Sheramy D. Bundrick Assistant Professor of Art History, USF St. Petersburg 140 Seventh Avenue South, Davis Hall 258, St. Petersburg, FL 33701 phone: (727) 553-4062; fax: (727) 553-4526; bundrick@stpt.usf.edu Education: Ph. D., Art History, Emory University (1998) Dissertation: Expressions of Harmony: Representations of Female Musicians in Fifth-Century Athenian Vase Painting, dissertation adviser: Bonna Wescoat; committee members: Cynthia Patterson, Gay Robins, H. Alan Shapiro M.A., Art History, Emory University (1996) M.A. Thesis: "The Royal Art of Rivalry: Ptolemaic and Antigonid Patronage of Delos and Samothrace" B.A., Art History, Emory University, summa cum laude (1992) Academic Appointments: Assistant Professor, University of South Florida St. Petersburg (Fall 2001- ) Visiting Assistant Professor, Emory University (Spring 2000) Lecturer, Kennesaw State University (Winter 1998) Dean's Teaching Fellow, Emory University (1997) Teaching Associate, Emory University (Spring 1996) Teaching Assistant, Emory University (1994-1995) Honors, Grants, and Fellowships: Faculty Research Grant, USF Interdisciplinary Center for Hellenic Studies (2004) Fulbright grant funding participation in American School of Classical Studies Summer Session II, Athens, Greece (2003) Faculty Research Grant, USF Interdisciplinary Center for Hellenic Studies (2002) Andrew W. Mellon Postdoctoral Fellowship, The Metropolitan Museum of Art (September 2000May 2001) Deans Teaching Fellowship, Emory University (1997) Samuel H. Kress Foundation Travel Fellowship in the History of Art (Fall 1996) Visiting Student Associate Member, American School of Classical Studies (Fall 1996) Award for Excellence in Graduate Research in the Humanities, Emory University (1996) Institute of International Education Grant for Summer Travel (1996) Graduate Fellowship, Emory University (19921996) Publications: Music and Image in Classical Athens, forthcoming from Cambridge University Press. Review of Antonio Invernizzi, Sculture di metallo di Nisa: Cultura greca e cultura iranica in Partia (Centre international détudes Indo-Iraniennes, 1999), American Journal of Archaeology 106.3 (July 2002). Portrait of Ptolemy IV Philopator, in E. Varner, ed., From Caligula to Constantine: Tyranny and Transformation in Roman Portraiture (Atlanta 2000) 8687. Selected Papers and Talks: Muses, Mousike, and Herakles the Dropout: Imaging Education in Fifth-Century Athens (Archaeological Institute of America conference, January 2004) The Fabric of the City: Images of Textile Production in Classical Athens (College Art Association conference, February 2003) Another Look at the Aulos (Archaeological Institute of America conference, 2002) Let Me Not Live Without Music: Musical Imagery in Classical Athens (Fellows Colloquium, The Metropolitan Museum of Art, March 2001) Expressions of Harmony: Female Musicians on Fifth-Century Attic Vases (Archaeological Institute of America conference, 1998) When Cultures Clash: Augustus, Actium, and the Paintings of Boscotrecase (Yale University conference, Mediterranean Interactions II, April 1996) Work in Progress: The Fabric of the City: Images of Textile Production in Classical Athens (article) University Service: Faculty mentor, USF Classics Student Forum (Spring 2004) Arts Steering Committee, USF St. Petersburg (Spring 2003) Panel judge, USF Classics Student Forum (Spring 2003) Graphic Design Search Committee, USF St. Petersburg (Fall 2002-Spring 2003) Faculty member, USF Interdisciplinary Center for Hellenic Studies (Fall 2001- ) Professional Activities: Member, College Art Association (1996- ) Member, Archaeological Institute of America (1994- ) Additional Professional Experience: Assistant Curator of Greek and Roman Art, Michael C. Carlos Museum, Emory University (July 1998August 2000) Other positions held at the Michael C. Carlos Museum: Curatorial Assistant for Special Exhibitions (July 1998December 1999) Co-Curator, Nike: Competition and Victory at the Ancient Greek Festival Games (August 1995April 1996) Exhibition Intern/Research Assistant, Reflections of Women in New Kingdom Egypt: Egyptian Art from the British Museum (JanuaryJune 1994) Andrew W. Mellon Intern/Research Assistant, From Hannibal to St. Augustine: Ancient Art of North Africa from the Musée du Louvre (MayAugust 1993) Curatorial Assistant for Classical Art (August 1992May 1996) Curatorial Assistant for Ancient Near Eastern Art (May 1992May 1993) References: Available upon request.
During the fifth century B.C., Athens witnessed the explosion of images depicting musical performance, such as Apollo and the Muses, frisky satyrs, the poet Orpheus, youths at school, brides at weddings, and the dead at tombs. Primarily found in vase paintings, but also in sculpture and now-lost wall paintings, these images provide significant insight into the musical culture of the time and place, especially given that so much of the literary evidence for musical culture in Athens has been lost. In this study, Sheramy Bundrick proposes that the depictions of musical performance were intimately linked to contemporary developments in the field of music itself, such as the debate over music in education, theories of musical ethos, and the growing popularity of professional musicians. Moreover, she argues that music became a visual metaphor for the harmony or disharmony of the city. Her book is the first to consider the broad range of musical images in the dynamic Classical period, as well as their sociocultural and artistic implications.
Sheramy D. Bundrick is assistant professor of art history at the University of South Florida, St. Petersburg. She has received grants from the Samuel H. Kress Foundation and the Fulbright Foundation, and she was an Andrew W. Mellon Postdoctoral Fellow at The Metropolitan Museum of Art in 20001.
MUSIC AND IMAGE IN CLASSICAL ATHENS
SHERAMY D. BUNDRICK University of South Florida, St. Petersburg
CAMBRIDGE UNIVERSITY PRESS Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo
Cambridge University Press 40 West 20th Street, New York, NY 10011-4211, USA
www.cambridge.org Information on this title: www.cambridge.org/9780521848060
Š Sheramy D. Bundrick 2005
This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.
First published 2005
Printed in Hong Kong by Golden Cup
A catalog record for this publication is available from the British Library.
Library of Congress Cataloging in Publication Data Bundrick, Sheramy D. Music and image in classical Athens / Sheramy D. Bundrick. p. cm. Includes bibliographical references and index. ISBN 0-521-84806-7 (hardback) 1. Music, Greek and Roman History and criticism. 2. Vases, Ancient Greece Athens. 3. Music in art. I. Title ML169.B96 2005 704.9′4978′09385 dc22 2005002859
Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party Internet Web sites referred to in this book and does not guarantee that any content on such Web sites is, or will remain, accurate or appropriate.
LET ME NOT LIVE WITHOUT MUSIC. - EURIPIDES, HERAKLES 676
CONTENTS Preface and Acknowledgments page ix List of Illustrations xi List of Abbreviations xv 1 MUSIC AND IMAGE IN FIFTH-CENTURY ATHENS 1 Sixth-Century Music and Musical Imagery 7 The New Democracy, New Music, and New Musical Imagery 9 2 REPRESENTING MUSICAL INSTRUMENTS 13 Stringed Instruments 14 The Chelys Lyre 14 The Kithara 18 The Barbitos 21 The Phorminx 25 The Thracian Kithara 26 The Harp 30 Wind Instruments 34 The Aulos 34 The Syrinx 42 The Salpinx 42 Percussion Instruments 46 3 MOUSIKE: THE ART OF THE MUSES 49 The Art of the Muses 51 Becoming an Aner Mousikos 60 The Lessons of Linos 71 Mousike and Gymnastike 74 Amateurs and Professionals: Mousike at the Symposion 80 Women and Mousike 92 4 ETHOS AND THE CHARACTER OF MUSICAL IMAGERY 103 Music on the Edge: Dionysos and His World 106 Ethos and Pathos in the Imagery of Orpheus 116 Thamyris: Music and Hubris 126 Marsyas, the Musical Satyr 131 5 HARMONIA AND THE LIFE OF THE CITY 140 The Harmonia of Apollo Kitharoidos 142 Music and Cult Ritual 150 Contest and Victory 160 Music and the Theater 175 Harmonia and the Wedding 179 Harmonia as Personification 193 6 MUSICAL REVOLUTIONS IN CLASSICAL ATHENS 197 Notes 203 Glossary 239 Bibliography 241 Index 253
PREFACE AND ACKNOWLEDGMENTS
This book began with my doctoral dissertation, Expressions of Harmony: Representations of Female Musicians in Fifth-Century Athenian Vase Painting (Emory University 1998). While researching scenes of women playing music in domestic environments, I realized that musical imagery in general positively exploded in the fifth century B.C. and decided this merited further study. The initial draft of this manuscript was written under the auspices of an Andrew W. Mellon postdoctoral research fellowship at The Metropolitan Museum of Art in 20001; I thank the Department of Greek and Roman Art, especially Joan Mertens, and the Education Department, particularly Marcie Karp, for their hospitality. Thanks are also due to the Samuel H. Kress Foundation, which awarded me a Travel Fellowship in 1996 for dissertation research. The manuscript was completed at the University of South Florida, St. Petersburg, in the period 20014.
Many others deserve thanks for their contributions. John H. Oakley has generously given of his time and support, for which I am most grateful; so too has H. Alan Shapiro, a member of my dissertation committee and helpful ever since: Both read preliminary drafts of the manuscript and offered valuable suggestions for its improvement. Thanks also to anonymous readers for Cambridge University Press for their comments; any errors that remain are my own. Bonna Wescoat served as adviser for my dissertation and actively encouraged the development of the book. Cynthia Patterson and Gay Robins were members of my dissertation committee. Bill and Suzanne Murray, who head the Interdisciplinary Center for Hellenic Studies at the University of South Florida, have shown much support; the Interdisciplinary Center for Hellenic Studies kindly awarded me two faculty research grants (2002 and 2004) to help acquire photographs. I thank the Publications Council of the University of South Florida for a subvention toward publication of the illustrations. My gratitude to all friends and colleagues who read portions of the manuscript, engaged in discussions about it, or otherwise showed their support. Special thanks to those who shared their knowledge and aspects of their own work, including Eric Csapo, Jenifer Neils, J. Michael Padgett, and Mark Stansbury-ODonnell.
My appreciation extends to the numerous individuals, museums, libraries, and archives who assisted with research, provided photographs and permissions, or both. I am especially grateful to those who waived or reduced reproduction and copyright fees to help make publication possible. At Cambridge University Press, my profound thanks to Beatrice Rehl, Senior Editor, for shepherding the manuscript through the review process, seeing it through production, and answering all my questions, large and small.
My deepest, warmest gratitude to my family, to whom I dedicate this book with much love and appreciation.
All translations from Andrew Barker, ed., Greek Musical Writings, Vol. I: The Musician and His Art (Cambridge, 1984) are reproduced with permission from Cambridge University Press.
LIST OF ILLUSTRATIONS 1 Cup by Douris, ca. 490480 B.C. page 2 2 Reverse of the cup in Fig. 1. 3 3 Amphora by the Berlin Painter, ca. 490 B.C. 4 4 Reverse of the amphora in Fig. 3. 5 5 Hydria attributed to the Group of Polygnotos, ca. 440 B.C. 15 6 Unattributed white-ground cup, ca. 480470 B.C. 16 7 White-ground lekythos by the Timokrates Painter, ca. 460450 B.C. 17 8 Amphora by the Brygos Painter, ca. 480 B.C. 19 9 Amphora by the Nikoxenos Painter, ca. 500 B.C. 20 10 Amphora by the Berlin Painter, ca. 480 B.C. 21 11 Exterior of a cup by the Foundry Painter, ca. 480 B.C. 23 12 Calyx krater by the Christie Painter, ca. 440430 B.C. 24 13 Calyx krater by the Dokimasia Painter, ca. 470 B.C. 25 14 White-ground lekythos by the Achilles Painter, ca. 440 B.C. 27 15 Hydria attributed to the Group of Polygnotos, ca. 440430 B.C. 28 16 Pelike by the Painter of Athens 1183, ca. 430 B.C. 29 17 Bell krater by Polion, ca. 420 B.C. 30 18 Amphora by the Peleus Painter, ca. 430 B.C. 31 19 Lebes gamikos by the Washing Painter, ca. 430420 B.C. 32 20 Lebes gamikos by the Washing Painter, ca. 430420 B.C. 33 21 Amphora by the Kleophrades Painter, ca. 500490 B.C. 36 22 Reverse of the amphora in Fig. 21. 37 23 Plate by Epiktetos with satyr, ca. 500 B.C. 38 24 Cup in the manner of the Gales Painter, ca. 510500 B.C. 39 25 Bell krater by the Danae Painter, ca. 440430 B.C. 40 26 Hydria by the Duomo Painter, ca. 440430 B.C. 41 27 White-ground pyxis by the Hesiod Painter, ca. 460450 B.C. 43 28 Interior of a cup by the Ashby Painter, ca. 500 B.C. 45 29 Hydria by Hypsis, ca. 490 B.C. 46 30 Interior of a cup by Epiktetos, ca. 500 B.C. 47 31 Calyx krater by the Villa Giulia Painter, ca. 460450 B.C. 54 32 Pelike by the Meidias Painter, ca. 410 B.C. 55 33 Amphora by the Eucharides Painter, ca. 490480 B.C. 57 34 White-ground calyx krater by the Phiale Painter, ca. 440430 B.C. 59 35 Hydria by Phintias, ca. 510500 B.C. 61 36 Cup by Douris, ca. 480 B.C. 64 37 Amphora attributed to the Group of Naples 3169, ca. 470460 B.C. 65 38 Hydria by the Painter of the Yale Oinochoe, ca. 470 B.C. 67 39 White-ground lekythos near the Thanatos Painter, ca. 450440 B.C. 68 40 White-ground lekythos attributed to the Group of Berlin 2459, ca. 420410 B.C. 69 41 White-ground lekythos by the Inscription Painter, ca. 460 B.C. 70 42 Skyphos by the Pistoxenos Painter, ca. 470460 B.C. 71 43 Reverse of the skyphos shown in Fig. 42. 72 44 Exterior of a cup by Douris, ca. 480 B.C. 73 45 Interior of the cup in Fig. 44. 75 46 Cup by Douris, ca. 480 B.C. 76 47 Unattributed hydria, ca. 510500 B.C. 77 48 Unattributed hydria, ca. 500 B.C. 79 49 Rams head rhyton by the Triptolemos Painter, ca. 480470 B.C. 81 50 Cup by the Epeleios Painter, ca. 500 B.C. 82 51 Hydria by Euthymides, ca. 510500 B.C. 83 52 Interior of the cup in Fig. 11. 85 53 Column krater by the Pig Painter, ca. 470460 B.C. 86 54 Stamnos by Polygnotos, ca. 450440 B.C. 87 55 Hydria by Polygnotos, ca. 450440 B.C. 88 56 Phiale by the Phiale Painter, ca. 430 B.C. 89 57 Hydria by the Niobid Painter, ca. 460 B.C. 93 58 Amphora by the Niobid Painter, ca. 460450 B.C. 94 59 Bell krater by the Danae Painter, ca. 440430 B.C. 95 60 White-ground lekythos by the Achilles Painter, ca. 460450 B.C. 100 61 Hydria attributed to the Group of Polygnotos, ca. 440 B.C. 101 62 Interior of a cup by the Brygos Painter, ca. 490480 B.C. 108 63 Exterior side of the cup in Fig. 62. 109 64 Calyx krater by the Kleophrades Painter, ca. 500490 B.C. 110 65 Reverse of the krater in Fig. 64. 111 66 Pointed amphora by the Kleophrades Painter, ca. 500490 B.C. 112 67 Unattributed pelike, ca. 480470 B.C. 113 68 Stamnos by Smikros, ca. 510500 B.C. 114 69 Calyx krater by Euphronios, ca. 510500 B.C. 115 70 Amphora by the Kleophrades Painter, ca. 500490 B.C. 117 71 Cup by the Painter of Louvre G 265, ca. 480470 B.C. 119 72 Stamnos by the Dokimasia Painter, ca. 470 B.C. 120 73 Amphora by the Phiale Painter, ca. 440430 B.C. 121 74 Column krater by the Orpheus Painter, ca. 440 B.C. 122 75 Column krater by the Naples Painter, ca. 450 B.C. 123 76 Bell krater by the Painter of London E 497, ca. 440430 B.C. 124 77 Hydria attributed to the Group of Polygnotos, ca. 440430 B.C. 125 78 Hydria by the Phiale Painter, ca. 440 B.C. 128 79 Volute krater by Polion, ca. 420 B.C. 129 80 Athena and Marsyas, Roman marble statues possibly adapted from a fifth-century B.C. statue group. 134 81 Unattributed oinochoe with Athena and Marsyas, ca. 440 B.C. 135 82 Bell krater by the Pothos Painter, ca. 420410 B.C. 136 83 Volute krater by the Kadmos Painter, ca. 420410 B.C. 137 84 Hydria by the Berlin Painter, ca. 490480 B.C. 143 85 Bell krater by the Villa Giulia Painter, ca. 460450 B.C. 145 86 Amphora by the Niobid Painter, ca. 460 B.C. 147 87 Calyx krater by the Peleus Painter, ca. 430 B.C. 149 88 Section of the Parthenon north frieze with musicians, ca. 442438 B.C. 151 89 Bell krater by the Kleophon Painter, ca. 430 B.C. 154 90 Stamnos by Polygnotos, ca. 440 B.C. 155 91 Calyx krater in the manner of the Kadmos Painter, ca. 420410 B.C. 156 92 Stamnos by the Villa Giulia Painter, ca. 460 B.C. 157 93 Stamnos by the Chicago Painter, ca. 450 B.C. 158 94 Volute krater attributed to the Group of Polygnotos, ca. 440430 B.C. 159 95 Amphora attributed to the Leagros Group, ca. 515510 B.C. 161 96 Amphora by the Andokides Painter, ca. 530520 B.C. 162 97 Calyx krater by Euphronios, ca. 510500 B.C. 163 98 Pelike by the Pan Painter, ca. 480470 B.C. 167 99 Calyx krater in the manner of the Peleus Painter, ca. 430420 B.C. 169 100 Bell krater by the Kadmos Painter, ca. 430420 B.C. 171 101 Unattributed calyx krater, ca. 415410 B.C. 176 102 Drawing of volute krater by the Pronomos Painter with theatrical scene, ca. 400 B.C. 177 103 Drawing of a lebes gamikos by the Syriskos Painter, ca. 470 B.C. 179 104 Lekythos by the Amasis Painter, ca. 540 B.C. 180 105 Detail of the shoulder scene on the lekythos in Fig. 104. 181 106 Loutrophoros by the Washing Painter, ca. 430 B.C. 185 107 Loutrophoros with procession of bride and groom, ca. 430420 B.C. 187 108 Lebes gamikos by the Washing Painter, ca. 430420 B.C. 188 109 Pyxis by the Washing Painter, ca. 430420 B.C. 189 110 Epinetron by the Eretria Painter, ca. 430420 B.C. 193
LIST OF ABBREVIATIONS
AA
Archäologischer Anzeiger
ABV
J. D. Beazley, Attic Black-Figure Vase Painters. Oxford: 1956.
Add2
T. H. Carpenter. Beazley Addenda, 2nd ed. Oxford: 1989.
AJA
American Journal of Archaeology
AION
Annali dellIstituto universitario orientale di Napoli. Dipartimento di studi del mondo classico e del Mediterraneo antico. Sezione di archeologia e storia antica.
AM
Mitteilungen des Deutschen Archäologischen Instituts, Athenische Abteilung
AntK
Antike Kunst
ARV 2
J. D. Beazley, Attic Red-Figure Vase Painters, 2nd ed. Oxford: 1963.
BCH
Bulletin de correspondence hellénique
BSA
Annual of the British School at Athens
CJ
Classical Journal
ClAnt
Classical Antiquity
CQ
Classical Quarterly
CRAI
Comptes rendus des séances de lAcadémie des inscriptions et belles-lettres
Numismatic Museum
City/ Postal code 12 El. Venizelou Ave., Athens 106 71
Prefectorate Attica
District Attica
Director of the Museum Dr. Despina Eygenidou
Opening hours
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Winter Opening Hours
Telephone +30-210-3643774, +30-210-3612190, +30-210-3612519
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Kedves Mihaly!
Megprobaltam az internetrol meglelni neked a kert kepeket, sajnos nem sok sikerrel. Talan szeptembertol, ha nyitnak a konyvtarak, es mint minden evben egy sziszifuszi probalkozassal megkiserlem attekinthetove tenni az archivumomat. Milyen volt az asatas? Megjelent egy zene es tanc kiallitas katalogusa, elkezdem feldolgozni az anyagat. Ha megirod fenypostan a cimed, elkuldom neked is, ketnyelvu, angol es gorog, tanulmanyokkal.
Kalo himona!:)
Spyros
Jorgos baratunk Argoszbol ajanlja szives figyelmunkbe ezt a konyvet.
Megvan a Szabo Ervin Konyvtar zenei reszlegeben is, jomagam vagy harom-negy eve egy koruti antikvariumban bukkantam ra mint ritka kincsre...:)
Le Wed, 21 Jul 2004 13:56:22 +0300
George Kahrimanis <anakreon@hol.gr> ?ivait :
>AGAPHTE SPYRO, AFOU ASXOLEISAI ESTW KAI LIGO ME EIKONES
>SXETIKES ME MOUSIKH, AS SOU ANAFERW MIA ANATOLIKO-
>GERMANIKH SEIRA, "Musikgeschichte in Bildern", POU EXEI
>KAI ENA TOMIDIO ME ARXAIA ELLADA:
>
>AUTHOR: Wegner, Max, 1902-
>TITLE: Griechenland.
>PUBLISHED: Leipzig, Deutscher Verlag fur Musik
>(1963)
>DESCRIPTION: 141 p. illus. (part col.) facsim.,
> map. 35 cm.
>SERIES: Musikgeschichte in Bildern (Bd. 2, Lfg.
>4)
>NOTES: Bibliography: p. 133-136
>OCLC NUMBER: 5306230
>
>NA K ENAS ELLIPHS KATALOGOS THS SEIRAS:
>
> EJWTIKA
>Bd. 1, Lfg. 1. / Ozeanien.
>Bd. 1, Lfg. 2. / Amerika.
>Bd. 1, Lfg. 3. / Sudostasien.
>v. 1, pt. 4. / Sudasien; die indis
>Bd. 1, Lfg. 9. / Zentralafrika.
>Bd. 1, Lfg. 10. / Ostafrika.
>Bd. 1, Lfg. 11. / Westafrika.
> ARXAIA
>Bd. 2, Lfg. 1. / Agypten.
>Bd. 2, Lfg 2. / Mesopotamien.
>Bd. 2, Lfg. 4. / Griechenland.
>Bd. 2, Lfg. 5. / Etrurien und Rom.
>Bd. 2, Lfg. 7. / Alt-Amerika.
>Bd. 2 ; Lfg. 8. / Altindien.
>Bd. 2, Lfg. 9. / Mittelasien.
> MESAIWN KAI ANAGENNHSH
>Bd. 3, Lfg. 2. / Islam.
>Bd. 3, Lfg. 3 / Musikerziehung. Leh
>Bd. 3, Lfg. 4. / Schriftbild der ein
>Bd. 3, Lfg. 5. / Schriftbild der meh
>Bd. 3, Lfg. 8. / Musikleben im 15. J
>Bd. 3, Lfg. 9. / Musikleben im 16. J
> NEWTERA
>Bd. 4, Lfg. 1. / Oper, Szene und Dar
>Bd. 4, Lfg. 2. / Konzert.
>Bd. 4, Lfg. 3. / Haus- und Kammermus
>Bd. 4, Lfg. 4. / Tanz im 17. und 18.
>Bd. 4, Lfg. 5. / Tanz im 19. Jahrhun
>
eroticised and also clearly a skilled entertainer, as she holds a lyre. ... Publication:
Beazley, JD, Attic Red-Figure Vase-Painters, 2nd edition (Oxford, 1963 ...
www1.hollins.edu/faculty/saloweyca/Athenian%20Woman/ knudsen/Kylix%20with%20Erotic%20Scenes.doc
Vases grecs
- Le jugement de Pâris
Le site Louvre.edu offre la reproduction d'une amphore attique à figures noires qui représente ce sujet très populaire dans l'art grec du VIIe au IV e siècle av. J.-C.
" L'histoire du jugement de Pâris est connue par les Chants Cypriens qui relatent les causes et les débuts de la guerre de Troie. Tout commence au cours des noces de Thétis et Pelée où Éris, la Discord, lance la fameuse pomme d'or destinée "à la plus belle". Les dieux décident alors de charger Pâris, le fils du roi Priam, de choisir entre Athéna, Héra et Aphrodite.
Les cinq personnages principaux du mythe sont représentés : à droite, Pâris, barbu, vêtu d'un chiton et d'un himation, tient une lyre et s'enfuit, effrayé par la mission que les dieux veulent lui confier. Le messager de ces derniers, Hermés reconnaissable au pétase et au caducée, tente de le retenir. derrière lui, les trois déesses attendent. Elles sont vêtues d'un chiton et tiennent des couronnes. Aucun attribut ne permet de les identifier.
La grande popularité de ce thème est due à ses conséquences tragiques qui furent la guerre et la destruction de la ville de Troie. en effet, Aphrodite, choisie par Pâris, conseilla au jeune prince d'aller séduire Hélène, la plus belle des femmes. Or celle-ci était l'épouse d'un des plus puissants rois grecs, Ménélas. C'est son enlèvement qui provoqua l'expédition punitive des Grecs contre Troie. " (Š [Louvre.edu], texte de Sophie Padel)
http://www.educnet.education.fr/lettres/lycee/grec/seqt_1gr.htm
Of special interest to classicists will be a red-figure cup by the Akestorides Painter which shows a youth displaying a book roll with a four-line stoichedon text. Both Beazley and Immerwahr have suggested readings which S. conflates in her commentary by citing Beazley's Greek (Iliad 9.399 or 13.638) and Immerwahr's translation "he who heeds me, will prosper."2 The author has also mistaken a sponge cum aryballos hanging above the boy holding the book roll on side A for a writing case. Since these objects clearly signify the palaestra, and the youth in the tondo is holding jumping weights, one could see the central youth on each exterior side as the same person shown in three different guises: as athlete (weights), musician (lyre) and school boy (writing case).
http://ccat.sas.upenn.edu/bmcr/1997/97.03.39.htm
JIIA.it [contributo di Daniela Castaldo]
... In the scenes where Dionysus appears with the lyre there is a completely different
atmosphere: on a kylix of Arlesheim (2: NO BEAZLEY Black-figure Kylix a ...
www.jiia.it/JIIA.it/Sezione_II/JIIA_01/ Castaldo_D01/Articolo_D01/Castaldo_articolo_pag3.html
Autour d'Ariane
... Thésée enlevant Antiope Intérieur : Un jeune homme tenant une lyre (Thésée ?)
et une ... http://bama.ua.edu/~ksummers/cl222/LECT14/sld023.htm Beazley Archive. ...
www.ac-nancy-metz.fr/enseign/lettres/ LanguesAnciennes/Ariane/fichiers/ariane_autour.htm
Thomas H Carpenter; J D Beazley; Thomas Mannack; Melanie Mendonça; Lucilla Burn
1989 2nd ed.
English Book li, 481 p. ; 26 cm.
Oxford : Published for the British Academy by Oxford University Press, ; ISBN: 0197260691
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Title: Beazley addenda :
additional references to ABV, ARV2 & Paralipomena /
Author(s): Carpenter, Thomas H. ; Beazley, J. D.; 1885-1970. ; (John Davidson),; Mannack, Thomas. ; Mendonça, Melanie. ; Burn, Lucilla. ; Beazley addenda.
Corp Author(s): Beazley Archive.
Publication: Oxford : Published for the British Academy by Oxford University Press,
Edition: 2nd ed.
Year: 1989
Description: li, 481 p. ; 26 cm.
Language: English
Standard No: ISBN: 0197260691 LCCN: 89-106824
SUBJECT(S)
Descriptor: Vase-painting, Greek -- Indexes.
Vases, Greek -- Indexes.
Note(s): "Incorporating the 1st ed. (1982) compiled by Lucilla Burn and Ruth Glynn."
Class Descriptors: LC: NK4648; Dewey: 738.3/82/0938
Responsibility: compiled by Thomas H. Carpenter ; with Thomas Mannack and Melanie Mendonça, at the Beazley Archive.
Document Type: Book
Entry: 19890125
Update: 20010404
Accession No: OCLC: 20854806
Database: WorldCat
This fifth century BC seal shows a Persian noblewoman playing a harp for her Maltese dog. The Phoenicians brought this dog from the island of Malta to Asia Minor (todays Turkey) where it became very popular with wealthy Persians.
Database Record Number: 17050
Technique: RED-FIGURE Shape: CUP STEMLESS
Inscription: Kalos/Kale: STROI[BOSKA]LOS STROIBOS KALOS Kalos/Kale: STROIBOS
Provenance:
Date: 575-525
Decorated Area: A - WARRIORS DEPARTING, DRAPED YOUTHS AND MEN (?), WOMEN
Decorated Area: B - WARRIORS ARMING, YOUTHS AND MEN, SOME DRAPED, OLD MAN, DRAPED YOUTH PLAYING PIPES
Decorated Area: UH - DRAPED YOUTH WITH LYRE AND DOG, DOGS FIGHTING
Current Collection:
Basel, Market, Munzen und Medaillen A.G.
Publication Record:
Carpenter, T.H., with Mannack, T., and Mendonca, M., Beazley Addenda, 2nd edition (Oxford, 1989), 392
I have made lots of lyres, but these are not proffesional experiences. There are lot proffesional or amature attempts of this kind. Some of them are mentioned, analysed and criticised in an essay of proff. Psarpudakis. I will send you this article. Into this publication he gives a new solution of how the "zygos" (crossbar) joins the pychis. This daedalic mechanism remained a mystery untill lately. If you want we can make a lyre for you as well. Now I am preparing a "kithara". Two samples of my lyres:
Our friend Petyus in his site Kaboca offers space for the Lyre-laboratory, and for studies, therefore it would be nice if you joined us, with your studies, and when you finish your thesis, you could annonce your results.
Dear Do-nothing! Many lyrat keszitettem , these however only mukedvelo probalkozasok. Szamtalan amatol es office kiserletrol tudunk. Nehanyat these kozul stilts , analyze ertekel one tanulmanyaban Psaroudakis professor. Elkuldom the irast for you. In this one uj unlink roughs the kithara horn es cross rud dowel zigos puhis ). This dedalikus mechanism mindmaig mystery rebusz it had been. If I wanna , for you also keszitunk one lyrat. This time one kitharat carved. Lyraimbol shown ketto : sounds /lyra.htm adasok /31/spiros.htm http:/www.terrasoft.hu/ civilizes kaboca lyratort // http:/www.terrasoft.hu/ civilizes kaboca lyratort /kklyra01.jpg Slack Master score : http:/www.terrasoft.hu/~ when / music lyra // Slack baratunk , the Kaboca honlapjan make room the Lyra muhelynek tanulmanyoknak igy vertex vennenk , if resztanulmanyokkal es then if elkeszul the diszertaciod , Ann ismertetesevel abut hozzank. http:/www.terrasoft.hu/ civilizes kaboca ogorog // Kivanok szenzacios leleteket the asatasodnal! Soil one musical instrument also.:) Eugenics Spyros
Drogi Czynić - nic! Dużo lyrat keszitettem , tych jednakże tylko mukedvelo probalkozasok. Szamtalan miłosny es wydział kiserletrol tudunk. Nehanyat tych Kozubów szczudła , analizować ertekel jeden tanulmanyaban Psaroudakis profesor. Elkuldom ten irast pod kštem ty. W ten jeden uj nieodpowiedzialny mierzwi ten rodzina róg es przekrelać rud kołek zigos puhis ). Ten dedalikus mechanizm mindmaig tajemnica , rebus ono miał był. Jeli JA bladoć , pod kštem ty także keszitunk jeden lyrat. Ten czas jeden kitharat rzebiony. Lyraimbol pokazał kocioł : http:/www.vilagvevo.radio.hu/ dwięki /lyra.htm http:/www.vilagvevo.radio.hu/ automatyczny system gromadzenia danych /31/spiros.htm http:/www.terrasoft.hu/ cywilizuje / kebab lyratort // http:/www.terrasoft.hu/ cywilizuje / kebab lyratort /kklyra01.jpg Opieszały Mistrz wynik : http:/www.terrasoft.hu/~ podczas / muzyka lyra // Opieszały baratunk , ten Kebab honlapjan zrobić pokój ten Lyra muhelynek tanulmanyoknak igy szczyt vennenk , jeli resztanulmanyokkal es wtedy jeli elkeszul ten diszertaciod , Anna ismertetesevel dotykać hozzank. http:/www.terrasoft.hu/ cywilizuje / kebab ogorog // Kivanok szenzacios leleteket ten asatasodnal! Plama jeden muzyczny instrument także.:) Eugenika Spyros
Sok lyrat keszitettem, ezek azonban csak mukedvelo probalkozasok. Szamtalan amator es hivatasos kiserletrol tudunk. Nehanyat ezek kozul megemlit , elemez, ertekel egy tanulmanyaban Psaroudakis professzor. Elkuldom az irast neked. Ebben egy uj megoldast kinal a kithara szarv es kereszt rud illesztesre (zigos, puhis). Ez a dedalikus szerkezet mindmaig rejtely, rebusz volt. Ha akarod, neked is keszitunk egy lyrat. Most egy kitharat faragok. Lyraimbol mutatoba ketto:
Lyra muhelynek, tanulmanyoknak, igy orommel vennenk, ha resztanulmanyokkal es majd ha elkeszul a diszertaciod, annak ismertetesevel csatlakoznal hozzank.
Agapite Spyro, se eyxaristo gia ti boitheia sou. Milao mono polonika, rosika, agglika, italika, omos sxetika me ta gallika, eixa mono 5 mathimata :-(, sta ouggarezika mporei na me boithisei o adelfos mou, kai... opos katalaba sou aresoun oi paroimies:-). Eftiaxes mia LYRA!!!. WoW! Mporeis na mou steileis fotografia i recordings? Tha xairomoun polu an dexosoun na dimosieytei i lyra sou sti douleia mou, na prosexeis kai na mi xatheis, meta tin anaskafi tha grapso se sena kai ston prof Psaroudakes, dikos sou, Mike.
Intertran 'ferdites' :)
Kedves Spyros , köszönet nagyon részére Segítséged. ÉN beszél egyetlen fényesít , orosz , angol , olasz körülbelül francia : ( ÉN egyetlen 5 leckék -ból ez magyarul tud segítsen nekem bátyám : ) és ahogy ettem megvalósított Ön szeret közmondás : ) ÖN GYÁRTOTT Líra!!! vonít Van önnek némely fénykép -ból ez vagy regisztráló készülékek? Ez lesz nagy ha Ön elfogad -hoz közzétesz -a Líra munkámban!!! Vigyázz és kapcsolatban marad : ) Csak után kiásás I'll ír Ön és én prof. Psaroudakes. Öné Mihály
Αγαπητέ Spyros , ευχαριστώ πολύ για δικό σου βοήθεια. εγώ μιλώ μόνο λούστρο , Ρώσσος , Άγγλος , Ιταλόs για Γάλλοs : ( εγώ είχα μόνο 5 μάθημα του αυτό μέσα Ούγγρος μπορώ βοήθησε με my αδελφόs : ) και όπως εγώ αντελήφθηκα You αρέσω παροιμία : ) YOU φτιαγμένος LYRE!!! πώπω έχετε μερικά φωτογραφία του αυτό ή καταγραφέας ήχου? αυτό θα να είμαι σπουδαίος εάν You δέχομαι σε δημοσιεύω δικό σου Lyre μέσα my δουλειά!!! προσέχω και διατηρώ επαφή : ) μόλιs μετά excavations I'll γράφω εσύ κι εγώ prof. Psaroudakes. δικό σου Μιχάληs
Dear Spyros,
thanks a lot for Your help.
I speak only polish, russian, english, italian
about french :-( I had only 5 lessons of it
in hungarian can help me my brother :-)
and... as I realized You like proverbs :-)
YOU MADE LYRE !!!
WOW!
Do You have some photos of it or recordings?
It will be great if You accept to publish Your Lyre in my work !!!
Take care and keep in touch :-)
Just after excavations I'll write You and prof. Psaroudakes.
Yours Michael
Dear Mike!
I visite university as audience, taking part in cources of ancient greek music. This is how I met prof. Psaroudakes (Athens Universtity Department of Musicology). He is among the best researchers. You can read his proffessional bibliografy ant a study of him, as well as discussions of what is said during his lessons here: http://forum.index.hu/Article/showArticle?t=9103586. About me quickly, I was born in Hungary, older I returned in Greece, I made friends musicians, who were studing about ancient greek music. I started studing as well, I made a lyre... the rest I will write later, it is an endless adventure:) I looked at your list, I hope I will find the pictures. Untill then good work, excavation, καλό καλοκαίρι.
Σε χαιρετώ,
Σπύρος.
P.S. Do you happen to speak french, it is easier to write, and our friend Amerso and Marie-Helen could help us.
Vendeghallgatokent koptatom az egyetem padjait, okori zenei orakat hallgatva. Itt ismerkedtem meg Psaroudakes professzorral ( Atheni Kapodistria Egyetem Zenei Tanszek), aki elfogultsag nelkul mondva, a legkivalobb okor zene tudosok koze tartozik. Itt tobbet megtudhatsz rola, szakmai oneltrajza, egy tanulmanya is olvashato, valamint beszelgetesek az orajan elhangzottakrol:
http://forum.index.hu/Article/showArticle?t=9103586
Magamrol kutyafuttaban csak annyit, hogy Magyarorszagon szulettem, es felnott fejjel, mit sem tudva gorogul kerultem vissza. Itt gyorsan donteni kellett, mit tegyek, mivel nem tudtam egy kukkot sem gorogul. A szerencse ugy hozta, hogy zenebonalo tarsasagra leltem, akik az ogorog zenere is prabaltak 'rahangolodni'. Ez annyira megtetszett, hogy elhataroztam, komolyan tanulni fogom, nekifogtam lyra barkacsolasnak..., a tobbit majd elmeselem szepen sorjaban lassacskan, mert egy vege-hossza sincs kaland. Megnezem a listadat, remelem megtalalom hozza a kepeket. Addig is, jo kutatast, asatast, nyarat.
Kita, ehi plaka, pos methafrazi to keimeno to Intertran mihani:
Αγαπητέ Spyros I'll έρχομαι σε επαφή prof. Psaroudakes μόλιs μετά my εκσκαφέας κοντά Odessa αυτό μέσα για 20th του Αύγουστος. είναι You φοιτητήs? πού Mr. Psaudorakes is prof.? πωs κάνω You γνωρίζω Ούγγρος εκτοντάδες του ερώτηση : ) δικός μας πανεπιστήμιο μέσα κροτίδα is ωραίος istn't αυτό?;-) καλά Spyros I'm κοιτάζω για λίγο illustrations σε my δουλειά. So , πιθανά You θα μπορούσεs βοήθησε με σε αποκτώ αυτούς. υπάρχει έναs κοντός ( διότι αυτό είναι beginning ;-) λίστα του βάζο I'd αγαπώ σε έχω οποιοσδήποτε γραφικός
"Beutottem" az Intertran forditogepebe. Mokas az eredmeny:
'Kedves Spyros I'll kapcsolat prof. Psaroudakes csak után az én -m kiásás mellett Odessa azt jelenti körülbelül 20th -ból Augusztus. Van Ön hallgató? Hol Miszter. Psaudorakes van prof? Honnan tudod magyar Száz -ból kérdés : ) -unk Egyetem -ban Kiváló van szép istn't ez?;-) Jól Spyros , Keresem kevés illusztráció munkámhoz. Tehát , talán Ön tudna segítsen nekem -hoz kap őket. Van egy rövid ( mert az kezdet ;-) oldalra dől -ból váza I'd szerelem -hoz volna akármi mozi ':)
Se rotaei an eisai foititis:) Loipon i metafrasi apo tin arxi:
Agapite Spyro
Tha epikoinoniso me Prof. Psaroudakes meta tin anaskafi mou stin Odesso, diladi gyro stis 20 Aygoustou. Eisai foitetes? Pou einai kathigetes o kyrios Psaroudakis? Pos milas ouggarezika? Ekatontades erotiseis:-)
To panepistimio mas stin Cracow einai oraio, den einai?
Loipon, Spyro, psaxno kapoies parastaseis gia ti douleia mou. Isos tha mporouses na me boithiseis. Edo einai mia mikri (giati einai arxi:-) lista aggeion ton opoion tha ithela polu na exo kapoies eikones. (Ta noumera einai oi arithmoi tou arxeiou Beazley sto web site):........(Sou parathetei ti lista)
Elpizo na min einai megalo problima gia sena na me boithiseis. I alli lista (mythologikes parastaseis) ton Aygousto. Dikos sou, filia Mike.
PS1 Grapse mou kati gia sena an mporeis:-)
PS2 Na peraseis kala stis diakopes!
Se rotaei an eisai foititis:) Loipon i metafrasi apo tin arxi:
Agapite Spyro
Tha epikoinoniso me Prof. Psaroudakes meta tin anaskafi mou stin Odesso, diladi gyro stis 20 Aygoustou. Eisai foitetes? Pou einai kathigetes o kyrios Psaroudakis? Pos milas ouggarezika? Ekatontades erotiseis:-)
To panepistimio mas stin Cracow einai oraio, den einai?
Loipon, Spyro, psaxno kapoies parastaseis gia ti douleia mou. Isos tha mporouses na me boithiseis. Edo einai mia mikri (giati einai arxi:-) lista aggeion ton opoion tha ithela polu na exo kapoies eikones. (Ta noumera einai oi arithmoi tou arxeiou Beazley sto web site):........(Sou parathetei ti lista)
Elpizo na min einai megalo problima gia sena na me boithiseis. I alli lista (mythologikes parastaseis) ton Aygousto. Dikos sou, filia Mike.
PS1 Grapse mou kati gia sena an mporeis:-)
PS2 Na peraseis kala stis diakopes!
Ezzel szemben a masik forras a zeneregeszethez az irasos tanusagok, graptes martiries (grafi=iras).
Esetunkben tehat minden olyan regeszeti lelet, ami az ogorog zenehez kapcsolodik, vazakep, szobor, dombormu, erme, ekszer...
Mihaly baratunk, Lengyelorszagbol eppen errol ir doktori disszertaciot. Kerte segitsegunket, hogy a Krakkobol nehezen elerheto, megtalalhato dokumentumokat, melyekre a kutatasahoz szuksege volna, keressuk meg az archivumainkban, es kuldjuk el neki, amit keszsegesen megteszunk. Mihalyban egy kituno tudos baratra leltunk, aki vegig izgult velunk , szurkolva a gorog focicsapatnak...:) Most, ha jol ertem, epp a Fekete-tenger melle keszul egy asatasra. A neki szant kepeket itt is megnezhetitek. Remelem minel elobb megtanulom az uj modszert, hogy tehetek fel kepeket. Most meg nem sikerul. Adnal tanacsot mint a technikaban jaratos, a ketbalkezesnek? Tudod ki volt - ha ellopjuk a neved elejet es a veget- Alkman?:) Ha te 'szines' nevet adsz nekem, en is atkeresztellek...
Kedves Piros! Kik azok az "ikastikes martiries"? Elmondanád pár szóban? Szerintem valamiféle ókori mártirokról lehet szó, vagy valami egészen misztikus dologról, amiről nekem csak sejtéseim lehetnek