Euboean Floral Black-Figured Vases: Additions and Corrections

1970 ◽  
Vol 65 ◽  
pp. 265-270 ◽  
Author(s):  
A. D. Ure
Keyword(s):  
The Body ◽  
Sixth Century ◽  
Vase Painting

In recent years a number of vases with floral decoration have come to light, and we can now carry a little further the study of the Euboean floral black-figure style of vase-painting started in BSA lv. 211 f. Unfortunately few have any known provenience and it is often hazardous to attempt to distinguish between the work of Euboean and Boeotian workshops. Some of the Euboean attributions here made are tentative, and even when they can be regarded as certain the question of the distribution of the vases within Euboea still remains largely unsolved.An early example of a vase with decoration that consists entirely of floral elements is a pelike in Athens, Plate 69a, with provenience given in the inventory as ‘Chalcis?’. It has bands of myrtle, ivy, and a kind of laurel with spatulate leaves covering the neck and the upper part of the body, and can be regarded as a precursor of the floral style. It is to be distinguished from it chiefly by the absence of the palmette, which is the chief ingredient of the floral style proper. The stemless ivy leaves accompanied by spots recall the sixth-century skyphos of Chalcidian make, Rhitsona 31. 41 (BSA lviii. 18, pl. 2. 3), and the little stemmed kothon, Athens E1520 (Ibid. pl. 2. 8).

Four Lekythoi in Chalcis

1962 ◽  
Vol 82 ◽  
pp. 138-140
Author(s):  
A. D. Ure
Keyword(s):  
Archaic Period ◽  
The Body ◽  
Sixth Century ◽  
Vase Painting ◽  
Close Resemblance ◽  
Made In ◽  
General Appearance

There are in Chalcis Museum four black-figured lekythoi of sixth-century date. Two, nos. 567 and 569, were mentioned by Professor Haspels in Attic Black-figured Lekythoi 28 f., but the others have not, as far as I am aware, been noticed. None of them fits neatly into any Attic group, though three can be loosely connected with the Dolphin class. One is certainly from Styra. The finding-place of the others is not recorded, but there can be no doubt that they are from sites in Euboea. The close resemblance between Attic and Eretrian vase-painting makes it difficult to distinguish Atticising work made in Eretria from Attic imports, while so far black-figured vases of the archaic period from workshops in Chalcis have not been recognised. Nevertheless a study of the four lekythoi now in Chalcis reveals affinities with the few vases that are already known to be of Euboean origin and indicates that they should be classed with them rather than with Attic.The first, no. 960 (ht. 19·5 cm.) is seen on plate IX. 1–3 (2 is from the same negative as 1 with the red and white retouched). The shape of the vase can be seen in the illustrations and needs no comment. On the shoulder opening flowers, black with a central petal in applied white, alternate with red buds. On the body a panther faces a grazing stag with one group of four fine dots between them and another beneath the body of the stag. Though the general appearance of the vase is not noticeably unlike Attic some unusual features can be observed. First, the three gently curving brush strokes which emphasise and embellish the ribs of the panther are not accompanied by incised lines. Though it is common enough to find incision and no paint on this part of an animal, it is only very rarely that we find paint with no incision. For parallels we have to turn to two of the Eretrian grave amphorae in Athens. Both the Wedding and the Herakles amphorae show important vestiges of an earlier unincised style of painting, for on the first the whole of the back of the vase lacks incision, on the second the whole of the foot. Some scenes show a compromise between the incised and the unincised, part of the scene, or even part of a figure, lacking the usual incisions. So here, in the case of our panther, though incision is used on the head, legs and hindquarters, the ribs are merely painted, without the incised lines to which the painting is normally only an adjunct. See plate IX.2 and compare the ribs of the panther with those of the completely unincised lions on the back of the neck of the Eretrian Wedding amphora, BICS vi pl. 1.1. Further, as has already been pointed out in this Journal, the markings in red that brighten up the bodies of Eretrian animals are shapely and ornamental, generally tapering downwards. Between the incised lines on the hindquarters of both the panther and the stag we have decorative markings of this kind, broader at the top, making a gentle curve and tapering to a point at the base, while the three on the ribs of the panther, though smaller, are also well shaped.

SIXTH-CENTURY LAKONIAN VASE-PAINTING:

2018 ◽  
pp. 119-146 ◽  
Author(s):  
Anton Powell
Keyword(s):  
Sixth Century ◽  
Vase Painting

Lekanai in Laon and Tübingen

1975 ◽  
Vol 70 ◽  
pp. 203-205
Author(s):  
A. D. Ure
Keyword(s):  
Sixth Century ◽  
Vase Painting ◽  
Ground Plate ◽  
Made In

In Volume lxxx of the Journal of Hellenic Studies I published a first attempt at distinguishing black-figured lekanai made in Euboea. There eight vases of this shape were discussed and brought into relation with the little that was known of Eretrian and other Euboean sixth-century vase-painting. Since then a lekane in Reading has been attributed to Eretria. I now offer five more for consideration, together with two vases of other shapes which go with them.In the Musée Archéologique at Laon there is a lekane decorated on the outside with a band of palmettes and lotus flowers in unincised black-figure, standing on interlacing stalks (Plate 28, a). Inside in the tondo there is a scene in incised black-figure showing a youth about to catch a young hare that is cowering on the ground (Plate 28, b).

Not Cooking, But Baking

1981 ◽  
Vol 28 (2) ◽  
pp. 172-178 ◽  
Author(s):  
B. A. Sparkes
Keyword(s):  
Sixth Century ◽  
Vase Painting ◽  
Quarter Century ◽  
Religious Rituals ◽  
Contemporary Life ◽  
Manual Labour ◽  
The Dead

The quarter century from 500 to 475 B.C. saw the supreme masters of red-figure vase-painting working in Athens. The matching of design to shape, the clarity of contour in the figures, the vivid sense of life expressed in the compositions were the hallmarks of such painters as the Berlin and Kleophrades Painters who mainly decorated large vases and such painters as Onesimos and the Brygos Painter who specialized in the smaller. It was a time too when the heavy reliance on myth that had been the staple of the sixth-century painters, was being lightened by the increased popularity of scenes from contemporary life: from the life of men there were athletics, parties, religious rituals, and manual labour, from that of women weddings, mourning the dead, and the daily tasks of the household.

Philosophy, Hagiology and the Early Byzantine Origins of Purgatory

2009 ◽  
Vol 45 ◽  
pp. 41-51
Author(s):  
Matthew J. Dal Santo
Keyword(s):  
Status Quo ◽  
The Body ◽  
Sixth Century ◽  
Post Mortem ◽  
The West ◽  
The Dead ◽  
Early Byzantine

On 8 June 1438, the Council of Ferrara-Florence began proceedings aimed at the reunion of the Eastern and Western Churches. One of the first issues discussed was the Latin doctrine of purgatory. This article examines a particular moment in the divergence of eschatological doctrine between the Latin, Greek and Syriac Churches – indeed, representatives of the West Syrian ‘Jacobites’ and East Syrian ‘Nestorians’ were at Ferrara too. It argues that a debate concerning the post mortem activity of the saints proved crucial for the formation of various Christian eschatological orthodoxies. The catalyst for this debate was the sixth-century revival of Aristotelian philosophy, especially Aristotelian psychology which emphasized the soul’s dependence on the body. This threatened the cult of the saints and the Church’s sacramental ‘care of the dead’. Defenders of the hagiological and cultic status quo rejected Aristotle’s claims and asserted the full post mortem activity of the soul after separation from the body by developing a novel doctrine of immediate post mortem judgement. This led to the formulation of eschatological opinions which, if not normative in their day, came to be considered so by later generations. One of these ideas was post mortem purgation.

LAME HEPHAISTOS

2016 ◽  
Vol 111 ◽  
pp. 163-181
Author(s):  
Maura Brennan
Keyword(s):  
Fifth Century ◽  
Sixth Century ◽  
Vase Painting ◽  
Painted Pottery

The Return of Hephaistos to Olympus was a popular scene in Attic vase-painting from the beginning of the sixth century through the end of the fifth century bce, and it is found occasionally on other forms of pottery as well. According to myth, Hephaistos was lame, and this disability is sometimes depicted on painted pottery, almost always in scenes of his Return. The most well-known example is the François Vase, which is often the only vase cited when discussing instances of Hephaistos's lameness on Athenian pottery. Although three other Attic vases are occasionally cited as showing the disability, one of which does not show his Return, but instead the Birth of Athena, there are actually quite a number more Attic vases that depict his lameness than have previously been recognised. In this paper I present seven new Attic examples that clearly display his lameness, and consider both the different ways in which his disability is rendered and how they relate to the various epithets associated with him For example, he is often associated with the epithet ‘clubfoot’, and while there was an established iconography of clubfoot Corinthian komasts, the god's disability is never rendered in this manner on Attic vases. Instead, he is depicted in ways more similar to other epithets associated with him. Most notably, four vases represent the disability in a fashion that seems to be connected with Hephaistos's most common Homeric epithet, ἀμφιγυήεις, or ‘with both feet crooked’.

The Dating of the Aegina Pediments

1974 ◽  
Vol 94 ◽  
pp. 171-171 ◽  
Author(s):  
R. M. Cook
Keyword(s):  
Sixth Century ◽  
Vase Painting ◽  
Free Standing ◽  
Side Plate ◽  
Change Of Direction ◽  
Relief Sculpture ◽  
Left Corner ◽  
The Right ◽  
The Temple

The sculpture of the East pediment of the Temple of Aphaia on Aegina is usually dated between 490 and 480 B.C. This seems to me too late, to judge by the torsion of the fallen soldier of the left corner and of the stooping youth from the middle of the right side (Plate XVIb-c). In the youth there is a small turning at the waist and this is managed competently by an organic twist. In the fallen soldier, where the torsion is much greater, the change of direction is made not by a twist but by an abrupt swivel; and though the waist was partly masked by the right arm, generally the sculptors who carved this pediment did not neglect those parts of their figures which could not be seen. From this it should follow that at that time they were acquainted only partially with the revolutionary innovation of organically twisting anatomy.In vase painting the organic twisting of the torso was mastered during the last ten or fifteen years of the sixth century. So too in relief sculpture, notably in the Ball-players relief. In free-standing sculpture symmetrically frontal poses still remained normal, but that does not mean that it was simply retarded; and pedimental figures, though in the round, generally followed the rules for reliefs, anyhow before the Parthenon.

Peter's Throne and Augustine's Chair: Rome and Canterbury from Baldwin (1184–90) to Robert Winchelsey (1297–1313)

2000 ◽  
Vol 51 (2) ◽  
pp. 249-266 ◽  
Author(s):  
JANE SAYERS
Keyword(s):  
Eighth Century ◽  
The Body ◽  
Sixth Century ◽  
Anglo Saxon ◽  
Gregory The Great ◽  
Christ Church ◽  
The Temple ◽  
The Church

The arrival of St Augustine in England from Rome in 597 was an event of profound significance, for it marked the beginnings of relations between Rome and Canterbury. To later generations this came to mean relations between the papacy in its universal role, hence the throne of St Peter, and the metropolitical see of Canterbury and the cathedral priory of Christ Church, for the chair of St Augustine was the seat of both a metropolitan and an abbot. The archiepiscopal see and the cathedral priory were inextricably bound in a unique way.Relations with Rome had always been particularly close, both between the archbishops and the pope and between the convent and the pope. The cathedral church of Canterbury was dedicated to the Saviour (Christ Church) as was the papal cathedral of the Lateran. Gregory had sent the pallium to Augustine in sign of his metropolitan rank. There had been correspondence with Rome from the first. In Eadmer's account of the old Anglo-Saxon church, it was built in the Roman fashion, as Bede testifies, imitating the church of the blessed Peter, prince of the Apostles, in which the most sacred relics in the whole world are venerated. Even more precisely, the confessio of St Peter was copied at Canterbury. As Eadmer says, ‘From the choir of the singers one went up to the two altars (of Christ and of St Wilfrid) by some steps, since there was a crypt underneath, what the Romans call a confessio, built like the confessio of St Peter.’ (Eadmer had both visited Rome in 1099 and witnessed the fire that destroyed the old cathedral some thirty years before in 1067.) And there, in the confessio, Eadmer goes on to say, Alfege had put the head of St Swithun and there were many other relics. The confessio in St Peter's had been constructed by Pope Gregory the Great and contained the body of the prince of the Apostles and it was in a niche here that the pallia were put before the ceremony of the vesting, close to the body of St Peter. There may be, too, another influence from Rome and old St Peter's on the cathedral at Canterbury. The spiral columns in St Anselm's crypt at Canterbury, which survived the later fire of 1174, and are still standing, were possibly modelled on those that supported St Peter's shrine. These twisted columns were believed to have been brought to Rome from the Temple of Solomon. At the end of the sixth century, possibly due to Gregory the Great, they were arranged to form an iconostasis-like screen before the apostle's shrine. Pope Gregory III in the eighth century had added an outer screen of six similar columns, the present of the Byzantine Exarch, of which five still survive. They are practically the only relics of the old basilica to have been preserved in the new Renaissance St Peter's.

scholarly journals Citharoedus

1922 ◽  
Vol 42 (1) ◽  
pp. 70-98 ◽  
Author(s):  
J. D. Beazley
Keyword(s):  
New York ◽  
Type A ◽  
The Body ◽  
Sixth Century ◽  
Type B

The vase reproduced on Pl. II. and in Figs. 1 and 2 was sold by Messrs. Sotheby in the summer of 1919, and is now in the collection of Mr. William Randolph Hearst of New York. It is unbroken and well preserved. The height is sixteen inches and a half, say forty-two centimetres. Photographs of both sides were published in the sale catalogue; but the drawings from which Pl. II. has been made have not been published before.The shape of the vase is not a common one. It is a kind of amphora; and I use the word amphora, unqualified, to cover all those types in which the neck passes into the body with a gradual curve; instead of being set sharply off, as it is in the neck-amphorae, in the amphora of Panathenaic shape, and in the amphora with pointed foot.Three types of amphora were used by the makers of red-figured vases. Type A, which has flanged handles and a foot in two degrees, is used by black-figure painters as early as the middle of the sixth century, is a favourite with the painters of the archaic red-figured period, and disappears about 460. Type B, which has cylindrical handles and a foot in the form of an inverted echinus, is older than type A; for it is used by Attic painters at the very beginning of the sixth century.

Sign in / Sign up

Export Citation Format

Share Document