bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Alkmene Vase formerly in Castle Howard
Authors: Murray A. S. 
Published: May 2006

It has often been a matter of regret that a Greek vase of much importance as to subject and unique in being the work of a particular painter named Python was inaccessible except by a visit to Castle Howard in Yorkshire. That, I am glad to say, is no longer necessary. The vase has become the property of the British Museum. But there remains a difficulty of another kind. The vase had been published in 1837 by the French section of the Institute in Rome, but so rare has that publication become that very few English students have ever seen it. We propose now to remedy that matter by a re-publication of the vase (Plates VI. and VII.).The characters in the principal scene are Alkmene, Amphitryon, Antenor, Zeus, Eos, and two Hyades. Except these latter, each figure has its name attached to it. But, though the names are plain enough, the interpretation of the scene has been a subject of controversy. Originally the scene was described as the ‘Apotheosis of Alkmene,’ against which there was at least this objection that in the legend Alkmene had survived Amphitryon, and could not therefore in her apotheosis be assisted by him, as that explanation of the vase would imply. In 1872 the question was re-opened by Engelmann in connexion with another vase, now also in the British Museum, on which the same subject occurs in an abbreviated form. Engelmann argued that the meaning must be this: Amphitryon has come back from the wars, and, being enraged at the reception given him by his wife, has determined to take vengeance on her, whereupon she has fled for refuge to an altar followed by him and his friend Antenor. Instead of dragging her from the altar they proceed to sacrifice her on it, building up a pyre of wood in front and fetching torches to light it.
The making of Pandora
Authors: Smith A. H. 
Published: May 2006

The sculptured drum of the later Temple of Artemis at Ephesos, excavated by Mr. Wood, and now in the British Museum, is a familiar piece of sculpture. Its interpretation however is still doubtful.The best known view is that of Robert, who connects the sculpture with the story of Alcestis, though not exactly with the story as told by Euripides. According to Robert's view Alcestis stands in Hades, about to depart. Hades and Persephone have given their sanction, Hermes Psychopompos escorts her, Death beckons to her to go, and Heracles stands on the left of the group, as a spectator. Robert's interpretation is attractive and poetical, but there are considerable difficulties, some of which are pressed against him by Benndorf in presenting his own view. The story does not correspond with the literary versions; the representation of Death as a beardless youth seems improbable, though not without parallel on the vases; the action of Persephone, holding up a necklace, which can hardly be neglected, is left unexplained.
Hermes with the Infant Dionysos; Bronze Statuette in the Louvre
Authors: Waldstein C. 
Published: May 2006

The before unpublished bronze statuette here reproduced in its original size, No. 655 of the collection of bronzes in the Museum of the Louvre, is called, by the late M. de Longpérier, ‘Nero carrying Britannicus on his left arm.’ This distinguished and meritorious archæologist herein followed a tendency prevalent in former days of readily seeing the portrait of some historical person, especially a Roman Emperor, in purely ideal monuments.It will be seen at a glance that we have in this work a representation of Hermes with the infant Dionysos, and moreover a modified replica of the statue of Praxiteles discovered by the Germans in 1877 at Olympia. Though there are some modifications, this statuette is the closest reproduction of the work of Praxiteles of all the replicas that have come to my knowledge.
A New Diadumenos Gem
Authors: Colvin Sidney 
Published: May 2006

Annexed is a woodcut engraved after an impression from an intaglio formerly in the hands of Signor Castellani, and now in private possession in England. The original, which is half the size of the cut, is a plasma of somewhat rude Roman workmanship. Its subject is unmistakable. It represents a victorious athlete (expressly designated as such by the palm branch placed in a prize jar at his side) who stands at his ease, with the left leg free, and his weight thrown on the right, while he winds the taenia about his head with both hands.So far as I am aware, this is the first representation of the subject on a gem of which an engraving has ever been published. Only one other is known to exist, and that is on a stone of similar substance (plasma di smeraldo), formerly in the collection of a Mr. Currie. A cast of this was issued in the Impronte gemmarie of the Archaeological Institute, cent. VI. no. 73 (see Bull. dell' Inst. 1839, p. 111). It lacks the emblems of the palm branch and jar.
Inscription from Kalymnos
Authors: Newton C. T. 
Published: May 2006

I copied this inscription in 1855 from a marble found in a garden near the Marina, called Blyko, in the island of Kalymnos, the ancient Kalymna. On this site formerly stood the Church of Panagia Kalymniotissa.In the year 1854 I explored the site of the Temple of Apollo in that island and discovered there a number of inscriptions, most of which will appear in Part II. of the work on Greek Inscriptions in the British Museum, of which Part I. was published in 1874.The inscription which I have here selected for publication, and which was not taken away by me from Kalymnos, is one of a well-known class which relate to the enfranchisement of slaves, and of which many examples have been found at Delphi and elsewhere. The forms and conditions of such enfranchisement varied in different places (See M. Foucart's article, Apeleutheroi, in Daremberg, Dictionnaire des Antiquités, where the subject is very fully treated).
Numismatic Commentary on Pausanias
Authors: Imhoof-Blumer F. , Gardner P. 
Published: May 2006

In the present paper we continue the commentary begun in last year's Journal, and set forth the numismatic facts which ran parallel to those books of Pausanias which deal with the remainder of Peloponnesus; Laconia, Messenia, Elis, Achaia, and Arcadia. Athens, Phocis, and Boeotia still remain for future treatment.In spite of our efforts to be complete, we have already discovered a number of coins of Corinth and Argos and the neighbouring cities which had escaped us, and which present new types, or important varieties of the types which appear in our plates. This will necessitate the publication of a supplement to our first paper. While this is in preparation numismatists will be doing the greatest service if they will let us have casts of any types in their possession which are omitted in the descriptions or the plates of this paper or the last. Casts of unusual coins of imperial times of Phocis or Boeotia will also be most welcome.
Hector and Andromache on a Red-Figured Vase
Authors: Gardner Percy 
Published: May 2006

The vase which is the subject of the present paper is no new find. It has been for many years in the British Museum (Cat. No. 810), and was mentioned by Overbeck in his Heroische Bildwerke in 1851. It has not however hitherto been figured, and it may be well to take advantage of its publication in these pages to make a few observations on the general subject of vase-paintings which are connected with the myths of the Iliad.The present vase is an amphora from Vulci, height nineteen inches. The form and decoration are given in the woodcut. On one side is a warrior standing to the left, clad in a chlamys, and armed with helmet, spear, and shield adorned with serpent. On the other side is a lady to the left, clad in Ionian chiton and overdress, her head enveloped in a kerchief; she raises her right hand; in her left hand is a baby boy, who turns and stretches his hands to the right. The main outlines of the figures are traced in black, but the folds of the Ionian chiton with light red; there are three incised circles on the warrior's shield. Under each figure runs a line of maeander pattern; an anthemion adorns the bottoms of both handles.
I.—The Origin of the Stadion
Authors: Ridgeway William 
Published: May 2006

In a former paper in the Journal of Hellenic Studies I endeavoured to show that the primitive Hellenic unit of land measure was the γύης or plough-land, which was the portion of land lying between landmarks (οὖρα), being the amount which a pair of oxen (or mules) could plough in a day, the length of the furrow being a fixed quantity. Whilst I was able to point out some data for estimating the breadth of the piece, I was unable to throw any light on its length, or in other words on the length of the furrow.The object of this paper is to inquire if we have the means of arriving at any solution of the question, based on fairly probable grounds. The scholia on the word πεντηκοντόγυον (cf. Ebeling, sub voc.) are as follows: On the other hand the scholiast on Odyssey vii. 113 says: Now in the first group of scholia it is evident that the explanations of γύης by πλέθρον, ζύγον, and ζεῦγος are all equivalent. The ζύγον and ζεῦγος mean a day's ploughing of a yoke of oxen (answering to Lat. iugum).
A Sacrificial Calendar from Cos
Authors: Hicks E. L. 
Published: May 2006

In the Bulletin de Correspondance Hellénique for 1881 (vol. v. pp. 216 foll.) MM. Am. Hauvette-Besnault and Marcel Dubois published a number of inscriptions from Cos, among which are two fragments of a curious sacrificial calendar. These fragments they describe as existing in the house of M. Dim. Platanistis. One of the marbles is broken at the top and the left side, and is apparently inscribed on one surface only. Fifteen lines of the inscription can be fairly well deciphered. I will call this document HBD 1. The other marble was inscribed on both sides; but only the endings of some nineteen lines on the one side, and the beginnings of as many lines on the other, now remain: I shall call this document HBD 2a, b.Mr. W. R. Paton, who has repeatedly visited Cos, has not only sent me corrections of some of the readings in HBD 1, but he has also had the good fortune to discover two other large portions of the same interesting calendar. Of these he has very kindly sent me copies, with a view to the publication of the inscription in this Journal. I propose to cite Mr. Paton's fragments as P1 and P2.The marble P1 is on the floor in front of the altar of a very old church, and has been much worn by the feet of worshippers; so that in some places all trace of letters has disappeared
Inscriptions from Iasos
Authors: Hicks E. L. 
Published: May 2006

Since my paper on Iasos and its history appeared in this Journal in 1887, some fresh epigraphical materials from Iasos have come to light in an unexpected manner.In the Bulletin de Corr. Hell. of 1887 (xi. p. 212 foll.) M. Kontoleon has edited a number of inscriptions, of which Nos. 2—11 are from Iasos. All of the ten are honorary dedications or ex votos of the Antonine period, presenting few features of interest. These marbles had been extracted from the ruins of Iasos by a Turkish captain commissioned by the Ottoman government; he had shipped them on board by March 1887, and conveyed them to Constantinople. They were seen there by Mr. Cecil Smith in August 1887, in the courtyard of the Seraglio Museum; he learned that they had newly arrived, and were said to have come from Iasos. The testimony of Mr. Paton settles the question of their provenance; M. Foucart, in ignorance of the facts, had suggested that they might have come from Passala, the port of Mylasa.Mr. Theodore Bent has just sent me a letter received from Dr. Albert L. Long, of Robert College, Constantinople, dated October 16, 1888. He speaks of the arrival of other inscribed marbles from Iasos, and encloses a MS. copy of them: ‘I think you saw some of the stones which were brought last winter for the work of constructing the Bebek quay. Within the last month another lot has been brought, and among them the two blocks from which the enclosed inscriptions are taken.’ There is no doubt that these marbles also are from Iasos: they have not, so far as I am aware, been published before. They are now printed from Dr. Long's MS.
The Homeric Chariot
Authors: Leaf Walter 
Published: May 2006

The object of the present paper is not to give a full account of the Homeric chariot, but merely to call attention to a somewhat minute point, in which, as it seems to me, light may be thrown upon the words of Homer from the representations given us in the painted vases.By way of preface it may be mentioned that the war-chariot was hardly known in Greece proper, at all events after the heroic age. The only occasion in Greek history when it played an important part was on the half-oriental soil of Cyprus. In the battle so picturesquely described by Herodotos (v. 113), the fortune of the day was finally decided by the treachery of the war-chariots of Salamis, whose desertion threw the island into the hands of the Persians (498 B.C.). On the rugged and broken mountains of the mainland, such an arm could hardly ever have been of practical service, and we may assume that the type familiar to the vase-painters of the fifth century B.C. must have been derived from Asia Minor.
Death and the Horse
Authors: Verrall A. W. 
Published: May 2006

Did the Greeks, and in particular did the Homeric poets, associate Death with the Horse? The great importance, in the archaeology of art and religion, of all associations connected with the grave, will perhaps give interest to a somewhat full discussion of this question, or rather of the single piece of evidence, upon which, so far as concerns Homer, the question seems to turn. Did the poets describe Hades, lord of Death, as ‘lord of the goodly steeds’? Is this what they meant by κλυτόπωλος? It is the purpose of this paper to show that they did not, that this interpretation is involved in difficulties and impossibilities three-fold and four-fold, has for it neither reason nor authority, and must, with all that depends upon it, be given up.The first and perhaps sufficient objection is this. Before the epithet κλυτόπωλος could be referred to the horse, πῶλος it is plain, must have signified a horse. Now it is quite certain, though apparently not recognized, that to the composers of the Iliad and Odyssey no such word as πῶλος horse was known. They used, it is true, the word to which, by a stretch of meaning and for convenience, that sense was given by their imitators and successors; but they knew it only and strictly in what seems to have been its primitive and etymological sense, a foal, a young horse under the mother.
Pandora's Box
Authors: Harrison Jane E. 
Published: May 2006

No myth is more familiar than that of Pandora, none perhaps has been so completely misunderstood. Pandora is the first woman, the beautiful mischief: she opens the forbidden box, out comes every evil that flesh is heir to; hope only remains. The box of Pandora is proverbial, and that is the more remarkable as she never had a box at all.The myth of the making of Pandora we may reserve for the present and focus our attention on the famous ‘box.’ ‘Jupiter gave her a beautiful box,’ says Lemprière (p. 543). ‘In the house of Epimetheus was a closed jar;’ says the last edition of Smith's Classical Dictionary, but a little further down we read: ‘later writers relate that the box contained all the blessings of the gods.’ The reference given for this statement is Hyginus, Fab. cxlii., in which there is no mention whatever of any jar, casket or box, only an account of the creation and descendants of Pandora.
Cyzicus
Authors: de Rustafjaell Robert 
Published: May 2006

Whilst travelling in Asia Minor in 1900 I paid a cursory visit to the peninsula of Cyzicus on the Propontis, in ancient Mysia, and had the opportunity of examining the site of the ancient city, and the canal that has been the subject of considerable controversy in bygone ages, and about which the facts are still only partly ascertained. As the site appeared to promise results of peculiar interest, I applied for a concession to excavate it. I had the good fortune to obtain an Imperial Iradé in February, and began tentative operations in May.From the Admiralty Chart it will be seen that Cyzicus lies on the 30° long. east of Greenwich, and 40°22′ N. lat. and within easy reach of Constantinople. To Panderma there is practically a daily service of steamers, which leave Constantinople at sunset and arrive at about four o'clock the next morning. At Panderma a sailing-skiff takes one in about an hour across the bay to Yeni-Keui, the landing stage immediately outside the walls of the city.
A Foundation-Deposit Inscription from Abydos
Authors: Petrie W. M. Flinders 
Published: May 2006

While excavating on the temenos wall of the great temple of Sety I at Abydos in Upper Egypt, Mr. A. St. G. Caulfeild found the foundations of a stone pylon, a fragment of a great lintel, inscribed by Ptolemy IV, Philopator, and a small limestone block here figured.This block was probably a foundation-deposit; the inscription is incised; the surface has been gilded. It seems probable that it refers to the building by Philopator.
A Vase in Form of a Bust of Athene
Authors: Smith Cecil 
Published: May 2006

In the latter part of 1893 the British Museum acquired the Attic vase which is represented in Plate V. (E 716 of the new Catalogue). The photographic reduction barely serves to convey a summary impression of this finely conceived work, but can give no idea of the subtler refinement of modelling and surface, nor of the delicate colouring which is still fairly preserved, and which would defy reproduction in any process. It belongs to the class of vases which in the latter part of the fifth century came greatly in vogue in Attic pottery, and in which the front part is usually pressed in a mould, in the technique of terracotta statuettes, the back part is varnished and coloured like a red-figure vase of the period: the whole form is usually based on that of the aryballos or acorn-alabastron.The present instance is an aryballos in the form of a bust of Athene: it is nearly intact, the only part broken away being the calix-form lip of the vase. The height as it stands is 20 cm., and perhaps 2 more should be added for the missing lip. The bust, cut off immediately below the lower base of the breasts, rests on a plinth about 1 cm. high, which is varnished black in front, and at back is painted with a band of egg moulding. It is modelled entirely in the round, but the plain surface of the drapery falling from the crown of the head down the back, and the back of the helmet, are treated as the back of an ordinary red-figure vase, and are decorated with the patterns usual in this class of aryballos: the neck of the vase rises vertically out of the crown of the helmet, at the point where the support for the crest would naturally be attached, and the ribbed handle, springing from the upper part of it, broadly suggests the lines which the back part of such a crest would follow. The true crest has been treated in the conventional manner which is not unfrequently found in fifth century art adapted to helmets intended to be seen from the front; that is, it is bisected longitudinally, and the two sides are turned outwards to the front in such a way that they form a continuous crest extending from ear to ear; in this case they serve the double purpose of a screen to mark the neck and handle of the vase, and a division between the polychrome and varnished portions of this part of the vase.
A Flying Eros from the School of Praxiteles
Authors: Bienkowski P. 
Published: May 2006

The terracotta reproduced on Plate VIII. with the kind permission of Mr. A. S. Murray was acquired by the British Museum in the course of this year from Eretria, where it was found in a tomb. It measures together with the wings 1 ft. 9⅝ in. in height, and is composed of a greyish, fine-grained, well baked clay, which, as may be seen on the broken fingers of the left hand, shows a purplish tint when fractured.It is in perfect preservation, and the wings form an organic whole with the body. The delicacy of the modelling is especially conspicuous on the head and wings; at the same time it has suffered from a yellowish incrustation of some thickness. The whole statuette was covered in the first place with a lustrous white engobe; in addition the hair was painted red-brown, the wings green on the front side, the chlamys rose-colour, and the sandals purple; further, the tongue (lunula) of the sandals is yellow, or rather gilt.
A Marble Head from Cyprus
Authors: Markides M. 
Published: May 2006

The marble head which is described in the present paper, and which is represented in the accompanying Plate, was lately acquired by the Cyprus Museum, and now forms part of the collections which have at last found in the new building a home worthy of their great archaeological importance.The history of the head is somewhat obscure. According to the information I received, the head was lying for more than twenty years in the storehouse of a certain dyer in Nicosia, and was lately sold to a coffee-house keeper, from whom it was secured for the Museum. From the same dyer were bought about twenty years ago by Mr. E. Constantinides two marble statuettes, the provenance of which was given at the time as the site of the ancient Lapethos. It is therefore most probable that our head, as sharing with the two marble statuettes the imprisonment in the dyer's cellar, may have come from the same place, though of course this suggestion is by no means certain.
The Cup in The First Idyll of Theocritus
Authors: Gow A. S. F. 
Published: May 2006

The cup which the goatherd in the first Idyll of Theocritus gives to Daphnis as a reward for his song has not attracted very much attention either from commentators or archaeologists. Legrand is content to regard the description as a phantasy composed of reminiscences of various works of art strung together at random. Theocritus, he thinks, not only had no actual cup in his mind, but was even at no pains to visualise the work he describes; hence many of the details mentioned are unintelligible when the work is regarded as a whole, and it is useless to try to reconstruct a cup from the description.This is an extreme view. Brunn allows that the poet had some actual cup in his mind, but believes him to have transferred to it descriptions of other works of art, and to have confused the whole by the addition of decoration invented ‘nach seiner eigenen Phantasie.’ Stripped of these additions, the vessel was a bowl decorated on one side with the woman between her suitors, on the other with the boy in the vineyard, and in the interior with the fisherman.
The Owl of Athena
Authors: Douglas E. M. 
Published: May 2006

In the Archaeological Seminar at Upsala is a vase, presented by Dr. Nachmanson, the design on which is illustrated in Fig. 1. I forbear to discuss it in any other respect than that of the design, as Prof. Sam Wide, to whose kindness I owe the permission to use the illustration, reserves to himself the right of dealing with the vase fully in a subsequent publication.It is an amphora of good b.-f. style to be dated about 550 B.C., and the scene is framed in a border which displays along the top the maeander pattern and at the sides a double row of dots. In the centre of the scene is an altar towards which the priest advances from the left leading the ram he is about to sacrifice. He is a youthful male figure, draped only in his himation, and crowned with a wreath of olive. Beside the altar on the r. rises a slender column surmounted by a statue, the upper part of which disappears from our ken beyond the borders of the field; evidently the statue was not of paramount importance in the scene depicted.