Gordon Krater is the managing partner of Plante Moran, an accounting and consulting firm based in Detroit.
|
|
The return of the Euphronios krater was an international dispute that played out over decades before the Met agreed to send it back.
|
|
By 2006, it had become clear that the Euphronios krater had been looted from an Etruscan tomb northwest of Rome in 1971 before being sold to the Met.
|
|
In that case, a forensic archaeologist approached law enforcement officials last May with evidence that the item, known as a krater, had been looted from an ancient grave in Italy.
|
|
About a decade ago, for instance, the museum returned a 2,500-year-old vase known as the Euphronios krater to the Italian government, which suspected that it had been plundered.
|
|
Experts date the vase, which is also known as a bell krater, to 21989 B.C. and attribute it to the Greek artist Python, considered one of the two greatest vase painters of his day.
|
|
The case closely echoes the removal of another terra-cotta wine vessel, the Euphronios Krater, from the museum in 22006 after evidence surfaced that it had been illegally excavated from an ancient burial ground in Italy.
|
|
From a 3D model of a krater, he has created a foam copy that replicates the original artifact's shape and size, then blanketed that copy with linen on which he printed a flattened image of the 3D model.
|
|
It reads "of Pilates," in Greek letters set around a picture of a wine vessel known as a krater, and is said by archaeologists to be only the second artifact from his time ever found with his name.
|
|
We learn how to behave in the rowdy taverns of ancient Ur ("the perfect place for the craft-ale snob") and at a Greek Symposium, where the wine poured from the krater bowl was closely regulated by the host, although with mixed success.
|
|
The vase, which was displayed for more than two decades in the Greco-Roman galleries of the museum, is a vividly painted bell krater depicting Dionysus, the god of wine, fertility, and creative ecstasy, riding in a cart pulled by a satyr.
|
|
While its significance does not rise to the level of the far larger Euphronios Krater, which the Met sent back to Italy after a 30-year dispute, the newly confiscated vessel is a remarkably intact survivor of an age when the Greeks colonized Paestum, a Mediterranean city in the Campania region south of Rome, and created temples and artworks of legendary beauty.
|
|
Three works open the show with a splash: Amanda Browder's "Magic Chromacity" (2014) and Jenny Hankwitz's "C'mon, C'mon" (2008) on the north side of the lobby and Frank Owen's "Krater" (2012-13) on the south (a quirky aspect of the space is that it offers equal access to the viewing areas from both the right and left of the entrance, adding an aleatory challenge to the curatorial narrative).
|
|
Browder's "Magic Chromacity" is a site-specific installation of draped and rolled multicolored fabric, which was first assembled and installed as a community project in Birmingham, Alabama; Hankwitz's "C'mon, C'mon," according to the wall text, is an abstract oil painting based on tracings the artist made from "flung slip markings in the clay studio"; Owen's "Krater" is an extravagantly layered composition incorporating abstract and representational elements; and Godward's "Alter Piece for CERN (chaos basically)" lives up to its subtitle with a 12-foot-high aluminum frame bursting with beachball-size spheres made from massive pours of urethane foam in bright, kaleidoscopic colors.
|
|
The Metropolitan Museum of Art is said to have purchased the Euphronios Krater in 1972 for one million dollars. Eventually, the Krater was returned to the Italian Government and the Krater was brought to the Villa Giulia Museum in Rome.
|
|
This krater is considered to be the most famous Greek painted vase.Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 111. It is the first known volute krater made of clay.
|
|
Euphronios Krater In February 2006, the Metropolitan Museum of Art negotiated the repatriation of the Euphronios krater to Italy, from where it was thought to have been looted in the early 1970s.
|
|
The Odysseus in the Underworld krater is a Lucanian kalyx-krater decorated in the red-figure style dating to dating to ca. 380 BC - ca. 360 BC. Side A of the krater depicts Homer's story of Odysseus's visit to the Underworld to consult the dead seer Teiresias. This meeting is known as a nekuomanteion or “consultation with the dead”.
|
|
Water jar with Herakles and the Hydra, c. 525 BC Example of Greek-style vase painting in Caere. Eurytus and Heracles in a symposium. Krater of corinthian columns called 'Krater of Eurytus', c.
|
|
Odysseus in the Underworld Krater The Odysseus in the Underworld krater is a Lucanian kalyx-krater decorated in the red-figure style dating to ca. 380 BC - ca. 360 BC. It was found in Pisticci, south Italy and is believed to be the work of the Dolon painter, a famous Lucanian red-figure vase painter who worked in the Metaponto workshop and had a particular affinity for large krateres and mythological scenes. The krater is now at the Bibliothèque Nationale in Paris.
|
|
Attic red-figure calyx-krater, c. 460–450 BC, from Orvieto (the Niobid Krater). The Romans, when they took Volsinii, razed the town, and compelled the inhabitants to migrate to another spot. (Zonaras, l.
|
|
Calyx-Krater by the Painter of the Berlin Hydria The calyx-krater by the artist called the "Painter of the Berlin Hydria" depicting an Amazonomachy is an ancient Greek painted vase in the red figure style, now in the Metropolitan Museum of Art, New York. It is a krater, a bowl made for mixing wine and water, and specifically a calyx-krater, where the bowl resembles the calyx of a flower. Vessels such as these were often used at a symposion, which was an elite party for drinking.
|
|
The Amphiaraos krater The Amphiaraos krater is a Late Corinthian red-ground column krater. It is considered the masterpiece of the Amphiaraos Painter (whose name vase it is) and one of the major specimens of the red-ground vase painting of Corinth. Dated to circa 560 BC, the Amphiaraos Krater depicts on the front a frieze of horsemen and above it the departure of Amphiaraos. The back was decorated with a battle frieze, above it again Amphiaraos, this time as a participant in the funeral games of Pelias.
|
|
The first is a round-bottomed footless krater with side handles and a plate-like rim (cf. example 1); the second is a similar krater on a pedestal. This latter is the shape known in Picenum, where its occurrence at Novilara puts its date at least as early as 600BC. From the round-bottomed krater is evolved the most peculiar and characteristic product of Canosa, that is, the double-storied jar.
|
|
Krater is a role-playing video game for Microsoft Windows. Fatshark developed the game following the studio's moderate success after developing Lead and Gold: Gangs of the Wild West and other titles. Krater was released in 2012 via the Steam digital distribution platform.
|
|
See A.D. Trendall, The Mourning Niobe, Revue Archéologique Nouvelle Série, Fasc. 2, Études de céramique et de peinture antiques offertes à Pierre Devambez, 2 (1972), pp. 309-316. Perhaps related to Aeschylus' Niobe. and the Boston volute krater,The Boston Thersites Krater.
|
|
It is dated to the 4th century BC, and was probably made in Athens. Large metalwork vessels are extremely rare survivals in Ancient Greek art, and the Derveni Krater is the outstanding survival from Hellenistic art, as the Vix Krater is from the Archaic period.
|
|
Sarpedon fought on the side of the Trojans, with his cousin Glaucus, during the Trojan War,Homer, Iliad, 2. 876 becoming one of Troy's greatest allies and heroes.The death of Sarpedon, depicted on the obverse of Euphronios krater also called the Sarpedon krater, c.515 BCE.
|
|
During the restoration of the vase, an original outline sketch was found, showing that Euphronios initially had difficulties in depicting the dying giant's outstretched arm, but managed to overcome them while painting the scene. Front of the Sarpedon krater. The Sarpedon krater or Euphronios krater, created around 515 BC, is normally considered to be the apex of Euphronios' work. As on the well-known vase from his early phase, Euphronios sets Sarpedon at the centre of the composition.
|
|
The most notable of these was a large Greek-made krater, designed to hold over of wine.
|
|
Musical scene with three women. Side A of a red-figure amphora, Walters Art Museum. The Niobid Painter was an ancient Athenian vase painter in the red figure style who was active from approximately 470 to 450 BC. He is named after a calyx krater which shows the god Apollo and his sister Artemis killing the children of Niobe who were collectively called the Niobids. The krater is known as the Niobid Krater and is now housed at the Louvre in Paris.
|
|
Records in Italian courts of an investigation indicate that the krater was looted from an Etruscan tomb in the Greppe Sant'Angelo near Cerveteri in December 1971. The krater was sold to the Metropolitan Museum of Art by Robert E. Hecht, an American antiquities dealer living in Rome, for US$1.2 million on November 10, 1972. Hecht, who was accused of trafficking in illicit antiquities, claimed to have acquired the krater from Dikran Sarrafian, a Lebanese dealer, whose family had been in possession of the piece since 1920. Evidence suggests that Hecht may have purchased the krater in 1972 from Giacomo Medici, an Italian dealer who was convicted of selling stolen art in 2005.
|
|
The Sosibios Vase is a Neo-Attic marble krater of the Hellenistic period.Louvre Museum: Volute Krater "Sosibios" It is attributed by signature to Sosibios, a Greek sculptor who was active in Rome during the end of the Roman Republic, and is dated to approximately 50 BCE. It is Sosibios' only known work.
|
|
The krater, which stands at 78 cm. in height, is a marble adaptation of a type of metal vessel known from the late fifth century BCE (e.g. The Derveni Krater). It is decorated with a relief depicting Artemis and Hermes standing by an altar and presiding over a Bacchic procession of several maenads.
|
|
Odysseus, seated between Eurylochos and Perimedes, consulting the shade of Tiresias; to left Eurylochos wearing pilos and chlamys. Side A from a Lucanian red-figured calyx-krater. Hermes (on the left) asking Paris to arbitrate the contest between Athena, Aphrodite and Hera. Detail, side B from a Lucanian red-figured calyx-krater.
|
|
Well known is an unsigned volute krater, found in the 18th century near Arezzo. The main scene on the belly of the vase can easily be attributed to Euphronios. The krater shows a combat scene, with Heracles and Telamon at the center, fighting amazons. Telamon delivers the deathblow to a wounded amazon in Scythian clothing.
|
|
The scene on the B-side of the krater depicts the judgment of Paris where Hermes (on left) asks Paris, the Trojan prince, to arbitrate the contest between Aphrodite, Hera, and Athena and determine who is the most beautiful. The scene is so well detailed that many scholars describe the krater as having a “double A-side”.
|
|
Etruscan vase from Caere. Eurytus is depicted next to Heracles during a symposium. Krater of corinthian columns called Krater of Eurytus, circa 600 B.C. In Greek mythology King Eurytus (; Ancient Greek: Εὔρυτος) of Oechalia (, Oikhalíā), Thessaly,Muller, Dor.xi. 11. § 1 was a skillful archer who even said to have instructed Heracles in his art of using the bow.
|
|
In 1997 Dolenjski list was acquired by Andrej Bartelj, becoming part of the Salomon 2000 company. Skupina Krater d.d. owns the magazine.
|
|
Besides these the only shapes generally employed are the krater with column or handles, the jug, and a simple kind of bowl.
|
|
A krater or crater (, kratēr, literally "mixing vessel") was a large vase in Ancient Greece, used for the dilution of wine with water.
|
|
The , an example of a krater from the Dipylon cemetery, at the National Archaeological Museum, Athens. Dipylon kraters are Geometric Period Greek terracotta funerary vases found at the Dipylon cemetery, near the Dipylon Gate, in Kerameikos, the ancient potters quarter on the northwest side of the ancient city of Athens. A krater is a large Ancient Greek painted vase used to mix wine and water, but the large kraters at the Dipylon cemetery served as grave markers. Vases representative of this larger "Dipylon Style," are housed in the National Archaeological Museum, AthensΑ 00990, Attic geometric krater.
|
|
The Onētorídēs love name appears on the Vatican 344 amphora, the London B 210 amphora, the Berlin F 1720 amphora, and the Athenian calyx-krater which has traditionally been attributed to Exekias.Mackay, Tradition and Originality: A Study of Exekias, 117, 315, 328. For the calyx- krater see Broneer, “A Calyx-Krater by Exekias,” 477-78. The Stēsías love name, Stēsías kalós, (Stesias [is] beautiful), is inscribed on the Louvre F 53 amphora, which Beazley attributed to the Group E phase of Exekias' artistic career.Bell, “An Exekian Puzzle in Portland: Further Light on the Relationship between Exekias and Group E,” 82.
|
|
The Derveni Krater is a volute krater,Volute-krater: see Typology of Greek Vase Shapes, the most elaborate of its type,John Boardman, "Greek art and architecture" in J. Boardman, Jasper Griffin, Oswyn Murray, Greece and the Hellenistic World (Oxford History of the Classical World, vol. I) 188, illus. p. 301. discovered in 1962 in a tomb at Derveni, not far from Thessaloniki, and displayed at the Archaeological Museum of Thessaloniki. Weighing 40 kg, it is made of a bronze with a high tin content of about 15%, which endows it with a superb golden sheen without use of any gold at all.
|
|
The painting on it is an image of Sarpedon, the son of Zeus, dying with Hermes, Hypnos, and Thanatos surrounding Sarapedon. The vessel also includes a painting of 3 children of Athens preparing for a battle. One popular story for the Euphronios Krater is that the Krater was looted by grave robbers and then sold to Giacomo Medici who is an Italian art dealer who has been convicted of receiving and exporting stolen objects. The Krater is said to have then been sold to Robert Hecht who is an American antiques dealer and then sold to the Metropolitan Museum of Art.
|
|
Attic vase forms were also increasingly copied. Oinochoes, whose form had remained basically unchanged up until that time, began to resemble Attic forms; lekythos also started to be increasingly produced. The column krater, a Corinthian invention which was for that reason called a korinthios in the rest of Greece, was modified. Shortening the volutes above the handles gave rise to the Chalcidic krater.
|
|
Phlyax scene on a krater by the Dirce Painter, circa 360/340 BC. Madrid: National Archaeological Museum of Spain. Phlyax scene on a krater by the Lentini-Manfria Group: a master and his slave in a short peplos, circa 350/340 BC. Paris: Louvre. Sicilian vase painting was a regional style of South Italian red-figure vase painting. It was one of five South Italian regional styles.
|
|
Derveni krater, height : 90.5 cm at the Archaeological Museum of Thessaloniki Derveni () is a location between Efkarpia and Lagyna, approximately ten kilometers north-east of Thessaloniki.The Derveni location at wikimapia At Derveni an archeological site is located where a necropolis was discovered, part of a cemetery of the ancient city of Lete. Valuable artifacts were uncovered at this site, including the Derveni papyrus and Derveni krater.
|
|
Attic Black-Figure Volute-Krater, known as the Francois vase, ca. 570-565 BCEThe François Vase is a large Attic volute krater decorated in the black- figure style. It stands at 66 cm in height and was inspired by earlier bronze vases (not existing so early; it was inspired by a Lakonian shape, produced in terracotta - M.I.). It was used for wine (and water - M.I.).
|
|
Attic Black-Figure Volute-Krater, known as the Francois vase, ca. 570-565 BCE The Francois Vase, in the collection of the National Archaeological Museum in Florence, Italy, is a large Attic volute krater, which is both a superb example of black-figure pottery from c. 570-560 BCE, as well as an example of extensive conservation work. The vase was discovered in a tomb in 1844.
|
|
Clytemnestra tries to awaken the sleeping Erinyes. Detail from an Apulian red- figure bell-krater, 380–370 BC. The Erinyes (; sing. Erinys , ; , pl. of , Erinys),Lidell and Scott, s.v.
|
|
The Wurzburg Telephus Travestitus vase (bell krater, H5697) was identified in 1980 as a phlyax vase,Kossatz-Deissmann, in Tainia: Festschrift für Roland Hampe, 1980 but CsapoE. Csapo, A Note on the Wurzburg Bell-Krater H5697, Phoenix 40, 1986, 379–92. and TaplinO. Taplin, Classical Philology, Icongraphic Parody and Potted Aristophanes, Dioniso 57, 1987, 95–109, taking the vase as evidence that Attic Old Comedy was performed outside Athens after death of Aristophanes.
|
|
His name-vase is a bell krater (in Boston's Museum of Fine Arts collection) depicting Pan pursuing a goatherd on one side and Artemis killing Aktaion on the reverse side. The folds in the clothing separate the Pan Painter from other Archaic depictions of cloth. The Pan Painter creates space by foreshortening Artemis' foot and Aktaion's legs. A column krater depicting Dionysus has a careful illustration of a satyr carrying a full cup.
|
|
The Euphronios Krater stands 45.7 cm (18 inches) in height and has a diameter of 55.1 cm (21.7 inches). It can hold about 45 L (12 gallons). The style of the vase is red-figure pottery, in which figure outlines, details, and the background are painted with an opaque black slip while the figures themselves are left in the color of the unpainted terracotta ceramic clay. The krater is decorated with two scenes.
|
|
Sabine Naumer: Vasen/Vasenmalerei, in DNP 15/3, col. 951-954 Wedgwood volute krater vase, c. 1780, using a variety of techniques to imitate red-figure vase painting Vase paintings even had an influence on the development of modern painting. The linear style influenced artists such as Edward Burne-Jones, Gustave Moreau or Gustav Klimt. Around 1840, Ferdinand Georg Waldmüller painted a Still Life with Silver Vessels and Red-Figure Bell Krater.
|
|
The scene of Heracles and Athena with other men on side A of the Niobid Krater, Louvre. The massacre of the Niobids by Apollo and Artemis is shown on side B of the Niobid Krater. This story is rarely represented in Greek art. Niobe had bragged that she was superior to the goddess Leto because she had seven boys and seven girls, while Leto was mother to just two children, Apollo and Artemis.
|
|
458 SOCOM rifle in February 2001. Among the Thumper rounds requiring the use of the AR-10 platform due to their larger cartridge dimensions are the .45 Raptor, .50 Krater, .
|
|
The on looking satyr is a common element in subsequent versions 'Return of Hepaistos' artworks, as can be seen in similarly depicted works, such as the column krater ascribed to Lydos.
|
|
In the first article, Haydon described Greek sacrifice and worship, and in the second article, he contrasted the artistic styles of Raphael and Michelangelo in conjunction with a discussion of medieval sculptures. Keats also had access to prints of Greek urns at Haydon's office,Gittings 1968 pp. 305–319 and he traced an engraving of the "Sosibios Vase", a Neo-Attic marble volute krater, signed by Sosibios, in The Louvre,Louvre Museum: Volute krater "Sosibios" accessed 5 January 2017.
|
|
Apulian volute-krater, close to the Sisyphus Painter, c. 400 BC. Possibly related to Euripides’ lost play Andromeda,ex. Getty, Malibu, 85.AE.102. O. Taplin, Pots and Plays, Getty, 2007. p.
|
|
Heracles fighting Achelous, with his broken-off horn lying on the ground. An Attic column krater, Louvre G365 (c. 475-425).LIMC 4275 Acheloos 218; Beazley Archive 6911. On one later example (c.
|
|
The krater was discovered buried, as a funerary urn for a Thessalian aristocrat whose name is engraved on the vase: Astiouneios, son of Anaxagoras, from Larissa. Kraters (mixing bowls) were vessels used for mixing undiluted wine with water and probably various spices as well, the drink then being ladled out to fellow banqueters at ritual or festive celebrations. When excavated, the Derveni krater contained 1968.31 g of burnt bones that belonged to a man aged 35–50 and to a younger woman.
|
|
Bold text:Not to be confused with scholion. A female aulos-player entertains men at a symposium on this Attic red-figure bell-krater, c. 420 BC A skolion (from ) (pl. skolia), also scolion (pl.
|
|
This inscription has allowed art historians to date the krater to approximately 520-510 BC, because at this time Leagros was considered the handsomest man in Greece. All names are written in Attic letters.
|
|
Shapiro 1994, p. 19. The earliest of these, c. 490 BC, is a red-figure calyx-krater attributed to the Eucharides Painter (Louvre G163).Shapiro 1994, pp. 18-19; Beazley Archive 202217; LIMC 9764.
|
|
Komasts are one of his favourite motifs. He mainly painted skyphoi, lekanes, kothones and Komast cups. He was the first artist to paint a column krater, which was to become a popular wine-mixing vessel.
|
|
Euphronios chose to include multiple inscriptions on this krater: CHORITHON, KAIKEOS, (kalos/kale) PHILLIADESKALOS, (kalos/kale) XENON KALOS, LYSIS, PHILLIADES, TEISIS, XENON, and XINIS Euphronios was a part of the Pioneer Group, and was known to be a major component in the transition from black-figure to red-figure pottery in Ancient Greece. His use of red-figure on this krater allowed him to add an increasing amount of detail to the figures and scenes he depicted, like the textures of Herakles' club and lion skin.
|
|
Case 10 contains large stemmed beakers, kylikes, kraters and ladles from pantry 20 of the Palace of Nestor. Case 19 also contains pottery and drinking vessels from pantry 20, as well as some pottery from room 38, including stripes for sealing jars. One krater is mattpainted with wavy decoration, similar to a krater from the excavations at Vlachopoulo that is displayed in the museum of Pylos. There is also a stone oil lamp of Minoan origin made of white marble and decorated with spiral patterns.
|
|
The kalyx-krater used measures at 48.4 cm in height and 49.8 cm in diameter. It has a pair of curved handles emerging from the lower body of the vessel and sprouting outward to the lip.
|
|
Some of the other shapes that Lysippides works with are Krater, Columns, Oinchoes, Psykters, and Pyxis. These shapes have very small numbers, but many of them carry the same subjects as those of other Lysippides vases.
|
|
Dragon-chariot of Medea, Lucanian red- figure krater C4th BC, Cleveland Museum of Art According to Apollodorus, the sun god Helios had a chariot, drawn by "winged dragons", which he gave to his granddaughter Medea.Apollodorus, 1.9.28.
|
|
Front side depicting Sarpedon’s body carried by Hypnos and Thanatos (Sleep and Death), while Hermes watches Reverse side depicting Athenian youths arming themselves The Euphronios Krater (or Sarpedon Krater) is an ancient Greek terra cotta calyx-krater, a bowl used for mixing wine with water. Created around the year 515 BC, it is the only complete example of the surviving 27 vases painted by the renowned Euphronios and is considered one of the finest Greek vase artifacts in existence. Part of the collection of the Metropolitan Museum of Art from 1972 to 2008, the vase was repatriated to Italy under an agreement negotiated in February 2006, and is now in the collection of the Archaeological Museum of Cerveteri as part of a strategy of returning stolen works of art to their place of origin.Stokstad, Marilyn and Michael W. Cothren.
|
|
As well as its resident shows, the Krater Comedy Club, Ministry of Burlesque and Bent Double, Komedia has a local, national and international programme, spanning a range of entertainment including theatre, music, cabaret, comedy and live literature.
|
|
Warrior and woman standing beside a family altar. Side A of a red-figure calyx krater, Walters Art Museum. The Altamura Painter was a classical Greek vase painter. He painted about 127 different vases during his career.
|
|
The sale of a Euphronios krater to the Metropolitan Museum of Art for $1 million in 1972 catapulted Hecht into instant fame and international problems. The Italians claimed that the vase was excavated illegally in Cerveteri, north of Rome. An American Grand Jury, investigating the Euphronios krater at the request of the Italians -- whose evidence came from a tomb robber -- found the provenance unproven. However, in 2006, continuing pressure from Italy led Philippe de Montebello, director of the Metropolitan Museum of Art, to negotiate a deal which gave the Italians ownership of the vase.
|
|
Louvre G 103: Heracles and Antaios on a chalice krater. A chalice krater with a depiction of Heracles and Antaios in combat is often considered one of Euphronios's masterpieces. The contrast between the barbarian Libyan giant Antaios and the civilised, well-groomed Greek hero is a striking reflection of the developing Greek self-image, and the anatomical precision of the struggling characters' bodies lends grace and power to the piece. The intensity of the work is increased by the presence of two female figures, whose statuesque appearance closes the image.
|
|
For example, a chalice krater in the Antikensammlung Berlin, depicting young men exercising in the palaistra is often counted among his later works due to the vase shape. Nonetheless, it seems that in spite of the occurrence of some advanced methods (careful representation of musculature, the use of the relief line), the krater must be dated to an earlier phase, since it borrows some stylistic motifs from black-figure vase painting. These motifs include an ivy garland below the mouth, the fairly small image format and the stylistic similarity to the work of Oltos.
|
|
Incised rosettes continued to be put on vases; they are lacking on only a few kraters and cups. The most outstanding piece of art in this period is the Amphiaraos Krater, a column krater created around 560 BC as the major work of the Amphiaraos Painter.. It shows several events from the life of the hero Amphiaraos. Around 550 BC the production of figured vases came to an end. The following Late Corinthian Style II is characterized by vases only with ornaments, usually painted with a silhouette technique.
|
|
This krater stands 63.5 cm (25 in) tall and has a diameter at the rim of 58.5 cm (23 in). The style is Apulian red-figure, meaning that it is from the region of southern Italy called Apulia, and that the background and figure details and outlines are painted with a black paint, while the figures themselves are left unpainted. It is in the Ornate style as well, many of which feature pots where figures range all over the surface, as is the case with this one. There are two distinct sides to the krater.
|
|
Etruscans. This vase at Caere shows King Eurytus of Oechalia and Heracles in a symposium. Krater of corinthian columns called 'Krater of Eurytion', Extraordinary strength, courage, ingenuity, and sexual prowess with both males and females were among the characteristics commonly attributed to him. Heracles used his wits on several occasions when his strength did not suffice, such as when laboring for the king Augeas of Elis, wrestling the giant Antaeus, or tricking Atlas into taking the sky back onto his shoulders. Together with Hermes he was the patron and protector of gymnasia and palaestrae.
|
|
However, as none of the Amazons on this krater are identifiable as Hippolyta and the belt is not on the vase either, it can only be said with certainty that this vase depicts an amazonomachy which involves Herakles.
|
|
The other is found on a volute-krater funerary vase (c. 370-350 BC), now in the British Museum (F277). Depicted on its neck is a polos-crowned head with curls, and the inscription "Aura" above the polos crown.
|
|
The same scene was depicted on the Kypselos chest in Olympia, as described by Pausanias.Pausanias 5, 17, 5ff. The krater used to be on display in the Antikensammlung Berlin, but disappeared at the end of the Second World War.
|
|
If the wine was to be chilled as is common today, to about 12 degrees C., then we would expect to see the wine in the krater and the coolant in the psykter. This is because the wine would have ice on one side (the inside) and room temperature on the other side (the outside of the krater). This would maintain the temperature of the wine part way between room temperature and 0 degrees C., though, it would be closer to room temperature than to 0 degrees C. because the outer surface area of the wine is greater than the inner surface area. However, if the wine was to be cooled to near 0 degrees C., then the only possible option is to put the ice in the krater and the wine in the psykter, as in this case the wine is almost fully enclosed by ice.
|
|
Rape of Persephone. Hades with his horses and Persephone (down). An Apulian red-figure volute krater, c. 340 BC. Antikensammlung Berlin The Rape of Persephone is a classical mythological subject in Western art, depicting the abduction of Persephone by Hades.
|
|
The krater remained on display at the Metropolitan Museum until January 2008, when it returned to Italy. It was unveiled in Rome on 18 January.Povoledo, Elisabetta, Ancient Vase Comes Home to a Hero’s Welcome. New York Times (19 January 2008).
|
|
Hermes pursuing a woman, probably Herse, Lucanian red-figure bell-krater, ca. 390–380 BC, Louvre (G 494). Herse (Ancient Greek:Ἕρση means "dew") was a figure in Greek mythology, daughter of Cecrops, sister to Aglauros and Pandrosos.Pausanias, Graeciae Descriptio 1.2.
|
|
The Euphronios Krater is an ancient Greek vessel. It was made around 515 BC in Athens by the artist Euphronios. The vessel was used to mix wine and water. The vessel is said to have been excavated from an Etruscan tomb.
|
|
Typically, wine was cooled by the addition of chilled water or snow-ice to wine in a krater, and that method pre-dated and outlasted the psykter. Less certain is precisely how it was used. It appears that it was designed to float in the krater, and to either contain wine which became chilled as it floated in the ice-cooled water, or instead the psykter was filled with ice which chilled the wine in which it floated. With regards to what effect each of these options would have on the wine’s temperature it is possible to arrive at the following conclusions.
|
|
Whilst neither one is conclusive, the first option is appealing because it does not alter the ancient Greek tradition of wine being mixed in the krater. Whilst the ancient sources do write of people drinking wine directly from a psykter, it is not clear whether they refer to the mushroom-shaped psykter specifically. Additionally, it would be considerably less costly to fill the psykter with ice rather than the krater. If the coolant were to be pre-chilled water then either way would be economical, although the cooling effect of chilled water, as opposed to ice, in the psykter would be minimal.
|
|
Vix krater: Frieze of hoplites and four- horse chariots on the rim Discovery of archaeological material in the area, originally by a locally based amateur, began in April 1930. Increasingly systematic work throughout the following decades revealed thousands of pottery sherds, fibulae, jewellery, and other bronze and iron finds. The famous burial mound with the krater was excavated in early 1953 by René Joffroy. In 1991 new archaeological research on and around Mont Lassois began under the direction of Bruno Chaume. Since 2001 a programme of research titled “Vix et son environnement” began, uniting the resources of several universities.
|
|
The painting itself may also copy that on metal vessels more closely than was thought.Preface to Ancient Greek Pottery (Ashmolean Handbooks) by Michael Vickers (1991) The Derveni Krater, from near Thessaloniki, is a large bronze volute krater from about 320 BC, weighing 40 kilograms, and finely decorated with a 32-centimetre-tall frieze of figures in relief representing Dionysus surrounded by Ariadne and her procession of satyrs and maenads. The alabastron's name suggests alabaster, stone. Glass was also used, mostly for fancy small perfume bottles, though some Hellenistic glass rivalled metalwork in quality and probably price.
|
|
Delphi) 4.) intermediate (e.g. Tarentum) 5.) late antiquity. Hippolytos inscribed on a Corinthian black-figure column-krater, ca. 575–550 BC, showing square-8-shaped consonantal Heta (x14px), zigzag-shaped Iota (x14px), archaic Pi (x14px), and M-shaped San instead of Sigma.
|
|
His son Ernst Freud had organised the funeral arrangements, and Harrods of Knightsbridge acted as funeral directors.Michael Turner: After the funeral, Freud's ashes were deposited in an ancient Greek bell krater from the 4th century BC which came from his large collection of over 2000 antiquities (see below). The ancient bell krater, now serving as a funerary urn, was later placed atop a black marble plinth, designed by Ernst FreudList of the works of architect Ernst Freud and erected in the crematorium's Ernest George Columbarium. This building, built 1922–1928, was designed after Ernest George's death by Alfred Yeates in Romanesque Revival style www.architecture.
|
|
The Vix Krater, an imported Greek wine-mixing vessel found in the famous grave of the "Lady of Vix" The area around the village of Vix is the site of an important prehistoric complex from the Celtic Late Hallstatt and Early La Tène periods, comprising an important fortified settlement and several burial mounds. The most famous of the latter, the Vix Grave, also known as the grave of the Lady of Vix, dates to circa 500 BC. Her grave had never been looted and contained remarkably rich grave offerings, including a great deal of jewellery and the Vix krater, the largest known metal vessel from antiquity.
|
|
The use of thin slip allowed Euphronios to deliberately use different shades of colour, rendering the scene especially lively. But the krater marks the peak of the artist's abilities not only in pictorial terms; the vase also represents a new achievement in the development of the red-figure style. The shape of the chalice krater had already been developed during the black-figure phase by the potter and painter Exekias, but Euxitheos's vase displays further innovations created specifically for the red-figure technique. By painting the handles, foot and lower body of the vase black, the space available for red-figure depictions is strictly limited.
|
|
The vase is composed of two leaves of metal which were hammered then joined, although the handles and the volutes (scrolls) were cast and attached. The main alloy used gives it a golden colour, but at various points the decoration is worked with different metals as overlays or inlays of silver, copper, bronze and other base metals. Such highlights include the silver garlands of vine and ivy around the krater, the silver and copper stripes on the vipers at the handles, and the silver ords of the eyes of the volute masks."Derveni Krater", Barr-Sharrar, Beryl, in Ancient Greek Art, Ed. Michael Gagarin, 2009, Oxford University Press, Inc.
|
|
Zeus parts Athena and Ares, while Kyknos flees in a chariot (right) as Heracles arrives (left),This scene has also been interpreted as a Gigantomachy. H. Shapiro, "Herakles and Kyknos", AJA, Vol. 88, No. 4 (October 1984), p. 524. on an Attic black-figured volute-krater, ca.
|
|
The variety of vessel shapes in use was reduced sharply. Common painted shapes include pelike, chalice krater, belly lekythos, skyphos, hydria and oinochoe. Scenes from female life are very common. Mythological themes are still dominated by Dionysos; Ariadne and Heracles are the most commonly depicted heroes.
|
|
Presents from Medea to Creusa from a Lucanian red-figure bell-krater, ca. 390 BC. From Apulia. (Louvre Museum, Paris) In Greek mythology, Creusa (; Ancient Greek: Κρέουσα Kreousa "princess" ) or Glauce (; Γλαυκή "blue-gray"), Latin Glauca, was a princess of Corinth as the daughter of King Creon.
|
|
Berlin: Antikensammlung. Athletes preparing for a competition, circa 510-500 BC. Apart from mythological motifs, Euphronios also produced many pots incorporating scenes from everyday life. A chalice krater in the Staatliche Antikensammlungen at Munich depicts a symposium. Four men are lying on couches (klinai) and drinking wine.
|
|
Vix krater, an imported Greek wine-mixing vessel dated to around 500 BCE attests to the trade exchanges of the period. The Phoenicians had an early presence around Marseille in southern France. Phoenician inscriptions have been found there. History of Phoenicia by Canon George Rawlinson p.
|
|
The krater was one of a number of grave goods that were illegally unearthed in late 1971 when a gang of tombaroli (tomb robbers) led by Italian antiquities dealer Giacomo Medici looted a previously-undiscovered Etruscan tomb complex near Cerveteri, Italy. Medici subsequently sold the krater to American dealer Robert E. Hecht, who in turn negotiated its sale for US$1 million to the Metropolitan Museum, New York City, where it went on display from 1972. Over the next thirty years, a series of press investigations and a lengthy and extensive trans-national criminal investigation led by Italian authorities eventually smashed the smuggling ring, resulting in numerous prosecutions (including Medici, Hecht and Getty Museum curator Marion True), and the return to Italy of scores of looted antiquities illegally obtained by the Metropolitan, the Getty and other institutions. After lengthy negotiations, the Euphronios krater was formally returned to Italian ownership in February 2006, but remained on display as a loan to the Metropolitan Museum until its highly publicised repatriation to Italy in January 2008.
|
|
Bloodsports.TV is a hero defense video game for Microsoft Windows developed by Toadman Interactive and Fatshark. The game is a spin-off from Fatshark's 2012 role-playing game Krater: Shadows Over Solside, set in the same universe. Bloodsports.TV was released in 2015 via the Steam digital distribution platform.
|
|
A late sixth-century or early fifth-century Attic fragmentary red-figure calyx krater, attributed to Phintias (St. Petersburg, State Hermitage Museum ST1275) apparently depicted the battle between Telephus and Achilles.Gantz, pp. 579-580; Heres and Strauss, p, 866 LIMC 8728 (Telephos 48); Beazley Archive 200122; AVI 7395.
|
|
Late Geometric krater from an Argive workshop; on the shoulder depictions of horses. Circa 730 BC. Found on Melos. Argive vase painting was a regional style of Greek Geometric vase painting from the city of Argos. Besides Athens, Argos was one of the centres of Geometric vase painting.
|
|
A stamnos from the British Museum. A stamnos (plural stamnoi) is a type of Greek pottery used to store liquids. It is much squatter than an amphora and has two stubby handles relatively high on its sides. It is a relatively unusual container form, related to the Krater vase.
|
|
At a Greek symposium, kraters were placed in the center of the room. They were quite large, so they were not easily portable when filled. Thus, the wine-water mixture would be withdrawn from the krater with other vessels, such as a kyathos (pl. kyathoi), an amphora (pl.
|
|
Detail of the bell-krater attributed to the Persephone Painter showing Hekate who holds two flaming torches to illuminate Persephone's journey from the Underworld. Metropolitan Museum of Art The Persephone Painter, working from about 475 to the 425 BCE, is the pseudonym of an ancient Attic Greek vase-painter, named by Sir John Beazley after investigating a red-figure bell-krater vase of about 440 BCE which includes a mythological scene of the return of Persephone from Hades. This name vase of the Persephone Painter currently resides at the Metropolitan Museum of Art in New York City. The Persephone Painter is known for his close relationship to the Achilles Painter, through whose workshop the Persephone Painter passed.
|
|
Some, like the famous Vix krater, were spectacular in nature.L'oppidum de Vix et la civilisation hallstattienne finale dans l'Est de la France by René Joffroy. Paris, Les Belles Lettres, 1960 Detail from Vix krater: frieze of hoplites and four-horse chariots on the rim From Massalia, maritime trade also developed with Languedoc and Etruria, and with the Greek city of Emporiae on the coast of Spain. Massalia traded as least as far as Gades and Tartessus on the western coast of the Iberian peninsula, as described in the Massaliote Periplus, although this trade was probably blocked by the Carthaginians at the Pillars of Hercules after 500 BC.Ireland and the classical world by Philip Freeman p.
|
|
The Euphronios krater has been returned to Italy by the Metropolitan Museum The export of antiquities is now heavily controlled by law in almost all countries and by the 1970 UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property, but a large and increasing trade in Illicit antiquities continues. The Euphronios krater is an apparent example that has come to light. Another example is the ambiguous legal case concerning the Getty Museum's "Bronze Statue of a Victorious Youth". The field has been further complicated by the trade in Archaeological forgeries, such as the Etruscan terracotta warriors, the Persian Princess, and the Getty kouros.
|
|
Krater is a squad-based real-time strategy role-playing game. The player controls a team of gas masked survivalists in a post-apocalyptic Sweden. Players venture in a post- apocalyptic world scoured by a nuclear war. Players can command up to three characters, but reserve members may be purchased.
|
|
Having symbolically eaten his body and drunk his blood, the celebrants became possessed by Dionysus. Two satyrs and a maenad. Side A from an ancient Greek red figure kylyx-krater from Apulia, 380–370 BC. Louvre, Paris. Dionysus and two Maenads as depicted by the Amasis painter circa 550-530 BC.
|
|
While Neoptolemus cuts Polyxena's throat, Phoenix stands on the far right, with his back turned looking away (perhaps disapproving or unable to watch).Gantz, p. 658; Beazley Archive 310027; LIMC 11175; British Museum 1897,0727.2. As noted above, Phoenix appears with Odysseus and Neoptolemos on a red-figure volute-krater (c.
|
|
KRTR-FM (96.3 FM, "KRATER 96") is an Adult Contemporary music formatted radio station serving Honolulu, Hawaii. The SummitMedia outlet broadcasts with an ERP of 74 kW and is licensed to Kailua, Hawaii. The station's studios are located in Downtown Honolulu and its transmitter is located east of Diamond Head, Hawaii.
|
|
Craterosaurus (meaning krater reptile or bowl reptile) was a genus of stegosaurid dinosaur. It lived during the Early Cretaceous (Valanginian to Barremian stages) around 145-136 million years ago. Its fossils were found in the Woburn Sands Formation of England. Craterosaurus may actually be a junior synonym of Regnosaurus,Parker, Steve.
|
|
Freud Corner at Golders Green Crematorium, London ancient Greek bell krater with the ashes of Sigmund and Martha Freud Freud Corner is the name used for the place within Golders Green Crematorium in North London, where the funerary urns of Sigmund Freud and many other members of the Freud family are deposited.
|
|
For an example of a particularly "handsome" Giant see Schefold, p. 67: British Museum E 8 (Beazley Archive 302261, LIMC Gigantes 365 image 1/2), for Giants with animal skins fighting with boulders see a calyx krater from Ruvo, c. 400: Naples 81521 (Beazley Archive 217517, LIMC Gigantes 316 image 3/5).
|
|
Compare with Homer, Odyssey 11.506-509, where Odysseus tells Achilles' shade in the underworld that he brought Neoptolemus to Troy. A red-figure volute-krater (c. 470 BC), had already depicted Neoptolemus, with Phoenix and Odysseus (all named), saying goodbye to his mother and grandfather Lycomedes on Skyros (Ferrara 44701).Gantz, p.
|
|
Arezzo: Museo archeologico statale Gaio Cilnio Mecenate. Unsigned volute krater, found in the 18th century near Arezzo. Euphronios's later works are partially beset by difficulties of attribution. In many cases, this is due to direct imitation or echoes of his own artistic style in the work of other painters working during his lifetime.
|
|
Arrival or departure of a young warrior or hero, volute krater, circa 410/400 BC. London, British Museum. His early work includes a variety of bell kraters, usually decorated with three figures. He mainly painted scenes of everyday life or dionysiac scenes. On the backs he always painted two or three cloaked youths.
|
|
She initiated his collaboration at the Sturm gallery and the art school Der Sturm. Together with Hilla von Rebay und Rudolf Bauer he founded the artist group Der Krater in 1923. During this time he also worked for the magazine Der Sturm. Nebel married Hildegard Heitmeyer, the assistant of Gertrud Grunow, in 1924.
|
|
Eta (heta) in the function of /h/ on the ostrakon of Megacles, son of Hippocrates, 487 BC. Inscription: ΜΕΓΑΚLES HIΠΠΟΚRATOS. On display in the Ancient Agora Museum in Athens, housed in the Stoa of Attalus. red-figured calyx-krater, 515 BC. Amongst the depicted figures are Hermes and Hypnos. Inscriptions: HERMES - HYPNOS.
|
|
Menander, Samia 394. Wine was mixed in a krater, from which the slaves would fill the drinker's kylix with an oinochoe (jugs). Wine was also thought to have medicinal powers. Aelian mentions that the wine from Heraia in Arcadia rendered men foolish but women fertile; conversely, Achaean wine was thought to induce abortion.
|
|
In 1972, together with the Director, Thomas Hoving, Bothmer argued in favor of the purchase of the Euphronios krater, a vase used to mix wine with water that dated from the sixth century BCE. They convinced the museum's board to purchase the artifact for $1 million, which the museum funded through the sale of its coin collection. The Government of Italy demanded the object's return, citing claims that the vase had been taken illegally from an ancient Etruscan site near Rome. The krater was one of 20 pieces that the museum sent back to Italy in 2008 in exchange for multi-year loans of ancient artifacts that were put on display at the Met, as part of an agreement reached in 2006.
|
|
A Greek glass amphora, 2nd half of the 2nd century BC, from Olbia, Roman-era Sardinia, now in the Altes Museum The Derveni Krater, from near Thessaloniki, is a large bronze volute krater from about 320 BC, weighing 40 kilograms, and finely decorated with a 32-centimetre-tall frieze of figures in relief representing Dionysus surrounded by Ariadne and her procession of satyrs and maenads. The neck is decorated with ornamental motifs while four satyrs in high relief are casually seated on the shoulders of the vase. The evolution is similar for the art of jewelry. The jewelers of the time excelled at handling details and filigrees: thus, the funeral wreaths present very realistic leaves of trees or stalks of wheat.
|
|
Krater of Corinthian columns called 'Krater of Eurytus', The oldest examples of Bucchero ceramics come from Caere and it can be assumed that these typical Etruscan ceramics were developed here or produced at least for the first time in large scale.Nigel Spivey: Etruscan Art, London 1997, , page 37 In the Orientalizing Period from around 700 BC the early prosperity of the city is demonstrated in the graves of this period which often contain eastern imports and rich gold finds, notably in the extremely rich Regolini-Galassi tomb with its many fine gold offerings.Weber: History of the Etruscans, p.36 From 530 to 500 BC Greek artists were active in the city and worked there for a generation producing color-painted hydras.
|
|
Detail, side A from a Sicilian red-figured calyx-krater (c. 350–340 BC). Ancient Greek comedy was one of the final three principal dramatic forms in the theatre of classical Greece (the others being tragedy and the satyr play). Athenian comedy is conventionally divided into three periods: Old Comedy, Middle Comedy, and New Comedy.
|
|
He also claims that Charun appears to love violence and participates in warfare adding that Charun enjoys natural disasters as well.Rovin, p. 50. An Etruscan krater from François Tomb (above) depicts Charun with Ajax or Achilles (left, cropped out) slaughtering Trojan prisoners. This urn is currently held in Cabinet des Médailles 920, Bibliothéque Nationale, Paris.
|
|
Greek vase painting depicting a goddess, probably either Bendis or Kotys, adorned in Thracian garb approaching a seated Apollo. Red-figure bell-shaped krater by the Bendis Painter, –370 BCE Kotys ( ') was a prominent Thracian goddess who was worshipped in a festival known as the Cotyttia. She was particularly worshipped among the Edones.Detschew, Dimiter.
|
|
The quality of the vessels is very high. The clay was well slurried and was given a cream-colored coating. Amphoras, hydriai, column kraters (called krater lakonikos in antiquity), volute kraters, Chalcidic kraters, lebes, aryballoi and the Spartan drinking cup, the lakaina, were painted. But the index form and most frequent find is the cup.
|
|
The Hirschfeld Krater, mid-8th century BC, from the late Geometric period of Greek pottery, depicting ekphora. Metropolitan Museum of Art, New York City. A dying person might prepare by arranging future care for the children, praying, and assembling family members for a farewell.Robert Garland, "Death in Greek Literature," in The Oxford Encyclopedia of Ancient Greece and Rome, vol.
|
|
Scene from Aristophanes' Women at the Thesmophoria, (733-755), lampooning the Euripidean Telephus holding Orestes hostage. Here, a man disguised as a woman kneels on a sacrificial altar, holding a "toddler" (wineskin "clothed" with children's shoes). The "mother" holds a wine jar ready to catch the "blood" of the slaughtered child. Bell krater from Apulia, c.
|
|
A later Southern Italian interpretation of the story is on vases held respectively at the Boston Museum of Fine Arts and the Hermitage Museum in St Petersburg. On the krater from c.380-70BC at Troilus can be seen with just one horse trying to defend himself with a throwing spear; on the hydria from c.
|
|
Hurschmann: Paestanische Vasen, in: DNP 9 (2000), col. 142 Orestes in Delphi, krater by Python, circa 330 BC. London: British Museum. The themes depicted often belong to the Dionysiac cycle: thiasos and symposium scenes, satyrs, maenads, Silenos, Orestes, Electra, the gods Aphrodite and Eros, Apollo, Athena and Hermes. Paestan painting rarely depicts domestic scenes, but favours animals.
|
|
Lekanis, Bell krater(seeTypology of Greek Vase Shapes) and hydria were also popular.Oakley: Rotfigurige Vasenmalerei, in: DNP 10 (2001), col. 1143 The production of mainstream red-figure pottery ceased around 360 BC. The Rich and Simple styles both existed until that time. Late representatives include the Meleager Painter (Rich Style) and the Jena Painter (Simple Style).
|
|
Cadmus fighting the dragon. Painting from a krater in the Louvre Museum. Lee Lawrie, Cadmus (1939). Library of Congress John Adams Building, Washington, D.C. After his sister Europa had been carried off by Zeus from the shores of Phoenicia, Cadmus was sent out by his father to find her, and enjoined not to return without her.
|
|
Calyx-Krater by the Painter of the Berlin Hydra The Classical Period involved many scenes relating and alluding to the Persian wars.ŞAHİN, Reyhan. 2017. "Representations of Mythological War Scenes n Attic Figure Pottery and Approaches in Research." Social Sciences Review Of The Faculty Of Sciences & Letters University Of Uludag / Fen Edebiyat Fakültesi Sosyal Bilimler Dergisi 19, no.
|
|
49; 143. While Exekias' work itself offers a glimpse of the culture of ancient pottery, the find spots of his vases also reveal information about the market in which Exekias positioned himself. Fragments of column krater and a hydria attributed to Exekias were excavated on the Athenian Acropolis, suggesting that Exekias maintained a clientele in his home city.
|
|
Clytemnestra used such a double-edged axe to assist her lover Aegisthus in the killing of Agamemnon (and later, to attempt to kill her son Orestes, as he arrived to avenge his father's death), as depicted on the mixing bowl (calyx krater) with the killing of Agamemnon (Early Classical Period – about 460 B.C.) by the Dokimasia Painter.
|
|
There are prehistoric vases from Akrotiri dated to the 20th-17th centuries BC. Later artifacts include pottery and amphorae of Geometric and Archaic periods. Many of these objects come from the ancient cemetery of Thera. One of them is a krater with Attic black figures from grave no. 1, with four ships on the internal surface, around the rim.
|
|
The krater was displayed at the Villa Giulia National Etruscan Museum in Rome from 2008-14 until it was moved as part of a temporary display in the Cerveteri Museum celebrating the UNESCO World Heritage Site affiliation for the necropolis at Banditaccia. Following the increase of attendance at the museum, the Cultural Heritage Minister, Dario Franceschini, has announced that the krater will remain at the Archaeological Museum of Cerveteri as part of a strategy of returning works of art to their place of origin. Details from the krater's obverse have been used as a book cover illustration. The Penguin Classics deluxe edition of Robert Fagles' English translation of the Iliad employs a close-up of Thanatos for its front cover, and a close-up of Sarpedon for its back cover.
|
|
The fact that two of his vases were found on the Acropolis, an important religious sanctuary, underscores his prestige as a vase painter.Oscar Broneer, “A Calyx-Krater by Exekias,” Hesperia: The Journal of the American School of Classical Studies at Athens 6 (1937): 469-86; Mary B. Moore, “Athena and Herakles on Exekias’ Calyx-Krater,” American Journal of Archaeology 90 (1986): 35-39; Mackay, Tradition and Originality: A Study of Exekias, 47, 309. Exekias not only enjoyed a thriving market in Athens; many of his extant vases were also exported to Etruria, Italy, found at sites such as Vulci and Orvieto, where they were buried in Etruscan tombs.Beth Cohen, “The Literate Potter: A Tradition of Incised Signatures on Attic Vases,” The Metropolitan Museum of Art Journal 26 (1991): 57.
|
|
Gordon Krater During his time as leader, the firm opened an office in Detroit, Michigan, and merged with two other firms, Stuart Franey Matthews & Chantres P.C. and Blackman Kallick.Stuart Franey Matthews Chantres to merge with Plante Moran They also dropped the ampersand from their name, becoming “Plante Moran,” and won the First-Ever Global Workplace Recognition with International Accounting Bulletin's Employer of the Year award.Plante Moran Bids Farewell to its AmpersandPlante Moran Wins International Accounting Bulletin's Employer of the Year Award In 2011, Krater and his predecessor, Bill Hermann, coauthored Succession Transition: A Roadmap for Seamless Transitions in Leadership.Succession Transition: A Roadmap for Seamless Transitions in Leadership The following year, the firm began their Women in Leadership program to address the issue of women dropping out of the firm before reaching the most senior positions.
|
|
This type of krater, defined by volute-shaped handles, was invented in Laconia in the early 6th century BC, then adopted by Attic potters. Its production was carried on by Greeks in Apulia until the end of the 4th century BC. Its shape and method of manufacture are similar to those of the column krater, but the handles are unique: to make each, the potter would have first made two side spirals ("volutes") as decorative disks, then attached a long thin slab of clay around them both forming a drum with flanged edges. This strip would then have been continued downward until the bottom of the handle where the potter would have cut a U-shaped arch in the clay before attaching the handle to the body of the vase.
|
|
Aktaion with other mythological heroes as hunters (Tydeus, Theseus, Kastor). Side A of an Attic red-figure bell-krater. New York City, Metropolitan Museum of Art. The Dinos Painter was an Attic red-figure vase painter who was active during the second half of the 5th century BC. The Dinos Painter stood in the tradition of the Kleophon Painter, but was less serious.
|
|
There are also three calyx bowls with heavy rims, a tripod bowl with a leaf ornament performed in niello, a krater and a kantharos, as well as two-handled cups ornamented in repoussé and items dedicated to Bacchus. Copies of the trove items have been made for museums like the Victoria and Albert Museum, the Germanisches Nationalmuseum and the Pushkin Museum.
|
|
Inscriptions in ancient Greek read HVPNOS- HERMES-θΑΝΑΤΟS (here written vice versa). Attic red-figured calyx-krater, 515 BC. Thanatos is also famously shown on the Euphronios Krator where he and his brother Hypnos are shown carrying the body of Sarpedon to his home for burial. Here he is pictured as a full-grown and bearded man with wings, as is his brother.
|
|
Castor depicted on a calyx krater of c. 460–450 BC, holding a horse's reins and spears and wearing a pilos-style helmet There is much contradictory information regarding the parentage of the Dioscuri. In the Homeric Odyssey (11.298-304), they are the sons of Tyndareus alone, but they were sons of Zeus in the Hesiodic Catalogue (fr. 24 M-W).
|
|
Satyrs in vineyard. Attic red-figure volute-krater, ca. 490 BC, State Collections of Antiques in Munich. The earliest evidence of wine production dates from between 6000 and 5000 BC. Wine making technology improved considerably with the ancient Greeks but it wasn't until the end of the Roman Empire that cultivation techniques as we know them were common throughout Europe.
|
|
Etching by Stefano della Bella (1656); the young Grand Duke Cosimo III drawing the vase at the Villa Medici, Rome Piranesi recorded the composition The Medici Vase is a monumental marble bell-shaped krater sculpted in Athens in the second half of the 1st century AD as a garden ornament for the Roman market. It is now in the Uffizi Gallery in Florence.
|
|
Orestes at Delphi, flanked by Athena and Pylades, among the Erinyes and priestesses of the oracle. Paestan red-figure bell-krater, c. 330 BC. Myth fragments dealing with the Erinyes are found among the earliest extant records of ancient Greek culture. The Erinyes are featured prominently in the myth of Orestes, which recurs frequently throughout many works of ancient Greek literature.
|
|
The crater is located at the north-eastern end of the Swabian Alb near the much larger (24-km-diameter) Nördlinger Ries crater and was most probably formed simultaneously with it by the oblique, ENE directed impact of a double asteroid.J. Baier & A. Scherzinger: Der neue Geologische Lehrpfad im Steinheimer Impakt-Krater. - Jber. Mitt. oberrhein. geol. Ver, N. F. 92, 9-24, 2010.
|
|
Slave boys would manage the krater, and transfer the wine into pitchers. They then attended to each man in the symposium with the pitchers and filled their cups with wine. Certain formalities were observed, most important among which were libations, the pouring of a small amount of wine in honour of various deities or the mourned dead. In a fragment from his c.
|
|
The finds are housed now in the Archaeological Museums in Ohrid, Sofia and Belgrade. A number of artifacts excavated in the necropolis are said to be imported from ancient Greece while the rest are of a local Thracian-barbarian origin with Greek influences. Archeological findings include a bronze Krater, a Corinthian helmet, Illyrian type helmets and golden funeral masks reminiscent of Aegean culture.
|
|
A banqueter reaches into a krater with an oenochoe to replenish his kylix with wine, c. 490–480 BC, Louvre The Greeks are thought to have made red as well as rosé and white wines. Like today, these varied in quality from common table wine to valuable vintages. It was generally considered that the best wines came from Thásos, Lesbos and Chios.
|
|
Another important piece is at the Villa Giulia in Rome. The olpe depicts a frieze with several komasts dancing around a krater; a second frieze shows Herakles fighting the Hydra. Usually his paintings show much routine, but lack precision. About 70 vases are ascribed to him and according to Darrell A. Amyx, another ten painters can be described as his circle.
|
|
Glaucus of Chios () was a Greek sculptor in metal, distinguished as the inventor of the art of soldering metals (Greek: σιδήρου κόλλησις, lit. "gluing together of iron"). His most noted work was a base of welded iron supporting a silver krater. According to Herodotus, it was given by Alyattes, the Lydian King and father of Croesus, to the Oracle of Delphi.Herodotus, Histories, 1.
|
|
Hecht denied the charges. Thomas Hoving, director of the Met and the primary negotiator in the purchase, later said in his memoirs, Making the Mummies Dance, "An intact red-figured Greek vase of the early sixth century B.C. could only have been found in Etruscan territory in Italy, by illegal excavators". To allay concerns, some six months after the krater was bought he prompted the Metropolitan Museum to send a private detective to Zurich in an endeavor to reinforce the cited Sarrafian provenance. In 2006, following the trial of Giacomo Medici and related disclosures about antiquities smuggling, the Metropolitan Museum of Art and the Italian government signed an agreement under which ownership of the Euphronios Krater and several other pieces of art was returned to Italy in exchange for long-term loans of other comparable objects owned by Italy.
|
|
375 BC play Semele or Dionysus, Eubulus has the god of wine Dionysos describe proper and improper drinking: > For sensible men I prepare only three kraters: one for health (which they > drink first), the second for love and pleasure, and the third for sleep. > After the third one is drained, wise men go home. The fourth krater is not > mine any more – it belongs to bad behaviour; the fifth is for shouting; the > sixth is for rudeness and insults; the seventh is for fights; the eighth is > for breaking the furniture; the ninth is for depression; the tenth is for > madness and unconsciousness. In keeping with the Greek virtue of moderation, the symposiarch should have prevented festivities from getting out of hand, but Greek literature and art often indicate that the third-krater limit was not observed.
|
|
16, No. 2, pp. 108–111 (111) An artemon (Greek for foresail) almost the same size as the galley's mainsail can be found on a Corinthian krater as early as the late 6th century BC, but apart from that Greek longships of the 8th–5th century BC are uniformly shown without it.Casson, Lionel (1980): "Two-masted Greek ships", The International Journal of Nautical Archaeology, Vol.
|
|
Heroes received a libation from the second krater served, and (, lit. "Zeus who Finishes") from the third, which was supposed to be the last. An alternative was to offer a libation from the first bowl to the Agathos Daimon and from the third bowl to Hermes. An individual at the symposium could also make an invocation of and libation to a god of his choice.
|
|
The bowl has two handles, each measuring 3.4 cm in length. The bowl itself weighs 2.388 kg, having 25 cm in diameter and 7.1 cm in depth. The krater was lost during 1945, and now shown in plaster copy. Other notable items are paterae with the high relief of infant Hercules strangling the serpents and with the low relief heads of Attis and Cybele.
|
|
Gigantomachy krater by the Underworld Painter, circa 340 BC. Berlin: Altes Museum. The artists using the ornate style tended to favour large vessels, like volute kraters, amphorae, loutrophoroi and hydriai. The larger surface area was used to depict up to 20 figures, often in several registers on the body of the vase. Additional colours, especially shades of red, yellow-gold and white are used copiously.
|
|
Depictions of bejewelled female heads are also common. The CA painter was polychrome but tended to use much white for architecture and female figures. His successors were not fully able to maintain his quality, leading to a rapid demise, terminating with the end of Campanian vase painting around 300 BC. Hermes pursuing a woman, bell krater by the Dolon Painter, circa 390/80 BC. Paris: Louvre.
|
|
New shapes include the psykter and the pelike. Large krater and amphorae became popular at this time. Although there is no indication that the painters understood themselves as a group in the way that modern scholarship does, there were some connections and mutual influences, perhaps in an atmosphere of friendly competition and encouragement. Thus, a vase by Euthymides is inscribed "as Euphronios never [would have been able]".
|
|
Heroes received a libation from the second krater served, and (, lit. 'Zeus who Finishes') from the third, which was supposed to be the last. An alternative practice offered a libation from the first bowl to the Agathos Daimon and from the third bowl to Hermes. An individual at the symposium could also make an invocation of and libation to a god of his choice.
|
|
It may be by one of the master's assistants, perhaps by Smikros. That particular krater appears to have been a central work, influencing and inspiring many others. For example, a neck amphora (Louvre G 107) shows a nearly identical scene, but in a style quite different from that of Euphronios. On it, Heracles is accompanied by a mysterious inscription: He appears to belong to Smikros.
|
|
An Apulian red-figure volute krater, c. 340 BC. Antikensammlung Berlin In some forms Hades appears with his chthonic horses. The myth of the abduction of Persephone was derived from the idea that Hades catches the souls of the dead and then carries them with his horses into his kingdom. This idea is vague in Homer, but appears in later Greek depictions, and in Greek folklore.
|
|
His motifs include mythological and dionysiac scenes, as well as genre scenes with erotes, men and women. His most important vessel shape is the volute krater, which became the dominant shape in Apulia maybe due to his influence. Nonetheless, the over 100 works attributed to him include many other shapes. He was one of the first vase painters to substantially use additional white and yellow colour.
|
|
Hercules faces the giant Antaios in this illustration on a calix krater, c. 515–510 BC. Several Jupiter-Giant- Columns have been found in Germania Superior. These were crowned with a statue of Jupiter, typically on horseback, defeating or trampling down a giant, often depicted as a snake. They are restricted to the area of south-western Germany, western Switzerland, French Jura, and Alsace.
|
|
Stephen Grant (born 2 July 1973 in Brighton) is a British comedian, comedy writer, and radio presenter. He hosts the Krater Comedy Club at Komedia in Brighton, which won the Chortle Award for Best Comedy Club in the South for 2002–2006, 2008, and 2011–2014.Brighton Komedia. Chortle. Retrieved 22 July 2016. In 2008 and 2011, Grant won the Chortle Award for Best Compère.
|
|
25 The base, perhaps already without the krater, was also seen by Pausanias, who describes its construction,Pausanias, Description of Greece, 10. 16. 1 and by Athenaeus,Banquet of the Learned, 5. 210b–c, citing Hegesander of Delphi who says that it was chased with small figures of animals, insects, and plants. Perhaps it is this passage that has led MeyerKunstgeschichte vol. 2. p.
|
|
KPM porcelain krater vase given by Frederick William IV of Prussia to his sister Alexandrine, Grand Duchess of Mecklenburg-Schwerin, c. 1851 Under Frederick the Great's successor, his nephew Frederick William II, the manufactory became a technologically leading enterprise. The new king obtained what he needed in the way of porcelain from KPM, but stopped paying cash. The amounts due were deducted from his share of the profits.
|
|
Krater received mixed reviews from critics upon release. On Metacritic, the game holds a score of 52/100 based on 36 reviews, indicating "mixed or average reviews." Reviews praised the game for its unique storytelling and setting, easy learning curve, and its crafting and character development. However, reviewers also stated that the game needed improvement with balancing in combat, uninteresting quest design, and too few skills and customization.
|
|
Attic red-figure krater, 460–450 BC, Louvre (G 341). The Argonauts (; Ancient Greek: ) were a band of heroes in Greek mythology, who in the years before the Trojan War (around 1300 BC) accompanied Jason to Colchis in his quest to find the Golden Fleece. Their name comes from their ship, Argo, named after its builder, Argus. They were sometimes called Minyans, after a prehistoric tribe in the area.
|
|
Vasenmaler und Töpfer, Berlin 1991, p. 17 A large proportion of the painted vases produced, such as psykter, krater, kalpis, stamnos, as well as kylikes and kantharoi, were made and bought to be used at symposia.see Alfred Schäfer: Unterhaltung beim griechischen Symposion. Darbietungen, Spiele und Wettkämpfe von homerischer bis in spätklassische Zeit, von Zabern, Mainz 1997 Elaborately painted vases were good, but not the best, table wares available to a Greek.
|
|
The Met's Dipylon krater is tall and has a circumference of . The monumental vase is hollow, with a hole at the bottom, indicating that it was not used as a mixing bowl like regular kraters. At the Dipylon Cemetery, where it was found, kraters marked the graves of men. Decorations occupy the entire vase, separated into registers containing abstract motifs or figural designs in a dark-on-light style.
|
|
32: 259-285. Academic Search Complete, EBSCO host (accessed November 28, 2017). This allusion can include some of the numerous depictions of mythical battle scenes such as amazonomachies, gigantomachies, and centauromachies during the period. Such themes and mythological scenes can be seen in depictions like the one on the Calyx-Krater by the painter of the Berlin Hydria depicting an Amazonomachy, or the Gigantomachy by the Suessula Painter.
|
|
As is usual for Euphronios, the pictorial scene is framed by twisting curlicues. The painting itself is a classic example of the painter's work: strong, dynamic, detailed, anatomically accurate and with a strong hint of pathos. Both artists appear to have been aware of the quality of their work, as both painter and potter signed it. The krater is the only work by Euphronios to have survived in its entirety.
|
|
A second artist's name of Milonidas also appears on a pinax. The Corinthian olpe wine jug was replaced by an Attic version of the oinochoe with a cloverleaf lip. In Middle Corinthian time, depictions of people again became more common. The Eurytios Krater dated around 600 BC is considered to be of particularly high quality; it shows a symposium in the main frieze with Heracles, Eurytios, and other mythical figures.
|
|
Achelous loses his horn to Hercules on an Attic krater Sampson had continued his studies of the material since 1989. In 1994, in a talk during the annual meeting of the Society of Vertebrate Paleontology, he named "Taxon C" as a new genus and species, Achelousaurus horneri. Although an abstract was published containing a sufficient description, it did not identify a holotype, a name- bearing specimen.Sampson, S. D. 1994.
|
|
Ganymede rolling a hoop and bearing aloft a cockerel, a love-giftFor the cockerel as an emblematic gift to the eromenos, see, for example, H.A. Shapiro, "Courtship scenes in Attic vase- painting", American Journal of Archaeology, 1981; the gift is "gender specific, and it is clear that the cock had significance as evocative of male potency", T.J. Figueira observes, in reviewing two recent works on Greek pederasty, in American Journal of Archaeology, 1981. from Zeus, who is pictured in pursuit on the obverse of a vase by the Berlin Painter (Attic red- figure krater, 500-490 B.C.E.) In 5th century Athens, the story of Ganymede became popular among vase-painters, which was suited to the all-male symposium. Ganymede was usually depicted as a muscular young man, although Greek and Roman sculpture typically depicted his physique as less developed than athletes. One of the earliest depictions of Ganymede is a red-figure krater by the Berlin Painter in the Musée du Louvre.
|
|
The back of the Sarpedon krater shows a simple arming scene, executed more hastily as the massive krater's clay dried and rendered it less workable. This explicitly contemporary scene, depicting a group of anonymous youths arming themselves for war, is emblematic of the new realism in content as well as form which Euphronios brought to the red-figure technique. These scenes from everyday life, and the artistic conceit of pairing them with a mythological scene on the same piece, distinguish many of the pieces painted by Euphronios and those who followed him. In addition to its unique archaeological and artistic status, the Sarpedon krater played a pivotal role in the exposure and dismantling of a major antiquities smuggling network that traded in looted archaeological treasures and sold them on to major museums and collectors, including the Metropolitan Museum, the J. Paul Getty Museum in California, and Texan oil billionaire Nelson Bunker Hunt.
|
|
The Ries impact crater was a rampart crater, thus far a unique finding on Earth. Rampart craters are almost exclusively found on Mars. Rampart craters exhibit a fluidized ejecta flow after impact of the meteorite, most simply compared to a bullet fired into mud, with the ejecta resembling a mudflow. Another impact crater, the much smaller (3.8-km-diameter) Steinheim crater,Johannes Baier & Armin Scherzinger: Der neue Geologische Lehrpfad im Steinheimer Impakt-Krater.
|
|
Crater is a small constellation in the southern celestial hemisphere. Its name is the latinization of the Greek krater, a type of cup used to water down wine. One of the 48 constellations listed by the second-century astronomer Ptolemy, it depicts a cup that has been associated with the god Apollo and is perched on the back of Hydra the water snake. There is no star brighter than third magnitude in the constellation.
|
|
Orestes, Elektra and Pylades in front of the grave of Agamemnon, hydria by the Painter of Louvre K 428, circa 330 BC. Paris: Louvre. Sacrifice scene on a bell krater by the Painter of the Sacrifice in the Louvre, circa 330/320 BC. Paris: Louvre. Campanian vase painting is one of the five regional styles of South Italian red-figure vase painting. It forms a close stylistic community with Apulian vase painting.
|
|
Orestes in Delphi, krater by Python, ca. 330 BC (British Museum, London) Characteristics of the Paestan style include decorations such as lateral palmettes, a pattern of tendrils with calyx and umbrel known as "asteas flower", crenelation-like patterns on garments, and curly hair hanging over the back of figures. Figures that bend forwards, resting on plants or rocks, are equally common. Special colours are used often, especially white, gold, black, purple and shades of red.
|
|
The vessel itself could be carried, and the vertical handle allowed the person to pour it easily, which aided in tasks such as diluting wine in a Krater. The hydria also acted as a funerary urn containing ashes. This function was primarily associated with the hadra hydria. The funerary ceremony was conducted by a royal official who recorded the name of the deceased, their origin, the date of burial and a general inscription.
|
|
Because of so much bronze statue melting, only the smaller objects still exist. In Hellenistic Greece, the raw materials were plentiful following eastern conquests. The Derveni Krater, 4th century BC, Archaeological Museum of Thessaloniki The work on metal vases took on a new fullness: the artists competed among themselves with great virtuosity. The Thracian Panagyurishte Treasure (from modern Bulgaria), includes Greek objects such as a gold amphora with two rearing centaurs forming the handles.
|
|
Depiction of gigantomachy on the inside of a kylix. Antikensammlung Berlin Aristophanes (; active between 430 and 400 BC in Athens) was an ancient Greek vase painter of the Attic red-figure style. Three pieces signed by him are known. Two of them are bowls made by the potter Erginos, now in Berlin (Antikensammlung Berlin) and Boston (Museum of Fine Arts), the third is the fragment of a krater in Agrigento (Museo Archeologico Regionale).
|
|
A Roman symposium (convivium) served wine before, with and after food, and women were allowed to join. In a Greek symposium, wine was only drunk after dinner, and women were not allowed to attend. The wine was drawn from a krater, a large jar designed to be carried by two men, and served from pitchers (oenochoe). Determined by the Master of Ceremonies, the wine was diluted to a specific strength and was then mixed.
|
|
Samovars are typically crafted out of plain iron, copper, polished brass, bronze, silver, gold, tin, or nickel. A typical samovar consists of a body, base and chimney, cover and steam vent, handles, tap and key, crown and ring, chimney extension and cap, drip-bowl, and teapot. The body shape can be an urn, krater, barrel, cylinder, or sphere. Sizes and designs vary, from large, "40-pail" ones holding to those of a modest size.
|
|
Relief of a Spartan hoplite, c. 510 BC. Detail from the Vix bronze krater, Musée du Pays Châtillonnais, France Reconstruction of Greek hoplites in phalanx formation c. 480 BC On the basis of Etruscan representations, it has been widely accepted that the main early Roman infantry type was an armoured hoplite. These hoplite would probably have worn bronze helmets, breastplate and greaves and a round leather or large circular bronze-plated wooden shield.
|
|
Orestes at Delphi flanked by Athena and Pylades among the Erinyes and priestesses of the oracle, perhaps including Pythia behind the tripod - Paestan red-figured bell-krater, c. 330 BC In Greek mythology, Orestes (; ) was the son of Clytemnestra and Agamemnon. He is the subject of several Ancient Greek plays and of various myths connected with his madness and purification, which retain obscure threads of much older ones.Graves, Robert, The Greek Myths 112.1 ff.
|
|
After wine was poured from the phiale, the remainder of the oinochoē's contents was drunk by the celebrant.Zaidman and Pantel, Religion in the Ancient Greek City, p. 40. A libation is poured any time wine is to be drunk, a practice that is recorded as early as the Homeric epics. The etiquette of the symposium required that when the first bowl (krater) of wine was served, a libation was made to Zeus and the Olympian gods.
|
|
36; Burkert, Greek Religion, p. 71. This scene is commonly depicted in Greek art, which also often shows sacrificers or the gods themselves holding the phiale.Burkert, Greek Religion, p. 71. Scene of sacrifice, with a libation poured from a jug (Pothos Painter, Attic red-figure krater, 430–420 BCE) The Greek verb ' (σπένδω), "pour a libation", also "conclude a pact", derives from the Indo-European root ', "make an offering, perform a rite, engage oneself by a ritual act".
|
|
Villa di Livia, piscina The site was rediscovered and explored as early as 1596, but it was not recognized as the Villa of Livia until the 19th century.F. Nardini, Roma antica IV, Roma 1820, p64f. In 1863–1864, a marble krater carved in refined low relief was discovered at the site. In 1867, the famous heroic marble statue of Augustus, the Augustus of Prima Porta, was found at the villa; it is now in the Vatican Museums (Braccio Nuovo).
|
|
Yoqne'am I, p. 32 These artifacts include a cup fragment, a bowl, a krater, a cooking pot, an oil lamp, and amphorae, dating from between 50 BCE and 150 CE.Yoqne'am I, pp. 50–51, 59, 191 An underground room discovered under the church was identified as a Roman mausoleum. It was dated to the Late Roman period, based on a sarcophagus found among the building materials of the church, and on other Roman-like building features.
|
|
Hermes pursuing a woman, bell krater by the Dolon Painter, circa 390/380 BC. Paris: Louvre. Orestes, Elektra and Hermes in front of the tomb of Agamemnon, pelike by the Choephorai Painter, circa 380/370 BC. Paris: Louvre. Lucanian vase painting was substyle of South Italian red-figure vase painting, produced in Lucania between 450 and 325 BC. It was the oldest South Italian regional style. Together with Sicilian and Paestan vase painting, it formed a close stylistic community.
|
|
Since Athens had lost its dominant role in the Mediterranean pottery markets by this time, it should not be assumed that the form is a particularly Attic one, but rather that Athens adopted and went along with a generally prevailing trend in pottery production. The most common vessels shapes included pyxis, krater, hydria, amphora, pelike, jug, krateriskos, kantharos, chalice cup, kylix and lebes. Similar styles developed in the West Mediterranean. For example, the polychrome Gnathia style is closely related.
|
|
Athena and Poseidon on a volute krater by the Nazzano Painter, circa 360 BC. Paris: Louvre. True red figure vase painting, i.e. vases where the red areas have been left unpainted, was introduced to Etruria near the end of the 5th century BC. The first workshops developed in Vulci and Falerii and produced also for the surrounding areas. It is likely that Attic masters were behind these early workshops, but a South Italian influence is evident, too.
|
|
The Rape of Persephone: Persephone is abducted by Hades in his chariot. Persephone krater Antikensammlung Berlin 1984.40 Persephone (also known as Kore) was the daughter of Demeter, the goddess of the harvest, and Zeus. Persephone was abducted by Hades, who desired a wife. When Persephone was gathering flowers, she was entranced by a narcissus flower planted by Gaia (to lure her to the underworld as a favor to Hades), and when she picked it the earth suddenly opened up.
|
|
Both the red and black colour use the same clay, differently levigated and fired. As the Greeks learnt to control this variation, the path to their distinctive three-phase firing technique opened. Some of the innovations included some new Mycenean influenced shapes, such as the belly-handled amphora, the neck handled amphora, the krater, and the lekythos. Attic artists redesigned these vessels using the fast wheel to increase the height and therefore the area available for decoration.
|
|
The grave also contained an assemblage of imported objects from Italy and the Greek world, all of them associated with the preparation of wine. They included the famous krater (see below), a silver phiale (shallow bowl, sometimes seen as a local product), an Etruscan bronze oinochoe (wine jug), and several drinking cups from Etruria and Attica. One of the latter was dated as c. 525 BC and represents the latest firmly dated find in the grave.
|
|
A Hoplite (probably Spartan), on the Vix Krater. In the area, as elsewhere in Central and Western Europe, the early Iron Age led to changes in social organisation, including a marked tendency toward the development of social hierarchies. It seems that at the top of these hierarchies was an aristocracy that had developed in the context of the increasingly important trade in iron ore and iron. Whether they really were "princesses" or "princes" in a modern sense (i.e.
|
|
After the wine was poured from the phiale, the remainder of the oinochoē's contents were drunk by the celebrant.Zaidman and Pantel, Religion in the Ancient Greek City, p. 40. A libation was poured any time wine was to be drunk, a practice which was recorded as early as the Homeric epics. The etiquette of the symposium required that when the first bowl (krater) of wine was served, a libation was made to Zeus and the Olympian gods.
|
|
36; Burkert, Greek Religion, p. 71. Such scenes are commonly depicted in Greek art, including either the sacrificers or the gods themselves holding the phiale.Burkert, Greek Religion, p. 71. Scene of sacrifice, with a libation poured from a jug (Pothos Painter, Attic red-figure krater, 430–420 BCE) The Greek verb ' (σπένδω), meaning 'pour a libation' or 'conclude a pact', derives from the Indo-European root ', 'make an offering, perform a rite, engage oneself by a ritual act'.
|
|
Between 1998 and 2000, there was a discussion about an impact crater near Rosbach called Rosbach Krater. Starting with an article in the local newspaper Wetterauer Zeitung, articles in other newspapers as the Frankfurter Rundschau and the Frankfurter Allgemeine Zeitung were published. A mineralogist and his team from the University of Marburg found planare Strukturen (lit. planar structures) of the mineral quartz, arguing these are evident results to call the crater a result of a meteorite impact.
|
|
Derveni krater, bronze, 350 BC, height: 90.5 cm (35 ½ in.), Inv. B1, Archaeological Museum of Thessaloniki, after cleaning and conservation. Conservation and restoration of metals is the activity devoted to the protection and preservation of historical (religious, artistic, technical and ethnographic) and archaeological objects made partly or entirely of metal. In it are included all activities aimed at preventing or slowing deterioration of items, as well as improving accessibility and readability of the objects of cultural heritage.
|
|
The following year, the firm was chosen to help investigate the Enron collapse, and Plante Moran Trust was formed.Sorting Out Enron Mess Pumps Up Plante Moran Their international expansion began shortly after, with offices being opened in Shanghai, China, Monterrey, Mexico, and Mumbai, India by 2009. During that time, the firm also merged with Gleeson, Sklar, Sawyers and Cumpata (GSS&C;), adding three Illinois offices. Plante & Moran Finalizes Gleeson Sklar Merger In 2009, Gordon Krater became managing partner.
|
|
Items of note in the Argos Archaeological Museum include a Minoan style bridge-mouthed pot of sub-Mycenaean times, a reddish pot (460–450 BC) representing the fight of Theseus and the Minotaur, attended by Ariadne, a compass of the early geometric times, which is decorated with meanders and parallel lines, and a mosaic floor excavated from a house of the 5th century, in which symbols represent the twelve months. The museum contains many notable kraters (vases with handles), including a post- Geometric one with two horizontal and two vertical grips decorated with a metope representing woman dancers and water birds, the fragment of a krater of the 7th century BC representing Odysseus and his companions blinding the Cyclops Polyphemus, and a krater from an Argive atelier, decorated with metopes of geometrical jewels, horses and water birds. The museum also has many sculptures, including the Roman Heracles, which is a copy of the prototype by Lysippus for the market of Sikyon. On the downstairs floor of the museum the "Lerna Room" is dedicated to the archaeological discoveries at Lerna.
|
|
The Vix Grave from modern France is the most famous rich female burial, but there are several other significant ones. In the Vix Grave a huge bronze krater or mixing bowl was found which indicates the high status of the woman buried there. It derives from a Greek workshop and is 1.6 m high, weighs over 200 kg and has a volume of 1100 litres, making it the largest metal vessel to survive from the ancient world.Arnulf Krause: Die Welt der Kelten, pp.
|
|
421 (New York, NY: Basic Books, 1955). The 4th Century BC South Italian Apulian bell krater given by Marie Bonaparte to Sigmund Freud, which today contains the ashes of Freud and his wife MarthaMichael Turner, Sigmund Freud's collection an archaeology of the mind, pg. 43 (Sidney: MUMA, 2008). Although Prince George maintained friendly relations with Freud, in 1925 he asked Marie to give up her work in psychoanalytical studies and treatment to devote herself to their family life, but she declined.
|
|
Antoninus Pius was born nearby. at Monte Cagnolo, between Genzano and Civita Lavinia, near the ancient Lanuvium, in Lazio, southeast of Rome.It can be identified as "A Vase with Bacchanalians, found at Monte Cagnola, at Mr. Townley's" in the "Miscellanies" appended to the summary appended to the transcript of "Ancient Marbles found by Mr. Gavin Hamilton in various Ruins near Rome since 1769" (published in Smith 1901:321) The ovoid vase has volute handles in the manner of a pottery krater.
|
|
The enormous variety of apparently Mediterranean imports indicates wide-ranging trade connections; in particular, the Mediterranean material might have come to Vix with Greek or Etruscan traders. The wealth of imported luxury goods at Vix is, so far, unique in La Tène Europe. It has been suggested that the krater, the largest known Greek bronze vessel, should be seen in a context of high-status gift exchange connected with the trade of wine from the Mediterranean for raw materials from northern Europe.
|
|
The prothesis scene on the Met's Dipylon Krater features standing women with triangular torsos surrounding a prostrate body underneath a checkered burial shroud. The women raise their arms to their head, tearing out their hair as a sign of mourning for the deceased. Abstract geometric motifs and animals fill space in between the figures in a dense style characteristic of the Late Geometric Period. Underneath, the ekphora scene displays warriors with chariots and hourglass- shaped shields transporting the body in a funeral procession.
|
|
At the beginning of his career, Epiktetos painted a chalice krater made by the potter Andokides, but later he turned to smaller vessels, such as cups and plates. Throughout his long career, he worked for a variety of potters, including Andokides, Hischylos and the Nikosthenes-Pamphaios workshop. Since he signed one plate as painter and potter, he may have carried out both functions at least for some of the time. That plate was a votive offering, dedicated on the Athenian Acropolis.
|
|
Fragment of a middle corinthian terracotta column-krater (ca. 590–570 B.C.), depicting a band of fighting warriors, a cavalcade of riders, and a band of goats and panthers; Metropolitan Museum of Art (12.229.9) The Cavalcade Painter is the conventional name for an ancient Greek vase painter who produced Corinthian black figure vases. He was active during the Middle Corinthian period, around 580 BC. The Cavalcade Painter is considered one of the most important and best Corinthian painters of his time.
|
|
Early black-figure skyphos-krater, front side with swans, back with spiral ornaments and swans’ heads, ‘’circa’’ 630 BC; found at the Vourvas tumulus in Attica, National Museum, Athens. The Painter of Berlin A 34 was a vase painter during the pioneering period of Attic black-figure vase painting. His real name is unknown, his conventional name derived from his name vase in the Antikensamlung Berlin. He is the first individual vase painter of the style in Athens recognised by scholarship.
|
|
Odysseus, slaughtering Penelope's suitors on his return home at the end of the Odyssey, is compared by Homer to a lion. Bell-krater, c. 330 BC In the cultures of ancient Greece and ancient Rome, animal stereotypes grew until by the time of Virgil, animal epithets could be applied to anything from an abstract concept like love or fear, to a whole civilisation. An author could use an animal's name to emphasise a theme or to provide an overview of a complex epic tale.
|
|
Porphyrion is named on a sixth- century BC black-figure pyxis (Getty 82.AE.26), where he and the Giant Enceladus oppose Zeus, Heracles and Athena.Beazley Archive 10148 Fragment: Heracles, Athena, horses of Zeus' chariot, Porphyrion and Enceladus. He is also named on a late fifth-century BC red-figure cup from Vulci (Berlin F2531), and a fifth-century BC red-figure krater (Paris, Petit Palais 868), in both engaged in single combat with Zeus,Berlin F2531: Beazley Archive 220533: detail showing Zeus v.
|
|
Orestes at Delphi flanked by Athena and Pylades among the Erinyes and priestesses of the oracle, perhaps including Pythia behind the tripod – Paestan red-figured bell-krater, c. 330 BC The Erinyes (also known as the Furies) were the three goddesses associated with the souls of the dead and the avenged crimes against the natural order of the world. They consist of Alecto, Megaera, and Tisiphone. They were particularly concerned with crimes done by children against their parents such as matricide, patricide, and unfilial conduct.
|
|
There is a tree to one side of him and his suit of armor on the other side. This scene is unusual in Greek art because it depicts the moment right before the death, rather than the violence of the actual death. The Dipylon krater from Athens displays representations of funerary rituals for death and burial. The prothesis was a public "laying out" of the deceased similar to a modern wake, and the ekphora was a transportation of the body to the grave for burial.
|
|
The inclusion of Dionysus on the other side may reference the fact that festivals to Dionysus often featured plays, of which this might have at one time been one. The krater is attributed to the Darius Painter, for similarity in several stylistic and iconographic elements. Called one of the most literate painters, this pot provides inscriptions labelling several of the important figures, which have been instrumental in identifying this pot with the play Thyestes at Sikyon, even though we don’t have the play itself.
|
|
The madness of Heracles, side A from the Madrid Krater signed by Asteas, National Archaeological Museum of Spain Asteas (active between 350 and 320 BC in Paestum, Southern Italy) was one of the more active ancient Greek vase painters in Magna Graecia, practicing the red-figure style. He managed a large workshop, in which above all hydriai and kraters were painted. He painted mostly mythological and theatrical scenes. He is one of the few vase painters of the Greek colonies whose name comes down to us.
|
|
According to the accusations brought against Symes, he was the main dealer in Giacomo Medici's operation, selling looted antiquities from Robert E. Hecht and Medici to many renowned Western museums. One of the main museums to be involved was the J. Paul Getty Museum, whose curator Marion True has since been indicted for illegal trafficking of antiquities. She had been a student of Dietrich von Bothmer, curator of the Metropolitan Museum in New York. The Metropolitan acquired the Euphronios krater, which was returned to Italy in February 2006.
|
|
Bloodsports.TV features a departure from the squad- based real-time strategy gameplay of Krater: Shadows Over Solside, and replaces it with that of an MOBA. The player takes control of one of a number of Gladiators, alone or together with up to 4 other players, and loads into an arena. After a short time, waves of enemies will come out and the Gladiators will have to defeat them. After all outlaws are defeated, the players have a short time to restore their health, purchase upgrades, and do side-objectives.
|
|
The Vix Krater, an imported Greek wine- mixing vessel found in the famous grave of the "Lady of Vix" Archaeological finds are almost entirely burials; in the Hallstatt culture area, which is the dispersion area of this cultural material, especially at Dürrnberg near Hallein, this material can already be identified as Celtic in the Late Hallstatt phase (sixth century BC). The grave goods of female inhumations indicate cultural exchange with southern Europe, especially the North Italian Este and Villanovan cultures.Helmut Birkhan: Kelten. Versuch einer Gesamtdarstellung ihrer Kultur. pp. 43, 307 f.
|
|
Their ashes are today kept on three-tiered white stone shelves erected on either side of the plinth with Sigmund and Martha's urn. On New Year's Day 2014, Golders Green Crematorium staff discovered that burglars had apparently broken into the Ernest George Columbarium overnight and smashed the ancient bell krater containing Sigmund and Martha Freud's ashes in the attempt to steal the vessel. The severely damaged urn was afterwards temporarily moved to a secure location.Maev Kennedy: Urn containing Sigmund Freud's ashes smashed during theft attempt, The Guardian (15 January 2014), access date 2019-12-29.
|
|
These specimens were stored at the Natural History Museum, London. Alan J. Charig described the remains of Teleocrater in his 1956 PhD thesis for the University of Cambridge. He was the first to apply the name Teleocrater, derived from Greek teleos ("finished", "complete") and krater ("bowl", "basin"), in reference to the closed acetabulum of the animal. His initial thesis listed tanyura as the specific name of Teleocrater; later, in a 1967 overview of reptiles, he revised it to rhadinus, from Greek rhadinos ("slender", in reference to the bodyplan of the animal).
|
|
Heracles and Antaeus, red-figured krater by Euphronios, 515–510 BC, Louvre (G 103) Heracles crushing Antaeus by Ottavio Mosto (1690) Antaeus would challenge all passers-by to wrestling matches and remained invincible as long as he remained in contact with his mother, the earth. As Greek wrestling, like its modern equivalent, typically attempted to force opponents to the ground, he always won, killing his opponents. He built a temple to his father using their skulls. Antaeus fought Heracles as he was on his way to the Garden of Hesperides as his 11th Labour.
|
|
BM 537 Achilles (left) and Penthesilea (on the ground). The battle of Achilles and Penthesileia. Lucanian red-figure bell- krater, late 5th century BC At the Temple of Apollo Epicurius, built in the mid- to late-5th century BC, scenes from the Trojan War are preserved in the Bassae Frieze, a high relief marble sculpture in 23 panels. Here the Greek army is charged by the Amazons, who gain the upper hand, and at the height of the battle Achilles slays Penthesilea on a slab known as BM 537.
|
|
The most important artists are the Konnakis Painter and the Rose Painter. Hare and vine tendril on a bell krater by the Laurel Spray Group, circa 330 BC. London: British Museum. Initially, a broad palette of paints, including white, yellow, orange, red, brown, green and others, was used, but after 330 BC the extensive use of white paint dominated. At the same time, the thematic range was reduced, limiting itself to tendrils of vine, ivy or laurel, theatrical masks, and, within the tendrils, male and female heads, doves and swans.
|
|
Jason returns with the Golden Fleece, shown on an Apulian red-figure calyx krater, c. 340–330 BC In Greek mythology, the Golden Fleece (, Chrysómallo déras) is the fleece of the golden-woolled, winged ram, Chrysomallos, which was held in Colchis. The fleece is a symbol of authority and kingship. It figures in the tale of the hero Jason and his crew of Argonauts, who set out on a quest for the fleece by order of King Pelias, in order to place Jason rightfully on the throne of Iolcus in Thessaly.
|
|
Krater by Euphronios. The Pioneer Group were a number of red-figure vase painters working in Kerameikos or the potters' quarter of Athens around the beginning of the 5th century BCE. Characterized by John Boardman as perhaps the first conscious art movement in the western tradition, the group comprised the painters Euphronios, Euthymides, Smikros, Hypsis, the 'Dikaios Painter' and Phintias. We can credit John Beazley with first identifying these artists as a coherent group, though no documentary evidence remains of them; everything we know about them consists of their work itself.
|
|
Phlyax scene on a krater of the Lentini-Manfria Group: slave in short chiton, circa 350/40 BC. Paris: Louvre. The production of Sicilian vase painting began before the end of the 5th century BC, in the poleis of Himera and Syracusae. In terms of style, themes, ornamentation and vase shapes, the workshops were strongly influenced by the Attic tradition, especially by the Late Classical Meidias Painter. In the second quarter of the 4th century, Sicilian vase painters emigrated to Campania and Paestum, where they introduced red-figure vase painting.
|
|
Instead of figural depictions, ornaments and floral motifs covered the vessel bodies. Large figural compositions, like that on a krater by the Den Haag Funnel Group Painter were only produced exceptionally. The originally large-scale production at Falerii lost its dominant role to the production centre at Caere, which had probably been founded by Falerian painters and cannot be said to represent a distinct tradition. The standard repertoire of the Caere workshops included simply painted oinochoai, lekythoi and drinking bowls of the Torcop Group, and plates of the Genucuilia Group.
|
|
Apulian krater with scene from Thesmophoriazusae, c. 370 BC Thesmophoriazusae (; Thesmophoriazousai, meaning Women Celebrating the Festival of the Thesmophoria), or Women at the Thesmophoria (sometimes also called The Poet and the Women), is one of eleven surviving plays by Aristophanes. It was first produced in , probably at the City Dionysia. The play's focuses include the subversive role of women in a male-dominated society; the vanity of contemporary poets, such as the tragic playwrights Euripides and Agathon; and the shameless, enterprising vulgarity of an ordinary Athenian, as represented in this play by the protagonist, Mnesilochus.
|
|
The horses overlap each other without clear distinctions, in a stiff profile featured across the vase. The elaborate procession, complete with soldiers and horses indicates the importance this family placed on a proper burial, a value also featured in canonical Greek texts like the Iliad. The similarity of this vase's iconography to that of the Dipylon Amphora, attributed to the same artist, reveals that the rituals displayed were not isolated but were part of a larger tradition of Greek funerary rites in Geometric Period Athens. File:Terracotta krater MET DT360.
|
|
See e.g. J Paul Getty Museum Returns to Italy 1999, J Paul Getty Museum Returns to Italy (2005), and J. Paul Getty Museum Returns to Italy (2007), Trafficking Culture Encyclopedia. and the Metropolitan Museum of Art.See e.g. Euphronios (Sarpedon) Krater, Trafficking Culture Encyclopedia. In order to solve the phenomenon of looting, aerial surveillance - the effectiveness of which depends on the capability to perform systematic prospections - is increasingly being used. Nevertheless, it is impractical in several countries due to military activity, political restrictions, and/or huge areas and difficult environmental settings (desert, rain forest, etc..).
|
|
Warfare depicted in Greek art was often not representative of actual ancient warfare, but rather depictions of epic and mythological scenes. This depiction style became common in the 6th century, possibly reflecting the political and social turmoil Greece was beginning to experience, and the desire to triumph over barbarians. In the 5th century, with the adoption of the novel red-figure vase painting technique, amazonomachies changed slightly, beginning to shift from depicting just the defeated to illustrating a real threat. This calyx-krater was made in the Classical Period of ancient Greece ca.
|
|
Perhaps it is a cooperation by both artists. A different situation applies to an amphora (Leningrad 610) that also shows a similar scene to the krater described above, but depicts Heracles as an archer. As the piece is similar to Euphronios's work not only in terms of motif but also of artistic style, Beazley hesitantly ascribed it to the master. The problem is that at this point, the style and skills of Smikros had grown very similar to those of his teacher, making it difficult to distinguish their works.
|
|
Historical image of polygons (1699) Polygons have been known since ancient times. The regular polygons were known to the ancient Greeks, with the pentagram, a non-convex regular polygon (star polygon), appearing as early as the 7th century B.C. on a krater by Aristophanes, found at Caere and now in the Capitoline Museum.. Reprint of original 1921 publication with corrected errata. Heath uses the Latinized spelling "Aristophonus" for the vase painter's name.Cratere with the blinding of Polyphemus and a naval battle , Castellani Halls, Capitoline Museum, accessed 2013-11-11.
|
|
Nebel was in touch with well-known artists and writers during the disoriented post-war era of inflation. He lived in precarious conditions and, among other jobs, took on commissions in order to survive. (See the cover designed for Die Dame magazine of 1920.) He sought refuge in the utopia of art as the contrasting program to his dismal plight. In 1920, Nebel joined forces with Rudolf Bauer and Hilla von Rebay and formed the group Der Krater / Das Hochamt der Kunst ("The crater / The high mass of art").
|
|
Standing 1.72 metres tall and with a diameter of 1.35 m., the vase has a deep frieze with bas-reliefs and an everted gadrooned lip over a gadrooned lower section, where paired satyrs' heads mark the former placement of loop handles;The form of the bell krater with its upturned loop handles had been standardized in Attic pottery since the fifth century. The similar Medici Vase retains its handles springing up from the heads. it stands on a spreading fluted stem with a cabled motif round its base, on a low octagonal plinth.
|
|
Besides the Gorgon Painter the painters of the Komast Group (585–570 BC) should be mentioned. This group decorated types of vases which were new to Athens, namely lekanes, kotyles and kothons. The most important innovation was however the introduction of the komast cup, which along with the "prekomast cups" of the Oxford Palmette Class stands at the beginning of the development of Attic cups. Important painters in this group were the elder KX Painter and the somewhat less talented KY Painter, who introduced the column krater to Athens.
|
|
In 2009 some 39,584 looted antiquities and 19,043 other works were recovered, valued at €165 million. In 2008 works valued at €183 million were recovered. Improved international collaboration, site security, and databases saw a drop of 14.5% in stolen Italian works between the two years, while the number of illegal archaeological excavations discovered fell from 238 in 2008 to 58 in 2009. In 2009 137 items relating to the Medici case were returned from Switzerland, recovered from the Zurich-based restorers Fritz Burki & Son, who had worked on the Euphronios krater.
|
|
Krater (350–340 BC), believed to have been painted by Asteas (National Archaeological Museum at Paestum, Italy). Depicts Europa and Zeus, the latter in the guise of a white bull, trampling sea monsters and miscellaneous sea life. The White Bull (original title in French: Le Taureau Blanc) is a fable and a work of "contes philosophiques", a philosophical novel, written by the Age of Enlightenment-era philosopher Voltaire. The story is based on the Greek tale of Europa and the bull, where the white bull is in fact the Greek god Zeus.
|
|
A female aulos-player entertains men at a symposium on this Attic red-figure bell-krater, c. 420 BC In ancient Greece, the symposium ( symposion or symposio, from συμπίνειν sympinein, "to drink together") was a part of a banquet that took place after the meal, when drinking for pleasure was accompanied by music, dancing, recitals, or conversation.Peter Garnsey, Food and Society in Classical Antiquity (Cambridge University Press, 1999), p. 136 online; Sara Elise Phang, Roman Military Service: Ideologies of Discipline in the Late Republic and Early Principate (Cambridge University Press, 2008), pp. 263–264.
|
|
Detail of a krater, dating to 560-550 BC, showing a satyr masturbating, a common scene in many ancient Greek pottery paintings The sexual stimulation of one's own genitals has been interpreted variously by different religions, the subject of legislation, social controversy, activism, as well as intellectual study in sexology. Social views regarding masturbation taboo have varied greatly in different cultures, and over history. There are depictions of male and female masturbation in prehistoric rock paintings around the world. From the earliest records, the ancient Sumerians had very relaxed attitudes toward sex.
|
|
Youth preparing a pig's head after the sacrifice, bell-krater by the Tarporley Painter, ca. 360–340 BC, National Archaeological Museum of Spain The Tarporley Painter was a Greek Apulian red-figure vase painter. His works date to the first quarter of the 4th century BC. The Tarporley Painter is his period's most important representative of the so-called "Plain Style". He is considered to have been the pupil and successor of the Sisyphus Painter, as indicated by his elegant fine-limbed figures and the solemn facial expressions of his woman and cloaked youths.
|
|
Among the painted pottery discovered in Pistiros, vessels of krater and scyphos types predominate, while those of the kylix and pelike types are more uncommon. Scenes of everyday life, mythology, leisure, and games of the ancient Greeks are depicted on the vessels. Represented in more variety are black glazed pottery wares, including scyphoi, kanthaoroi, bowls and one- handled cups, kylices and various shapes of latter type, lekythoi, and fish plates. The import of luxurious Attic pottery in Pistiros was interrupted around the mid 3rd century BC. This trend is typical for the entire Thracian plain.
|
|
The Vix Krater, an imported Greek wine-mixing bronze vessel found in the Hallstatt/La Tène grave of the "Lady of Vix", Burgundy, France, c. 500 BC By the late eighth century BC, the archaic Greek world had become involved in an active trade network around the Aegean. It was this trade network which was the source of the orientalizing influence on Greek art in the early part of the archaic period. Meanwhile, to the west, trade between Corinth and Magna Graecia in Southern Italy and Sicily was booming.
|
|
At the beginning of each symposium a symposiarch (συμποσίαρχος), or "lord of the common drink", was elected by the participants. He would then assume control of the wine servants, and thus of the degree of wine dilution and how it changed during the party, and the rate of cup refills. The krater and how it was filled and emptied was thus the centerpiece of the symposiarch's authority. An astute symposiarch should be able to diagnose the degree of inebriation of his fellow symposiasts and make sure that the symposium progressed smoothly and without drunken excess.
|
|
The Cratère de Vix, an imported Greek wine-mixing vessel manufactured circa 500 BCE, and found in the famous grave of the "Lady of Vix". The Musée du Pays Châtillonnais, or Trésor de Vix, formerly called the musée archéologique de Châtillon-sur-Seine (Côte-d'Or), was created in the late nineteenth century and is managed by the community of communes of the Pays Châtillonnais. The museum houses the finding of the Vix Grave, and especially the famous Vix krater, dated to circa 500 BCE and testifying to the links between the Gauls and the Greeks at that period.
|
|
Phlyax actor as a slave from a Sicilian chalice-krater by a painter of the Lentini-Manfria Group, c. 350–40 BCE (Louvre) Nossis of Locri provides the closest contemporary explanation of the genre in her epitaph for Rhinthon: > Pass by with a loud laugh and a kindly word > For me: Rhinthon of Syracuse am I, > The Muses’ little nightingale; and yet > For tragic farce I plucked an ivy wreath.Anthologia Palatina 7.414 Textual and archaeological evidence give a partial picture of these burlesques of mythology and daily life. The absence of any surviving script has led to conjecture that they were largely improvised.
|
|
Red-figure bell-shaped krater by the Bendis Painter, –370 BCE Elsewhere in Greece, the cult of Bendis did not catch on. :"Just as in all other respects the Athenians continue to be hospitable to things foreign, so also in their worship of the gods; for they welcomed so many of the foreign rites that they were ridiculed for it by comic writers; and among these were the Thracian and Phrygian rites." --Strabo Geography (1st Century CE), 10.3.18. The "Phrygian rites" Strabo mentioned referred to the cult of Cybele that was also welcomed to Athens in the 5th century.
|
|
Ancient Boeotian bell-krater showing Zeus impregnating Danaë in the form of a shower of gold, circa 450-425 BC The love of a god for a mortal, resulting in the birth of a hero, is one notable deviation from the tradition of the origin of gods. The legend of Perseus, whose mother conceived him when Jupiter came to her in the form of a golden shower, is one example of this type (cf. Ovid, Metamorphoses, Book IV). The Greek Anthology has the following: Zeus, turned to gold, piercing the brazen chamber of Danae, cut the knot of intact virginity.
|
|
Athena and Poseidon on a volute krater by the Nazzano Painters, circa 360 BC Early vessels of this style merely imitated the red-figure technique. As on some early Attic vases, this was achieved by covering the whole vase body in black shiny slip, then adding figures on top, using paints that would oxidise into red or white during firing. In true red-figure, the red areas were left free of slip. In pseudo-red-figure, internal details were marked by incision, similar to the usual practice in black-figure vase painting, rather than painted on, as in true red-figure.
|
|
An episode from the Trojan War is shown on the obverse; this illustration depicts the death of Sarpedon, son of Zeus and Laodamia. The reverse of the krater shows a contemporary scene of Athenian youths from the sixth century BC arming themselves before battle. In the scene of Sarpedon's death, the god Hermes directs the personifications of Sleep (Hypnos) and Death (Thanatos) to carry the fallen away to his homeland for burial. While the subject of Sarpedon's death might normally be depicted as a stylized tableau, the figures in this scene are painted in naturalistic poses and with schematic but accurate anatomy.
|
|
The painter's name vase The Painter of the Berlin Dancing Girl was an Apulian red-figure vase painter who was active between 430–410 BC. He was named after a calyx krater in the collection of the Antikensammlung Berlin which depicts a girl dancing to the aulos played by a seated woman. As one of the first South Italian red-figure painters, he must have been educated in an Attic workshop. His name vase shows influences from the work of the Phiale Painter who worked in Attica. He and his followers most likely had their workshops in Taras, which is Taranto today.
|
|
Krater with a palaestra scene: athletes preparing for a competition, ascribed to Euphronios, circa 510/500 BC, Berlin: Antikensammlung The artists of the so-called "Pioneer Group" made the step towards a full exploitation of the possibilities of the red-figure technique. They were active between circa 520 and 500 BC. Important representatives include Euphronios, Euthymides and Phintias. This group, recognised and defined by twentieth-century scholarship, experimented with the different possibilities offered by the new style. Thus, figures appeared in new perspectives, such as frontal or rear views, and there were experiments with perspective foreshortening and more dynamic compositions.
|
|
Marching soldiers observed by a female figure, in the Warrior Vase, c. 1200 BC, a krater from Mycenae In 1250 BC, the first wave of destruction apparently occurred in various centers of mainland Greece for reasons that cannot be identified by archaeologists. In Boeotia, Thebes was burned to the ground, around that year or slightly later. Nearby Orchomenos shared the same fate, while the Boeotian fortifications of Gla were deserted.. In the Peloponnese, a number of buildings surrounding the citadel of Mycenae were attacked and burned.. These incidents appear to have prompted the massive strengthening and expansion of the fortifications in various sites.
|
|
The A-side scene on the belly of the kalyx-krater depicts Homer's story of Odysseus's visit to the Underworld to consult the dead seer Teiresias. This meeting is known as a nekuomanteion or "consultation with the dead". Odysseus is seated in the middle of the scene on uneven ground; he is seated between Eurylochos, second- in-command of Odysseus' ship during the return to Ithaca after the Trojan War, and Perimedes, one of Odysseus's companions during his return voyage from Troy, awaiting the consultation with the ghost of Teiresias. Odyseus is wearing boots and has a short sword in his right hand.
|
|
With the hoplite formation everyone was the same in battle. The Phalanx formation appeared during the 7th and 8th centuries BC. The representation of hoplites in art show historians how the Greeks used this formation in battle as well as how the soldiers were dressed and what their armor looked like. The hoplite formation is shown in different styles of pottery such as white ground and black figure and also on many different types of pottery such an olpe, krater, alabastron, and dinos. Across all depictions, hoplite soldiers wear the same armor and carry the same weapons in the same position.
|
|
Slaughter of the suitors by Odysseus and Telemachus, Campanian red-figure bell-krater, ca. 330 BC, Louvre (CA 7124) In Homer's Odyssey, Telemachus, under the instructions of Athena (who accompanies him during the quest), spends the first four books trying to gain knowledge of his father, Odysseus, who left for Troy when Telemachus was still an infant. At the outset of Telemachus' journey, Odysseus had been absent from his home at Ithaca for twenty years due to the Trojan War and the intervention of Poseidon. During his absence, Odysseus' house has been occupied by hordes of suitors seeking the hand of Penelope.
|
|
Several parishioners liberally supported the church in its early years, either by direct contributions or by advancing funds, Mr H. E. Krater of Enfield making an initial loan of A₤1000. The present vicarage was added in 1897, and with the addition of the choir in 1905 and the tower in 1924 under the supervision of architect E. Lindsay Thompson, the church was virtually completed as Blacket conceived it. During the period of rector Rev. Ronald O'Brien (1957-1970s) a peel of bells has been installed in the tower in 1960 and stone fencing completed along the Burwood Road frontage.
|
|
At the end of November, Chris Reiser, who had been the morning host of Krater 96 in Honolulu, Hawaii, was added to the mid- day line-up, replacing Tammy Moyer as she took a temporary personal leave. She was expected to return to work in the new year but Reiser later became the permanent host of the show. Tammy Moyer has since moved to CKWX in Vancouver, British Columbia. In December 2009, a new two-hour weekend tabloid show was introduced, All Access Weekend with Anne-Marie Withenshaw, airing entertainment headlines and music news, on Saturday mornings, repeated on Sunday afternoons.
|
|
In Euripides's Medea, Medea boasts that she killed the Colchian dragon herself. In the most famous retelling of the story from Apollonius of Rhodes's Argonautica, Medea drugs the dragon to sleep, allowing Jason to steal the Fleece. Greek vase paintings show her feeding the dragon the sleeping drug in a liquid form from a phialē, or shallow cup. Paestan red-figure kylix-krater ( 350–340 BC) showing Cadmus fighting the dragon of Ares In the founding myth of Thebes, Cadmus, a Phoenician prince, was instructed by Apollo to follow a heifer and found a city wherever it laid down.
|
|
The Corinthian order does not have its origin in wooden architecture. It grew directly out of the Ionic in the mid 5th century BC, and was initially of much the same style and proportion, but distinguished by its more ornate capitals.Banister Fletcher pp. 137–139 The capital was very much deeper than either the Doric or the Ionic capital, being shaped like a large krater, a bell-shaped mixing bowl, and being ornamented with a double row of acanthus leaves above which rose voluted tendrils, supporting the corners of the abacus, which, no longer perfectly square, splayed above them.
|
|
The University of Alberta established the W. G. Hardy Collection of Ancient Near East and Classical Antiquities, at its Classics museum in 1975. As of 2011, the exhibit includes approximately 200 items, including a marble bust of Antonia Minor, the mother of the Roman Emperor Claudius, and an Athenian bell krater used for serving wine. In 1979, the Canadian Broadcasting Corporation published a book including unedited transcripts of Hardy's radio programs. In The Literary History of Alberta: Volume I (1998), Canadian academic George Melnyk wrote that "Hardy succeeded in bringing the lives of historical figures to a broader audience".
|
|
Clytemnestra trying to awake the Erinyes while her son is being purified by Apollo, Apulian red-figure krater, 480–470 BC, Louvre (Cp 710) Clytemnestra was the daughter of Tyndareus and Leda, the King and Queen of Sparta, making her a Spartan Princess. According to the myth, Zeus appeared to Leda in the form of a swan, seducing and impregnating her. Leda produced four offspring from two eggs: Castor and Clytemnestra from one egg, and Helen and Polydeuces (Pollux) from the other. Therefore, Castor and Clytemnestra were fathered by Tyndareus, whereas Helen and Polydeuces were fathered by Zeus.
|
|
The Treasures of Tutankhamun exhibition, which travelled for nearly a decade through North America and Europe, was an important cultural event.Hoving wrote about his 1960s acquisition for the Met of the controversial Cloisters Cross in a book called King of the Confessors.His tenure at the Metropolitan Museum of Art was characterized by his distinctive approach to expanding the Met's collections. Rather than build more comprehensive holdings of relatively modest works, he pursued a smaller number of what he termed "world-class" pieces, including the Euphronios krater depicting the death of Sarpedon (returned to Italy in 2008), Velázquez's Portrait of Juan de Pareja, and the Temple of Dendur.
|
|
Apulian red-figure bell krater depicting the ghost of Clytemnestra waking the Erinyes, date unknown Ghosts appeared in Homer's Odyssey and Iliad, in which they were described as vanishing "as a vapor, gibbering and whining into the earth". Homer's ghosts had little interaction with the world of the living. Periodically they were called upon to provide advice or prophecy, but they do not appear to be particularly feared. Ghosts in the classical world often appeared in the form of vapor or smoke, but at other times they were described as being substantial, appearing as they had been at the time of death, complete with the wounds that killed them.
|
|
The Vix Krater As the Greek city-states established colonies throughout the Mediterranean, the settlers brought grapevines with them and were active in cultivating the wild vines they encountered. Sicily and southern Italy formed some of the earliest colonies, as they were areas already home to an abundance of grapevines. The Greeks called the southern part of the Italian Peninsula Oenotria ("land of vines"). Settlements in Massalia in southern France and along the shores of the Black Sea soon followed, with the expectation that not only would colonial wine production supply domestic needs, but also create trading opportunities to meet the demand of the nearby city-states.
|
|
204 More accomplished painters also found inspiration in the sculpture, namely Polygnotos I and his group, especially the Peleus Painter, the Kleophon Painter and the late work of the Achilles Painter. Later painters of talent also managed to capture the mood of eusebeia, or thoughtful piety of the procession, as, for example, on the volute krater of the Kleophon Painter of a sacrifice to Apollo,Ferrara T57 which shares the quiet dignity of the best of High Classical sculpture.Robertson, 1992, p.223, "One of the artist's masterpieces…[i]n the pictures on this vase the Kleophon Painter is still Periklean in the happiest sense".
|
|
This style is emblematic of the Pioneer Group of late Archaic painters, of whom Euphronios is considered the most accomplished. The scene of the anonymous Greek youths on the reverse shares this naturalistic style, using all the Pioneer Group's characteristic techniques of anatomical accuracy, natural poses, foreshortening, and spatial illusion. Also characteristic of the Pioneer Group is the narrative tension created both by pairing these two scenes on the same piece, and by painting them in a common style. The death of Sarpedon, a quasi-mythological story which would be familiar to anyone viewing the krater, is an episode involving specific historical and mythological figures.
|
|
This vase can be seen at the Perseus Project site . The water spilling from the shattered vase below Troilus' horse, symbolises the blood he is about to shed.Woodford (1993: pp.58–9). The iconography of the eight legs and hooves of the horses can be used to identify Troilus on pottery where his name does not appear; for example, on a Corinthian vase where Troilus is shooting at his pursuers and on a peaceful scene on a Chalcidian krater where the couples Paris and Helen, Hector and Andromache are labelled, but the youth riding one of a pair of horses is not.Carpenter (1991: pp.19–20).
|
|
A milestone in the development of ancient Greek pottery due to the drawing style used as well as the combination of related stories depicted in the numerous friezes, it is dated to circa 570/560 BCE. The Francois Vase was discovered in 1844 (and 1845 - M.I.) in Chiusi where an Etruscan tomb in the necropolis of Fonte Rotella was found located in central Italy. It was named after its discoverer Alessandro François, it is now in the Museo Archeologico at Florence. It remains uncertain whether the krater was used in Greece or in Etruria, and whether the handles were broken and repaired in Greece or in Etruria.
|
|
The Red Figure Pelike with an Actor Dressed as a Bird is a ceramic vessel from the Attic region of Greece that is dated to between 430-420 BC. It is decorated using the red-figure technique and depicts a continuous scene from Greek old comedy. This vessel is currently housed in the Michael C. Carlos Museum at Emory University in Atlanta, Georgia. Due to compositional and stylistic similarities, the Red Figure Pelike with an Actor Dressed as a Bird is often compared to a calyx-krater that was previously housed in the J. Paul Getty Museum until it was returned to the Italian Ministry of Culture in 2007.
|
|
The Torlonia Vase or Cesi-Albani-Torlonia Vase is a colossal and celebrated neo-Attic Roman white marble vase, 1.8 m tall, made in the 1st century BCE, which has passed through several prominent collections of antiquities before coming into the possession of the Princes Torlonia in Rome.Museo Torlonia, inv. 174. Luca Leoncini, "The Torlonia Vase: History and Visual Records from the Fifteenth to the Nineteenth Centuries", Journal of the Warburg and Courtauld Institutes, 54 (1991:99-116). The vase is of calyx krater shape, with a high frieze carved with a Bacchic symposium and an everted rim, standing on a gadrooned base imitative of metalwork.Leoncini 1991:99.
|
|
The Warrior Vase Detail of the soldiers The Mycenaean Warrior Vase, found by Heinrich Schliemann on the acropolis of Mycenae, is one of the prominent treasures of the National Archaeological Museum, Athens.The Warrior Vase The Warrior Vase, dated to the 12th century BC, is probably the best-known piece of Late Helladic pottery.Early Late Helladic III C. It is a krater, a mixing bowl used for the dilution of wine with water, a custom which the ancient Greeks believed to be a sign of civilized behavior. The broad frieze of armed soldiers on the vase, which is incomplete, suggested the name that Schliemann gave it.
|
|
Case 20 contains finds from Kokkevis' chamber and protogeometric tombs at Chora. These finds include amphoras, a krater with a depiction of a hunting scene, and a stemmed open cup or bowl with a linear white decoration, reminiscent of pottery from Early Modern Greece. There are also grave goods from Tsakalis' chamber tombs and from the tholos tomb 4 of Kanakaris including a copper bowl with long rectangular handles, a feeding bottle, a female figurine, necklaces of gold or semi-precious stones, and a set for personal care containing a razor and two mirrors. Case 21 is dedicated to finds from the lower town and Tsakalis tombs.
|
|
In an earlier version, Hecate rescued Persephone. On an Attic red-figured bell krater of c. 440 BC in the Metropolitan Museum of Art, Persephone is rising as if up stairs from a cleft in the earth, while Hermes stands aside; Hecate, holding two torches, looks back as she leads her to the enthroned Demeter.The figures are unmistakable, as they are inscribed "Persophata, Hermes, Hekate, Demeter"; Gisela M. A. Richter, "An Athenian Vase with the Return of Persephone" The Metropolitan Museum of Art Bulletin 26.10 (October 1931:245–248) The 10th-century Byzantine encyclopedia Suda introduces a goddess of a blessed afterlife assured to Orphic mystery initiates.
|
|
Emporiae coins, 5th-1st century BC. Map of the Ruïnes d’Empúries. Greek kalyx krater found at Empúries Empúries was founded on a small island at the mouth of the river Fluvià, in a region inhabited by the Indigetes (at the present time, the mouth of the Fluvià is about 6 km to the north). This city came to be known as the Palaiapolis, the "old city" when, towards 550 BC, the inhabitants moved to the mainland, creating the Neapolis, the "new city". After the conquest of Phocaea by the Persian king Cyrus II in 530 BC, the new city's population increased considerably through the influx of refugees.
|
|
Attic red-figure bell-krater (c. 440 BC) Greeks of the Classical age venerated Orpheus as the greatest of all poets and musicians; it was said that while Hermes had invented the lyre, Orpheus had perfected it. Poets such as Simonides of Ceos said that Orpheus' music and singing could charm the birds, fish and wild beasts, coax the trees and rocks into dance,Pseudo-Apollodorus, Bibliotheke 1.3.2; Euripides, Iphigeneia at Aulis, 1212 and The Bacchae, 562; Ovid, Metamorphoses 11: "with his songs, Orpheus, the bard of Thrace, allured the trees, the savage animals, and even the insensate rocks, to follow him>" and divert the course of rivers.
|
|
His conventional name is derived from his name vase, a volute krater in the British Museum with depictions of the iloupersis (the sack of Troy). He followed the tradition of the Dijon Painter, but was an innovative artist who introduced significant aspects to Apulian vase painting. Thus, he introduced the depictions of grave scenes (naiskos vases) into the repertoire of motifs, started the habit of rippling the lower parts of vessel surfaces, and invented the decoration of the handles of volute kraters with circular medaillons depicting faces. The motif of a female head rising between tendrils from a flower was also first painted by him.
|
|
Probable Spartan Hoplite, Vix krater, circa 500 BC. The Athenians had been preparing for war with the Persians since the mid-480s BC, and in 482 BC the decision was taken, under the guidance of the politician Themistocles, to build a massive fleet of triremes that would be necessary for the Greeks to fight the Persians.Holland, p. 217-223 The Athenians did not have the man- power to fight on land and sea; therefore combatting the Persians would require an alliance of several Greek city states. In 481 BC Xerxes sent ambassadors around Greece asking for earth and water, but making the very deliberate omission of Athens and Sparta.
|
|
Among the notable works found in the museum is the Marble statue of Aigiochos dated to the 1st century AD, a fruitstand with painted decoration, found at the Neolithic settlement of Sylivaina at Krathion and dates from the Middle Neolithic period (6000 BC), a three-handled pithos-amphora dated to the second half of the 15th century BC, a necklace of cornelian and glass-paste beads dated to the 14th-13th century BC and a Corinthian krater bearing painted representations of sphinxes and an eagle from around 690 BC. The museum also has an antefix decorated with a painted palmette and a Clay sima with a painted decoration, from the Archaic temple at Aigira dated to 500 BC.
|
|
Markle, p.92 The lefthand figure shows the armband and grip on the inside of a hoplon or Argive shield - painted Corinthian krater c. 560BC. From pictorial sources, it is probable that the Hypaspists, elite members of the infantry, including the Agema of the King's personal foot guard, employed a shield of larger dimensions, the traditional Greek hoplite shield called the hoplon or aspis (ἀσπίς), it is also referred to as the 'Argive shield'. This shield, also circular, was larger than the phalangite shield, it had sheet-bronze facing over a wooden base; it was held with the left forearm passing through a central armband with a hand-grip set just inside the rim.
|
|
The story of the Golden Fleece appeared to have little resonance for Athenians of the Classic age, for only two representations of it on Attic- painted wares of the fifth century have been identified: a krater at the Metropolitan Museum of Art and a kylix in the Vatican collections. In the kylix painted by Douris, ca 480-470, Jason is being disgorged from the mouth of the dragon, a detail that does not fit easily into the literary sources; behind the dragon, the fleece hangs from an apple tree. Jason's helper in the Athenian vase-paintings is not Medea— who had a history in Athens as the opponent of Theseus— but Athena.
|
|
Mistress of Animals above a vignette showing Ajax carrying the dead Achilles The uppermost frieze, on the neck of the krater, depicts on side ASo-called because it depicts the culmination of the procession shown on the vessel’s main frieze, the top band on the body, which is also the highest of all. the Calydonian Boar Hunt, including the heroes Meleager, Peleus, and Atalanta. The scene is flanked by two sphinxes which are separated from it by a band of lotus blossoms and palmettes. On the other side of the vessel, this zone features the dance of Athenian youths led by Theseus who is playing the lyre, standing opposite Ariadne and her nurse.
|
|
Hamilton independently came to the conclusion that he was collecting pottery of Greek origin. (See The Hunt Krater, British Museum) More authentically Etruscan in inspiration was Wedgwood's black basalt stone ware, which was already in development as the Etruria works were being built and came on the market in 1768. As with the black, burnished and unglazed bucchero pottery characteristic of genuinely Etruscan ceramics,Bucchero Wedgwood's "Black Basaltes" were fired in a reducing atmosphere, achieved by closing vents, where the oxygen-starved flames drew off the oxygen from iron oxides, rendering the ceramic body black, a color that was enriched and deepened with the addition of manganese to the clay.Wedgwood Museum: black basalts.
|
|
The hoplite formation is portrayed on many different types of pottery such as the Dinos, the Krater, and the Alabastron; and it many different styles such as black figure and white ground. During the Archaic period there are pieces of artwork that depict the aulos player. One of the most prominent pieces show how the aulos player helped keep the hoplite soldiers in step by playing them into battle. With the help of the aulete, they were able to keep their shields close together to prevent the opposing phalanx from penetrating their ranks.Hurwit, Jeffrey M. “Reading the Chigi Vase.” Hesperia: The Journal of the American School of Classical Studies at Athens, vol.
|
|
250px Around 510 BC, probably seeking new media for his compositions, Euphronios entered the workshop of Euxitheos, a potter who was similarly engaged in experimenting with form and decor in his own work. The stylistic development of Euphronios's work during this period, during which both painter and potter attempted bold and influential experiments, permits a reconstruction of its chronological sequence with some certainty. A partially preserved chalice krater from this period (Louvre G 110) is indicative of the degree to which Euphronios was aware of the influence of his artistic innovations. The front of the chalice shows a classic scene that he had already painted on a bowl around 520 BC : the fight between Heracles and the Nemean Lion.
|
|
Among the highlights of the Greco-Roman collection is a marble head of Apollo, fragment of a larger statue coming from Magna Graecia and dating back to 3rd-1st century BC, and a woman’s torso in pentelic marble, from the classic Athenian period. The collection also includes an important group of 24 Tanagras (terracotta figurines) dating back to the 4th century BC, and an assemblage of 58 ancient glass flasks and small vases provenient from the Mediterranean Basin, under the rule of the Roman Empire. It also comprises red and black pottery vases, an Attic krater from the Classic Period and two Italiote vases from Apulia and Magna Graecia. Jacopo Tintoretto - Portrait of Nicolaus Padavinus (1589).
|
|
Games built with the engine include Escape Dead Island, Hamilton's Great Adventure, Krater, Gauntlet, Helldivers, Magicka: Wizard Wars, Magicka 2, The Showdown Effect, War of the Vikings, War of the Roses, Warhammer: End Times - Vermintide and Warhammer: Vermintide 2. Bitsquid was acquired by Autodesk in June 2014; the company integrated the engine and related middleware into their games development toolchain, including 3ds Max, Maya, Mudbox, and Maya LT. They also rebranded the engine Autodesk Stingray, hoping to compete with other low-cost-to-enter game engines like Unreal Engine, Unity, and CryEngine. Autodesk offered Stingray on a monthly subscription basis, and an educational and commercial 3-year subscription basis. Autodesk announced Stingray's end of sale and development as a standalone product, effective as of January 7, 2018.
|
|
Findings from this first settlement period come to an abrupt end around 2000 BCE, indicating a catastrophic event theorized to involve Pelasgian invaders. Geometric Krater attributed to the Trachones workshop on display at the Metropolitan Museum of Art Excavations at construction sites adjacent to the Kontopigado mound in the 1980s and '90s led to the discovery of an Early Helladic settlement (third millennium BCE), and an overlying Mycenaean complex dated from Late Helladic IIIB to Late Helladic IIIC (ca. 1300 BCE), marking the second period of intense development in Euonymeia. In 2006, work on the Alimos Metro station South from the mound unearthed a large workshop complex from the same era with installations for ceramic production, including a kiln and potters wheel.
|
|
525-475 BC), an Attic red-figure stamnos from Cerveteri attributed to Oltos (London E437), Achelous (identified by inscription) is shown with a bearded human upper torso, attached to a long serpentine body, with a fish's tail. This is similar to the depictions of the sea-god Triton which appear on many other Attic vases. Heracles (also identified by inscription) appears about to break off the river-god's single horn.Schefold, p. 159; Stafford, p. 76; Fontenrose, pp. 233-234; LIMC 9321 Acheloos 245; Beazley Archive 200437; AVI 4590. On a somewhat later (c. 475-425 BC) red-figure Attic column krater (Louvre G365), Achelous's broken-off horn lies on the ground, while Heracles holds Achelous by his other horn, and threatens him with a club held overhead.
|
|
Rape of Europa from a krater, Archaeological evidence from Paestum's first centuries indicates the building of roads, temples, and other features of a growing city. Coinage, architecture, and molded votive figurines all attest to close relations maintained with Metaponto in the sixth and fifth centuries. It is presumed that Poseidonia harbored refugees from its mother city, Sybaris, when that city was conquered by Croton in 510 BC. In the early fifth century, Poseidonia's coins adopted the Achaean weight standard and the bull seen on Sybarite coins. A. J. Graham thinks it was plausible that the number of refugees was large enough for some kind of synoecism to have occurred between the Poseidonians and the Sybarites, possibly in the form of a sympolity.
|
|
Ancient Boeotian bell-krater showing Zeus impregnating Danaë in the form of a shower of gold ( 450-425 BC), a story which has been compared to the Christian account of the virgin birth of Jesus Another comparable story from Greek mythology describes the conception of the hero Perseus. According to the myth, Zeus came to Perseus's mother Danaë in the form of a shower of gold and impregnated her. Although no surviving Greek text ever describes this as a "virgin birth", the early Christian apologist Justin Martyr has his Jewish speaker Trypho refer to it as such in his Dialogue with Trypho. Scholars have also compared the story of the virgin birth to the complex narratives revolving around the birth of Dionysus.
|
|
The Vix Krater, a Greek wine-mixing vessel found in the Vix Grave Coat of arms of the second Duchy of Burgundy and later of the province The first recorded inhabitants of the area that became Burgundy were various tribes of Gallic Celts, the most prominent of which were the semi-republican Aedui who were eventually incorporated into the Roman Empire following the defeat of the Gauls in the Battle of Alesia. Gallo-Roman culture flourished during the Roman period. During the 4th century, the Burgundians, a Germanic people, who may have originated in Bornholm (on the Baltic Sea), settled in the western Alps. They founded the Kingdom of the Burgundians, which was conquered in the 6th century by another Germanic tribe, the Franks.
|
|
Within this krater took place the mixing of water and wine during the Theophania. In Delphi they used to say that this one had been made by Theodorus of Samos. The votive offerings of Croesus comprised also four silver pithoi (storage jars), situated at the Treasury of the Corinthians, and two perirrhanteria (basins for purification water) made of precious metals and a statue of a woman made of gold; they said that it depicted the woman who kneaded Croesus' bread. Finally, he dedicated the pendants and belts of his wife as well as other simpler and smaller liturgical objects and a golden shield which he offered to the Archaic temple of Athena Pronaia, later on melted by the Phocians in the course of the Third Sacred War.
|
|
Throughout these places, various types and shapes of vases were used. Not all were purely utilitarian; large Geometric amphorae were used as grave markers, kraters in Apulia served as tomb offerings and Panathenaic Amphorae seem to have been looked on partly as objets d’art, as were later terracotta figurines. Some were highly decorative and meant for elite consumption and domestic beautification as much as serving a storage or other function, such as the krater with its usual use in diluting wine. Earlier Greek styles of pottery, called "Aegean" rather than "Ancient Greek", include Minoan pottery, very sophisticated by its final stages, Cycladic pottery, Minyan ware and then Mycenaean pottery in the Bronze Age, followed by the cultural disruption of the Greek Dark Age.
|
|
The classic example—Orestes—belongs to tragedy, but the procedure given by Aeschylus is ancient: the blood of a sacrificed piglet is allowed to wash over the blood- polluted man, and running water washes away the blood.Burkert notes parallels with a bilingual Akkadian-Sumerian ritual text: "the knowledgeable specialist, the sacrificial piglet, slaughter, contact with blood, and the subsequent cleansing with water" . The identical ritual is represented, Burkert informs us, on a krater found at Canicattini, wherein it is shown being employed to cure the daughters of Proetus from their madness, caused by some ritual transgression. To the question of whether the ritual obtains atonement for the subject, or just healing, Burkert answers: "To raise the question is to see the irrelevance of this distinction".
|
|
Attic black-figure krater-psykter (525–500 BCE, Louvre Museum) In Greek mythologyKarl Kerenyi, Dionysos: Archetypal image of indestructible life 1976:123, observes that "the ecstatic band of bacchantes and agitated male nature gods in a state of heightened zoë ... is not reflected in Minoan art." and religion, the thiasus (), was the ecstatic retinue of Dionysus, often pictured as inebriated revelers. Many of the myths of Dionysus are connected with his arrival in the form of a procession. The grandest such version was his triumphant return from "India", which influenced symbolic conceptions of the Roman triumph and was narrated in rapturous detail in Nonnus' Dionysiaca. In this procession, Dionysus rides a chariot, often drawn by big cats such as tigers, leopards, or lions.
|
|
Masturbation was also an act of creation and, in Sumerian mythology, the god Enki was believed to have created the Tigris and Euphrates rivers by masturbating and ejaculating into their empty riverbeds. Male masturbation was an even more important image in ancient Egypt: when performed by a god it could be considered a creative or magical act: the god Atum was believed to have created the universe by masturbating to ejaculation. Detail of a krater, dating to 560-550 BC, showing a satyr masturbating, a common scene in many ancient Greek pottery paintings The ancient Greeks also regarded masturbation as a normal and healthy substitute for other forms of sexual pleasure. Most information about masturbation in ancient Greece comes from surviving works of ancient Greek comedy and pottery.
|
|
Ganymede pouring Zeus a libation (Attic red-figure calyx krater by the Eucharides Painter, c. 490–480 BCE) Plato accounts for the pederastic aspect of the myth by attributing its origin to Crete, where the social custom of paiderastía was supposed to have originated (see "Cretan pederasty").Plato, Laws 636D, as cited by Thomas Hubbard, Homosexuality in Greece and Rome, p252 Athenaeus recorded a version of the myth where Ganymede was abducted by the legendary King Minos to serve as his cupbearer instead of Zeus. Some authors have equated this version of the myth to Cretan pederasty practices, as recorded by Strabo and Ephoros, that involved abduction of a youth by an older lover for a period of two months before the youth was able to re-enter society as a man.
|
|
Detail of a chariot from a late Geometric krater attributed to the Trachones workshop on display at the Metropolitan Museum of Art People and animals are depicted geometrically in a dark glossy color, while the remaining vessel is covered by strict zones of meanders, crooked lines, circles, swastikas, in the same graphical concept. Later, the main tragic theme of the wail declined, the compositions eased, the geometric shapes have become more freely, and areas with animals, birds, scenes of shipwrecks, hunting scenes, themes from mythology or the Homeric epics led Geometric pottery into more naturalistic expressions.Geometric periods of pottery at Greek-thesaurus.gr One of the characteristic examples of the Late Geometric style is an oldest surviving signed work of a Greek potter Aristonothos (or Aristonophos) (7th century BC).
|
|
John D. Batten, The Creation of Pandora, 1913, tempera on fresco, 128 x 168cm, Reading University Images of Pandora began to appear on Greek pottery as early as the 5th century BCE, although identification of the scene represented is sometimes ambiguous. An independent tradition that does not square with any of the Classical literary sources is in the visual repertory of Attic red-figure vase-painters, which sometimes supplements, sometimes ignores, the written testimony; in these representations the upper part of Pandora is visible rising from the earth, "a chthonic goddess like Gaia herself."Jeffrey M. Hurwit, "Beautiful Evil: Pandora and the Athena Parthenos" American Journal of Archaeology 99.2 (April 1995:171–186) p. 177. Sometimes,E.g. as on a volute krater, ca 450 BC, in the Ashmolean Museum, Oxford (Oxford G 275), Hurwit, p.
|
|
Some of the ancient artists whose work is presented in the museum are Myron, Scopas, Euthymides, Lydos, Agoracritus, Agasias, Pan Painter, Wedding Painter, Meleager Painter, Cimon of Cleonae, Nessos Painter, Damophon, Aison (vase painter), Analatos Painter, Polygnotos (vase painter), Hermonax. Collections include sculpture work, Loutrophoros, amphora, Hydria, Skyphos, Krater, Pelike, and lekythos vessels, Stele, frescoes, jewellery, weapons, tools, coins, toys and other ancient items. Artifacts derive from archaeological excavations in Santorini, Mycenae, Tiryns, Dodona, Vaphio, Rhamnous, Lycosura, Aegean islands, Delos, the Temple of Aphaea in Aegina, the Sanctuary of Artemis Orthia in Sparta, Pylos, Thebes, Athens, Vari Cave, the Antikythera wreck and from various other places in Greece. The museum houses the archaic terracota statuette daidala that inspired the designers of the 2004 Athens Olympics maskots Athena and Phevos.
|
|
F. Nardini, Roma antica IV, Roma 1820, p64f. The famous statue of Augustus from Prima Porta In 1863/4 a marble krater carved in refined low relief was discovered at the site and in 1867 one of the most famous marble statue of Augustus, the Augustus of Prima Porta, which is now in the Vatican (Braccio Nuovo), was discovered here. The magisterial Augustus is a marble copy of a bronze statue that celebrated the return in 20 BC of the military standards captured by the Parthians in 53 BC after the defeat of Crassus at Carrhae: a rich iconography plays out in the low reliefs that decorate his cuirass. The villa occupied the height dominating the view down the Tiber valley to Rome; some of the walling that retained its terraces may still be seen (Piperno).
|
|
Smith 1991, 130 Hellenistic sculpture also includes for the first time large genre subjects of children and peasants, many of whom carry Dionysian attributes such as ivy wreaths, and "most should be seen as part of his realm. They have in common with satyrs and nymphs that they are creatures of the outdoors and are without true personal identity."Smith 1991, 136 The fourth-century BC Derveni Krater, the unique survival of a very large scale Classical or Hellenistic metal vessel of top quality, depicts Dionysus and his followers. Dionysus appealed to the Hellenistic monarchies for a number of reasons, apart from merely being a god of pleasure: He was a human who became divine, he came from, and had conquered, the East, exemplified a lifestyle of display and magnificence with his mortal followers, and was often regarded as an ancestor.
|
|
Described by Livy as one of the Capita Etruriae (Etruscan capitals), Arezzo (Aritim in Etruscan) is believed to have been one of the twelve most important Etruscan cities—the so-called Dodecapolis, part of the Etruscan League. Etruscan remains establish that the acropolis of San Cornelio, a small hill next to that of San Donatus, was occupied and fortified in the Etruscan period. There is other significant Etruscan evidence: parts of walls, an Etruscan necropolis on Poggio del Sole (still named "Hill of the Sun"), and most famously, the two bronzes, the "Chimera of Arezzo" (5th century BC) and the "Minerva" (4th century BC) which were discovered in the 16th century and taken to Florence. Increasing trade connections with Greece also brought some elite goods to the Etruscan nobles of Arezzo: the krater painted by Euphronios c.
|
|
The work is a dialogue between Lazzarelli and King Ferdinand of Aragon, whom Lazzarelli is initiating into "a mystery which is both Christian and Hermetic - early in the dialogue Lazzarelli tells him: 'Christianus ego sum o Rex: et Hermeticum simul esse non pudet'..."DP Walker, _Spiritual and Demonic Magic, from Ficino to Campanella_ , pp64-5. Using Orphic hymns, the king is prepared for "the final revelation of the mystery". The 'Crater' here is the Platonic Krater, envisioned by both Plato and the NeoPlatonists as the cosmic crucible in which all souls were created, and that was also represented in the Christian narrative of the Holy Grail. Since the aim of the initiation was to reveal "the kingdom of Israel (which poets call the Golden Age), for which Jesus Christ taught his disciples to pray", DP Walker, _Spiritual and Demonic Magic, from Ficino to Campanella_ , p67.
|
|
The Arezzo 1465 Vase During the Archaic Period, depictions of warfare in Greek art held importance in status markings, and also provide insight as to the trading markets during this era. For example, the Arezzo 1465 vase, an Attic volute krater attributed to Euphronios in the Late Archaic Era, depicts an amazonomachy, and was found in the Etruria region, indicating the expanse of the trade networks. Warfare as a status symbol further solidifies a reasoning behind this trade, since any art with warfare depictions on it thereby becomes a sort of luxury item sought after by those wishing to elevate their own status because aspects and physical areas of Greek society tended to extol military prestige and virtue. Proving oneself in battle distinguished one from the others and brought glory (klèos) to their families; consequently owning any art depicting warfare displayed one's wealth and elite status.
|
|
The genus name is derived from the Ancient Greek krater (cup), kheiros (hand), and odon (tooth), to refer to the superficial resemblance of the teeth's shape to a cupped hand. The species was named in honour of Edwin "Ned" Colbert. Despite being incomplete, PEFO 9984 was designated as the holotype of Kraterokheirodon due to the original specimen of AMNH 4947 being lost. Although the exact field location is unknown, AMNH 4947 was likely collected from either the top of the Bluewater Creek Member or from the base of the Blue Mesa Member of the Chinle Formation, dated to the late Carnian between 217–225 Ma. PEFO 9984 was collected from the middle of the younger Petrified Forest Member, which has been dated to the early or middle Norian at approximately 213 Ma. This indicates that Kraterokheirodon had a long stratigraphic range, in spite of its rarity.
|
|
The Derveni krater, height : 90.5 cm (35 ½ in.), 4th century BC The Dionysian Mysteries of mainland Greece and the Roman Empire are thought to have evolved from a more primitive initiatory cult of unknown origin (perhaps Thracian or Phrygian) which had spread throughout the Mediterranean region by the start of the Classical Greek period. Its spread was associated with the dissemination of wine, a sacrament or entheogen with which it appears always to have been closely associated (though mead may have been the original sacrament). Beginning as a simple rite, it evolved quickly within Greek culture into a popular mystery religion, which absorbed a variety of similar cults (and their gods) in a typically Greek synthesis across its territories; one late form was the Orphic Mysteries. However, all stages of this developmental spectrum appear to have continued in parallel throughout the eastern Mediterranean until late in Greek history and forcible Christianization.
|
|
"Freud Corner", Golders Green Crematorium: Ancient Greek bell krater containing the ashes of Sigmund and Martha Freud Sigmund and Martha met in April 1882 and after a four-year engagement (1882–1886) they were married on 14 September 1886 in Hamburg.Letters of Sigmund Freud; selected and edited by Ernst L. Freud, Basic Books, 1960; p. 7 Freud and Bernays’s love letters sent during the engagement years, according to Freud's official biographer Ernest Jones, who read all the letters, "would be a not unworthy contribution to the great love literature of the world." Freud sent over 900 (lengthy) letters to his fiancée, which chart the ups and downs of a tempestuous relationship, marred by outbreaks of jealousy on his part as well as affirmations that "I love you with a kind of passionate enchantment".Ernest Jones, The Life and Work of Sigmund Freud (1964) p. 109.
|
|
Many of the items then purchased with funds generated by the more liberal deaccessioning policy are now considered the "stars" of the Met's collection, including Diego Velázquez's Portrait of Juan de Pareja and the Euphronios krater depicting the death of Sarpedon (which has since been repatriated to the Republic of Italy). In the years since the Met began its new deaccessioning policy, other museums have begun to emulate it with aggressive deaccessioning programs of their own. The Met has continued the policy in recent years, selling such valuable pieces as Edward Steichen's 1904 photograph The Pond-Moonlight (of which another copy was already in the Met's collection) for a record price of $2.9 million. One of the most serious challenges to the Metropolitan Museum's reputation has been a series of allegations and lawsuits about its status as an institutional buyer of looted and stolen antiquities.
|
|
The museum contains an intensive collection of Mycenaean artifacts. These include excavations at the Mycenaean cemetery of Lakkithra such as a Mycenaean kylix dating from the 12th century B.C., which is a conical cup, decorated with cross-hatched triangles and a gold necklace from made from pairs of gold spirals and intentionally twisted, also dating to the 12th century B.C. Notable finds at the cemetery of Diakata also dating back to the 12th century B.C. include a bronze fibula which is a bow shaped as a row of eight-figured loops and a large, two-handled krater which has a low foot and is adorned with panelled motives between the handles. The museum also features many other items of pottery and jewelry from excavations around the island and Melissani Lake. It also contains some 3rd-century BC tombstones, a 2nd-century BC mosaic from the temple of Poseidon and archived photographs of an 1899 excavation at Sami.
|
|
In June 2008 Komedia was awarded the lease of the Beau Nash Picture House in Bath, a Grade I-listed neo-classical cinema previously operated by Odeon and known as the Beau Nash Picture House. Following extensive refurbishment, the cinema was transformed into an auditorium and live arts venue designed by architects Stubbs Rich, who have since been awarded The National Constructing Excellence Award for the Heritage Project of the Year for the scheme. The development project won The Building Excellence Award for The Best Renovation of a Listed Building in the UK. The venue opened to the public on 13 November. Komedia Bath has become an important element of the arts quarter in Bath and presents a programme focused on comedy, music, film, cabaret, spoken word and kids events. The programme includes the Krater Comedy Club, Ministry of Burlesque’s High Tease, and cinema screenings in partnership with The Little Cinema Theatre and Picturehouse.
|
|
Vix krater, an imported Greek wine- mixing vessel from 500 BC attests to the trade exchanges of the period These eastern Greeks, established on the shores of southern France, were in close relations with the Celtic inhabitants of the region, and during the late 6th and 5th centuries BC Greek artifacts penetrated northwards alongs the Rhône and Saône valleys as well as the Isère. Massalian grey monochrome pottery has been discovered in the Hautes Alpes and as far north as Lons-le-Saunier, as well as three-winged bronze arrowheads as far as northern France, and amphorae from Marseille and Attic pottery at Mont Lassois.Consumption and Colonial Encounters in the Rhône Basin of France: A Study of Early Iron Age Political Economy by Michael Dietler, Monographies d’Archéologie Meditérranéenne, 21, CNRS, 2005, p.39-102 The site of Vix in northern Burgundy is a well-known example of a Hallstatt settlement where such Mediterranean objects were consumed, albeit in small quantities.
|
|
Silver repoussé rhyton with gold horns, from Grave Circle A at Mycenae, 16th century BC (Archaeological Museum, Athens) During the Late Mycenaean period (1400–1200 BC), Mycenaean vessels/pottery exhibited similarities spanning a significant area of the Eastern Mediterranean (i.e., from the Levant to Sicily) and possibly reflecting a form of economic and political union centered at Mycenae.. However, the pottery of Crete during this time remained distinct indicating a degree of autonomy on the island. The Mycenaean Greeks produced in large quantities a variety of diversely-styled vessels such as stirrup jars, large bowls, alabastron, krater and stemmed cups (or kylikes) resembling champagne glasses. Stirrup jars (Linear B: ka-ra-re-u, khlareus; "oil vessel"), specifically, were first invented on the island of Crete during the 16th century BC and used widely by the Mycenaeans from 1400 BC onward for transporting and storing wine and oil; the jars were usually pear-shaped or globular.
|
|
Jason Felch, "Metropolitan Museum says it will return Cambodian statues". Los Angeles Times, 3 May 2013 In addition to the ongoing investigations by the Italian police (TPC), lawsuits brought by the Governments of Italy, Turkey and Cambodia against the Metropolitan Museum of Art contend that the acquisition of the Euphronius krater may have demonstrated a pattern of less than rigorous investigation into the origin and legitimate provenance of highly desirable antiquities for the museum's collections. Examples include, the Cloisters Cross, a large Romanesque cross carved from walrus ivory, the Karun Treasure, also known as the Lydian Hoard, a collection of 200 gold, silver, bronze and earthenware objects, dating from the 7th Century BCE, and part of a larger haul of some 450 objects looted by local tomb robbers from four ancient royal tombs near Sardis, in Turkey in 1966–67."Gold hippocampus from Lydian Hoard found". The History Blog, 28 November 2012 After a six-year legal battle that reportedly cost the Turkish government UK£25 million"King Croesus's golden brooch to be returned to Turkey".
|
|
The subject of Niobe and the destruction of the Niobids was part of the repertory of Attic vase-painters and inspired sculpture groups and wall frescoes as well as relief carvings on Roman sarcophagi. The subject of the Attic calyx-krater from Orvieto conserved in the Musée du Louvre has provided the name for the Niobid Painter.identified by Webster, Der Niobidenmaler, Lepizig 1935; the iconography of the reverse subject and its possible relation to a lost Early Classical wall-painting by Polygnotes was examined in A lifesize group of marble Niobids, including one of Niobe sheltering one of her daughters, found in Rome in 1583 at the same time as the Wrestlers, were taken in 1775 to the Uffizi in Florence where, in a gallery devoted to them, they remain some of the most prominent surviving sculptures of Classical antiquity (see below). New instances come to light from time to time, like one headless statue found in early 2005 among the ruins of a villa in the Villa dei Quintili just outside Rome.
|
|
Krater depicting marching soldiers, Mycenae, c. 1200 BC. The presence of the important and influential military aristocracy that formed in Mycenaean society offers an overwhelming impression of a fierce and warlike people. This impression of militarism is reinforced by the fortifications erected throughout Mycenaean Greece,.. the large numbers and quality of the weapons retrieved from the Mycenaean royal graves, artistic representations of war scenes and the textual evidence provided by the Linear B records... The Linear B scripts also offer some detail about the organization of the military personnel, while military production and logistics were supervised by a central authority from the palaces. According to the records in the palace of Pylos, every rural community (the damos) was obliged to supply a certain number of men who had to serve in the army; similar service was also performed by the aristocracy.. The main divinities who appear to be of warlike nature were Ares (Linear B: A-re) and Athena Potnia (Linear B: A-ta-na Po-ti-ni-ja)..
|
|
All depictions on this vase point towards warfare in Ancient Greece. The body shows an amazonomachy with clear indications of Greek Hoplites, which all carry spears and wear the style of helmet and shield that were historically attributed to Hoplites, as well as hints towards the other warriors being the Amazons, due to their use of a bow rather than spear, the long thin bodies indicative of a more feminine body type, and their different style of clothing. Herakles is known to be a great warrior and hero, so the placement of him among everything else is also indicative of some sort of battle, or of something that he is contributing his efforts in order to reign victorious. Telamon, a friend of the demigod Herakles, is commonly thought of in reference to the myth where Telamon assists Herakles in killing the sea monster that Poseidon sends to destroy the city of Troy, rather than an amazonomachy like this krater depicts, however his presence then further solidifies the warfare theme as he is directly tied to another mythical battle.
|
|
Nestor's advice in the Iliad, while always respected by his listeners due to his age and experience, is always tempered with a sub-text of humor at his expense due to his boastfulness, as he is never able to dispense the advice without first spending several paragraphs recounting his own heroic actions in the past when faced with similar circumstances. In the Odyssey, too, Homer's admiration of Nestor is tempered by some humor at his expense: Telemachus, having returned to Nestor's home from a visit to Helen of Troy and Menelaus (where he has sought further information on his father's fate), urges Peisistratus to let him board his vessel immediately to return home rather than being subjected to a further dose of Nestor's rather overwhelming sense of hospitality. Peisistratus readily agrees, although ruefully stating that his father is bound to be furious when he learns of Telemachus's departure. Nestor and his sons sacrifice to Poseidon on the beach at Pylos (Attic red-figure calyx- krater, 400–380 BC).
|
|
Thermos was already an important regional centre in the prehistoric period: a long apsidal building (with one rounded end: "Megaron A"), elliptical and square houses with finds of pottery in the Middle Helladic tradition together with imports of high quality Mycenaean pottery can all be dated to the Late Helladic IIA period c. 1500 BC. This settlement continued to flourish throughout the Mycenaean period, even after the destruction of the Mycenaean palaces (LH IIIC, 1200-1100 BC) when a fine krater (large bowl) decorated with warriors in the same style as the well-known Warrior Vase found by Heinrich Schliemann at Mycenae was brought to the site. A large rectangular building (Megaron B) which underlies the Temple of Apollo was long thought to demonstrate the hypothetical development of the Archaic Greek temple form from the Mycenaean palace with the addition of a peristyle (or surrounding colonnade). Recent excavations, however, conducted by Professor I. Papapostolou for the Archaeological Society of Athens (Archaiologike Etairia Athenon) have demonstrated that a) the building is likely to have been constructed after the end of the Mycenaean period c.
|
|
By the reign of Archelaus I of Macedon, the Macedonian elite started importing significantly greater customs, artwork, and art traditions from other regions of Greece. However, they still retained more archaic, perhaps Homeric funerary rites connected with the symposium and drinking rites that were typified with items such as decorative metal kraters that held the ashes of deceased Macedonian nobility in their tombs.. Among these is the large bronze Derveni Krater from a 4th-century BC tomb of Thessaloniki, decorated with scenes of the Greek god Dionysus and his entourage and belonging to an aristocrat who had a military career.. Macedonian metalwork usually followed Athenian styles of vase shapes from the 6th century BC onward, with drinking vessels, jewellery, containers, crowns, diadems, and coins among the many metal objects found in Macedonian tombs.. Surviving Macedonian painted artwork includes frescoes and murals on walls, but also decoration on sculpted artwork such as statues and reliefs. For instance, trace colors still exist on the bas-reliefs of the Alexander Sarcophagus.; .
|
|
Other, non- literary traditions guided the vase-painters,As on the bell krater at the Cleveland Museum of Art (91.1) discussed in detail by Christiane Sourvinou- Inwood, "Medea at a Shifting Distance: Images and Euripidean tragedy", in Clauss and Johnston 1997, pp 253-96. and a localized, chthonic presence of Medea was propitiated with unrecorded emotional overtones at Corinth, at the sanctuary devoted to her slain children,Edouard Will, Corinth 1955. "By identifying Medea, Ino and Melikertes, Bellerophon, and Hellotis as pre- Olympianprecursors of Hera, Poseidon, and Athena, he could give to Corinth a religious antiquity it did not otherwise possess", wrote Nancy Bookidis, "The Sanctuaries of Corinth", Corinth 20 (2003) or locally venerated elsewhere as a foundress of cities."Pindar shows her prophesying the foundation of Cyrene; Herodotus makes her the legendary eponymous founder of the Medes; Callimachus and Apollonius describe colonies founded by Colchians originally sent out in pursuit of her" observes Nita Krevans, "Medea as foundation heroine", in Clauss and Johnston 1997 pp 71-82 (p. 71).
|
|
Chinese flask decorated with a dragon, clouds and some waves, an example of Jingdezhen porcelain 18th century illustration of a woman made of ornaments and elements of Classical architecture Ornaments on an Ancient Greek Krater Khmer lintel in Preah Ko style, late 9th century, reminiscent of later European scrollwork styles The history of art in many cultures shows a series of wave-like trends where the level of ornament used increases over a period, before a sharp reaction returns to plainer forms, after which ornamentation gradually increases again. The pattern is especially clear in post-Roman European art, where the highly ornamented Insular art of the Book of Kells and other manuscripts influenced continental Europe, but the classically inspired Carolingian and Ottonian art largely replaced it. Ornament increased over the Romanesque and Gothic periods, but was greatly reduced in Early Renaissance styles, again under classical influence. Another period of increase, in Northern Mannerism, the Baroque and Rococo, was checked by Neoclassicism and the Romantic period, before resuming in the later 19th century Victorian decorative arts and their continental equivalents, to be decisively reduced by the Arts and Crafts movement and then Modernism.
|
|
By the reign of ArchelausI in the 5th century BC, the ancient Macedonian elite was importing customs and artistic traditions from other regions of Greece while retaining more archaic, perhaps Homeric, funerary rites connected with the symposium that were typified by items such as the decorative metal kraters that held the ashes of deceased Macedonian nobility in their tombs.. Among these is the large bronze Derveni Krater from a 4th- centuryBC tomb of Thessaloniki, decorated with scenes of the Greek god Dionysus and his entourage and belonging to an aristocrat who had had a military career.. Macedonian metalwork usually followed Athenian styles of vase shapes from the 6thcenturyBC onward, with drinking vessels, jewellery, containers, crowns, diadems, and coins among the many metal objects found in Macedonian tombs.. Alexander (left), wearing a kausia and fighting an Asiatic lion with his friend Craterus (detail); late 4th-centuryBC mosaic,. Pella Museum. Surviving Macedonian painted artwork includes frescoes and murals, but also decoration on sculpted artwork such as statues and reliefs. For instance, trace colors still exist on the bas-reliefs of the late 4th-century BC Alexander Sarcophagus.
|
|