Decoration: A: WEDDING PREPARATIONS, BRIDE ALKESTIS LEANING ON KLINE, WOMEN, ONE SEATED WITH BIRD, ONE WITH SPRIGS AT LEBES, LOUTROPHOROS, WREATHS AND MIRROR SUSPENDED, COLUMN, DOORS (ALL NAMED) B: BRIDE HARMONIA SEATED, APHRODITE SEATED, EROS WITH BOXES, HIMEROS SEATED ON CHAIR, WITH LOUTROPHOROS, WOMEN (ALL NAMED, PEITHO, PERSEPHONE, HEBE), WREATH SUSPENDED, COLUMN C: PELEUS AND THETIS, WRESTLING, SNAKE (?), NEREUS, NEREIDS FLEEING (ALL NAMED) Figure: BUST OF WOMAN
Last Recorded Collection: Athens, National Museum: 1629
Previous Collections:
Athens, National Museum: CC1528
Publication Record: Antike Kunst: 49 (2006) PL.9.5 (A) Archaeology: MAY/JUNE 1988, 35 (PART) Archeo, Attualita di Passato: 164 (OCTOBER 1998) 102-103 BOTTOM (COLOUR OF A) Archivo Espanol de Arqueologia: 56 (1983), 65, FIGS.14A-B (A,B) Archäologischer Anzeiger: (2012) 19, FIG.9 (A) Barringer, J.M., The Art and Archaeology of Ancient Greece (Cambridge, 2014): 259, FIG.4.71A-B (COLOUR OF A AND B) Barta, H., Graeca non leguntur? Zu den Ursprüngen des europäischen Rechts im antiken Griechenland, Band II, Archaische Grundlagen (Wiesbaden, 2011): PART 2, 17, FIG.1 (A, PART OF C, FIG) Baumann, H., Greek Wild Flowers and plant lore in ancient Greece (Munich, 1993): 80, FIG.142 (A) Beazley, J.D., Attic Red-Figure Vase-Painters, 2nd edition (Oxford, 1963): 1250.34 , 1688 Beazley, J.D., Attische Vasenmaler des rotfigurigen Stils (Tübingen, 1925): 429.1 Beazley, J.D., Paralipomena (Oxford, 1971): 469 Bellia, A. (ed.), Musica, culti e riti nell'occidente greco (Pisa and Rome, 2014): 284, FIG.1 (A) Boardman, J. (ed.), Cambridge Ancient History, Plates to Volumes 5 & 6 (Cambridge, 1995): 39, FIG.44 (PART) Boardman, J., Athenian Red Figure Vases, The Classical Period (London, 1989): FIG.235 Boardman, J., The history of Greek vases, potters, painters and pictures (London, 2001): 267, FIG.298 (B) Brule, P., Women of Ancient Greece (Edinburgh, 2003): 146 (A) Bundrick, S.D., Music and Image in Classical Athens (Cambridge, 2005): 193, FIG.110 (B, PART OF C) Carpenter, T.H., with Mannack, T. and Mendonca, M., Beazley Addenda, 2nd edition (Oxford, 1989): 354 Carroll-Spillecke, M., Kipos, der antike griechische Garten, Wohnen in der klassischen Polis III (Munich, 1989): 48, FIG.22 (A) Cavalier, O. (ed.), Silence et Fureur, La femme et le marriage en Grece, Les antiquites grecques du Musee Calvet (Avignon, ca.1997): 231, FIGS.94-94BIS (PART OF A, DRAWING OF PART OF B) Cite sous terre, Des archeologues suisses explorent la cite grecque d'Eretrie, Une exposition realisee par l'Ecole suisse d'archeologie en Grece, en collaboration avec l'Antikenmuseum Basel und Sammlung Ludwig (Basel, 2010): 131, 270 (COLOUR OF A, FIG AND PARTS OF C) Cohen, B., The Colours of Clay, Special Techniques in Athenian Vases (Los Angeles, 2006): 158, FIG.8 (COLOUR OF A) Duby, G., Perrot, M. (eds.), Histoire des femmes (Plon, 1991): 179, FIG.10 (A,B) Dugas, C., Aison et la peinture ceramique a Athenes a l'epoque de Pericles (Paris, 1930): 73, FIG.14 (A) Ephemeris Archaiologike: 1897, PLS.9-10 Fantham, E. et al., Women in the Classical World, Image and Text (New York, 1994): 101, FIG.3.15 (A) Froning, H., Hölscher, T., and Mielsch, H. (eds.), Kotinos, Festschrift für Erika Simon (Mainz, 1992): PL.48 (DRAWING) Heinrich, F., Das Epinetron, Aspekte der weiblichen Lebenswelt im Spiegel eines Arbeitsgeräts (Rahden, 2006): PLS.16.4-17.4 (A, B, PART OF C, FIG, PARTS) Hephaistos: 14 (1996) 89, FIG.6 (A) Immerwahr, H., Attic Script, A Survey (Oxford, 1990): PLS.34.141, 35.142-144 James, S.L. and Dillon, S. (eds.), A companion to women in the ancient world (Malden, 2012): 142, FIG.10.1 (A, PART OF C AND FIG) Kaltsas, N. (ed.), Athens-Sparta (New York, 2006): 109, FIG.4 (COLOUR OF A, FIG AND PART OF C) Ktema: 15 (1990) PL.2.6 AT P.194 (A) Kunze-Götte, E., Myrte (Kilchberg, 2006): 88, FIG.37 (PART OF A) Kéi, N., L'esthétique des fleurs, kosmos, poikilia et kharis dans la céramique attique du VIe et du Ve siècle av. n. ère, ICON 22 (Berlin and Boston, 2022): 240, FIG.191 (B) Lexicon Iconographicum Mythologiae Classicae: VI, PL.527, NEREUS 86 (C); PL.229, MELITE I 3 (PART OF C) Lexicon Iconographicum Mythologiae Classicae: VII, PL.178, PEITHO 6 (B), PL.199, PELEUS 172 (PART) Lezzi-Hafter, A., Der Eretria-Maler, Werke und Weggefährten (Mainz, 1988): PLS.168-69, NO.257 Manakidou, E. and Avramidou, A. (eds.), I keramiki tis klasikis epochis sto voreio Agaio kai tin periphereia tou (480-323/300 BC)/Classical Pottery of the Northern Aegean and its periphery (480-323/300 B.C.) (Thessaloniki 2019): 197, FIG.13 (PART OF A) Marconi, C. (ed.), Greek Vases, Images, Contexts and Controversies (Leiden and Boston, 2004): FIGS.8.1-5 Meyer, M. and von den Hoff, R. (eds.), Helden wie sie. Übermensch, Vorbild, Kultfigur in der griechischen Antike (Vienna, 2010): 111, FIG.2 (A) Mösch-Klingele, R., Die loutrophoros im Hochzeits- und Begräbnisritual des 5. Jahrhunderts v. Chr. in Athen, Echo 6 (Berne, 2006): FIG.33 (A) Neils, J., The Parthenon Frieze (Cambridge, 2001): 167, FIG.126 (A) Pfuhl, E., Malerei und Zeichnung der Griechen (Munich, 1923): FIG.561 Phoenix, Classical Association of Canada: 62 (2008) FIG.5 (DRAWING OF A AND B) Plantzos, D., Greek Art and Archaeology, c. 1100-30 BC (Athens, 2016): 181, FIGS.333-334 (COLOUR OF A AND PART OF A) Reitzammer, L, The Athenian Adonia in Context, The Adonis Festival as Cultural Practice. Wisconsin studies in classics (Madison and London, 2016): 126, FIG.4 (PART) Rosenzweig, R., Worshipping Aphrodite, Art and Cult in Classical Athens (Ann Arbor, 2004): FIG.11 (B) Schefold, K. and Jung, F., Die Urkönige, Perseus, Bellerophon, Herakles und Theseus in der klassischen und hellenistischen Kunst (Munich, 1988): 38, FIG.28, 178, FIG.216 Schmidt, S., Rhetorische Bilder auf attischen Vasen, Visuelle Kommunikation im 5. Jahrhundert v. Chr. (Berlin, 2005): 75, FIG.39 (A, PARTS OF C AND FIG) Shapiro, H.A., Personifications in Greek Art, The Representation of Abstract Concepts 600-400 BC (Zurich, 1993): 105, FIG.58 (B) Smith, A.C., Polis and Personification in Classical Athenian Art (Leiden, 2011): FIG.5.6 (B) Sparkes, B.A. and Talcott, L., Pots and Pans of Classical Athens, American School of Classical Studies at Athens (Princeton, 1977): FIG.54 (PART OF B) Sparkes, B.A., The Red and the Black (London, 1996): 71, FIG.III.4 (A) Specht, E., Schön zu sein und gut zu sein, Mädchenbildung und Frauensozialisation im antiken Griechenland, Frauenforschung 9 (Vienna, 1989): 122, FIG.16 (B) Stansbury-O'Donnell, M.D., A History of Greek Art (Oxford, 2015): 260, FIG.10.24 (COLOUR OF B) Tiverios, M.A., Elliniki techni, archaia angaia (Athens, 1996): 184-185, FIGS.167-168 (COLOUR OF A AND PART OF A) Woodford, S., An Introduction to Greek Art. Sculpture and Vase Painting in the Archaic and Classical Periods. 2nd edition (London, 2015): 143, FIG.213 (B) Xenia Antiqua: 2 (1993) 42, FIG.16 (A)
CAVI Footnotes: {1} Slightly different readings in the cat. of Lezzi-Hafter: B: [A in L.-H.]:
[Π]ειθο. A: [B in L.-H.]: Θεω. Χ̣α̣ρ̣ις. Θ[ε]ανο. Αστερ̣ο[π]ε. Ιππολυτε.
Αλκ̣[εσ]τ[ις]. [This is the complete list for this side.] C: N?ερευς̣.
CAVI Comments: Not all readings are certain. Here given after AttScr. Beazley in ARV[2]
points out that the names of Harmonia and Peitho are interchanged (caused by
misapplication of Harmonia?). In J.D. Beazley, CVA Oxford 1, Great Britain 3
(1927), on pl. 40,305 [Oxford 537], he says that the name Θεανω occurs on the
epinetron; this must be the inscription I give after Collignon-Couve as Ερανω.
For Theano see Oxford 537. - Robertson, Robertson (1992), 230-231 discusses the
names. Esp.: Kore, here a maiden of Harmonia (the bride). The side with Harmonia
is mythical, that with Alcestis from ordinary life; Hippolyte may be the bride's
mother. - Shapiro (1993), 105-106: B: Aphrodite presides at far left as mother
of bride. Eros holds a jewelry box and A. takes what is probably Harmonia's
fateful necklace. At the other end Hebe confronts Himeros: her association with
Harmonia and Aphrodite goes back to the Hymn to Apollo 195. In the center,
Harmonia is attended by Peitho and Kore. See Shapiro (1986), 15. Harmonia is
portrayed as the hesitant bride being comforted by Aphrodite and Peitho. The
vase combines the bride of Cadmus with the offspring of Aphrodite (Shapiro). A:
represents the Epaulia with women bringing gifts. - Burn: Harmonia more the
mythical bride of Cadmus than the personification; however, the actual bride may
be Peitho rather than Harmonia [following Beazley, I think?].- O. and S. rightly
reverse A and B, for the order of the wedding is: conquest of bride (end panel);
preparations for wedding (Hermonia panel) and epaulia (day after, Alcestis
panel). Mixed alphabet. Omega and lambda Ionic, epsilon for eta and sigma Attic.
Syllabic heta: h = he.
CAVI Number: 0804
AVI Bibliography: ARV[2] (1963), 1250/34, 1688. — Para. (1971), 469. — Shapiro (1986), 15. —
Burn (1987), 35 and n. 47. — Lezzi-Hafter (1988), 253-62 (chapter 11), 347/257,
pls. 168-69. — Add.[2] (1989), 354 (much bibl.). — AttScr (1990), no. 798, figs.
141-44 (photos). — Oakley–Sinos (1993), 40-42, figs. 128-30 (phs. of A and B;
dr. of end panel after Eph. 1897, pl. 9,1.). — Shapiro (1993), 241/47, 105, fig.
58 (B) (vast bibl.).
CAVI / AVI Data from Henry Immerwahr's Corpus of Attic Vase Inscriptions (CAVI), updated by Rudoph Wachter's Attic Vase Inscriptions (AVI)
