LaurieAnnie's photos with the keyword: Ariadne

Title: Attic Black-Figure Neck Amphora Artist/Maker: Attributed to Leagros Group (Greek (Attic), active 525 - 500 B.C.) Culture: Greek (Attic) Place: Athens, Greece (Place Created) Date: about 510 B.C. Medium: Terracotta Object Number: 86.AE.80 Dimensions: 30.2 cm (11 7/8 in.) As the last of his twelve labors, the Greek hero Herakles had to capture Kerberos, the monstrous three-headed dog of Hades. On this black-figure neck-amphora, Herakles holds his club and strides forward, driving the beast before him. With him are two divine helpers, Athena and Hermes. Athena, the goddess of war and patron of heroes, raises her arm in a gesture of greeting, while Hermes aids the hero in his role as guide to the Underworld. In some versions of the myth, Hermes distracted Kerberos with food while Herakles put him on a leash. Perhaps that critical role of Hermes is implied on this vase, because the two visible heads of Kerberos look intently at him. On the back of the vase, Dionysos, the god of wine, and his wife Ariadne stand flanked by satyrs, half-human companions of the god. Dionysos holds his usual attributes of a drinking horn and an ivy branch. Dionysiac scenes were popular and fitting decoration for vases like this amphora that were used in a symposion or drinking party. Text from: www.getty.edu/art/collection/objects/11738/attributed-to-leagros-group-attic-black-figure-neck-amphora-greek-attic-about-510-bc

Title: Attic Black-Figure Neck Amphora Artist/Maker: Attributed to Leagros Group (Greek (Attic), active 525 - 500 B.C.) Culture: Greek (Attic) Place: Athens, Greece (Place Created) Date: about 510 B.C. Medium: Terracotta Object Number: 86.AE.80 Dimensions: 30.2 cm (11 7/8 in.) As the last of his twelve labors, the Greek hero Herakles had to capture Kerberos, the monstrous three-headed dog of Hades. On this black-figure neck-amphora, Herakles holds his club and strides forward, driving the beast before him. With him are two divine helpers, Athena and Hermes. Athena, the goddess of war and patron of heroes, raises her arm in a gesture of greeting, while Hermes aids the hero in his role as guide to the Underworld. In some versions of the myth, Hermes distracted Kerberos with food while Herakles put him on a leash. Perhaps that critical role of Hermes is implied on this vase, because the two visible heads of Kerberos look intently at him. On the back of the vase, Dionysos, the god of wine, and his wife Ariadne stand flanked by satyrs, half-human companions of the god. Dionysos holds his usual attributes of a drinking horn and an ivy branch. Dionysiac scenes were popular and fitting decoration for vases like this amphora that were used in a symposion or drinking party. Text from: www.getty.edu/art/collection/objects/11738/attributed-to-leagros-group-attic-black-figure-neck-amphora-greek-attic-about-510-bc

Sardonyx Cameo with Dionysus and Ariadne Greek or Roman, Hellenistic or Early Imperial, 1st century BC- 1st century AD Accession # 06.1204 Text from the Metropolitan Museum of Art label.

Marble sarcophagus with garlands and scenes the myth of Theseus and Ariadne Roman, Hadrianic or early Antonine period, ca. 130-150 AD Accession # 90.12a, b On the lid, shown in delicate, low relief, winged erotes drive chariots drawn by animals associated with the four seasons: bears with spring, lions with summer, bulls with fall, and boars with winter. On the front, four erotes bear seasonal garlands composed of flowers, wheat, grapes, pomegrantes, and laurel. Between the swags are three episodes from the myth of the Greek hero Theseus. With the help of the Cretan princess Ariadne, Theseus slew the Minotaur, a part-bull, part-human monster who was caged in a labyrinth, where he consumed Athenian boys and girls sent as annual tribute. Depicted from left to right are: Ariadne giving a thread to Theseus at the entrance to the labyrinth, Theseus slaying the Minotaur, and the sleeping Ariadne abandoned on the island of Naxos, where she will be awakened by the god Dionysos and will become his immortal bride. Text from the Metropolitan Museum of Art label.

Marble sarcophagus with garlands and scenes the myth of Theseus and Ariadne Roman, Hadrianic or early Antonine period, ca. 130-150 AD Accession # 90.12a, b On the lid, shown in delicate, low relief, winged erotes drive chariots drawn by animals associated with the four seasons: bears with spring, lions with summer, bulls with fall, and boars with winter. On the front, four erotes bear seasonal garlands composed of flowers, wheat, grapes, pomegrantes, and laurel. Between the swags are three episodes from the myth of the Greek hero Theseus. With the help of the Cretan princess Ariadne, Theseus slew the Minotaur, a part-bull, part-human monster who was caged in a labyrinth, where he consumed Athenian boys and girls sent as annual tribute. Depicted from left to right are: Ariadne giving a thread to Theseus at the entrance to the labyrinth, Theseus slaying the Minotaur, and the sleeping Ariadne abandoned on the island of Naxos, where she will be awakened by the god Dionysos and will become his immortal bride. Text from the Metropolitan Museum of Art label.

Marble sarcophagus with garlands and scenes the myth of Theseus and Ariadne Roman, Hadrianic or early Antonine period, ca. 130-150 AD Accession # 90.12a, b On the lid, shown in delicate, low relief, winged erotes drive chariots drawn by animals associated with the four seasons: bears with spring, lions with summer, bulls with fall, and boars with winter. On the front, four erotes bear seasonal garlands composed of flowers, wheat, grapes, pomegrantes, and laurel. Between the swags are three episodes from the myth of the Greek hero Theseus. With the help of the Cretan princess Ariadne, Theseus slew the Minotaur, a part-bull, part-human monster who was caged in a labyrinth, where he consumed Athenian boys and girls sent as annual tribute. Depicted from left to right are: Ariadne giving a thread to Theseus at the entrance to the labyrinth, Theseus slaying the Minotaur, and the sleeping Ariadne abandoned on the island of Naxos, where she will be awakened by the god Dionysos and will become his immortal bride. Text from the Metropolitan Museum of Art label.

Marble sarcophagus with garlands and scenes the myth of Theseus and Ariadne Roman, Hadrianic or early Antonine period, ca. 130-150 AD Accession # 90.12a, b On the lid, shown in delicate, low relief, winged erotes drive chariots drawn by animals associated with the four seasons: bears with spring, lions with summer, bulls with fall, and boars with winter. On the front, four erotes bear seasonal garlands composed of flowers, wheat, grapes, pomegrantes, and laurel. Between the swags are three episodes from the myth of the Greek hero Theseus. With the help of the Cretan princess Ariadne, Theseus slew the Minotaur, a part-bull, part-human monster who was caged in a labyrinth, where he consumed Athenian boys and girls sent as annual tribute. Depicted from left to right are: Ariadne giving a thread to Theseus at the entrance to the labyrinth, Theseus slaying the Minotaur, and the sleeping Ariadne abandoned on the island of Naxos, where she will be awakened by the god Dionysos and will become his immortal bride. Text from the Metropolitan Museum of Art label.

Marble sarcophagus with garlands and scenes the myth of Theseus and Ariadne Roman, Hadrianic or early Antonine period, ca. 130-150 AD Accession # 90.12a, b On the lid, shown in delicate, low relief, winged erotes drive chariots drawn by animals associated with the four seasons: bears with spring, lions with summer, bulls with fall, and boars with winter. On the front, four erotes bear seasonal garlands composed of flowers, wheat, grapes, pomegrantes, and laurel. Between the swags are three episodes from the myth of the Greek hero Theseus. With the help of the Cretan princess Ariadne, Theseus slew the Minotaur, a part-bull, part-human monster who was caged in a labyrinth, where he consumed Athenian boys and girls sent as annual tribute. Depicted from left to right are: Ariadne giving a thread to Theseus at the entrance to the labyrinth, Theseus slaying the Minotaur, and the sleeping Ariadne abandoned on the island of Naxos, where she will be awakened by the god Dionysos and will become his immortal bride. Text from the Metropolitan Museum of Art label.

Marble sarcophagus with garlands and scenes the myth of Theseus and Ariadne Roman, Hadrianic or early Antonine period, ca. 130-150 AD Accession # 90.12a, b On the lid, shown in delicate, low relief, winged erotes drive chariots drawn by animals associated with the four seasons: bears with spring, lions with summer, bulls with fall, and boars with winter. On the front, four erotes bear seasonal garlands composed of flowers, wheat, grapes, pomegrantes, and laurel. Between the swags are three episodes from the myth of the Greek hero Theseus. With the help of the Cretan princess Ariadne, Theseus slew the Minotaur, a part-bull, part-human monster who was caged in a labyrinth, where he consumed Athenian boys and girls sent as annual tribute. Depicted from left to right are: Ariadne giving a thread to Theseus at the entrance to the labyrinth, Theseus slaying the Minotaur, and the sleeping Ariadne abandoned on the island of Naxos, where she will be awakened by the god Dionysos and will become his immortal bride. Text from the Metropolitan Museum of Art label.

Sardonyx Cameo with Dionysus and Ariadne Greek or Roman, Hellenistic or Early Imperial, 1st century BC- 1st century AD Accession # 06.1204 Text from the Metropolitan Museum of Art label.

Title: Bacchus Discovering Ariadne on Naxos Object Name: Plaquette Culture: Italian (Paduan) Date: 15th century Medium: Bronze Dimensions: Overall: 2 1/4 x 3 1/16in. (5.7 x 7.8cm) 57.2 x 78 mm Classification: Medals and Plaquettes Credit Line: Rogers Fund, 1927 Accession Number: 27.14.6 Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...

Mirror with Heracles, Dionysus, Ariadne, and Eros Creators: Etruscan (Artist) Period: ca. 300 BC Medium: bronze (Metal) Accession Number: 54.85 Measurements: 9 1/4 x 7 5/8 x 1/4 in. (23.5 x 19.3 x 0.7 cm) Geographies: Castel Giorgio, Italy (Place of Origin) In order to create a reflective surface, the front of ancient mirrors were either highly polished or covered with a thin layer of silver. Engraved on the back of this mirror is a scene from the Greek myth of the marriage of Dionysus. The figures are identified by engraved inscriptions with the Etruscan names for Heracles (Herkle), Ariadne (Vesuna), Dionysus (Fufluns), and Eros (Svutaf?). Text from: art.thewalters.org/detail/23538/mirror-with-heracles-dion...

Sarcophagus with Scenes of Bacchus Unknown Roman, Rome, A.D. 210 - 220.; with supports: 1800s Marble 83.AA.275 The inscription on the lid of this sarcophagus identifies its former occupant, Maconiana Severiana, as being from a senatorial family. "To the soul of the deceased. For Maconiana Severiana, the sweetest daughter, Marcus Sempronius Faustinianus, vir clarissimus [holding a senatorial rank], and Praecilia Severiana, clarissima femina [from a senatorial family], her parents [had this made]." Given the small size of the sarcophagus, Maconiana must have been a child or adolescent. The front of the sarcophagus shows a Dionysiac revel, culminating in the discovery of the sleeping Ariadne, shown lying down on the right. Abandoned by the Greek hero Theseus, Ariadne awakened to a new life with Dionysos, the god of wine. The goat-legged Pan lifts the veil from her prone figure while satyrs, maenads, and a panther surround the drunken Dionysos. The back of the sarcophagus shows another Dionysiac scene of winemaking carved in a simpler, flatter style. Panels with related figures flanking the central inscription on the lid. For the Romans, Dionysos was associated with the hope of a better afterlife; thus many sarcophagi show the god and his followers. Sculpted stone sarcophagi, which came into use in the 200s A.D., soon became symbols of wealth and status. Since Romans favored certain themes for sarcophagi, they were often bought ready-made and then customized by the addition of a portrait of the deceased. The blank face of Ariadne should have been carved as a portrait of Maconiana Severiana. Why it was left blank in this instance is not clear. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=12445

Sarcophagus with Scenes of Bacchus Unknown Roman, Rome, A.D. 210 - 220.; with supports: 1800s Marble 83.AA.275 The inscription on the lid of this sarcophagus identifies its former occupant, Maconiana Severiana, as being from a senatorial family. "To the soul of the deceased. For Maconiana Severiana, the sweetest daughter, Marcus Sempronius Faustinianus, vir clarissimus [holding a senatorial rank], and Praecilia Severiana, clarissima femina [from a senatorial family], her parents [had this made]." Given the small size of the sarcophagus, Maconiana must have been a child or adolescent. The front of the sarcophagus shows a Dionysiac revel, culminating in the discovery of the sleeping Ariadne, shown lying down on the right. Abandoned by the Greek hero Theseus, Ariadne awakened to a new life with Dionysos, the god of wine. The goat-legged Pan lifts the veil from her prone figure while satyrs, maenads, and a panther surround the drunken Dionysos. The back of the sarcophagus shows another Dionysiac scene of winemaking carved in a simpler, flatter style. Panels with related figures flanking the central inscription on the lid. For the Romans, Dionysos was associated with the hope of a better afterlife; thus many sarcophagi show the god and his followers. Sculpted stone sarcophagi, which came into use in the 200s A.D., soon became symbols of wealth and status. Since Romans favored certain themes for sarcophagi, they were often bought ready-made and then customized by the addition of a portrait of the deceased. The blank face of Ariadne should have been carved as a portrait of Maconiana Severiana. Why it was left blank in this instance is not clear. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=12445

Sarcophagus with Scenes of Bacchus Unknown Roman, Rome, A.D. 210 - 220.; with supports: 1800s Marble 83.AA.275 The inscription on the lid of this sarcophagus identifies its former occupant, Maconiana Severiana, as being from a senatorial family. "To the soul of the deceased. For Maconiana Severiana, the sweetest daughter, Marcus Sempronius Faustinianus, vir clarissimus [holding a senatorial rank], and Praecilia Severiana, clarissima femina [from a senatorial family], her parents [had this made]." Given the small size of the sarcophagus, Maconiana must have been a child or adolescent. The front of the sarcophagus shows a Dionysiac revel, culminating in the discovery of the sleeping Ariadne, shown lying down on the right. Abandoned by the Greek hero Theseus, Ariadne awakened to a new life with Dionysos, the god of wine. The goat-legged Pan lifts the veil from her prone figure while satyrs, maenads, and a panther surround the drunken Dionysos. The back of the sarcophagus shows another Dionysiac scene of winemaking carved in a simpler, flatter style. Panels with related figures flanking the central inscription on the lid. For the Romans, Dionysos was associated with the hope of a better afterlife; thus many sarcophagi show the god and his followers. Sculpted stone sarcophagi, which came into use in the 200s A.D., soon became symbols of wealth and status. Since Romans favored certain themes for sarcophagi, they were often bought ready-made and then customized by the addition of a portrait of the deceased. The blank face of Ariadne should have been carved as a portrait of Maconiana Severiana. Why it was left blank in this instance is not clear. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=12445

Sarcophagus with Scenes of Bacchus Unknown Roman, Rome, A.D. 210 - 220.; with supports: 1800s Marble 83.AA.275 The inscription on the lid of this sarcophagus identifies its former occupant, Maconiana Severiana, as being from a senatorial family. "To the soul of the deceased. For Maconiana Severiana, the sweetest daughter, Marcus Sempronius Faustinianus, vir clarissimus [holding a senatorial rank], and Praecilia Severiana, clarissima femina [from a senatorial family], her parents [had this made]." Given the small size of the sarcophagus, Maconiana must have been a child or adolescent. The front of the sarcophagus shows a Dionysiac revel, culminating in the discovery of the sleeping Ariadne, shown lying down on the right. Abandoned by the Greek hero Theseus, Ariadne awakened to a new life with Dionysos, the god of wine. The goat-legged Pan lifts the veil from her prone figure while satyrs, maenads, and a panther surround the drunken Dionysos. The back of the sarcophagus shows another Dionysiac scene of winemaking carved in a simpler, flatter style. Panels with related figures flanking the central inscription on the lid. For the Romans, Dionysos was associated with the hope of a better afterlife; thus many sarcophagi show the god and his followers. Sculpted stone sarcophagi, which came into use in the 200s A.D., soon became symbols of wealth and status. Since Romans favored certain themes for sarcophagi, they were often bought ready-made and then customized by the addition of a portrait of the deceased. The blank face of Ariadne should have been carved as a portrait of Maconiana Severiana. Why it was left blank in this instance is not clear. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=12445