greek vases

2006.15.T, Apulian Pelike

Anonymous — Fri, 11 May 2018 23:51:27 +0000

2006.15.T, Apulian Pelike Anonymous (not verified) Fri, 05/11/2018 - 17:51

Sarah Thomas and Debby Sneed

Catalogue Entry

This vase is one of a collection of Greek vases held by the CU Art Museum.

Gift to CU Classics Department
Transferred to CU Museum of Natural History
Transferred to CU Art Museum (2006)

Height: 18.1 cm
Diameter (max.): 11.4 cm
Date: 375 - 325 B.C.E.
Origin: Apulia (South Italy)

Description: Painted ceramic pelike with characteristic sagging belly and one handle on each side. On each side of the vase between the handles is the profile of a woman's head, facing left, in reserved color of clay against black slip background. Added white on each side indicates a necklace, earring, and ornamentation on the hair. Above the woman's head on each side is a sea wave pattern and beneath each handle are palmettes. The top of the neck, rim, and foot are black.

Additional photos of this vessel show details of the rim, handles, base, and decorative elements.

Discussion

A pelike is a vessel with a sagging belly used for holding liquids. This particular pelike dates to the mid-4th century B.C.E., a time when this particular shape experienced great popularity in South Italy and Sicily and became a staple in the the South Italian pottery workshops in Apulia and Campania. Originally interpreted as a Greek import, this vase has been re-identified as the work of an Apulian artist.

Each side of this pelike bears an image of a heavily adorned woman's head in profile. Painted in the red-figure technique of vase painting, the light brown clay contrasts with the gray-black slip, bringing each of the profile heads into focus. The top of the vase is decorated with a band of stylized sea waves, a common decoration on South Italian vases. The main decorative panels are complemented by a black rim, neck, and handles.

Finally, large palmettes decorate the area beneath each handle. The burnt orange color of the clay is distinct from the bright red-orange clay of Attic vases.

A single woman's head in profile covers each side of the vase; the two heads are virtually mirror images of each other. The women are elaborately adorned, with added white to indicate a pearl necklace, earrings, and ornamentation to the hair. The portrayal of female heads was quite popular in South Italian vase painting at this time, especially on smaller vessels such as pelikai. Women were often depicted in the process of ornamenting themselves or in preparation for a wedding ceremony. Such women were usually depicted with a variety of jewelry, including necklaces, bracelets, earrings, and anklets, with hair tied up in a knot or bun and/or adorned with a tiara-like crown. It is difficult to know how to interpret this and similar vases, but the artist likely intended this to represent an elite woman.

Pelikai were containers for liquid, whether in storage or dining. They could be constructed in various sizes and may, perhaps, be a smaller variation of the one-piece amphora. Unlike the the neck-amphora, which often had a sharp transition between the neck and the body, pelikai had a sinuous curving neck that smoothly transitioned into the vessel's body. The sagging shape of the pelike's belly has led many scholars to conclude that it was primarily used to store and transport wine and oil.

A kantharos at the Cleveland Museum of Art, dated to c. 330-320 B.C.E., resembles this pelike's decorative scheme. On each side of the Cleveland kantharos is a female head in profile. White paint was added to indicate the necklace, earrings, and ornamentation to the hair. In addition, the characteristic sea wave pattern decorates the exterior of the cup's rim.

References

John Boardman, Athenian Red-Figure Vases: the Classical Period (London: Thames & Hudson, 1989): 239-240.
A.D. Trendall, Red Figure Vases of South Italy and Sicily, A Handbook (London: Thames and Hudson, 1989): 7-25.
A.D. Trendall, "Farce and Tragedy in South Italian Vase-Painting" in eds. Tom Rasmussen and Nigel Spivey, Looking at Greek Vases (Cambridge: Cambridge University Press, 1991): 151-182.
Chara Tzavella-Evjen, Greek and Roman Vases and Statuettes from the University of Colorado Collection (Athens: Archaiologikon Deltion, 1973): 192-197.

A mid-4th century B.C.E. pelike painted by an unidentified Apulian artist.

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2006.16ab.T, Lekanis

Anonymous — Fri, 11 May 2018 22:15:52 +0000

2006.16ab.T, Lekanis Anonymous (not verified) Fri, 05/11/2018 - 16:15

Stephanie Ann Smith and Debby Sneed

Catalogue Entry

This vase is one of a collection of Greek vases held by the CU Art Museum.

Gift to CU Classics Department
Transferred to CU Museum of Natural History
Transferred to CU Art Museum (2006)

Height: 6.7 cm
Diameter (max.): 9.8 cm
Date: 5th century B.C.E.
Origin: Unknown; possibly Boeotia (central Greece)

Description: Small glazed lekanis with two upward-curving handles and lid. Orange glazing with vertical zigzag design in black around center of entire circumference.

Additional photos of this vessel show details of its base, lid, and decorative elements.

Discussion

Shape

This small vase is an example of a lidded lekanis (plural: lekanides). A lekanis consists of two parts: a shallow lid with a large, flat knob which could be turned over and used as a plate, coupled with a small shallow bowl to which were attached two horizontal, ribbon-like handles, a low footed base, and a rim with a ledge to receive the lid. A similar shape, also a shallow bowl but without a lid, is called a lekane, although the application of the related names is not entirely clear and modern usage varies.

Use

A lidded lekanis was generally used as a cosmetic container or as a gift for brides, given by their fathers on their wedding day and filled with trinkets (1). The lekanis is similar in function to the small round box called a pyxis, which was also used for cosmetics and small items of adornment. The lekanis had a wide variety of uses and its shape could vary. Because of their utilitarian and symbolic functions, lekanides are often found in burials, as is the case with most of the vases in the CU Art Museum's collection.

Lekanides were widely used throughout the Archaic period, only losing popularity in the 4th century B.C.E.

Description

The decoration found on this lekanis is relatively simple. The lid and handle are covered in a dark brownish-black slip, with the outside of the rim of the lid reserved in what seems to be the original dark orange color of the clay. In this case, the slip found on the lid was applied unevenly, causing the black slip to fire to a dark brownish-red. In the process of producing pottery and terracotta figurines, "the perfect glaze is a deep, lustrous black, but . . . imperfect final reduction or too thin an application of glaze results in the frequent phenomenon, a reddish or brownish or unevenly colored glaze" (2). The inside of the bowl of this lekanis is completely covered in slip, as well, but retains a more even color.

A wide horizontal band of light buff brown slip encircles the exterior of the bowl. Inside the band and between the handles on each side are vertical black zigzags, drawn hastily (3). A similar pattern can be seen on a later 8th century B.C.E. Boeotian pedestal skyphos in the CU Art Museum's collection. This style of decoration has been associated with Chalcidian workshops in northern Greece (4) but this particular lekanis may be Boeotian in origin. Bordering the zigzags on the bottom is a thin black line above a narrow band in the color of the buff brown slip. The base of the lekanis, including a low ringed foot, is covered in a dark slip. The underside of the foot is the buff brown slip, with small black dot in the center surrounded by two thin black concentric circles. Much of the exterior surface of the lekanis and the interior of the lid are discolored by a yellowish deposit.

Identification

Although the shape of the lekanis is easy to identify, its origin and date are more difficult due to its popular and simple decoration and uneven and misfired slip. Furthermore, the dimensions of this vase are small when compared to more common examples of the lekanis (5). Finally, the handles on this example are thinner than we see in other examples, and their upward curve resembles the handles of a kylix, such as the c. 500 B.C.E. example in the CU Art Museum's collection, rather than the more usual handles of a lekanis, which are thick and horizontal. Horizontal handles more typical of lekanides. Examples of these upward-curving handles on a lekanis, however, are not unknown (6).

In most cases, assigning a date and place of origin to a vase results from a combined study of its shape, size, and decoration, along with other aspects unique to the artifact. Often, archaeologists look to the color of the vessel's clay in order to determine the location of its production. This type of identification is possible because of the ready availability of local clay sources in Greece, many of which had noticeably different colors (7).

In the case of this lekanis, however, the identification of the clay color is difficult: the entire surface is covered in either a light or a dark brown slip. A small crack in the lid could provide a view to the original clay fabric, but a yellowish deposit covers much of the vessel. The most basic color of the clay of this lekanis, orange, can be found in regions like Boeotia in central Greece, as well as in Attica, but it is not possible at this point to determine a more specific place of origin.

Furthermore, the decorations on this lekanis, especially the zigzag pattern on the body, are difficult to identify as belonging to a particular region in Greece. Examples of similar decoration have been found on vases from all oer Greece, including Boeotia, Euboea (8), Attica, and Corinth.

With the limited amount of currently available evidence, then, it is premature to commit to a positive identification of the vessel's origin. This lekanis is an example of the difficulties researchers face when trying to identify unique artifacts and reflects the reality of pottery as widely varied and often complicated remains in the archaeological record.

Footnotes

See Andrew J. Clark, Maya Elston, and Mary Louise Hart eds., Understanding Greek Vases: A Guide to Terms, Styles, and Techniques (Malibu: J. Paul Getty Museum, 2002): 112.
R. A. Higgins, Greek Terracottas (London: Methuen, 1967): 4.
However, examples of this design can be found in Corinthian and Attic vases as well. A few examples may be found in Annie Dunman Ure and P. N. Ure, Corpus vasorum antiquorum Great Britain Fasc. 12, University of Reading Fasc. 1 (London: British Academy, 1954); John D. Beazley, Humfry Payne, and E. R. Price, Corpus vasorum antiquorum Great Britain Fasc. 9, Oxford, Ashmolean Museum Fasc. 2 (Oxford: Clarendon Press, 1931). The decoration of vases must be taken into consideration, along with such details as clay type in order to positively identify the source of a vessel.
Chr Blinkenberg and Knus Friis Johansen, Corpus vasorum antiquorum, Danemark, Copenhagen, Musée national Fasc. 3 (Paris: E. Champion, 1924): 77-78, pl. 98, 2.
Most lekanides seem to have been functionally large, in contrast to this small vessel, which is only a few inches high and wide.
For example see Alan W Johnston and Christina Souyoudzoglou-Haywood, Corpus vasorum antiquorum Ireland 1, University College Dublin (Dublin: University College Dublin, 2000): pl 44, 2.
Higgins, Greek Terracottas: 1ii.
Please refer to Footnote 6 (above) and the discussion on Chalcidian zigzag decoration.

Reference

Chara Tzavella-Evjen, Greek and Roman Vases and Statuettes from the University of Colorado Collection (Athens: Archaiologikon Deltion, 1973): 192-197.

A 5th century B.C.E. lidded lekanis, possibly from Boeotia.

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2006.39.T, Attic Saltcellar

Anonymous — Fri, 11 May 2018 17:49:19 +0000

2006.39.T, Attic Saltcellar Anonymous (not verified) Fri, 05/11/2018 - 11:49

Summer Trentin and Debby Sneed

Catalogue Entry

This vase is one of a collection of Greek vases held by the CU Art Museum.

Gift to CU Classics Department
Transferred to CU Museum of Natural History
Transferred to CU Art Museum (2006)

Height: 2.5 cm
Diameter (max.): 6.4 cm
Date: 5th century B.C.E.
Origin: Athens (Greece)

Description: Small round dish with concave sides and flaring lip. Even black slip covers entire vessel, inside and out.

Additional photos of this vessel show details of its base, rim, and interior.

Discussion

When one thinks of Greek vases, the image that comes to mind is of fine cups and kraters delicately decorated with elegant gods and goddesses in flowing garments, well-muscled athletes, and epic battles, all meticulously executed in either the black-figure technique or the red-figure technique of vase painting. Much of Greek pottery, however, includes simple, everyday wares, free of all but the simplest decoration, if any, and designed for mundane but essential tasks like storage, cooking, and eating. What these vessels lack in elaborate decoration they make up for in elegant utility and simplicity of design. And although they do not reveal images of myth and heroes, they nevertheless offer a glimpse into the everyday lives of ancient Greeks.

Among such utilitarian wares is this small, shallow vessel identified as a saltcellar (1). Meant to be used at the table to hold a small amount of salt or other condiment for individual use, the dish is small, with concave walls and a slightly indented, concave floor. This piece is decorated only by an even black gloss, both inside and out; even after 2,500 years it retains its characteristic shiny finish. Its identification as a saltcellar is based on its shape and size: the type is common in the 5th and 4th centuries B.C.E. and many have been found at sites like the Athenian Agora (2). Although modern scholars refer to these vessels as saltcellars, it is likely that they held a variety of food additives (3). Such cellars may originally have had lids to protect and preserve their contents.

Despite their small size, mundane function, and relatively short period of popularity, black-gloss saltcellars have been found in great numbers and in a variety of shapes. A collection of saltcellars from the Athenian Agora demonstrates variation within the shape. Saltcellars can have concave walls, as with the saltcellar in the CU Art Museum's collection, but they can also have straight or convex walls. They can be footed or instead resemble small bowls. Rarer is the late 4th century B.C.E. spool saltcellar (4). Saltcellars can be simply decorated with basic shapes suhch as circles but more often they are plain. Some feature flat undersides, while others have slightly recessed bottoms. Occasionally the interior floor of a saltcellar is decorated. Such variation in size, shape, and decoration can help date the individual pieces and the example in the CU Art Museum's collection probably dates to the late 5th or early 4th century B.C.E.

Comparanda

As cited by Tzavella-Evjen, Greek and Roman Vases and Statuettes from the University of Colorado Collection: 195.

Frank Brommer, Corpus Vasorum Antiquorum: Deutschland, Bd. 16, Schloss Fasanerie (Adolphseck), Bd. 2. (Munich: C. H. Beck'sche Verlagsbuchhandlung, 1959): pl. 67, 7-8.
Peter E. Corbett, "Attic Pottery of the Later Fifth Century from the Athenian Agora," Hesperia 18.4 (1949): 329-330, pl. 93, 68.
Select Exhibition of Sir John and Lady Beazley's gifts to the Ashmolean Museum, 1912-1966 (London: Oxford University Press, 1967): No. 427.

Footnotes

Chara Tzavella-Evjen, Greek and Roman Vases and Statuettes from the University of Colorado Collection (Athens: Archaiologikon Deltion, 1973): 192-197.
Tzavella-Evjen, Greek and Roman Vases and Statuettes from the University of Colorado Collection: 195; Peter E. Corbett, "Attic Pottery of the Later Fifth Century from the Athenian Agora," Hesperia 18.4 (1949): 329; Susan I. Rotroff, "Spool Saltcellars in the Athenian Agora," Hesperia 53.3 (1984): 343-354.
Brian A. Sparkes and Lucy Talcott, Black and Plain Pottery of the 6th, 5th and 4th Centuries B.C., The Athenian Agora XII, 2 parts (Princeton, NJ: The American School of Classical Studies at Athens, 1970): 132.
For categorization of saltcellars see Sparkes and Talcott, Black and Plain Pottery: 132-138; see also Susan I. Rotroff and John H. Oakley, Debris from a Public Dining Place in the Athenian Agora (Princeton, NJ: American School of Classical Studies at Athens, 1992): 22-23, 28; for a brief description and chronology of shapes; for spool saltcellars see Rotroff, "Spool Saltcellars in the Athenian Agora."

Reference

Chara Tzavella-Evjen, Greek and Roman Vases and Statuettes from the University of Colorado Collection (Athens: Archaiologikon Deltion, 1973): 192-197.

A 5th century B.C.E. black gloss saltcellar from Athens.

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2006.21.T, Attic Kantharos

Anonymous — Fri, 11 May 2018 16:45:36 +0000

2006.21.T, Attic Kantharos Anonymous (not verified) Fri, 05/11/2018 - 10:45

Gina Hander and Debby Sneed

Catalogue Entry

This vase is one of a collection of Greek vases held by the CU Art Museum.

Gift to CU Classics Department
Transferred to CU Museum of Natural History
Transferred to CU Art Museum (2006)

Height: 19.4 cm
Width: 19.7 cm
Depth: 12.4 cm
Date: 4th century B.C.E.
Origin: Attica (Greece)

Description: Raised vessel with small base, relatively high stem, two large, thin looped handles. Black glaze decoration with two thin orange stripes around center of stem.

Additional photos of this vessel show details of the rim, handles, base, and decorative elements.

Discussion

A kantharos is a type of cup in ancient Greece, with a deep bowl and two distinctive high handles. The stem of the cup is often tall, as it is on this example. This cup was originally identified as Boeotian but has been reclassed as Attic.

The shape dates as early as the 8th century B.C.E. and may have originated in the central Greek region of Boeotia (1). The Etruscans in central Italy produced bucchero kantharoi in the late 7th or early 6th century B.C.E. The shape was long-lived and the example in the CU Art Museum's collection dates to the mid-4th century B.C.E. (2). Its decoration is described as black gloss, a common decorative schema at

this time (3). A thin band is inscised or scratched into the black gloss at the junction of the cup's body and its stem, revealing the orange color of the clay beneath. Two additional thin bands, relatively close together, are incised in the middle of the stem. Finally, a ring of the orange clay is visible around the outer edge of the vessel's foot. The CU kantharos has been compared with a mid-5th century B.C.E. Boeotian kantharos at the Ure Museum at the University of Reading. Though the Reading cup bears figural decoration, it has a similar shape.

There are several different types of kantharoi. The CU kantharos is identified as a Type A Kantharos, a type characterized by a high stemmed foot; tall, straight sides; and tall handles that rise above the lip (4). On this and other Type A Kantharoi, a high step marks the transition between the vertical sides and the stem. This step corresponds to an undercut lip on the interior of the cup, which leads to the shallow, curved base on the interior of the bowl. The transition between the exterior step and the handles is smooth.

Kantharoi were cups used to hold wine, possibly for drinking, though they could instead have served for ritual purposes or as an offering or votive. The kantharos seems to be an attribute of Dionysus, the god of wine (5), who can be seen holding one in the tondo of an early 5th century B.C.E. kylix at the Museum of Fine Arts in Boston. The connection between Dionysus and the kantharos was widespread and appeared in a variety of media, including on a late 5th century B.C.E. silver coin from Cilicia in Asia Minor (6). Likewise, Dionysus's companions, including Satyrs and Maenads, were commonly portrayed on Greek vases holding a kantharos (7). Scenes of Dionysus, Satyrs, and Maenads revelling and often holding kantharoi recall the ancient Greek symposium and, indeed, such scenes often appear on sympotic vessels, including kraters and kylikes. Despite this fact, however, the kantharos may not be a banqueting cup, but rather a vessel used in cult as a symbol of rebirth or of the immortality offered by wine, "removing in moments of ecstacy the burden of self-consciousness and elevating man to the rank of deity" (8). The kantharos is depicted in scenes that may be related to funerary cult, as on a 6th century B.C.E. marble relief from Laconia (9).

Footnotes

"Kantharos," Perseus Encyclopedia (http://www.perseus.tufts.edu/hopper/text?doc=PersEnc.+K.kantharos&fromdoc=Perseus%3Atext%3A1999.04.0004), accessed 12 February 2019.
Dating based on comparison to contemporary kantharoi as published by Chara Tzavella-Evjen, Greek and Roman Vases and Statuettes from the University of Colorado Collection (Athens: Archaiologikon Deltion, 1973): 195, pl. 99c. See also, Suzana Dimitriu, Petre Alexandrescu, and Vladimir Dumitrescu, Corpus vasorum antiquorum, Roumanie (Bucarest: Editions de l'Académie de la République Socialiste de Roumanie, 1965): pl. 41, 1; M. G. Kanowski, Containers of Classical Greece: A Handbook of Shapes (St. Lucia, Queensland: University of Queensland Press, 1984): 48-51, fig 3.
R. M. Cook, Greek Painted Pottery (London: Routledge, 1997): 201.
"Type A Kantharos," Perseus Encyclopedia (http://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.04.0004:id=type-a-kantharos), accessed 12 February 2019.
George W. Elderkin, Kantharos: Studies in Dionysiac and Kindred Cult (Princeton: Princeton University Press, 1924): 4.
Andrew J. Clark, Maya Elston, and Mary Louise Hart, Understanding Greek Vases: A Guide to Terms, Styles, and Techniques (Los Angeles: J. Paul Getty Trust, 2002): 101.
"Maenades" and "Satyrs" in eds. N. G. L. Hammond and H. H. Scullard, The Oxford Classical Dictionary (Oxford: Clarendon Press, 1970): 636, 956.
Elderkin, Kantharos: Studies in Dionysiac and Kindred Cult: 2-6.
According to Elderkin, the kantharos suggests a libation to the dead. Elderkin explains further symbolism, including the pomegranate, snake, and other components of this relief that link it to the cult of the dead. Elderkin, Kantharos: Studies in Dionysiac and Kindred Cult: 2-6.

Reference

Chara Tzavella-Evjen, Greek and Roman Vases and Statuettes from the University of Colorado Collection (Athens: Archaiologikon Deltion, 1973): 192-197.

A 4th century B.C.E. Attic black gloss kantharos.

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2006.18.T, Attic Red-Figure Lekythos

Anonymous — Fri, 11 May 2018 16:11:58 +0000

2006.18.T, Attic Red-Figure Lekythos Anonymous (not verified) Fri, 05/11/2018 - 10:11

Megan Aikman and Debby Sneed

Catalogue Entry

This vase is one of a collection of Greek vases held by the CU Art Museum.

Gift to CU Classics Department
Transferred to CU Museum of Natural History
Transferred to CU Art Museum (2006)

Height: 16.2 cm
Diameter (max.): 5.7 cm
Date: c. 425-350 B.C.E.
Origin: Athens (Greece)

Description: small red-figure lekythos with image of woman on one side of body. The woman is holding shallow dish (phiale) over a wool basket. Meander border at top of main scene on body. Shoulder of vessel decorated with parallel vertical black lines. Neck left undecorated. Lip and mouth of vessel, as well as single handle, covered in black slip.

Additional photos of this vessel show details of the mouth, rim, handle, decoration, and base.

Discussion

A lekythos is a vessel used to store oil used for religious or funerary purposes. This lekythos is the CU Art Museum's only example of a vase decorated in the red-figure technique. The vase is made of a light red clay, while the background of the vase, decorative elements, and details were added in a black slip. The single handle on this vase is decorated with black slip on its top, exposed surface and is left in the color of the clay on its underside. The lip and mouth of the jar are covered in black slip. Short, parallel vertical lines encircle the base of the neck, while another series of longer lines decorates the shoulder of the vessel. A single band of meander wraps around the top of the vessel's body above the figural panel. This same combination of decorative elements -- two rows of parallel vertical lines and a meander -- is seen, also, on a black-figure lekythos in the CU Art Museum's collection.

The body of this vessel features a single human figure, a woman, who stands and faces right. Her thick, black hair is tied into a bun at the back of her head, with her ear placed high on her head.

She looks forward with her lips parted, as if speaking. She wears a chiton and a himation, both of which have details such as folds and crinkles added in thick black lines and thinner, lighter lines. One arm is bent, with the hand resting on her hip; the other arm is extended and she holds in her hand a shallow bowl or phiale. A wool basket is on the ground in front of the woman, to the right and beneath the hand holding the phiale. No separate groundline is indicated, but the presence of one is suggested by the placement of the basket along the same line as the woman's bare feet. The base of the vessel tapers to a small foot. The exterior of the foot is decorated with two bands, one in the color of the clay on top and one in black slip below.

The woman on the vase is identified by her dress and hairstyle, as well as by the attributes of the phiale and the wool basket, as a housewife or an otherwise generic citizen woman. The phiale in her hand suggests that she is pious, while the wool basket demonstrates her dutiful and resourceful nature.

Women in ancient Greece were relatively constrained in their roles as citizens, non-citizen residents, or slaves. According to much modern scholarship, there was little overlap within the established class structures. Regardless of her status, however, women shared similar duties, the most important of which may have been wool working and weaving. A respectable woman, such as the one on this lekythos, would spend much of her day spinning wool, a task that contributed to the household economy in a variety of ways. Today, four spinners working on wheels create enough wool for one weaver to stay busy, which means that for every one textile created, it takes four times the work to create the yarn for that woven fabric. The spinning wheel, however, was not invented until the 16th century C.E. and it would have taken a Greek woman somewhat longer to spin the same amount of wool using a drop spindle.

Few examples of textiles from ancient Greece survive and much of our evidence for the industry comes from references in texts, as well as representations on vases, stelai, and wall paintings.

Comparanda

Marathon, Marathon Museum K331 (1)
- 475-425 B.C.E. red-figure lekythos
- Similar shape to foot and lip/shoulder tilt
- Similar decoration (i.e., meander technique and horizontal line) at shoulder and neck
- Similar style red-figure technique and execution
- Cracked at same point, suggesting similar clay grade and/or throwing technique (?)
Athens, National Archaeological Museum 17291 (2)
- 475-425 B.C.E. red-figure lekythos attributed to the Bowdoin Painter
- Similar shoulder, neck, and lip execution
- Similar use of groundline
Athens, National Archaeological Museum 17280 (3)
- 475-425 B.C.E. red-figure lekythos
- Similar shoulder, neck, and lip execution
- Similar curvature of foot

Footnotes

Corpus vasorum antiquorum: Greece Fasc. 7, Marathon Museum (Athens: Academy of Athens, 2001): 63-64, 82, Fig. 43, Pl. (402) 35.1-2.
Semni Karouzou, Corpus vasorum antiquorum, Greece, Fasc. 1, Athens National Museum (Paris: Librairie ancienne Honoré Champion, 1932): III.IC.9, Pl. (70) 12.1.
Semni Karouzou, Corpus vasorum antiquorum, Greece, Fasc. 1, Athens National Museum (Paris: Librairie ancienne Honoré Champion, 1932): III.IC.9, Pl. (70) 12.3-4.

References

John Boardman, Athenian Red-Figure Vases: the Archaic Period (London: Thames & Hudson, 1975): 216.
John Boardman, Athenian Red-Figure Vases: the Classical Period (London: Thames & Hudson, 1989).
Simon Hornblower and Antony Spawforth, eds. The Oxford Classical Dictionary, 3rd ed. (Oxford: Oxford University Press, 2003).
Chara Tzavella-Evjen, Greek and Roman Vases and Statuettes from the University of Colorado Collection (Athens: Archaiologikon Deltion, 1973): 192-197.

A late 5th or early 4th century B.C.E. red-figure lekythos from Athens.

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2006.35.T, Attic Kylix

Anonymous — Fri, 11 May 2018 15:50:26 +0000

2006.35.T, Attic Kylix Anonymous (not verified) Fri, 05/11/2018 - 09:50

Megan Aikman and Debby Sneed

Catalogue Entry

This vase is one of a collection of Greek vases held by the CU Art Museum.

Gift to CU Classics Department
Transferred to CU Museum of Natural History
Transferred to CU Art Museum (2006)

Height: 6.7 cm
Diameter (max.): 23.8 cm
Depth: 17.8 cm
Date: c. 450 B.C.E.
Origin: Athens (Greece)

Description: Black-gloss kylix with flat base and short stem. Shallow and wide bowl with two slightly up-curved handles on either side. Most of cup covered in a shiny black slip, except for underside of handles, exterior ring of base, and two narrow parallel bands at base of stem, which are all reserved in the color of clay.

Additional photos of this vessel show details of the rim, handles, body, and base.

Discussion

A kylix (plural: kylikes) is a drinking cup used in formal occasions like a symposium in ancient Greece. This particular kylix dates to the mid-5th century B.C.E. (1). It is covered inside and out with a glossy black slip, except for the inner edges of the handles, the outer edge of the foot, and two parallel incised lines at the base of the stem, which are all reserved in the color of the red-orange clay. The bowl of the cup has a wide diameter and is relatively shallow. Two handles are placed on opposite sides, positioned close to the rim, and they extend outward and slightly up. The stem of the cup is short, elevating the bowl about one-half of an inch above the foot.

The kylix is distinct from other cup shapes in ancient Greece, including the skyphos and the kantharos. A skyphos, such as the later 6th century B.C.E. example in the CU Art Museum's collection, does not have the stem or the handles of a kylix. Kantharoi, including a 4th century B.C.E. example in the CU Art Museum's collection, usually have stems but their bowls and handles differ from those on kylikes.

There are many sub-types of kylikes, but they all have the same function. This particular kylix, with the continuous curve from the lip to the stem, placement of the handles, and style of decoration, resembles a Type B kylix (2).

Although the best-known cups from ancient Greece were elaborately painted, the most commonly used were plain slipped wares like this one. Painted vessels in the red-figure technique or the black-figure technique were often reserved for more formal events and were typically a part of a suite of associated vessels, including mixing kraters and jugs. Wealth in ancient Greece was retained by a select few, while the majority of people belonged to what we would term the middle and lower classes. Finely painted vessels would have cost more than unpainted wares (3). Excavations at the Athenian Agora, the site of public dining in the city, have unearthened an abundance of plain black-slipped drinking vessels.

Comparanda

Marathon, Marathon Museum K228 (4)
Marathon, Marathon Museum K210 (5)
Marathon, Marathon Museum K205 (6)
Thebes, Archaeological Museum of Thebes 23425 (R.18.255) (7)

Footnotes

This vase was originally identified as a late 6th century B.C.E. cup and compared with other kylikes dated to around 510-480 B.C.E.
While searching through the Corpus vasorum antiquorum , I came across a Type C cup (Thebes 23425 (R.18.255)). Similar to the Type B cup, it differs only in a raised fillet separating the foot from the stem. The standard definition of the Type C cup includes a concave rim and I had never heard of the raised fillet as an indicator of Type C cup. Although there is a slight suggestion of a fillet on this kylix in the CU Art Museum's collection, it is not as pronounced as on the Thebes example and I therefore think the CU kylix should retain the Type B classification.
For other theories on vase medium, decoration and what this black vase might suggest, see M. J. Vickers, "Artful Crafts: The Influence of Metalwork on Athenian Painted Pottery," Journal of Hellenic Studies 105 (1985): 108-128; R.M. Cook, "'Artful Crafts': A Commentary," Journal of Hellenic Studies 107 (1987): 169-171; J. Boardman, "Silver is White," Revue archéologique, Nouvelle Série, Fasc. 2 (1987): 279-295.
Corpus vasorum antiquorum: Greece Fasc. 7, Marathon Museum (Athens: Academy of Athens, 2001): 44-45, 80, Pl. (390) 23.1-4.
Corpus vasorum antiquorum: Greece Fasc. 7, Marathon Museum (Athens: Academy of Athens, 2001): 45-46, 80, Fig. 26, PL. (391) 24.1-4.
Corpus vasorum antiquorum: Greece Fasc. 7, Marathon Museum (Athens: Academy of Athens, 2001): 46, 80, Fig. 27, Pl. (392) 25.1-4.
Corpus vasorum antiquorum: Greece Fasc. 6, Thebes, Archaeological Museum (Athens: Academy of Athens, 2001): 80, Pl. (351) 73.1-3.

References

John Boardman, Athenian Red-Figure Vases: the Archaic Period (London: Thames & Hudson, 1975).
John Boardman, Athenian Red-Figure Vases: the Classical Period (London: Thames & Hudson, 1989).
Simon Hornblower and Antony Spawforth, eds. The Oxford Classical Dictionary, 3rd ed. (Oxford: Oxford University Press, 2003).
Brian A. Sparkes and Lucy Talcott. Pots and Pans of Classical Athens. (Princeton: American School of Classical Studies at Athens, 1977).
Chara Tzavella-Evjen, Greek and Roman Vases and Statuettes from the University of Colorado Collection (Athens: Archaiologikon Deltion, 1973): 192-197.

A mid-5th century B.C.E. Attic black-gloss kylix.

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2006.25.T, Attic Black-Figure Lekythos

Anonymous — Thu, 10 May 2018 21:16:46 +0000

2006.25.T, Attic Black-Figure Lekythos Anonymous (not verified) Thu, 05/10/2018 - 15:16

Heather McKeown and Debby Sneed

Catalogue Entry

This vase is one of a collection of Greek vases held by the CU Art Museum.

Gift to CU Classics Department
Transferred to CU Museum of Natural History
Transferred to CU Art Museum (2006)

Height: 15.9 cm
Diameter (max.): 5.7 cm
Date: 5th century B.C.E.
Origin: Attica (Greece)

Description: small black-figure lekythos with round base, relatively squat body, narrow neck, and slightly flared mouth. Body carries image of male figure reclining on a couch beneath a grape arbor. A female figure is seated on the other side of a vine and plays the double flute or aulos. Hastily drawn meander borders scene at top. Bottom portion of body decorated with solid black slip. Top of foot is black, while outer circumference of foot reserved in the color of clay. Shoulder decorated with parallel vertical black lines; shorter parallel vertical black lines encircle the bottom of the neck. Handle and mouth are black.

Additional photos of this vessel show details of the mouth, rim, handle, decoration, and base.

Discussion

A lekythos is a vessel used to store oil used for religious or funerary purposes (1). This lekythos is an example of an ancient Greek vase decorated in the black-figure technique (2). The vase is made of a light red clay, with decorative elements, including the figural decoration, added in a black slip. Details of the figures are added by incision. The single handle on this vase is decorated with black slip on its top, exposed surface and is left in the color of the clay on its underside. The lip and mouth of the jar are covered in black slip. Short, parallel vertical lines encircle the base of the neck, while another series of longer lines decorates the shoulder of the vessel. A hastily drawn meander wraps around the top of the vessel's body above the figural panel. This same series of decorative elements -- two rows of parallel vertical lines and a meander -- is seen, also, on a red-figure lekythos in the CU Art Museum's collection. The body of this lekythos is decorated with a figural scene. At left is a male figure who reclines on a couch, resting on his left elbow. He wears a long cloak. One leg, presumably his left, is tucked beneath him, while his other sticks straight out from beneath his cloak. He turns his head to the right, toward a second human figure. This second figure, identified as female but with no discernible sex, sits, facing right with the back toward the reclining male figure. This second figure plays a double flute or aulos and wears a fillet in the hair, which is added in red or purple paint. A tree or stalk separates the two human figures and above both is a productive grape arbor, including many vines with leaves and bunches of grapes, with individual grapes indicated by dots of purple paint. The vines extend around nearly half of the circumference of the vase. Beneath the main figural panel is a horizontal band of black slip, of a medium-thickness, followed by a narrow band left in the color of the clay (3). Below this clay-colored band, the remainder of the vessel's body is covered in black slip. The base tapers inward and is attached to a relatively short base, which is decorated in black slip on its top; the sides of the base are left in the color of the clay except for a narrow ring around the very bottom of the base.

Although the black-figure technique of vase painting was most popular in the 6th century B.C.E., this vase was probably painted in the 5th century B.C.E., after the invention of the red-figure technique. The dating of this vase is based on several factors. First, the figural representation of this vase compares favorably with other late black-figure vase paintings, including those by the Antimenes Painter, who worked from about 530 to 510 B.C.E., and the Leagros Group, who were active from about 525 to 500 B.C.E. Second, the quality of the painting, especially the hastily drawn meander and the uneven parallel vertical lines on the neck and shoulder, is relatively low, suggesting that its decoration was rushed, perhaps even mass-produced. Lekythoi were routinely buried in tombs as gifts to the dead and, as a result, a large number have been preserved. Artistically-speaking, many of these lekythoi are of a low quality, especially those in the black-figure technique that were made in the 5th century B.C.E., after red-figure had become dominant (4).

Lekythoi were used by the ancient Greeks to hold oil. The narrow neck of the lekythos was designed so that the flow of oil was limited to a thin stream or perhaps even to drops, while its thick lip prevented spillage (5). Olive oil was valuable in the ancient Greek world. The olive tree was given to the Athenians by their patron goddess Athena. Harvested between November and March, the oil of olives was used for many purposes, including as offerings and dedications for the dead (6), as prizes for victorious athletes (7), as a scented perfume (8), for consumption, and for bathing.

Footnotes

Andrew J. Clark, Maya Elston, and Mary Louise Hart, Understanding Greek Vases (Los Angeles: J. Paul Getty Trust, 2002): 112.
Chara Tzavella-Evjen, Greek and Roman Vases and Statuettes from the University of Colorado Collection (Athens: Archaiologikon Deltion, 1973): 194; Maria Ludwika Bernhard, Corpus vasorum antiquorum, Pologne Fasc. 4, Varsovie, Musée national (Warsaw: Panstwowe wydawnictwo nanhowe, 1960): pl. 28, 1-3; Corpus vasorum antiquorum, Deutschland Bd. 4, Braunschweig, Herzog Anton Ulrich-Museum (Munich: Beck, 1940): pl. 10, 18; Corpus vasorum antiquorum, Italia 18, Taranto, Museuo Nazionale ii (Milan: Bestetti e Tumminelli, 1942): pl. 8, 3. ADelt. 21 (1966): Chronika, Pl. 99ß.
Tzavella-Evjen, Greek and Roman Vases: 195.
Clark, Elston, and Hart, Understanding Greek Vases: 112.
Clark, Elston, and Hart, Understanding Greek Vases: 112.
Christine Bron and François Lissarrague, "Looking at the vase," in ed. Claude Bérard, A City of Images: Iconography and Society in Ancient Greece (Princeton: Princeton University Press, 1989): 18.
Jenifer Neils, Goddess and Polis The Panathenaic Festival in Ancient Athens (Princeton: Princeton University Press, 1992): 5.
Clark, Elston, and Hart, Understanding Greek Vases: 112.

References

Chara Tzavella-Evjen, Greek and Roman Vases and Statuettes from the University of Colorado Collection (Athens: Archaiologikon Deltion, 1973): 192-197.

A 5th century B.C.E. Attic black-figure lekythos.

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2006.33.T, Alabastron

Anonymous — Thu, 10 May 2018 20:55:33 +0000

2006.33.T, Alabastron Anonymous (not verified) Thu, 05/10/2018 - 14:55

Sarah Thomas and Debby Sneed

Catalogue Entry

This vase is one of a collection of vases held by the CU Art Museum.

Gift to CU Classics Department
Transferred to CU Museum of Natural History
Transferred to CU Art Museum (2006)

Height: 11.4 cm
Diameter (max.): 3.8 cm
Date: 6th century B.C.E.
Origin: Anatolia/Eastern Mediterranean

Description: Small white alabastron with a relatively wide, flat lip and two small lug handles on opposite sides of the body.

Additional photos of this vessel show details of the mouth, rim, neck, handles, and base.

Discussion

An alabastron is antiquity's version of a perfume bottle: it is a long, thin flask with a long, narrow neck and rounded bottom. Its small lug handles were often pierced to allow the vessel to be suspended with string. The content of alabastra was luxurious purfumed oil that was used for decorative or funerary purposes. Alabastra had a unique shape with a small opening that was ideal for pouring oil. Originating in Egypt and Syria, the alabastron shape found popularity in ancient Greece, where it was produced in a variety of materials, including stone, clay, glass, and precious metals from an early date. A late 7th century B.C.E. Corinthian alabastron in the CU Art Museum's collection, for example, shows how the shape could be interpreted in a Greek context.

This delicately rendered stone alabastron bears strong resemblance to counterparts made both in stone and precious materials during 6th century B.C.E. in Anatolia, modern Turkey. At least ten stone alabastra were found in the Ikiztepe Tomb and are now a part of the so-called Lydian Treasure, which dates to the second half of the 6th century B.C.E. The alabastra in this tomb were made from a beige-brown banded alabaster and, incidentally, each bore two small side lugs in the shape of duck heads. Similar duck-head lugs are found on contemporary silver alabastra. The silver and stone duck-head lugs are unpierced.

The production of glass, stone, and clay vessels first began in Egypt in the 2nd millennium B.C.E. and the concept and technologies slowly made their way to the Greek world. Egyptian influence is easily identifiable in the alabaster vessels. The stone, in fact, was quarried in the what has been called Alabastron but is known today as Stone Village, located near Tell el-Amarna along the Nile River, and was held in high esteem in Egypt, where it was used to manufacture luxury items, especially perfume bottles and ointment vases. Egyptians were well-known for their stoneworking in antiquity.

This is one of two stone alabastra in the CU Art Museum's collection: the other is a 4th century B.C.E. example from Macedonia.

References

John Boardman, Early Greek Vase Painting (London: Thames & Hudson 1998): 150.
John Boardman, "Silver is White," Revue archéologique, Nouvelle Série, Fasc. 2 (1987): 279-295.
Michael Vickers, "Artful Crafts: The Influence of Metalwork on Athenian Painted Pottery," Journal of Hellenic Studies 105 (1985): 108-128.
The Oxford Classical Dictionary (Oxford: Oxford University Press, 1949).

A 6th century B.C.E. stone alabastron from Anatolia.

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2006.19.T, Corinthian Skyphos

Anonymous — Thu, 10 May 2018 20:27:46 +0000

2006.19.T, Corinthian Skyphos Anonymous (not verified) Thu, 05/10/2018 - 14:27

Jessika Akmenkalns and Debby Sneed

Catalogue Entry

This vase is one of a collection of Greek vases held by the CU Art Museum.

Gift to CU Classics Department
Transferred to CU Museum of Natural History
Transferred to CU Art Museum (2006)

Height: 12.4 cm
Diameter (max.): 23.2 cm
DeptH: 16.5 cm
Date: 550-500 B.C.E.
Origin: Corinth (Greece)

Description: Tall ceramic skyphos, with straight sides that taper down to a slightly narrower base. Large, open mouth, no lip, with two small handles, extending horizontally from just below mouth on opposite sides. Decorated in slip with a thick black horizontal band, misfired to red in places, covering the top third of the cup, including the handles. This thick black band is augmented by three sets of thin, red, parallel lines, horizontally placed, one along the mouth, one halfway down the band, one at the bottom of the band. The bottom two-thirds of the cup reserved in the color of the clay, with vertical black triangular rays emanating up from the base. The base of the cup is decorated in black slip.

Additional photos of this vessel show details of the rim, handles, base, and decorative elements.

Discussion

A skyphos (plural: skyphoi) is a type of drinking cup in ancient Greece; such a cup is sometimes referred to as a kotyle (plural: kotylai). These deep drinking cups were used at banquets or drinking parties called symposia. Black-gloss skyphoi seem to have been the most popular form of drinking cup in ancient Greece (1), though several other shapes could be used, including two shapes represented in the CU Art Museum's collection, the wide-mouthed kylix and the high-handled kantharos.

This particular skyphos probably dates to the second half of the 6th century B.C.E. (2). Its pale brown clay is similar to the clay sources in and around Corinth, though the clay appears to have a somewhat unusual composition. This cup, moreover, does not conform exactly to the typical Corinthian style. Its lip curves slightly inward and its body is relatively narrow and deep, while the typical Corinthian-style skyphos is characterized by an outward-curving lip and a body that is rather wider and shallower (3).

The decoration on this vase consists of a series of black and dark red bands in varying widths, which cover the top one-third of the cup, and a small ray pattern near the cup's base. Additionally, three concentric colored bands -- one red between two black -- decorate the underside of the base, which is typical for Corinthian skyphoi (4). The inside of the cup is entirely black, with the except of a single faint, thin red line near the rim and two others near the floor.

There are three basic types of skyphoi, the earliest of which is the Corinthian or lipped skyphos. True skyphoi date as early as the Geometric period in Greece, roughly 900 to 700 B.C.E., but it was in the 7th century B.C.E. that Corinthian potters first conventionalized the shape. It seems that skyphoi were popular in Corinth through the late 6th century B.C.E. (5). This particular skyphos has a shape more similar to later Attic skyphoi, suggesting that it may be slightly later in the production of skyphoi in Corinth.

The remaining two types of skyphoi, labeled the Type A skyphos and the Type B skyphos, emerged especially during the 6th and 5th centuries B.C.E., this time in Attica. These skyphoi are derived from the original Corinthian form, though they tend to be narrower and deeper. These Attic types reached their greatest popularity during the 5th century B.C.E. (6).

The original author of this article found no exact parallels for this skyphos. The closest examples include a cup in Würzburg (7) and one in Harvard's Fogg Museum (8). The cup's particular shape, decoration, and clay, however, do not conform to the most common varieties of Greek skyphoi, and the author suggested that the vessel may not be ancient, despite its discussion here as a 6th century B.C.E. Corinthian skyphos.

Comparanda

Mary Zelia Pease and George Henry Chase, Corpus vasorum antiquorum, United States of America, Fasc. 8, Fogg Museum and Gallatin collections (Cambridge, MA: Harvard University Press, 1942): 22, no. 13; Pl. 5, 13.
Humfry Payne, Necrocorinthia: A Study of Corinthian Art in the Archaic Period (Oxford: Clarendon Press, 1931): 335, Fig. 182 (1518).
Archaiologikon deltion 17, Meros B, Chronika (1961-62): Pl. 262.

Footnotes

Andrew J. Clark, Maya Elston, and Mary Louise Hart, Understanding Greek Vases (Los Angeles: J. Paul Getty Trust, 2002): 145.
Chara Tzavella-Evjen, Greek and Roman Vases and Statuettes from the University of Colorado Collection (Athens: Archaiologikon Deltion, 1973): 194.
Tom Rasmussen and Nigel Spivey, "Greek vase shapes," in eds. Tom Rasmussen and Nigel Spivey, Looking at Greek Vases (Cambridge: Cambridge University Press , 1991): 257-59.
M.G. Kanowski, Containers of Classical Greece : A Handbook of Shapes (St. Lucia, Australia: University of Queensland Press, 1984): 138.
Humfry Payne, Necrocorinthia: A Study of Corinthian Art in the Archaic Period (Oxford: Clarendon Press, 1931): 335.
R.M. Cook, Greek Painted Pottery (London: Methuen, 1960): 237.
CU Museum 22330 bears a resemblance to a kotyle in Würzburg drawn and described by Payne, though Payne states that his cup also appears to be of an odd variety: Payne, Necrocorinthia: 335, Fig. 182.
Mary Zelia Pease and George Henry Chase, Corpus vasorum antiquorum, United States of America, Fasc. 8, Fogg Museum and Gallatin collections (Cambridge, MA: Harvard University Press, 1942): 22, no. 13; Pl. 5, 13.

Reference

Chara Tzavella-Evjen, Greek and Roman Vases and Statuettes from the University of Colorado Collection (Athens: Archaiologikon Deltion, 1973): 192-197.

A later 6th century B.C.E. Corinthian skyphos.

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2006.27.T, Horse and Rider Figurine

Anonymous — Thu, 10 May 2018 20:07:46 +0000

2006.27.T, Horse and Rider Figurine Anonymous (not verified) Thu, 05/10/2018 - 14:07

Summer Trentin and Debby Sneed

Catalogue Entry

This vase is one of a collection of Greek artifacts held by the CU Art Museum.

Gift to CU Classics Department
Transferred to CU Museum of Natural History
Transferred to CU Art Museum (2006)

Height: 10.5 cm
Width: 12.1 cm
Depth: 4.8 cm
Date: c. 550 B.C.E.
Origin: Boeotia (central Greece)

Description: Small terracotta figurine of a horse with a legless rider on its back. Buff clay with details added in black.

Additional photos of this figurine show details of the decoration and various elements of the horse and rider.

Discussion

This small handmade figurine of a horse and rider is probably from Boeotia in central Greece and dates to the mid-6th century B.C.E. (1). The horse has a simplified form, with simple tapering cylinders for legs, a cylinder for a tail, a relatively flat neck and head, and a cylinder muzzle. A rider is positioned on the horse's back, with two simple arms attached to either side of the horse's neck. The rider has no legs, but its body is merged with the horse's back. The rider's head is simple, with a pinched nose. Decoration on both horse and rider is added in a blackish-brown slip. A ladder-like pattern runs down each of the horse's legs; a horizontal black line winds around the horse's body at the level of the top of the legs. Tail appears to be entirely black. On the horse's back is a relatively thick black line, running transverse across the loin, with a square, in outline, added on the croup. The ridge of the horse's mane is painted black, with stylized wavy strands of hair added down the sides of the neck. Stylized eyes are added to either side of the horse's face and a black line runs transverse across its muzzle, perhaps representing a bridle. No ears are indicated in molding or painting. The rider has a black line indicating perhaps a belt around its waist. Irregular black dots indicate the rider's eyes, and a black line runs along the top ridge of its head, down its back along the spine.

The simplicity of the figurine is its most notable feature. Despite the lack of details, however, the subject is immediately recognizable. The artist has managed to catch the spirit of the horse and rider through very basic shapes and patterns, rather than an accurate representation. The stripes on the horse's body, while clearly not anatomically accurate, add interest and even a sense of movement to the figure, which would otherwise be quite plain.

Horses were an important feature of ancient Greek life and are represented in figurines, sculpture, and other forms of art, including vase painting. Horse-and-rider figurines, like this one, were popular in 6th century B.C.E. Boeotia (2). Terracotta figurines, which were probably quite inexpensive, may have been used as toys for children, as offerings to the dead, or as votive dedications at religious sanctuaries (3). Popular, too, were figurines depicting other animals, real or imagined, as well as human figures and goddesses, all of which themes are represented in the CU Art Museum's collection. An early 6th century B.C.E. figurine of a harpy displays an interest in representing human-animal hybrids. A 6th century B.C.E. East Greek figurine may represent the goddess Aphrodite. Two others, a mid-6th century B.C.E. Boeotian figurine and a contemporary example from Laconia, represent female figures, but it is unclear if they are human or divine.

Comparanda

Frederick R. Grace, Archaic Sculpture in Boeotia (Rome: L'Erma di Bretschneider, 1969): Figs. 47, 49, and 51.
Reynold Alleyne Higgins, Catalogue of Terracottas in the British Museum (London: British Museum, 1954): No. 770.

Footnotes

Chara Tzavella-Evjen, Greek and Roman Vases and Statuettes from the University of Colorado Collection (Athens: Archaiologikon Deltion, 1973): 192-197.
Reynold Alleyne Higgins, Greek Terracottas (London: Methuen & Co, 1967): 46, pl. 19E.
Caroline Amy Hutton, Greek Terracotta Statuettes (London: Seeley and Co. Ltd., 1899): 1-13; Higgins, Greek Terracottas: xlix-l.

Reference

Chara Tzavella-Evjen, Greek and Roman Vases and Statuettes from the University of Colorado Collection (Athens: Archaiologikon Deltion, 1973): 192-197.

A mid-6th century B.C.E. Boeotian figurine of a horse and rider.

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