Black-Figured Amphora and Lid
with the apotheosis of Herakles
Attributed to, Antimenes Painter, or his manner
Greek (Attic)
ca. 520-510 BC
Terracotta
L2018.1 a-b
Black-figure Eye-Cup (Primary Title)
ca. 520 BC
Greek (Attic)
terracotta
62.1.11
The center (tondo) of this cup holds a mesmerizing image of the snake-haired gorgon Medusa, the mere sight of whom turned mortals to stone. In ancient Greece, the Gorgoneion was used on buildings, shields, and other objects to ward off evil; the eyes on the exterior of this cup may have had a similar function. Nikosthenes signed more than one hundred vases, always identifying himself as the potter.
Red-Figured Cup
Attributed to, Euaion Painter (Artist)
Greek (Attic)
ca. 450 BC
Terracotta
62.1.4
On the interior (tondo), a woman pours wine from a pitcher into a cup held by a seated man. The objects—a strigil and aryballos—hanging above the man identify him as an athlete and, together with his chair, locate the scene in the interior of a building.
Red-Figure Sessile Kantharos (Drinking Cup) (Bottom)
Gnathian Cup (Top)
Greek, South Italian (Apulia)
4th century BC
Terracotta
81.84
The sessile kanthoros is a drinking vessel with two low handles rather than the high looped handles of the kantharoi used by Dionysos. South Italian drinking vessels decorated like this were modeled on Attic vases from the 5th century BC with similar decoration.
Gnathian Cup
Greek, South Italian (Gnathia)
4th century B.C.. 325-300 BC
Terracotta
81.17
According to Athenaeus, author of The Learned Banqueters (Deipnosophistae) in the middle of the 3rd century AD, the successive bowls of wine at a symposium were named after different gods. He mentions a cup inscribed “Of Zeus Savior,” which is similar to the one shown here.
Black-figured Cup
Attributed to the, Virginia Painter
Greek (Attic)
ca. 510 BC
Terracotta
62.1.9
This is the “name piece” of the Virginia Painter, meaning that it exemplifies the work of this artist whose real name is unknown. The rider wears a traveler’s cloak and is accompanied by his faithful hound. The random marks around the horse and rider, known as a “nonsense inscription,” imitate writing but have no meaning.
Knob-Handled Patera (Bowl)
Attributed to the, White Saccos-Chariot Group Painter
South Italian (Apulia)
ca. 320 BC
Terracotta
81.89
Red-Figure Kalyx-Krater (Mixing Bowl)
Attributed to, Nikias Painter
Greek (Attic)
ca. 400 BC
Terracotta
81.70
According to myth, Hephaestos, god of the forge and fire, attempted to rape Athena, a virgin goddess. Afterwards, Athena cleaned herself with wool, which she dropped to the ground; Ge (or Gaia, the earth goddess), then became pregnant and bore Erichthonios. This vase shows Ge handing Erichthonios to Athena while other gods look on. Erichthonios is also the name of an early king of Athens who was later worshipped as a god in a sanctuary on the Acropolis known as the Erichtheum.
Red-figured Neck-Amphora (Storage Vessel)
Attributed to, H.A. Painter
Greek (South Italian, Apulian)
Terracotta
76.37
The youth holding armor and the building in which he sits are painted in white, suggesting a marble tomb for a fallen warrior. Produced as a grave offering, this vessel has a hole in the bottom, perhaps to render it useless to would-be grave robbers.
Goblet with Octopus Decoration
Mycenaean
13th century BC
Terracotta
60.26
The Mycenaeans, like the Minoans, painted a wide range of sea creatures on their pottery, especially octopuses. Over time Mycenaean artists produced ever simpler and more abstract depictions of octopuses.
Black-Figure Lekythos (Storage Vessel) (Primary Title)
ca. 510–500 BC
Greek (Attic)
terracotta
60.21
“But Zeus’s daughter Athena spurred the Argives on-Athena first in glory, third-born of the gods-whenever she saw some slacker hanging back.”
– Homer, Iliad
The goddess Athena accompanies three heavily armed soldiers (hoplites) as they charge into battle while a white-robed charioteer guides the chariot.
Black-Figure Neck-Amphora (Storage Vessel) (Primary Title)
ca. 510 BC
Greek (Attic)
terracotta
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