Metropolitan Museum III

Terracotta Panathenaic prize amphora (jar) Signed by Nikias as potter Attributed to Sikelos as painter Period: Archaic Date: ca. 560–550 B.C. Culture: Greek, Attic Medium: Terracotta; black-figure Dimensions: H. 24 5/16 in. (61.8 cm) diameter 2 9/16 in. (6.5 cm) Classification: Vases Credit Line: The Bothmer Purchase Fund, 1978 Accession Number: 1978.11.13 Description: Obverse, Athena, with this inscription: one of the prizes from Athens. Nikias made me Reverse, footrace, with this inscription: stadion race of men From the second quarter of the sixth century B.C. on, victors in the contests of the Panathenaic festival in Athens were awarded a standardized amphora containing one metretes (about forty-two quarts) of olive oil from sacred groves in Attica. The official decoration on the front was a picture of a statue of Athena, fully armed. The scene on the back showed the event for which the prize was awarded. This is the earliest Panathenaic amphora in the collection of The Metropolitan Museum of Art. It is also one of the earliest of those dated between 566 and 550 B.C., a period of some experimentation. The canonic ornaments for the neck and shoulder and even the placement of the official prize inscription did not become established until the last quarter of the sixth century; in the early group, no two amphorae are alike in these details. The stadion, identified here as the competition for which the prize was won, was a race of nearly two hundred yards. Text from: www.metmuseum.org/collection/the-collection-online/search/255627

Terracotta Panathenaic prize amphora (jar) Signed by Nikias as potter Attributed to Sikelos as painter Period: Archaic Date: ca. 560–550 B.C. Culture: Greek, Attic Medium: Terracotta; black-figure Dimensions: H. 24 5/16 in. (61.8 cm) diameter 2 9/16 in. (6.5 cm) Classification: Vases Credit Line: The Bothmer Purchase Fund, 1978 Accession Number: 1978.11.13 Description: Obverse, Athena, with this inscription: one of the prizes from Athens. Nikias made me Reverse, footrace, with this inscription: stadion race of men From the second quarter of the sixth century B.C. on, victors in the contests of the Panathenaic festival in Athens were awarded a standardized amphora containing one metretes (about forty-two quarts) of olive oil from sacred groves in Attica. The official decoration on the front was a picture of a statue of Athena, fully armed. The scene on the back showed the event for which the prize was awarded. This is the earliest Panathenaic amphora in the collection of The Metropolitan Museum of Art. It is also one of the earliest of those dated between 566 and 550 B.C., a period of some experimentation. The canonic ornaments for the neck and shoulder and even the placement of the official prize inscription did not become established until the last quarter of the sixth century; in the early group, no two amphorae are alike in these details. The stadion, identified here as the competition for which the prize was won, was a race of nearly two hundred yards. Text from: www.metmuseum.org/collection/the-collection-online/search/255627

Terracotta bell-krater (mixing bowl) Attributed to Python Period: Late Classical Date: ca. 360–350 B.C. Culture: Greek, South Italian, Paestan Medium: Terracotta; red-figure Dimensions: diameter 14 1/2in. (36.8cm) Classification: Vases Credit Line: The Bothmer Purchase Fund, 1989 Accession Number: 1989.11.4 Description: Obverse, Dionysos and maenad in cart drawn by Papposilenos. Reverse, two youths The phlyax scene shows a youthful Dionysos, god of wine, and a flute-playing companion riding a wheeled couch. The draught is provided by an old silenos wearing a fleecy costume under a fawn skin. The inscription above his head reads "Hubris." The drawing and polychromy, at once fluent and disciplined, represent Python at his best. Text from: www.metmuseum.org/collection/the-collection-online/search/255907

Terracotta bell-krater (mixing bowl) Attributed to Python Period: Late Classical Date: ca. 360–350 B.C. Culture: Greek, South Italian, Paestan Medium: Terracotta; red-figure Dimensions: diameter 14 1/2in. (36.8cm) Classification: Vases Credit Line: The Bothmer Purchase Fund, 1989 Accession Number: 1989.11.4 Description: Obverse, Dionysos and maenad in cart drawn by Papposilenos. Reverse, two youths The phlyax scene shows a youthful Dionysos, god of wine, and a flute-playing companion riding a wheeled couch. The draught is provided by an old silenos wearing a fleecy costume under a fawn skin. The inscription above his head reads "Hubris." The drawing and polychromy, at once fluent and disciplined, represent Python at his best. Text from: www.metmuseum.org/collection/the-collection-online/search/255907

Terracotta bell-krater (mixing bowl) Attributed to Python Period: Late Classical Date: ca. 360–350 B.C. Culture: Greek, South Italian, Paestan Medium: Terracotta; red-figure Dimensions: diameter 14 1/2in. (36.8cm) Classification: Vases Credit Line: The Bothmer Purchase Fund, 1989 Accession Number: 1989.11.4 Description: Obverse, Dionysos and maenad in cart drawn by Papposilenos. Reverse, two youths The phlyax scene shows a youthful Dionysos, god of wine, and a flute-playing companion riding a wheeled couch. The draught is provided by an old silenos wearing a fleecy costume under a fawn skin. The inscription above his head reads "Hubris." The drawing and polychromy, at once fluent and disciplined, represent Python at his best. Text from: www.metmuseum.org/collection/the-collection-online/search/255907

Terracotta bell-krater (mixing bowl) Attributed to Python Period: Late Classical Date: ca. 360–350 B.C. Culture: Greek, South Italian, Paestan Medium: Terracotta; red-figure Dimensions: diameter 14 1/2in. (36.8cm) Classification: Vases Credit Line: The Bothmer Purchase Fund, 1989 Accession Number: 1989.11.4 Description: Obverse, Dionysos and maenad in cart drawn by Papposilenos. Reverse, two youths The phlyax scene shows a youthful Dionysos, god of wine, and a flute-playing companion riding a wheeled couch. The draught is provided by an old silenos wearing a fleecy costume under a fawn skin. The inscription above his head reads "Hubris." The drawing and polychromy, at once fluent and disciplined, represent Python at his best. Text from: www.metmuseum.org/collection/the-collection-online/search/255907

Terracotta neck-amphora with twisted handles (jar) Attributed to the Pilos Head Group Period:Late Classical Date:ca. 350–325 B.C. Culture:Greek, South Italian, Campanian Medium:Terracotta; red-figure Dimensions:H. 10 7/16 in. (26.5 cm) Classification:Vases Accession Number:X.21.19 Obverse, young warrior seated on an altar and bearded warrior. Reverse, youth On the neck, obverse, head of youth with pilos (pointed cap). Reverse, female head The protagonist of the main scene has been identified as either Orestes, son of Agamemnon and Klytemnestra, or Neoptolemos, son of Achilles and Deidameia. In one account, both men vied for the hand of Hermione, daughter of Menelaos and Helen, resulting in Orestes' murder of Neoptolemos. The representation poignantly conveys the misfortune visited upon the children of Greece's greatest heroes. Text from: www.metmuseum.org/art/collection/search/256602

Terracotta neck-amphora with twisted handles (jar) Attributed to the Pilos Head Group Period:Late Classical Date:ca. 350–325 B.C. Culture:Greek, South Italian, Campanian Medium:Terracotta; red-figure Dimensions:H. 10 7/16 in. (26.5 cm) Classification:Vases Accession Number:X.21.19 Obverse, young warrior seated on an altar and bearded warrior. Reverse, youth On the neck, obverse, head of youth with pilos (pointed cap). Reverse, female head The protagonist of the main scene has been identified as either Orestes, son of Agamemnon and Klytemnestra, or Neoptolemos, son of Achilles and Deidameia. In one account, both men vied for the hand of Hermione, daughter of Menelaos and Helen, resulting in Orestes' murder of Neoptolemos. The representation poignantly conveys the misfortune visited upon the children of Greece's greatest heroes. Text from: www.metmuseum.org/art/collection/search/256602

Terracotta loutrophoros (ceremonial vase for water) Attributed to the Metope Painter Period: Late Classical Date: 3rd quarter of the 4th century B.C. Culture: Greek, South Italian, Apulian Medium: Terracotta; red-figure Classification: Vases Credit Line: Purchase, The Bernard and Audrey Aronson Charitable Trust Gift, in memory of her beloved husband, Bernard Aronson, 1995 Accession Number: 1995.45.1 Description: On the body, obverse, woman with attendant in naiskos (shrine) flanked by youth and women Reverse, woman in naiskos flanked by youths and women On the shoulder, obverse, Eros with alabastron and mirror within foliage Reverse, head of a woman within foliage This imposing and beautifully executed vase, together with its counterpart exhibited here, is of exceptional interest for the architectural structure on the obverse. A small naiskos, rendered with three columns, encloses a woman, her maid who holds out a small casket, and a metal loutrophoros. Between the level on which they stand and the podium for the shrine are two panels with a pair of confronted lions. The podium itself consists of an upper frieze of triglyphs, alternating with metopes showing Greeks fighting Amazons. The lower element is covered with tendrils enclosing a female head. Although naiskoi are common on Apulian vases, the complexity and elaboration here are unusual. The unresolved question is to what extent the representation reflects actual funerary structures and the limestone reliefs familiar especially from Tarentum. Text from: www.metmuseum.org/collection/the-collection-online/search/256207

Terracotta loutrophoros (ceremonial vase for water) Attributed to the Metope Painter Period: Late Classical Date: 3rd quarter of the 4th century B.C. Culture: Greek, South Italian, Apulian Medium: Terracotta; red-figure Classification: Vases Credit Line: Purchase, The Bernard and Audrey Aronson Charitable Trust Gift, in memory of her beloved husband, Bernard Aronson, 1995 Accession Number: 1995.45.1 Description: On the body, obverse, woman with attendant in naiskos (shrine) flanked by youth and women Reverse, woman in naiskos flanked by youths and women On the shoulder, obverse, Eros with alabastron and mirror within foliage Reverse, head of a woman within foliage This imposing and beautifully executed vase, together with its counterpart exhibited here, is of exceptional interest for the architectural structure on the obverse. A small naiskos, rendered with three columns, encloses a woman, her maid who holds out a small casket, and a metal loutrophoros. Between the level on which they stand and the podium for the shrine are two panels with a pair of confronted lions. The podium itself consists of an upper frieze of triglyphs, alternating with metopes showing Greeks fighting Amazons. The lower element is covered with tendrils enclosing a female head. Although naiskoi are common on Apulian vases, the complexity and elaboration here are unusual. The unresolved question is to what extent the representation reflects actual funerary structures and the limestone reliefs familiar especially from Tarentum. Text from: www.metmuseum.org/collection/the-collection-online/search/256207

Terracotta loutrophoros (ceremonial vase for water) Attributed to the Metope Painter Period: Late Classical Date: 3rd quarter of the 4th century B.C. Culture: Greek, South Italian, Apulian Medium: Terracotta; red-figure Classification: Vases Credit Line: Purchase, The Bernard and Audrey Aronson Charitable Trust Gift, in memory of her beloved husband, Bernard Aronson, 1995 Accession Number: 1995.45.1 Description: On the body, obverse, woman with attendant in naiskos (shrine) flanked by youth and women Reverse, woman in naiskos flanked by youths and women On the shoulder, obverse, Eros with alabastron and mirror within foliage Reverse, head of a woman within foliage This imposing and beautifully executed vase, together with its counterpart exhibited here, is of exceptional interest for the architectural structure on the obverse. A small naiskos, rendered with three columns, encloses a woman, her maid who holds out a small casket, and a metal loutrophoros. Between the level on which they stand and the podium for the shrine are two panels with a pair of confronted lions. The podium itself consists of an upper frieze of triglyphs, alternating with metopes showing Greeks fighting Amazons. The lower element is covered with tendrils enclosing a female head. Although naiskoi are common on Apulian vases, the complexity and elaboration here are unusual. The unresolved question is to what extent the representation reflects actual funerary structures and the limestone reliefs familiar especially from Tarentum. Text from: www.metmuseum.org/collection/the-collection-online/search/256207

Terracotta loutrophoros (ceremonial vase for water) Attributed to the Metope Painter Period: Late Classical Date: 3rd quarter of the 4th century B.C. Culture: Greek, South Italian, Apulian Medium: Terracotta; red-figure Classification: Vases Credit Line: Purchase, The Bernard and Audrey Aronson Charitable Trust Gift, in memory of her beloved husband, Bernard Aronson, 1995 Accession Number: 1995.45.1 Description: On the body, obverse, woman with attendant in naiskos (shrine) flanked by youth and women Reverse, woman in naiskos flanked by youths and women On the shoulder, obverse, Eros with alabastron and mirror within foliage Reverse, head of a woman within foliage This imposing and beautifully executed vase, together with its counterpart exhibited here, is of exceptional interest for the architectural structure on the obverse. A small naiskos, rendered with three columns, encloses a woman, her maid who holds out a small casket, and a metal loutrophoros. Between the level on which they stand and the podium for the shrine are two panels with a pair of confronted lions. The podium itself consists of an upper frieze of triglyphs, alternating with metopes showing Greeks fighting Amazons. The lower element is covered with tendrils enclosing a female head. Although naiskoi are common on Apulian vases, the complexity and elaboration here are unusual. The unresolved question is to what extent the representation reflects actual funerary structures and the limestone reliefs familiar especially from Tarentum. Text from: www.metmuseum.org/collection/the-collection-online/search/256207

Terracotta kylix (drinking cup) Attributed to the Brygos Painter Period: Classical Date: ca. 480–470 B.C. Culture: Greek, Attic Medium: Terracotta; red-figure Dimensions: H. 3 1/4 in. (8.2 cm) diameter 8 3/8 in. (21.3 cm) Classification: Vases Credit Line: Purchase, 1896 Accession Number: 96.9.37 Description: Thracian woman The large piece of patterned cloth used as a shield identifies the figure as Thracian. She hastens forward holding a spear in her right hand. The characterization suggests that she is an excerpt from a larger scene depicting the death of Orpheus, the irresistible musician. After losing his wife, Eurydice, Orpheus became a recluse. Thus spurned, the enraged women of Thrace killed him. In one version, they tore him to pieces. Text from: www.metmuseum.org/collection/the-collection-online/search/246137

Terracotta kylix (drinking cup) Attributed to the Brygos Painter Period: Classical Date: ca. 480–470 B.C. Culture: Greek, Attic Medium: Terracotta; red-figure Dimensions: H. 3 1/4 in. (8.2 cm) diameter 8 3/8 in. (21.3 cm) Classification: Vases Credit Line: Purchase, 1896 Accession Number: 96.9.37 Description: Thracian woman The large piece of patterned cloth used as a shield identifies the figure as Thracian. She hastens forward holding a spear in her right hand. The characterization suggests that she is an excerpt from a larger scene depicting the death of Orpheus, the irresistible musician. After losing his wife, Eurydice, Orpheus became a recluse. Thus spurned, the enraged women of Thrace killed him. In one version, they tore him to pieces. Text from: www.metmuseum.org/collection/the-collection-online/search/246137

Terracotta olpe (jug) Attributed to the Amasis Painter Period: Archaic Date: ca. 520 B.C. Culture: Greek, Attic Medium: Terracotta; black-figure Dimensions: H. 12 15/16 in. (32.8 cm) diameter 6 1/2 in. (16.5 cm) Classification: Vases Credit Line: Purchase, Frederick P. Huntley Bequest, 1959 Accession Number: 59.11.17 Description: Courting scene A bearded man in an elaborate fringed cloak approaches a woman who holds a myrtle branch and offers him a rose. She is dressed like a bride with her cloak pulled over her head and a wreath of myrtle in her hair. Text from: www.metmuseum.org/collection/the-collection-online/search/255011

Terracotta olpe (jug) Attributed to the Amasis Painter Period: Archaic Date: ca. 520 B.C. Culture: Greek, Attic Medium: Terracotta; black-figure Dimensions: H. 12 15/16 in. (32.8 cm) diameter 6 1/2 in. (16.5 cm) Classification: Vases Credit Line: Purchase, Frederick P. Huntley Bequest, 1959 Accession Number: 59.11.17 Description: Courting scene A bearded man in an elaborate fringed cloak approaches a woman who holds a myrtle branch and offers him a rose. She is dressed like a bride with her cloak pulled over her head and a wreath of myrtle in her hair. Text from: www.metmuseum.org/collection/the-collection-online/search/255011

Terracotta kylix: eye-cup (drinking cup) Attributed to an artist working in the manner of Lydos Period: Archaic Date: ca. 540 B.C. Culture: Greek, Attic Medium: Terracotta; black-figure Dimensions: H. 4 5/16 in. (11 cm) diameter 8 3/8 in. (21.3 cm) Classification: Vases Credit Line: Fletcher Fund, 1925 Accession Number: 25.78.6 Description: Interior, four warriors in combat Exterior, obverse and reverse, sphinx between eyes Typologically and stylistically, this is a remarkable cup. Eye-cups appeared about 540 B.C. Normally they have a Gorgon's face on the interior. A scene occupying nearly the whole interior is rare in black-figure. The influence of Lydos is evident in the imposing figures and clear composition. Text from: www.metmuseum.org/collection/the-collection-online/search/251804

Terracotta kylix: eye-cup (drinking cup) Attributed to an artist working in the manner of Lydos Period: Archaic Date: ca. 540 B.C. Culture: Greek, Attic Medium: Terracotta; black-figure Dimensions: H. 4 5/16 in. (11 cm) diameter 8 3/8 in. (21.3 cm) Classification: Vases Credit Line: Fletcher Fund, 1925 Accession Number: 25.78.6 Description: Interior, four warriors in combat Exterior, obverse and reverse, sphinx between eyes Typologically and stylistically, this is a remarkable cup. Eye-cups appeared about 540 B.C. Normally they have a Gorgon's face on the interior. A scene occupying nearly the whole interior is rare in black-figure. The influence of Lydos is evident in the imposing figures and clear composition. Text from: www.metmuseum.org/collection/the-collection-online/search/251804