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Index
Robin Osborne
Description: The Transformation of Athens: Painted Pottery and the Creation of Classical Greece
The Transformation of Athens: Painted Pottery and the Creation of Classical Greece
Index
Author
Robin Osborne
PublisherPrinceton University Press
Copyright© 2018 by Trustees of Oberlin College
Stable URL: https://aaeportal.com/?id=-23641
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Index
absorption (as opposed to theatricality), a feature of classical style, 221n34, 223, 225, 228, 231, 233, 235, 237–39, 240, 244 . See also contemplation
Achilles, dicing, 93, 94
on cup with Herakles and an athlete, 72
named on pot, 94
and Penthesileia, 107
on Siphnian treasury, 20
Achilles Painter, 119
Acropolis, Athenian, korai from, 19, 252
Peisistratos and, 35
Persian akinakai dedicated on, 108
pottery from, 42, 48, 124, 146–47
sculpture on, 24n54, 231
victory in athletics commemorated on, 57
victory in war commemorated on, 90
Adkins, Arthur W. H., 211–12
Aeschylus, Persai, 109, 256
Aesop, 32
aesthetic values, changes in, xvii, xviii, xix, 13, 19, 84–85, 148, 166–67, 218–27, 249–57
affordances, 220n31, 240, 246–47
age, distinctions of in classical sculpture, 242
distinctions of in painted pottery, 64, 68–69, 126, 129. See also bearded men
Agora, Athenian, pottery from, 48, 124
Painted Stoa in, 92
public dining room in, 170
Aias, shown with Achilles, 93, 94
Aigina, Athenian war with, 92
pottery from, 124
Aigisthos, 231
Aineias, representation of and the Etruscans, 48
Aischines, on athletics, 60
Akestorides Painter, 81–83, 84, 160
akinakes, Persian sword, 108–9
Akraiphnion, sanctuary at, 17
Aktaion, 233–34
Alkaios, 176
Alkibiades, 54n7, 56, 57
Altamura, Athenian pottery from, 203
altar, in religious scenes, 132, 143–44, 153, 156–57, 158, 161–63
in scene of athlete, 74, 79
Amasis Painter, 49, 94, 124–25, 194
Amazons, 94, 100, 109, 147
relation to Persians, 107–8
Anakreon, erotic poetry of, 128, 175
in painted pottery, 175, 178n16
Anakreontic vases. See booners
Anaphe, kouros from, 17
Andokides Painter, 62, 64, 66, 67, 71, 84
Andokides, orator, gymnasiarch, 57, 100n56
Anthesteria, 55, 138, 204n21
Antiope, 137, 230
Antiphon Painter, 64, 172
Aphrodite, representation of, 146, 237–38
Apollo, representation of, 15, 62–63, 64, 101n59, 141, 161n15, 234, 235
temple/sanctuary of, 15, 17
“Strangford Apollo,” 17
Apollodoros, orator, Against Neaira, 123, 133n29
Apollodoros, painter, 105
archers, representation of on Athenian pottery, 72n71, 93, 94–100, 106–7, 110, 112
presence of in Peisistratean Athens, 97. See also Scythians
arete, changing nature of, 211–12
Aristophanes, on athletics, 60, 82n86
on clash of generations, 148–49
on Scythians, 100n56
on wearing sakkos, 175n14
and women, 122
arming, scenes of on Athenian pottery, 93, 94, 98, 109–16, 118–20, 220, 226, 233, 256. See also departure
army, Athenian, nature of, 87–93, 117
art history, nature of, xvii, xviii, 3, 5–7, 23, 25, 218–27, 248–49
art, classical, history of, xvii, 3–5, 7, 9–22, 25, 219–48
Artemis, representation of, 15, 63, 64, 101n59, 233–34
artists, reactions to society of, 5–7
role in driving art’s history, 9, 30, 31
aryballos, as mark of athlete, 58, 66, 71, 78, 129
Athena, and Herakles, 235
on Panathenaic amphoras, 53
and Peisistratos, 35
and struggle for tripod, 63
worship of, 231
Athenaios, on athletes, 58
on symposium, 168n1, 170
Athens, painted pottery from, xvii, 3, 7
pots found at, 11, 14, 40, 197
army of, 87–93
athletics at, 53–60, 214
athletes, treated as benefactors, 55, 84, 211
used as ambassadors, 56
on grave reliefs, 58
representations of solo athletes, 72–74
sexual activity of, 134. See also gymnasium
athletics, at Athens, 53–60, 214
popularity of, 56, 211
representation of, xviii, 7, 20, 24, 25, 46, 53–86, 118, 120, 147–48, 156, 166–67, 207, 208, 209, 217–18, 219, 220, 224, 228, 254, 256
attribution, of pottery to particular painters, 28–29
aulos players, and athletes, 66–69, 79
and dancing, 203, 204
and drama, 43–45
satyr as, 14, 192, 193, 199
in komos, 138, 176, 177
for armed dancing, 163, 164, 184
in courtship scene, 131–33
at symposium, 161, 179, 181, 182, 184, 185, 186, 187, 221
Bacchylides, 56
ball games, representation of, 20–21, 58, 203–4, 220
barbitos, 138, 175, 176, 181, 185, 191–93, 199
Bassai, temple of Apollo, sculpture from, 242, 244, 245
bathing, scenes of, 36n50
Batrakhos, as Athenian name, 68
Baudelaire, Charles, 254
Baxandall, Michael, 5–6, 7
Bažant, J., 7n10, 25n57, 34n41, 60n41, 93n33, 212n11, 216n23, 224n41, 225n43
bearded men, and athletics, 62, 64, 69n61, 70, 71, 75, 78, 79, 80, 81, 224
in classical sculpture, 242
and hoplite warfare, 104, 110, 111, 233–34
in komos, 171, 175–79
and sexual intercourse, 124–27, 128
at symposium, 179, 182, 183–84, 185
beauty, classical discussion of, 252–54
of classical faces, 244
displayed in dancing, 177, 187
displayed in gymnasium, 66–67
discussed in symposium, 187
of Greek pottery, 13
and Polykleitos, 252
role of, xviii, 224n42, 252–57
Beazley Archive, in Oxford, xix, 31, 49
Beazley, Sir John, on Anakreontic vases, 175
on black-figure pottery, 12–13
distinguishing artists’ hands, 27–28, 31, 32, 34, 42, 49
on iconography, 33
methods of, 3
Berlin Painter, 49, 78, 137, 159–60
black servants, on Athenian pots, 95, 231
Boardman, Sir John, 9, 10–12, 31, 35, 98n49, 256n20
boat race, 55, 57
body, and athletics, 58–60, 61, 63, 64, 66, 70, 74, 80, 81, 84, 220
contrast between archaic and classical, 224, 247
depiction of, 5, 6, 84
in early classical sculpture, 229–30, 240, 245–46
sexual attractions of in male youths, 126, 129
Boiotia, kouros from, 17
Boiotian shields, symbolism of, 94, 95
booners, 175–79, 209
Boreas, pursuing Oreithuia, 138
boundary stone (horos), of gymnasium, 74, 75, 78
Bourdieu, Pierre, 5n3
boxer/boxing, 53, 60, 61, 66n49, 68, 72, 74, 75
on grave relief, 58
Briseis Painter, 78n79, 79, 133, 134–35, 176–77
Brygos Painter, 107, 111, 133, 181, 182, 191–94, 256
Brygos, potter, 107
Bryson, Norman, 18n42, 221n35, 224
bucchero, Etruscan, imitation of in Athens, 46
burial, armed dancing at, 163
in Etruria, 24, 26, 40–41, 42n65
in Sicily, 42n66
pots and, 9, 23, 40–43, 124. See also cemeteries
Calliope Painter, 143–45, 210
Campagnano, Athenian pottery from, 67
cap of victor, 70
Capua, Athenian pottery from, 4, 64, 65, 139
Carpenter Painter, 79–81, 224
Cassandra, rape of, 161
cavalry, at Athens, 88–89, 149
on Athenian pottery, 93, 94–100, 106
Ceccarelli, Paola, 166–67
cemeteries, pots from, 40–41, 124, 128n19, 138, 146
sculpture from, 15–16, 19. See also burial
census classes, at Athens, 88–89, 215
centauromachies, representation of, 109, 235–36
Cervetri, Athenian pottery from, 27, 107, 101, 114, 135
pots of Penthesileia workshop from, 37n52
chariots, in painted pottery, 9, 23, 93, 98, 110, 144
races of, 53, 54, 56, 69n61
in victory monument, 92
Chelis Painter, 196–97, 198
Chicago Painter, 28, 29, 108, 113–15
Chiusi, Athenian pottery from, 46n47, 105
Cicero, Marcus Tullius, buying sculpture, 31n25
Cité des Images, 34
citizenship, at Athens, 55, 59, 70, 74, 78, 82, 84, 87, 89, 213, 216–18
Clairmont, C. W., 58
Clark, T. J., 6–7, 227
classical style, in sculpture, 20, 219–27, 228, 229, 242–48, 252–54. See also art: classical, history of
Clephan Painter, 198
Cloché, Paul, 33
clothes, language of, 130. See also dress
cock-fighting, representation of, 20
cock, as love-gift, 124–25, 126, 130, 132
Codrus Painter, 8, 255
coinage, ideology of, 211
color palette, choice of, 3, 5, 6
comedy, Athenian, and warfare, 120, 122
women in, 122. See also Aristophanes
commissioning of pottery 33, 41–45
competition, representation of in early red-figure, 69, 74, 75, 78, 82, 84, 120–21, 149, 166, 167, 204, 209, 219, 253
ideology of, 211–15, 217–18, 225, 249
composition, artistic, 3, 28
related to graphic technique, 36
Connor, W. Robert, 89
contemplation, images encouraging, 74, 78, 84, 125, 150, 196, 209 . See also absorption
Cook, Robert M., 39–40
Copenhagen Painter/Syriskos, 231–33
Corinth, painted pottery of, exported for its contents, 47
influence on Athenian pottery, 10–12
showing arming scenes, 110
council of 500, at Athens, 91, 214–16
courtship, representation of, xviii, 70–71, 124–33, 136–37, 138, 141, 147, 209, 256
of men contrasted with courtship of women, 129–31
cow. See ox
Crete, sculpture from, 15
crown games, 53, 55n16, 56
Cumae, Athenian pottery from, 234
D’Hancarville, Baron, 32–33
Daedalic style, in sculpture, 15
dancing, 186
armed/Pyrrhic, competition in 54–55, 57, 68, 148, 163–67, 209
Dionysiac, 189–93, 194, 199
after parties, 171
at symposia, 178, 183–87
by women, 102, 164–67, 183–87, 256. See also maenads
death, depictions of, 9, 18, 23, 95, 97, 116, 231
Delos, sculpture from, 15
Delphi, display of sculpture at, 226
Polygnotos’ painting at, 234
Pythian games at, 53, 61
Siphnian treasury at, 17, 20
war memorials at, 92
demes, Athenian, 68n56, 91, 213–15
festivals in, 44, 163
theater of, 44
democracy, Athenian, impact of, 48, 55, 56, 59, 89, 150, 212–18, 251–52, 257
Demosthenes, as khoregos, 57
departure scene, of hoplite, 95, 109–16, 221–24, 246, 254, 256. See also arming
Dexileos, 35, 244–45
dicing, scenes of, 93, 94
Dinos Painter, 138–39, 140
Diodoros, on early Greek sculpture, 15
Dionysia, at Athens, and Pronomos vase, 43
expense of, 55n9, 57
Dionysos, representation of, 102, 156, 176
emulated by booners, 177
and satyrs, 188–94, 202
discus-throwing, 53, 60, 64, 68, 69, 72, 74, 79, 239–40, 246
discus as attribute, 75, 78, 84
Diskobolos, of Myron, 239–40
dogs, in hoplite departure scenes, 95
in hoplite arming scenes, 110
Dokimasia Painter, 47, 133, 172
door, use of in imagery, 138–39, 160
Douris, 29n13, 66, 70–71, 106, 111n82, 133, 134–36, 172, 189–91
Dreros, sculpture from, 15
dress, in classical sculpture, 242–43, 245, 247
of satyrs, 199, 201, 202, 203, 209
styles of, 19, 24n56, 252
wearing of animal pelt, 104, 190, 192–93, 196, 198, 203
wearing of mantle, 69, 71, 75, 142, 148. See also clothes
drinking party. See symposium
duplication, absence of in Greek art, 22, 36–40, 41, 208
earrings, men in, 175
women in, 131, 221
East, influence of, on booners, 178
on Greek art, 10, 15
on symposium, 168
economics, and images, 5, 7, 33
education, scene of on pots, 81–82
egalitarianism, 211, 213–14, 216–18
Egypt, influence of on Greek sculpture, 15
people of caricatured, 233
Eleusis, Mysteries at, 215
Elsner, Jaś, 19–20, 23, 249–50, 256
Eos, sexual pursuit by, 137–38
Epeleios Painter, 104–5, 171–73, 175
Ephialtes, reforms of, 213, 215
Epidromos Painter, 104–5
Epiktetos, 103, 133n33, 199–200
equestrian competitions, at Panathenaia, 53–54
Eretria, archaic pedimental sculpture from, 230
Athenian white-ground lekythoi from, 41
Eretria Painter, 84–85, 196n14, 199–200
Eros, and courtship, 138, 147
popularity of, 147
in scene of armed dancing, 164–66
and weddings, 146
on work by Shuvalov Painter, 141
Etruscans, use of Athenian pottery by, 24, 26, 33, 40, 42, 46–48, 124, 146, 226, 251
Euaichme Painter, 111
Euandria, 71n67
Euergides Painter, 72–73, 104
Eupheros, grave stele of, 59, 219
Euphronios, 3–4, 64–67, 100–1, 110, 171, 221n37, 256
Eupolis, on athletes, 58–59
Euripides, 56n20, 58, 134
Eurymedon, oinochoe featuring, 106
Euthymides son of Polios, 101, 110n79, 171, 172
Euxitheos, potter, 101
Exekias, 49, 93, 94
experience, shaped by images, 5–7, 10
without influence on images, 9, 117. See also life
eye-cup, 8, 46n73, 72
facial types, in Greek sculpture, 239, 242–44, 253. See also frontality
Fat Boy Painter, 31
Flandrin, Hippolyte, 254–55
Florence Painter, 182–83
flowers, in painted pottery, 62–63, 70, 71, 124–25, 130, 131, 132–33
in sculpture, 16
Flying Angel Painter, 176
Foucault, Michel, 218
Foundry Painter, 28, 133, 134–35, 184–86
François vase, 189
frontality, in sculpture, 5, 19, 20, 23
funeral games, for Amphidamas, 53
at Athens, 93
for Patroklos, 53
funeral oration, 149, 216
Galen, on Polykleitos, 252
Ganymede, 138, 204
garlands, worn/carried by athletes, 60, 66, 69, 79–80
worn/carried in courtship scenes, 126, 131, 133
worn/carried in komos scenes, 174
worn/carried in religious scenes, 153, 156, 159
worn at symposium, 178, 182
worn/carried in other scenes, 143–44
Gautier, Théophile, 254
gaze, as opposed to glance, 83, 193, 221–24, 228–29
Gebauer, Jörg, 154
Gela, Athenian pottery from, 41, 108, 191
geometric pottery, Athenian, 9–11, 18
distinguishing gender, 123
Gibson, J. J., 220n31, 246
gigantomachies, representation of, 109
gods, relations with, civic responsibility for, 215–16
justice of, 237
pouring libations, 152
representation of, xviii, 150, 151–63, 207, 208, 228
in sexual pursuit scenes, 137
statues of, 161–63
Goluchow Painter, 14
Gombrich, Sir Ernst, on development of Greek sculpture, 18, 20, 22, 220
graffiti, on pots, 169n4, 170. See also writing
grave stelai, 58–59, 148, 240, 242–43, 244–45, 246, 247
“Greek revolution”, nature of, 5, 208, 220, 249
gymnasium, as place of education, 81–82
general scenes of, 61–67, 74–84
as meeting place, 60, 66, 69–70, 75, 79–83, 225
wealth of those at, 59–60, 84. See also athletics
hairstyle, as dating criterion, 15, 17
Hamilton, Sir William, 33
hare, as love-gift, 70–71, 127, 128n20, 130, 131, 132
Hasselmann Painter, 139
Hector, named in hoplite scene, 101, 110n79
Helen, in scenes of sexual pursuit, 137
Zeuxis’s painting of, 252
Hephaistos, 189
Herakles, and centaurs, 102
combined with scenes of hoplite, 102, 113, 226
combined with scenes of komos, 172
festival of, 215
and Egyptians, 233
and Geryon, 72, 235
and Kerberos, 94n40, 235
and Kerkopes, 20
and Kyknos, 68, 101, 102, 156
labors of, 225, 231, 235–37
and Nessos, 23, 123
and Nemean lion, 72, 102, 235
and politics, 35
struggles for tripod, 62–63, 94n35, 136n44
Hermes, pursuing boy, 138
stealing oxen, 162
herms, mutilation of, 54n7
representation of, 35, 161–63, 202
Herodotos, on Athenian army, 87, 90, 214
on democracy at Athens, 87, 90, 214
on Ionian revolt, 92, 214
on Kimon, 56, 89
on marriage of Agariste, 53
motivation of, 252n10
on Peisistratos, 35, 56
on Persian royal gifts, 108
on Scythians, 100
on Spartan invasion of Attica, 90
Hesiod, and funeral games of Amphidamas, 53
on satyrs, 188
Hieron, potter, 38–39, 210
hieroscopy (inspection of liver of sacrificial victim), 98, 112, 152, 159
Hipparchos, named on Athenian pot, 35, 64, 231
Hippias, 87, 90, 214
Hischylos, potter, 99
historians, Greek, motivations of, xviii, 252n10
historical events, representation of, 18, 23, 34–35, 106, 229–32
history, nature of, xvii, xviii, 7, 25, 249, 256
Homeric epic, and geometric art, 10
and Athenian pottery, 22, 81–82
homoeroticism, of gymnasium, 66–67, 70–71, 74, 78, 80–84, 125
of hunting, 125
homosexual relations, representation of, 124–31, 136, 138–39, 230. See also courtship
hoplite armour, dancing in (see dancing)
running in, 53, 60, 72, 74 . See also arming
hoplites, shown on pots with athletes, 72–74
place in Athenian army, 88–93
representation of on Athenian pottery, 93–121 . See also departure
Hornblower, Simon, 149
horses, representation of, on pots, 72, 93, 94, 95, 98, 102, 109
racing, 46n74, 69n61
in statuettes, 15. See also cavalry; chariots
humor, in painted pottery, 30, 106, 161–62
hunting, representation of, 34, 115–16, 120n98
and homoeroticism, 125–27
and satyrs, 199
iconography, changes in on Athenian pottery, xvii, xviii–xix, 6, 7–9, 13, 22, 23, 34, 36, 47–50, 60–86, 87–88, 93–121, 123–47, 150, 152, 155–67, 171–87, 189–204, 207, 219, 220, 228, 248, 256–57
of Greek sculpture, 15, 20, 22
and the market, 31, 33, 40–42, 45, 47, 226
study of, 13, 32–34
idealism, of classical art, 252–53
ideology, displayed in pot painting, 142, 147
elitist and middling, 209–11, 217
Iliad, arming scenes in, 110
games in, 53
phraseology from used on pot, 81n83
on sacrifice, 155n13
Individualism, 23, 56, 58, 85, 116, 120–21, 146, 150, 153, 159, 161, 174, 209, 217–18, 240, 251–52
Ionian revolt, 92
javelin, as attribute, 74, 75, 78, 120
thrown, 53, 60, 61, 64, 68, 72, 74, 79, 224
Jenkins, Ian, 245
jewelry, of korai, 19. See also earrings
jumping, 53, 60, 61, 68, 72, 74, 79, 156
jumping weight as attribute, 81
kalos names, 45, 64, 66, 71
other kalos inscriptions, 142, 156, 171. See also writing, on Athenian pots
Kamiros, pottery from, 125
Kant, Immanuel, on beauty, 254
Keane, Webb, 246–47
khoregia, 55n9, 57
Kimon, son of Stesagoras, 56, 89
Kleisthenes of Athens, constitutional reforms of, 87, 90–91, 213–15, 217. See also democracy
Kleisthenes of Sikyon, 53
Kleophon Painter, 174–75, 190–91, 221–23
Kleophrades Painter, 49
Kleophrades, potter, 38
knowledge, and power, 82, 218
komos representation of, xviii, 66, 72, 74, 101n58, 102, 138, 168, 170–78, 190, 207, 208, 209, 228
satyrs in, 189, 199–201
korai, 3, 15–22, 243, 252
kottabos, 161, 179, 181, 183–84, 185, 186
kouroi, 3, 5, 15–22, 219, 220, 228
krater, volute, uses of, 43
Kritios, Greek sculptor, 20–21, 22, 57, 228–31
Kurke, Leslie, 55n16, 178, 209–11, 218n27
Kylon, attempted coup by, 56, 57
Kyniskos of Mantineia, 219
Langdon, Susan, 9–10
Leach, Bernard, 32
Leagros, greeted as kalos, 64, 66, 67n51
lekythoi, iconography of, 41, 42, 60, 61, 106, 112, 124, 141n56, 146, 159, 233
Lenaia, festival of, 57
pots with scenes perhaps related to, 46
Leningrad Painter, 172
Leto, representation of, 15, 64, 101n59
libation, representation of, xviii, 152–54, 158, 166, 256
in hoplite departure scenes, 110n77, 112–13, 115, 132, 152
life, relationship to images, 7, 9, 24–25, 49, 61, 117–18, 166–67, 178, 189, 207–27, 228, 251, 253, 256. See also experience
ligaturing, of penis, 64, 66
light-armed soldiers, in Peisistratean Athens, 97
representation of on Athenian pots, 94–100, 256
Lissarrague, François, 24n56, 47n77, 93n33, 94, 98n52, 168n1, 174n12, 189n3, 194n10
Little Master Cups, sex scenes on, 124, 133
Locri, Athenian pottery from, 140
love gifts, 71, 125, 126, 127, 130–33, 137, 138, 147
Ludovisi throne, 237–38
luxury, attitudes to, 178
Lykaon Painter, 183–84, 186, 191, 193–94, 202
Lysias, orator, Against Eratosthenes, (1) 123
On a charge of accepting bribes, (21) 55n12, 57
maenads, representation of, 38n53, 72, 102, 113, 124, 136–37, 188, 190–91, 192–98, 250
sleeping, 194–97, 198, 202, 203
Makron, 28, 37, 38n53, 39, 131–33, 172, 194–95, 196, 210
“Mannerist” Painters of pots, 233–35
Mannheim Painter, 194
Marathon, battle of, 90, 92, 148
tomb of war-dead at, 48
market, for pottery in antiquity, xviii, 31, 32, 33, 40–41, 226
discerning about quality, 31
relatively undiscerning about iconography, 42, 45, 47
for sculpture in antiquity, 31n25
desire for identified artists in modern, 30
marriage, link of korai to, 16, 18
of Peleus and Thetis, 123. See also wedding
masks, theatrical, 242, 244, 246
masturbation, representation of, 128, 133, 134, 136, 146
female, 136
meat, gifts of, 130, 131, 155–56, 159
on spit, 156
Menelaos, 137
Miltiades, 92, 100
named on an Athenian pot, 35
Minotaur, 231, 233n21
mirror, representation of, 132, 148
money-bag, 71, 130, 131–33, 141, 142, 143, 231
moral attitudes, changes in, xvii, xviii, xix, 5, 25, 121, 147, 209–12, 216–18, 224–25, 226, 246–48, 249, 252
Morelli, Giovanni, 28nn9, 11
Morris, Ian, 209–11
musicians, representation of, 14, 15, 43, 60, 66, 81, 102, 132–33, 138, 163–64, 203
competing, 54, 77
in komos, 171, 174, 175–79
satyrs as, 191, 192, 199
at symposium, 179, 181, 221. See also aulos
Myron, sculptor, 239–40
mythology, and black-figure technique, 49, 61, 250
creation of, 250
and death, 23, 41n64
identification of, 33, 123
influencing artists, 9, 10, 18, 250
shown together with athletes, 62–64, 66, 72, 82
shown together with hoplites, 93–94, 100–1, 102, 113, 250
used to explore gender relations, 123–24
wars of, popularity of, 108–9, 117, 209
world of continuous with the present, 24n56, 250
narrative, art and, 18, 20, 144, 156, 158, 195, 198, 223, 231, 233, 239
naturalism, as explanation of sculptural development, 15–22, 244, 249, 250
Naukratis, pottery from, 124
Athenaios from, 170
navy, Athenian, 57, 87, 91–93
Neer, Richard T., 10, 20n48, 226, 227, 247–48
Nesiotes, Greek sculptor, 20, 229–31
Nessos Painter, 23
Nestor, on painted pottery, 111, 112n84
cup of, 169n4
Nikandre, kore, 16
Nike (Victory), represented on pots, 69, 77–79, 83
in hoplite departure scene, 113, 116n90, 118–19
on monument, 92
Nikosthenes Painter, 8, 104, 136, 169, 180
Nikosthenic workshop, imitating Etruscan bucchero, 46
distribution of products of, 46, 48
Niobid Painter, 33, 202–3, 234–35
Nola, Athenian pottery from, 38, 99, 139, 210
nudity, of athletes, 63, 64–66, 74, 75, 81
in black-figure pottery, 61
in Cretan statues, 15
and Etruscans, 46
in hunting scenes, 116n91
in komos, 171, 174
of kouroi, 16–17
in religious scenes, 156–58, 161, 164, 237
in sex scenes, 124, 127, 130, 138
of soldiers, 98, 102–6, 108–9, 113–14, 116, 256n20
at symposium, 181, 184
Oakley, John H., 170
Odyssey, games in, 53
sacrifice in, 155n13
Oinomaos, 235
Oionokles Painter, 233
Oltos, 28, 67–68, 69, 72, 101–2, 104, 155–57, 159, 161n18
Olympia, display of sculpture at, 219, 226
sculpture of temple of Zeus at, 235–37, 246–48
Olympic games, importance of, 53, 55, 56
Onesimos, painter, 84–85
oratory, forensic, evidence of, 122–23
orientalism, 10, 15, 211
Orvieto, Athenian pottery from, 46n74, 82–83, 85, 94
ox, at altar, 162–63
as prize in Panathenaia, 54
preferred sacrificial victim on painted pottery, 155
Paidikos alabastra, 128
Painter of Athens 1237, 196n13
Painter of London 1923, 145
Painter of the Louvre Centauromachy, 99
Painter of the Oxford Brygos, 107
painters, of pots, individuality of, xvii, 28–32, 48, 49
responsibility for iconography, 42
palaistra, 59, 60, 63, 67, 75
Pamphaios, 26, 102n60, 103, 113–14, 116
Pan Painter, 28, 172, 233–34
Pan, representation of, 203, 204
Panaitios, 194
Panathenaia, carrying arms at, 89–90
competitions at, 53–55, 57, 61, 62, 148, 162
prize amphoras from, 39, 53–55, 60, 62, 68
Pandora, birth of, 203
Pankration, 56, 57, 58, 68
Panofsky, Erwin, 5n3
parasol, carried by booners, 175–77
Parrhasios, 252–54
Parthenon, sculptures of, 148, 221, 237, 240–41, 242, 244, 245–46, 247
Amazons on, 107
participation, practice and ideology of at Athens, 60n40, 121, 141, 149, 156, 167, 212–18
Pater, Walter, 28n12
Patton, Kimberley, 166
Pausanias, on monuments on the Athenian Acropolis, 24n54, 57, 90n16
on Athenian public burial of war dead, 93
on Polygnotos’ painting, 234
on Polykleitos, 219
on statues of Zeus, 237n21
Peisistratos, 35, 56, 87, 88, 89, 117
Peithinos, 128n20, 129–30, 256
Peleus, and Thetis, 68, 123, 128, 131
Pelops, 235
peltasts, representation of on Athenian pottery. See light-armed troops
Penthesileia Painter, 75, 77
Penthesileia workshop, 36
Perikles, funeral oration of, 149, 216–17
“period eye,” 5–6
Perizoma group, 46
Persian War, 87, 122, 220, 228, 233, 240
influence of, 20, 22, 49, 106, 108, 119, 251–52, 257
sack of Athens in, 48
Persians, on Athenian pottery, 106–9, 208, 209
Pezzino group, 67–68, 69–70
Pheidippos, painter, 99
Phiale Painter, 38, 153, 159
Phintias, 3–4, 64–65, 66, 67
Phrasikleia, kore, 16, 19
Phyllobolia, 69, 77, 78
pigs, sacrifice of, 155
Pindar, 56
“pioneers” of red-figure painting, 36, 45n70, 64, 67n51, 100, 164, 171
Pistoxenos Painter, 194
Pithos Painter, 31n24
“plastic vases,” 32
Plato, on democracy, 250
epistemology of, 253
on erotic relations, 128
on gymnasium, 60
on symposium, 168
on Polykleitos, 219
on visual arts, 253
Pliny, on Polykleitos, 219
on Zeuxis, 252n12
poets, influence on artists, 9
politics, of images, xvii, xviii, 6, 7, 10, 19–20, 23, 25, 35–36, 218–19, 226, 239–42, 250
and moral values, 212, 216–18, 226
Pollitt, J. J., 7, 220–21
Polygnotos, mural painter, 234
Polygnotos, pot painter, 138
Polykleitos, 219–20
Diadoumenos of, 84, 86, 219, 229
Doryphoros of, 252–53
Kanon of, 252
potters, Athenian, study of, 26–27, 32
specialising in particular shapes, 38–39
pottery, Athenian, bilingual, 13, 61, 72, 102
commercial value of, xviii, 30
dating of, 24, 28, 34, 48
history of, 9–14, 47, 207
relation between shape and subject of, 36, 40, 42
relation between shape and use, 24, 26–27, 31, 32, 42, 45–46
size of production of, 39–40
study of, 26–36
use of, 40–41
pottery, Athenian black-figure, development of, 10–13, 22, 23
iconography of, 11–12, 13–14, 36, 87–88, 93–97, 120, 124–28, 133, 134, 155, 175, 189, 237, 250
techniques of, 10, 13–14, 26, 49, 61
use for Panathenaic amphoras, 54
pottery, Athenian red-figure, characteristics of, xvii, xviii, 7, 13, 26, 36–43, 209
techniques of, 26, 49, 61. See also iconography
pottery, Corinthian, 10–12
pottery, Etruscan, 26
Poursat, J.-C., 166
power, anatomy of, 82, 213, 214, 217, 218, 220, 226, 227
pre-Socratic philosophers, 251
prizes, at festival competitions, 53–55
Pronomos vase, 43–45
prostitutes, identification of in painted pottery, 132–33, 141
in sculpture, 237
Protagoras, on democracy according to Plato, 250
proto-Attic pottery, 10–11, 123
pyrrhic dance. See dancing: armed
Python, potter, 38
Q Painter, 199n18
rape, of Cassandra, 161
of Deianeira by Nessos, 123
of maenad by satyr, 136, 195–96
reading, scenes of on pots, 81–82
regional styles, in pottery, 10–12
in sculpture, 15, 16
religion, Greek, history of, 151–52
religious rituals, Greek, representation of, 121, 152–67. See also libation; sacrifice
revel. See komos
Rhodes, pottery from, 124
Riace Bronzes, 148, 240–41, 245–46, 247–48
Richter, Gisela M. A., on kouroi and korai, 3
Ridgway, Brunhilde S., history of sculpture, 5
Riegl, Alois, 5n3
Robertson, C. Martin, 13–14, 31
Rotroff, Susan, 170
Ruvo, Athenian pottery found in, 43–44
sacks, in red-figure pottery, 161, 162
sacrifice, representation of, xviii, 24, 25, 34, 154–59
before battle, 98. See also meat
sakkos, 130, 131, 160, 175n14, 176–78,
Salamis, 88, 91, 215
battle of, 92
sanctuaries, herms as signal of, 161
pots from, 40, 42
sculpture from, 14–15, 17, 23, 226
sandals, 144
erotic significance of, 130, 134, 138
Sappho, 176
satyr-plays, 188, 203
criticising athletes, 58
representation of, 43–45
satyrs, representation of, xviii, 14, 24n56, 34, 38n53, 45, 62, 66, 72, 102, 113, 114, 116, 188–204, 207, 209, 228, 250
children of, 199, 202–4
female, 199n18
and Hephaistos, 189–91
as hoplite, 199
and men, 199–204
as peltasts, 98, 100, 199
sexuality of, 124, 134, 136–37, 138, 146, 189, 194–98, 199, 202
Schnapp, Alain, 13n28, 34, 116n91, 125n11, 126n16
sculpture, Greek, architectural, 20, 24
history of, xviii, 3, 5, 9, 148, 207, 209, 219–21, 226, 228–31, 235–48
influence of on painted pottery, 13
Scythians, on Athenian pots, 35, 94n39, 95–100, 110
relation to Persians, 106–7
sexual abuse, in graffiti on pots, 170
sexual excitement, male display of, 126–27, 133, 138, 146
of satyrs, 189, 194, 196, 198, 199. See also herms
sexual pursuit, 137, 198
homosexual pursuit, 138
sexual relations, representation of, xviii, 7, 24, 25, 46, 122–50, 207, 208, 209, 228, 254
of armed dancer, 164–66
heterosexual intercourse, 48–49, 124, 133–34, 138–41, 147
of satyrs and maenads, 190–91, 193, 194–98
sexual control, shown by ligature, 66
sexual attraction, in gymnasium, 66–67, 70–71
sources for, 122. See also courtship
Shapiro, H. Alan, 204
sheep, as sacrificial victims, 155
ships, on Athenian black-figure pottery, 93
in Athenian red-figure pottery, 97n48
Shuvalov Painter, 140–41
Sickert, Walter, 3
signatures, of potters and painters, 5, 12, 26, 27, 28, 39, 62–63, 71, 99, 101, 102n60, 103, 107, 113–14, 129, 210, 221–22
singing, by Dionysos, 191
in komos, 174, 177
at symposium, 179, 184, 221
Siphnian treasury, at Delphi, 17, 20
slaves, representation of, 64, 66, 231
satyrs as, 199
Smikros, 26, 221–22
social history, and art history, 5–7, 13, 19–20, 23, 25, 34, 146–50, 151–52, 168–71, 207–12, 249–57
Socrates, and athletics, 56
and beauty, 252–54
sodomy, scenes of, 124, 136
soldiers. See warfare
Solon, 12, 55, 58, 213
Sophilos, 12
Sophocles, Philoktetes, 256
Sotades, potter, 38
Sparta, military intervention of in Athens, 90
path-dependency in, 149
spectators, in scenes on painted pottery, 14, 36, 63, 75, 112, 134, 138, 237. See also voyeurism
Spina, Athenian pottery from, 163
sponge bag, of athlete, 71, 78, 130, 131, 132
Stansbury-O’Donnell, M., 14, 36n48, 137n47, 237n19
statuettes, of animals, 14–15
status, visibility of at Athens, xvii, 60n40, 133, 134. See also slaves
Stendhal (Marie-Henri Beyle), 254
Stewart, Andrew F., 20
strigil, as mark of athlete, 58, 74, 75, 84, 120, 148
style, of individual artist, xvii, xviii, 3, 5
of period, 5, 9–10, 12–13, 15, 22, 36
of individual pot painters, 3, 5, 26, 27–30
development of in sculpture, 15–22, 228–31, 235–48, 249. See also regional styles
subject matter, of art. See iconography: choice of
symposium, changes in, 118–19, 168–71, 208
nature of, 168–71
pots made for, 27, 38, 42–43, 60, 74, 84, 118, 134, 146, 168, 170, 204
representation of, xviii, 24, 25, 102, 138, 161, 164, 167, 179–87, 207, 208, 209, 221–22, 228, 256
sex at, 134
Syracuse Painter, 106
Syria, influence from on geometric art, 10
on Cretan statues, 15
Syriskos/Copenhagen Painter, 231–33
Tanner, Jeremy, 5n1, 27n52, 220, 226n44
Tarquinia, Athenian pottery from, 76, 134
team competitions, at Panathenaia, 54–55
technology, enchantments of, 9, 10, 248
temporality, of images, 220–24
textiles, influence on Athenian pottery, 13
texts, literary, and painted pottery, 33
theatre, activities at shown on pottery, 43–44
influence on sculpture, 19
Themistokles, 92
bust of, 148
theology, of artistic choices, 19n45, 226, 233, 235, 239
Theseus, 72, 137, 230, 231, 235
Thespiai, athletic victor listed among war dead at, 55n16
Thessaly, cavalry of, 90
Thomson Painter, 156n14, 158, 159
Thracians, cavalry shown as on Athenian pottery, 98
clothing of worn by satyrs, 190
peltasts shown as on Athenian pottery, 98
Thucydides, on Alkibiades’ chariot racing, 56
“Archaeology” of, 250
on casualties in Egypt and Sicily, 119
on human relations with gods, 151, 152n3
Perikles’s funeral speech in, 149, 216–7
on public burial of war dead, 93
on tyrannicides, 89
Tityos, 64
torch race, 55, 57, 59
tragedy, Athenian, treatment of gods in, 151
of war in, 117–8, 122
of women in, 122
trainer, represented on pots, 60n40, 62–63, 64, 68, 75
tribes, Athenian, 213–14
and army, 87, 90–91, 245
and festival competitions, 54–55, 72n67, 215
“trick vases,” 27
tripod, Herakles and, 62–63, 94n35, 136n44
as sign of victory, 69, 78
Triptolemos Painter, 66n49, 133, 134, 161–62, 180–81
trittys, Athenian, role of, 91, 213–14
tyrannicides, Athenian, 89, 213
representation of, 35, 229–31, 240
Tyrrhenian amphoras, sex scenes on, 124, 133
Tyrtaios, on athletes, 58
van Straten, Folker, 154–55
Vermeer, Jan, 224
Vernant, Jean-Pierre, 227
victor, athletic, representation of, 58, 60, 67–71, 74, 77–78, 131
victory monuments, Athenian, 90, 92–93
Vidal-Naquet, Pierre, 149
Villa Giulia Painter, 75–76
voyeurism, in archaic art, 250
in courtship scenes, 128
in scenes of satyrs, 196
in sex scenes, 134, 138
at symposium, 186
Vuillard, Edouard, 3
Vulci, Athenian pottery from, 4, 29, 37, 39, 46, 62, 64, 65, 70, 79, 96, 99, 111, 115, 124, 127, 129, 172, 173, 189, 190, 197, 200, 210, 232
war-dead, commemoration of, 93, 117, 119, 216–17
depiction of, 94, 95, 98, 114, 116
warfare, in Athens, 87–93, 214, 216
athletes given special place in, 55
widespread concern with, 122, 225
representation of, in geometric pottery, 9, 23
in statuettes, 15
in black-figure pottery, 46n74, 61, 87–88, 93–98, 117, 250
in red-figure pottery, xviii, 284 7, 9, 24, 25, 34, 86, 88, 97–121, 147–48, 207, 208, 209, 217–18, 220, 228
Webster, T.B.L., 33, 45n70
Wedding Painter, 142–43
wedding, representation of, 144–46, 147, 209, 235
Westmacott athlete, 219, 229
Winchester Painter, 156–57, 159
Woman Painter, 31
women, representation of, 34, 36n50, 46n74, 123–25, 128–48
as armed dancers, 102, 164–67, 183–84, 186–87
as dancers, 186, 203, 204
in hoplite arming/departure scenes, 95, 110, 113–15, 116, 120, 121, 221–24
combined with hoplite scenes, 102
in komos, 171, 175–77
in religious scenes, 153–54, 159–60
as sexually desiring, 137–38
at symposium, 181, 182, 184, 221. See also Amazons; sexual relations
wonder, importance of, 227, 230, 247, 248
wool-working, 142
workshops, of potters, 26, 27n6, 36, 46–47
stylistic distinctions between, 5, 11, 28
and training of painters, 22, 28, 29
wreath. See garland
wrestling, 53, 56, 60, 61, 62–63, 68
writing tablet, 81–82, 143
writing, on Athenian pots, 26, 45, 64, 66–67, 68, 71, 142, 156, 193n8, 221
of nonsense, 68. See also graffiti; signatures
Xenophanes, on athletes, 58
Xenophon, on athletic competition, 56
on beauty, 252–54
on female armed dancers, 166
on generalship, 213
on homosexual relations, 126, 128
on symposium, 168, 169n5, 186
on Theodote, 133
[Xenophon] on festivals, 152n3
on popular attitude to athletics, 59
on solidarity of demos, 149n77
Zeus, from Artemision, 237–39
and Ganymede, 138
statues of, 237n21
Zeuxis, 252