Antiquities Exhibits

Throughout my travels to various museums around the world I have often encountered red-figured fish plates. First developed in Athens, these beautifully detailed serving pieces became especially popular in South Italy and Sicily in the 400s BCE. I stumbled across this excellent video about them and learned that fish plates produced in Magna Graecia were usually more colorful with white accents and the fish are portrayed with their bellies facing inwards towards the small central depression that is thought to have contained dipping sauce like garum. Fish on plates produced in Athens are painted with their bellies facing outwards. I thought this is quite a peculiar style difference.  There also seems to be disagreement among scholars as to whether these plates were actually used in everyday life or produced for funerary purposes only, as almost all of the 1,000 examples that have been recovered came from ancient burials. Art historian Lucas Livingston points out that many of the reco...

The Meidias Painter was an Athenian red-figure vase painter active in the last quarter of the 5th century BCE (fl. c. 420 to c. 400 BCE). He is named after the potter whose signature was found on a large hydria, depicting the rape of the daughters of Leucippus (Leukippos), prince of Messenia, by the Dioscuri, excavated from an Etruscan tomb.  John D. Beazley, renowned connoisseur of Greek vases, said of Meidias' work, "Here there is beauty: The gleam of gold, loves and ladies with soft limbs, in soft raiment, and all that is shining, easeful and luxurious: perfume, honey and roses."  The Meidias Painter was known for combining his theatrical “florid” style with his “flying drapery.”  He worked during the period of the Peloponnesian War and his depiction of many Attic legends, particularly those involving Erichtonios, son of Hephaistos, points to "a clear assertion of local pride prompted by the Athenians' decisive role in the fight against the barbarian" acc...

Just as select Spartan youth endured the krypteia, a year long trial in the wilderness to prove their worthiness to become a Spartiate, Athenian young men also took part in a training regimen known as the ephebeia.  This "college" taught them the responsibilities of citizenship and trained them as soldiers.  After admission to the college, the ephebe took the oath of allegiance, recorded in histories by Pollux and Stobaeus, in the temple of Aglaurus, and was sent to Munichia or Acte to form one of the garrison there.  At the end of the first year of training, the ephebi were reviewed, and, if their performance was satisfactory, were provided by the state with a spear and a shield, which, together with the chlamys (cloak) and petasos (broad-brimmed hat), made up their equipment. In their second year they were transferred to other garrisons in Attica, patrolled the frontiers, and on occasion took an active part in war.  During these two years they were free from taxati...

Just as the eyes painted on ancient ships are thought to have possessed the ability to guide them, help them avoid hazards, and even serve an apotropaic purpose to counter human frailties such as envy, eyes adorning drinking cups (kylikes) in the second half of the sixth century BCE, especially in Athens and Chalkis, were also thought to have served an apotropaic function. Some eyes were “female”, i.e. almond-shaped and without tear-ducts, as well as male, and a stylized nose was often placed centrally between the eyes. Many of the vessels also frequently bear Dionysiac imagery. Eye-cups were painted by various painters, mostly in the black-figure style, but later also in the red-figure style. Some vessels were  bilingually painted with black-figure interior scenes and red-figure exterior scenes. Scholars have attributed this bilingual type and its specific decoration into Attic vase painting to Exekias who was active in Athens between 545 and 530 BCE.  Exekias is regarded by ...

The Penthesilea Painter, active between 470 and 450 BCE in Athens, Greece, was named from a red-figure vase which depicts the slaying of Penthesilea by Achilles. Using the painting style of that vase, classicist John Beazley attributed 177 known vases to the painter.  His work has been found on bowls, skyphoi, kantharoi and bobbins (or possibly yoyos). His work is characterised by large, space-filling figures whose posture is often bent so as to permit them to fit on a vessel. For the same reason, ornamental decoration around the edges is often very narrow. His works are also characterised by being very colourful, permitting several intermediate shades. Apart from dark coral red and the usual light red, he also used tones of brown, yellow, yellow-white and gold. His figures are painted remarkably meticulously in every detail. The Penthesilea Painter's works are dominated by depictions of boys and youths engaged in athletic activity, teaching scenes, weaponry and armour, as well as ...

The Villa Giulia Painter decorated vases in Athens during the period from about 470 to 440 B.C. He worked primarily in the red-figure technique, but he also produced some white-ground pieces. Most of his work appears to have been on large vessels, especially kraters of various forms. The Villa Giulia Painter usually favored quiet scenes, but he also included many depictions of Dionysiac religion and unusual myths. As with most ancient artists, the real name of the Villa Giulia Painter is unknown, and he is identified only by the stylistic traits of his work. Scholars named him after a krater in the Villa Giulia Museum in Rome. - Getty Museum According to classicist John Beazley, The Villa Giulia Painter's work was representative of the "academic wing of early classic vase-painting”, whose best works are distinguished by “a quiet nobility.”  Some of his work also includes a kalos or "love name" applied near a depicted character. Vase painters commonly added these term...

Producing cloth for garments and other fabrics needed in a household was a significant task for women. It required special equipment such as a loom and loomweights as well as this utensil, known as an onos or epinetron. It is a generally semicircular tile that is closed at one end. It was placed over the lower thigh and knee. Although its exact function is not clear, the roughened upper surface suggests that it served to prepare wool for spinning. - Metropolitan Museum of Art  Epinetra were often decorated, sometimes depicting black figure Amazon women, as in the case of an epinetron painted by Sappho between 500-490 BCE. A female head was often placed on the closed end where the knee was covered. Because of the strong association between wool-working and the ideal woman and wife, as in the case of Penelope weaving in the Odyssey, it was associated with weddings so decorated epinetra were placed on the graves of unmarried girls, or dedicated at temples of female deities. Black-figu...