LaurieAnnie's photos with the keyword: TrojanWar

Title: Marble relief fragment with scenes from the Trojan War Period: Early Imperial, Julio-Claudian Date: 1st half of 1st century CE Culture: Roman Medium: Marble, Palombino Dimensions: 7 1/8 x 6 15/16 in., 1.1kg (18.1 x 17.6 cm) Classification: Stone Sculpture Credit Line: Fletcher Fund, 1924 Accession Number: 24.97.11 The tabulae iliacae are a series of tablets covered with minuscule relief scenes from the Trojan War, which were evidently inspired by illustrated manuscripts of Homer's epic poem The Iliad. This piece is signed on the back by a Greek artist named Theodoros, to whose workshop all of the surviving examples can be ascribed. He was probably active in Italy, and the tablets show that Homer was as popular with Romans as with Greeks, despite the fact that Virgil's Aeneid, designed to rival the Homeric poems and published by 19 B.C., quickly became the classic work of Latin epic. Text from: www.metmuseum.org/art/collection/search/251473

Drinking cup (skyphos) with the departure and recovery of Helen Painter: Makron Potter: Hieron Greek Late Archaic Period about 490 B.C. Place of Manufacture: Greece, Attica, Athens Medium/Technique: Ceramic, Red Figure Dimensions: Height: 21.5 cm (8 7/16 in.); diameter: 39 cm (15 3/8 in.); diameter of mouth: 27.8 cm (10 15/16 in.) Credit Line: Bartlett Collection—Museum purchase with funds from the Francis Bartlett Donation of 1912 Accession Number: 13.186 Collections: Ancient Greece and Rome Classifications: Vessels Visual vignettes of the beginning and end of the Trojan War decorate this skyphos, a form of drinking cup. An initial scene shows Paris (identified by his alternate name, Alexandros) arriving at Sparta to claim Helen as his bride. Helen was reluctant to leave her home, husband, and son (probably the small boy beneath one handle), until Aphrodite filled her with love-embodied by the tiny winged Eros close to her face-for Paris. Combining forces, Aphrodite veils Helen while Peitho (Persuasion) waves her on. Paris grasps Helen's hand, a gesture signifying both abduction and marriage, two concepts often conflated in the ancient world. This act began the war: Helen's husband Menelaos called on other Greeks, notably his powerful brother Agamemnon, to help him recover his wife. In the concluding scene, set in Troy during the fall of the city, a vengeful Menelaos finds Helen in the Sanctuary of Apollo. Once again, Aphrodite comes to Helen's aid, this time removing her veil so that Menelaos, overcome by her beauty, will drop his sword. The priest of the sanctuary, Chryses, and his daughter, Chryseis, witness the action, as does Priam, the king of Troy, who is seated under the handle at the right. These supporting characters flesh out additional details of the conflict: Priam, too old to fight, watched many of the battles from the city's walls, and Chryses and Chryseis figure prominently in the first book of Homer's Iliad, bringing both plague and internal conflict to the Greek forces. The artist responsible for this beautiful and complex rendering of the framing episodes of the Trojan conflict was Makron, one of the most influential red-figure painters in early fifth-century-B.C. Athens. He was exceptionally prolific, with more than six hundred extant vases attributed to him, and he appears to have worked exclusively with one potter, Hieron. Catalogue Raisonné Caskey-Beazley, Attic Vase Paintings (MFA), no. 140; Highlights: Classical Art (MFA), p. 061. Description: Side A: Paris (named Alexandros here) is leading Helen away from Sparta and the Palace of Menelaos. Aeneas, with a lion shield, accompanies Paris. Aphrodite and Eros flank Helen. Peitho, the personification of persuasion, follows behind Aphrodite. The boy under the handle is thought to be Helen's son by Menelaos. Side B: During the sack of Troy. Helen fleeing to the Sanctuary of Apollo. Menelaos, at the right, sees Helen and draws his sword to kill her. Aphrodite is behind Helen, present as an intervening force. Menelaos is in the act of dropping his sword, overcome by Helen's beauty. The priest of the sanctuary, Chryses, and his daughter, Chryseis are also present (at far left). Priam is seated under handle at the right, watching the story unfold. Painted inscriptions: "Aineas"; "Alexandros"; "Aphrodite" (twice); "Priam"; "Helen" (twice); "Kriseis"; "Kriseus"; "Menelaos" Scratched on handle: "Hieron made (it)" (HIERON EPOIESEN) Painted under the opposite handle: "Makron drew (it)" (MAKRON EGRAPHSEN) The size of this vessel suggests it was made for display, rather than use, and like huge kylikes (parade cups) of the same period which could not have been used for drinking. Signed Scratched on handle: "Hieron made (it)" (HIERON EPOIESEN) Painted under the opposite handle: "Makron drew (it)" (MAKRON EGRAPHSEN) InscriptionsInscriptions: "Aineas"; "Alexandros"; "Aphrodite" (twice); "Priam"; "Helen" (twice); "Kriseis"; "Kriseus"; "Menelaos", "Hieron "made [it] (HIERON EPOIESEN), "Makron painted [it]" (MAKRON EGRAPHSEN) Provenance: May 22, 1879, found next to a tomb at the necropolis of Suessula by Marchese Marcello Spinelli, Cancello, Italy [see note 1]; sold by Spinelli to Edward Perry Warren (b. 1860 - d. 1928), London and Rome; 1913, sold by Warren to the MFA for $18,948.70 [see note 2]. (Accession Date: January 2, 1913) NOTES: [1] F. von Duhn, "Scavi nella necropoli di Suessula," Bullettino dell'Instituto di corrispondenza archeologica 1879, p. 150. [2] Total purchase price for MFA accession nos. 13.186-13.245. Text from: collections.mfa.org/objects/153876/drinking-cup-skyphos-with-the-departure-and-recovery-of-he

Drinking cup (skyphos) with the departure and recovery of Helen Painter: Makron Potter: Hieron Greek Late Archaic Period about 490 B.C. Place of Manufacture: Greece, Attica, Athens Medium/Technique: Ceramic, Red Figure Dimensions: Height: 21.5 cm (8 7/16 in.); diameter: 39 cm (15 3/8 in.); diameter of mouth: 27.8 cm (10 15/16 in.) Credit Line: Bartlett Collection—Museum purchase with funds from the Francis Bartlett Donation of 1912 Accession Number: 13.186 Collections: Ancient Greece and Rome Classifications: Vessels Visual vignettes of the beginning and end of the Trojan War decorate this skyphos, a form of drinking cup. An initial scene shows Paris (identified by his alternate name, Alexandros) arriving at Sparta to claim Helen as his bride. Helen was reluctant to leave her home, husband, and son (probably the small boy beneath one handle), until Aphrodite filled her with love-embodied by the tiny winged Eros close to her face-for Paris. Combining forces, Aphrodite veils Helen while Peitho (Persuasion) waves her on. Paris grasps Helen's hand, a gesture signifying both abduction and marriage, two concepts often conflated in the ancient world. This act began the war: Helen's husband Menelaos called on other Greeks, notably his powerful brother Agamemnon, to help him recover his wife. In the concluding scene, set in Troy during the fall of the city, a vengeful Menelaos finds Helen in the Sanctuary of Apollo. Once again, Aphrodite comes to Helen's aid, this time removing her veil so that Menelaos, overcome by her beauty, will drop his sword. The priest of the sanctuary, Chryses, and his daughter, Chryseis, witness the action, as does Priam, the king of Troy, who is seated under the handle at the right. These supporting characters flesh out additional details of the conflict: Priam, too old to fight, watched many of the battles from the city's walls, and Chryses and Chryseis figure prominently in the first book of Homer's Iliad, bringing both plague and internal conflict to the Greek forces. The artist responsible for this beautiful and complex rendering of the framing episodes of the Trojan conflict was Makron, one of the most influential red-figure painters in early fifth-century-B.C. Athens. He was exceptionally prolific, with more than six hundred extant vases attributed to him, and he appears to have worked exclusively with one potter, Hieron. Catalogue Raisonné Caskey-Beazley, Attic Vase Paintings (MFA), no. 140; Highlights: Classical Art (MFA), p. 061. Description: Side A: Paris (named Alexandros here) is leading Helen away from Sparta and the Palace of Menelaos. Aeneas, with a lion shield, accompanies Paris. Aphrodite and Eros flank Helen. Peitho, the personification of persuasion, follows behind Aphrodite. The boy under the handle is thought to be Helen's son by Menelaos. Side B: During the sack of Troy. Helen fleeing to the Sanctuary of Apollo. Menelaos, at the right, sees Helen and draws his sword to kill her. Aphrodite is behind Helen, present as an intervening force. Menelaos is in the act of dropping his sword, overcome by Helen's beauty. The priest of the sanctuary, Chryses, and his daughter, Chryseis are also present (at far left). Priam is seated under handle at the right, watching the story unfold. Painted inscriptions: "Aineas"; "Alexandros"; "Aphrodite" (twice); "Priam"; "Helen" (twice); "Kriseis"; "Kriseus"; "Menelaos" Scratched on handle: "Hieron made (it)" (HIERON EPOIESEN) Painted under the opposite handle: "Makron drew (it)" (MAKRON EGRAPHSEN) The size of this vessel suggests it was made for display, rather than use, and like huge kylikes (parade cups) of the same period which could not have been used for drinking. Signed Scratched on handle: "Hieron made (it)" (HIERON EPOIESEN) Painted under the opposite handle: "Makron drew (it)" (MAKRON EGRAPHSEN) InscriptionsInscriptions: "Aineas"; "Alexandros"; "Aphrodite" (twice); "Priam"; "Helen" (twice); "Kriseis"; "Kriseus"; "Menelaos", "Hieron "made [it] (HIERON EPOIESEN), "Makron painted [it]" (MAKRON EGRAPHSEN) Provenance: May 22, 1879, found next to a tomb at the necropolis of Suessula by Marchese Marcello Spinelli, Cancello, Italy [see note 1]; sold by Spinelli to Edward Perry Warren (b. 1860 - d. 1928), London and Rome; 1913, sold by Warren to the MFA for $18,948.70 [see note 2]. (Accession Date: January 2, 1913) NOTES: [1] F. von Duhn, "Scavi nella necropoli di Suessula," Bullettino dell'Instituto di corrispondenza archeologica 1879, p. 150. [2] Total purchase price for MFA accession nos. 13.186-13.245. Text from: collections.mfa.org/objects/153876/drinking-cup-skyphos-with-the-departure-and-recovery-of-he

Drinking cup (kylix) with Menelaos reclaiming Helen The Elpinikos Painter Greek Late Archaic Period about 500 B.C. Place of Manufacture: Greece, Attica, Athens Medium/Technique: Ceramic, Red Figure Dimensions: Length: 13.9 cm (5 1/2 in.) Credit Line: Bartlett Collection—Museum purchase with funds from the Francis Bartlett Donation of 1912 and Gift of the Archaeological Institute, University of Leipzig Accession Number: 13.190 Collections: Ancient Greece and Rome Classifications: Vessels Catalogue Raisonné Caskey-Beazley, Attic Vase Paintings (MFA), no. 007. Description: Center of a kylix. Interior: Menelaos reclaiming Helen; within a thin circle a bearded warrior, wearing cuirass and Corinthian helmet leading a woman, wearing chiton with kolpos, himation and veil, to left. He grasps her right wrist, looks back and brandishes sword in right hand. In the field at left the Greek inscription: "Elpi[nik]os is handsome" (Elpi[nik]os kalos). Ext.: Plain Inscriptions: ΕLΠΙ[ΝΙΚ]ΟS ΚΑLΟS Provenance: According to L. D. Caskey and J. D. Beazley, Attic Vase Paintings in the Museum of Fine Arts, Boston, vol.1, p. 6, no. 7: From Cervetri.; by 1912: with Edward Perry Warren; purchased by MFA from Edward Perry Warren, January 2, 1913, for $18,948.70 (this figure is the total price for MFA 13.186-13.245); in 1936 a fragment formerly in the collection of the University of Leipzig was joined to the MFA cup Text from: collections.mfa.org/objects/153944/drinking-cup-kylix-with-menelaos-reclaiming-helen

Drinking cup (kylix) with Menelaos reclaiming Helen The Elpinikos Painter Greek Late Archaic Period about 500 B.C. Place of Manufacture: Greece, Attica, Athens Medium/Technique: Ceramic, Red Figure Dimensions: Length: 13.9 cm (5 1/2 in.) Credit Line: Bartlett Collection—Museum purchase with funds from the Francis Bartlett Donation of 1912 and Gift of the Archaeological Institute, University of Leipzig Accession Number: 13.190 Collections: Ancient Greece and Rome Classifications: Vessels Catalogue Raisonné Caskey-Beazley, Attic Vase Paintings (MFA), no. 007. Description: Center of a kylix. Interior: Menelaos reclaiming Helen; within a thin circle a bearded warrior, wearing cuirass and Corinthian helmet leading a woman, wearing chiton with kolpos, himation and veil, to left. He grasps her right wrist, looks back and brandishes sword in right hand. In the field at left the Greek inscription: "Elpi[nik]os is handsome" (Elpi[nik]os kalos). Ext.: Plain Inscriptions: ΕLΠΙ[ΝΙΚ]ΟS ΚΑLΟS Provenance: According to L. D. Caskey and J. D. Beazley, Attic Vase Paintings in the Museum of Fine Arts, Boston, vol.1, p. 6, no. 7: From Cervetri.; by 1912: with Edward Perry Warren; purchased by MFA from Edward Perry Warren, January 2, 1913, for $18,948.70 (this figure is the total price for MFA 13.186-13.245); in 1936 a fragment formerly in the collection of the University of Leipzig was joined to the MFA cup Text from: collections.mfa.org/objects/153944/drinking-cup-kylix-with-menelaos-reclaiming-helen

Black-Figure Neck-Amphora (Storage Vessel) (Primary Title) Attributed to the, Leagros Group (Manufacturer) Date: ca. 510 BC Culture: Greek (Attic) Category: Ceramics Containers-Vessels Medium: terracotta Collection: Ancient Art Dimensions: Overall: 16 1/4 × 10 in. (41.28 × 25.4 cm) Object Number: 60.10 Text from: www.vmfa.museum/piction/6027262-142723072

Black-Figure Neck-Amphora (Storage Vessel) (Primary Title) Attributed to the, Leagros Group (Manufacturer) Date: ca. 510 BC Culture: Greek (Attic) Category: Ceramics Containers-Vessels Medium: terracotta Collection: Ancient Art Dimensions: Overall: 16 1/4 × 10 in. (41.28 × 25.4 cm) Object Number: 60.10 Text from: www.vmfa.museum/piction/6027262-142723072

Black-Figure Neck-Amphora (Storage Vessel) (Primary Title) Attributed to the, Leagros Group (Manufacturer) Date: ca. 510 BC Culture: Greek (Attic) Category: Ceramics Containers-Vessels Medium: terracotta Collection: Ancient Art Dimensions: Overall: 16 1/4 × 10 in. (41.28 × 25.4 cm) Object Number: 60.10 Text from: www.vmfa.museum/piction/6027262-142723072

Black-Figure Neck-Amphora (Storage Vessel) (Primary Title) Attributed to the, Leagros Group (Manufacturer) Date: ca. 510 BC Culture: Greek (Attic) Category: Ceramics Containers-Vessels Medium: terracotta Collection: Ancient Art Dimensions: Overall: 16 1/4 × 10 in. (41.28 × 25.4 cm) Object Number: 60.10 Text from: www.vmfa.museum/piction/6027262-142723072

Mosaic with the Removal of Briseis Unknown Roman, A.D. 100 - 200 Stone and glass H: 85 7/16 x W: 89 3/8 in. 68.AH.12 About to lose possession of the concubine Briseis to Agamemnon, Achilles sits morosely, leaning his head on his hand. This contest between two great Greek warriors set in motion the rest of Homer's epic poem, the Iliad. Achilles' companion Patrokles is on the far left, and an elderly bearded man, probably Phoenix, stands beside him in the center of this fragmentary Roman mosaic. Only Briseis's face remains, just to the right of Phoenix; the rest of her body has been largely destroyed. At the right, partially preserved, are the two heralds who will take the slave girl to Agamemnon. The Romans made mosaics from tesserae, tiny cubes of stone or occasionally other materials, set into a bed of mortar. They used mosaics to cover the floors in wealthy private homes and public buildings. Roman mosaics show strong regional differences; this example appears to have originated in the eastern Mediterranean in the 100s A.D. Mosaics in the formerly Greek areas of the eastern Mediterranean often depicted complex mythological themes such as this one. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=7608

Storage Jar with Achilles and Ajax Gaming Attributed to the Leagros Group Greek, Athens, about 510 B.C. Terracotta 17 13/16 to 18 1/16 x 11 15/16 in. 86.AE.81 Scenes from the mythological Trojan War decorate this Athenian black-figure neck-amphora. On the front, Achilles and Ajax, two great heroes of the Greeks, sit playing a board game. The goddess Athena stands in front of the board and gestures. The warriors have their armor and weapons ready, as if just pausing during a break in the conflict. This scene of Ajax and Achilles gaming was very popular in Athenian vase-painting of the late 500s B.C. and was a favorite of the painters in the Leagros Group. Many scholars believe that this mythological scene also served as a contemporary political parable on the value of staying alert, since the tyrant Peisistratos had been able to take control of the city of Athens while the army was distracted. The back of the vase depicts three hoplites, or warriors, in a line. Such files of hoplites are rather unusual in vase-painting, and this depiction may have been meant to relate to the scene on the front of the vase. These hoplites may be Greeks on the march to counter a Trojan attack, while Ajax and Achilles are notified by Athena. Such an interpretation would explain Athena's unusually prominent position on this rendition of the scene. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=13800