from the same amphora as 11 or 12: the glaze on the outside of 10 is duller than on 11; on the inside it is reddish; the hearts of the palmettes are differently treated. Also, fragment a has two red lines above the pattern. What remains of the glaze on the inside of 10 indicates that it does not come from the same amphora as 12.","Red Figured And White Ground | One-Piece Amphorae | Not Known If Pictures Framed Or Unframed",""
"","Agora","","Agora:Object:Agora XXX:11","Agora XXX, no. 11","","","","Object","Ca. 450-440 B.C.","","Wall fragment with return and start of mouth at very top. Thin brownish black glaze on inside. Glaze pitted and abraded in places. P.H. 0.22; P.W. 0.219. H. A. Thompson, Hesperia 21, 1952, pl. 30:c; C. Boulter, Hesperia 22, 1953, pl. 22:3; J. M. Cook, JHS 72, 1952, pl. 7:1; H. Gallet de Santerre, BCH 76, 1952, p. 214, fig. 13; E. Blegen, AJA 56, 1952, pl. 9:D; H. A. Thompson, AA, 1952, p. 167, fig. 10; C. Boulter, Archaeology 10, 1957, p. 194; H. A. Thompson, Fasti arch. 6, 1951, p. 144, fig. 42; E. Paribeni, EAA 1, 1958, p. 980, fig. 1236.; ; Warrior leaving home. The youthful warrior stands to right, holding a phiale in his outstretched right hand. Preserved are his head protected by a Chalcidian helmet with the cheekpieces turned up, part of his shoulders with a cloak, and his right forearm and hand. In his left hand, now missing, he held a spear (its shaft extends through the ornament above). A snake decorates the cheekpiece of the helmet. Above, diagonally addorsed palmettes.; ; The position of the warrior suggests that he stood just to the left of the center, probably facing a woman.; ; Not from the same amphora as 10: see sub 10.; ; The Barclay Painter (ARV2 1068, 17).","Red Figured And White Ground | One-Piece Amphorae | Not Known If Pictures Framed Or Unframed",""
"","Agora","","Agora:Object:Agora XXX:12","Agora XXX, no. 12","","","","Object","Ca. 440-430 B.C.","","Mouth fragment with start of neck. Mouth flares slightly, flat and glazed on top. Glazed on inside. Much of the glaze fired red; abraded in places. Max. dim. 0.122.; ; On side of mouth, ivy wreath with berries, the leaves reserved, the vine and berries in added white (flaked).; ; Not from the same amphora as 10: see sub 10.; ; Perhaps by the Dinos Painter. Cf. the mouth of his amphora Type B in the Geroulanos Collection (ARV2 1154, 38 bis; JdI 102, 1987, p. 69, fig. 5; Matheson, Polygnotos, p. 389, cat. no. D 43). The drawing of the ivy in particular seems similar. For ivy on the side of the mouth, see also 7.","Red Figured And White Ground | One-Piece Amphorae | Not Known If Pictures Framed Or Unframed",""
"","Agora","","Agora:Object:Agora XXX:13","Agora XXX, no. 13","","","","Object","Ca. 440-430 B.C.","","Wall fragment. Max. dim. 0.06.; ; Horse (top of neck and mane, ear, forelock, a bit of forehead and cheek), probably a mount, to right. Preliminary sketch. Relief contour. Dilute glaze: muscles. White: studs on cheekstrap of bridle.; ; If this is a chariot horse, it has to be the right-hand pole horse; if it were a trace horse, one would expect to see the neck and head of the pole horse where there is black glaze. See the team on Ferrara 1685 = T.308 by the Painter of Bologna 228 (ARV2 511, 5; Paralip. 382, 5; Addenda 252).","Red Figured And White Ground | One-Piece Amphorae | Not Known If Pictures Framed Or Unframed",""