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...

In 1981, archaeologists studying key farming developments proposed that farm communities adopted dairying sometime between 4,000 and 3,500 BCE and  began using livestock for more than just meat. "Animal bones from sites in the British Isles showed patterns of which cows were slaughtered—lots of young males and older females—it is consistent with what you would find in a dairying economy,” observed archaeologist Peter Bogucki.   Bogucki had also noticed an unusual type of pottery at a number of sites around Poland: fragments of pots that had been perforated with small holes. Sieve sherds were frequently found at sites dating as far back as the Neolithic period. But other archaeologists proposed they may have been used only as honey strainers or for braziers. Bogucki analyzed animal remains from Linear Pottery Culture settlements and concluded that Linear Pottery settlers seldom hunted for food and relied heavily on cattle. There were also almost no remains of pigs, a far m...

In her book, Animals in Roman Life and Art, the late professor Jocelyn Toynbee explains that the appearance of animals in Greco-Roman art, especially funeral art, are not allusions to a particular occupation or favorite food item but symbolize the existence of idyllic peace and plenty in paradise, either existing within the home or in the anticipated afterlife.  The Greek word for paradise derived from the eastern term "paradeisos" was first used by Xenophon to describe the extensive parks of the Persian kings that were planted with luxuriant flora and stocked with a variety of wild creatures. This symbolism extends back as the Chalcolithic period.  Scholars have noted a marked preference for askoi of zoomorphic forms on Cyprus suggesting that, at least there, askoi had a cultic and ritual use.  They point to the vessel's ancient name reflecting an object made of animal leather as proof of further assocation with animals, enough so that the term is now primarily used to s...

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...

The three-day festival of the Anthesteria was celebrated around the time of the full moon in January or February.  It celebrated the beginning of spring, particularly the maturing of the wine stored at the previous vintage, whose pithoi were now ceremoniously opened. During the feast, small gifts were exchanged and social order was interrupted or inverted, much like Roman Saturnalia, with the household slaves allowed to participate. The Anthesteria also had aspects of a festival of the dead.  Both the Keres, female spirits who bewailed violent death on the battlefield, or the Carians were ritually entertained and thought to roam the city until they were expelled at the conclusion of the festival.  A Greek proverb, said of those who pestered for continued favors,  "Out of doors, Keres! It is no longer Anthesteria!" On day one of the festival, known as Pithoigia, the jars of wine from the previous year were opened, libations offered to Dionysus, and the entire househol...

The lebes gamikos, or "nuptial lebes," (plural - lebetes gamikoi) is a form of ancient Greek pottery used in marriage ceremonies (literally, it means marriage vase). It was probably used in the ritual sprinkling of the bride with water before the wedding. In form, it has a large bowl-like body and a stand that can be long or short. A typical lebes gamikos shows wedding scenes (including mythic weddings such as the wedding of Peleus and Thetis, but the iconography can also be related to scenes such as mimes. One of the earliest lebetes gamikoi was painted by, apparently, a follower of Sophilos (c. 580 - 570 BCE). The lebes gamikos had the typical wedding procession, accompanied by the unique addition of chariots bearing Helen and Menelaos and the bride's brothers. Sophilos (active about 590 – 570 BCE) was an Attic potter and vase painter in the black-figure style. Sophilos is the oldest Attic vase painter so far to be known by his true name. Fragments of two wine basins (...

Despite rule by artistically sophisticated cultures including the Assyrians and the Egyptians, some Cypriots of the Archaic Period produced simple handmade figurines with crude faces, cylindrical bodies and plain clay trail or pellets to form hats, eyes, ears, etc., known as the snowman technique. Predominantly found in a sanctuary context, these models included not only priestesses and worshipers, but scribes, actors, musicians, mythological creatures, animals, and scenes of rural life. "Male figurines (soldiers, horsemen, charioteers, worshipers) are usually associated with sanctuaries of male divinities. A characteristic example is the sanctuary of Ayia Irini on the northwest coast of Cyprus. Here, a huge number of terracotta figurines of various sizes (even life-size) were found placed around the altar. Dated in the Cypro-Archaic period (7th-6th c. BCE), they are considered dedications associated with a male divinity that seems to have been worshiped in more than one capacity....

Relief-decorated pottery with scenes from epic poetry and from Classical Greek tragedy became more popular than painted pottery during the Hellenistic period. The name Megarian was first given to this type of mold-made relief bowl in the late nineteenth century, because some of the first known examples were said to have come from the city of Megara. It has since been demonstrated that bowls of this type, which were produced at a number of different centers, originated in Athens in the third quarter of the third century B.C.E. - Metropolitan Museum of Art Unlike earlier, wheelmade wares with surfaces decorated only with slip, paint, and glaze, these bowls were made in stamp-decorated molds that added decoration in relief. This method of manufacture gave the vessels an embossed effect that may have been intended to imitate metalwork. The vessels were thrown on a potter's wheel while inside the mold in order to produce a smooth and even inner surface while allowing the outside to pick...