Etruscan Vases Research Articles

Pottery workers, ‘the Ladies’, and ‘the Middling Class of people’: production and marketing of ‘Etruscan and Grecian vases’ at Wedgwood c.1760–1820*

Abstract Collections of Greek vases, and their reproductions in the form of luxury publications and vessels displayed atop bookshelves in libraries, were the domain of male elites in eighteenth- and nineteenth-century Britain. Less well explored is the consumption of creative reproductions of Greek vases by elite and ‘middling’ women, and the participation of women across the social spectrum in the production of ceramics inspired by Greek vases. This article uses the Wedgwood archive to tell such stories. The subjects range from aristocratic designers through paintresses to women doing the hard labour of wedging. It argues for the importance of recognizing these engagements with Greek vases as part of the history of the reception of Greek vases in Britain. It explores the way that gender and class constrained the kind of contact women had with these materials, and it puts forward an interpretation of these engagements as independent embodied knowledge of Greek vases.

The Mario Del Chiaro Photographic Archive of Etruscan Vase Painting at the Getty Research Institute

The Mario Del Chiaro Photographic Archive of Etruscan Vase Painting at the Getty Research Institute

Apolo e Mársias: certame ou duelo musical? abordagem mitológica da dualidade simbólica entre a Lýra e o Aulós

We study the mythological treatment of thesymbolic duality between the lýra and the aulos in the ancient Greek music. We analyze the mythological complex that includes the following narratives: a) the invention of the aulos and its later disposal by Athena, b) the adoption of the aulos by the Silenus Marsyas, and c) the musical duel between Apollo and Marsyas, and its consequences. We compare the mythological approach of this complex in the literary and graphic traditions. Concerning the literary tradition, we focus on the following authors: Pindar (Pythian, XII), Melanipides (ap. Athenaeus), Herodotus, Xenophon (Anabasis), Apollodorus (Library) and Ovid (Metamorphoses, Fasti). With respect to the iconographic tradition, we bring mainly the painting of Attic and Apulian vases, as well as the Etruscan vases and mirrors, besides the sculptural groups known by Pliny the Elder and Pausanias. The popularity of this mythological theme, in the literature as in the vase painting, leads us to the philosophical, pedagogic, political and esthetical debate covered by the symbolic dichotomy between aulos and lýra. And furthermore it is an important component of an allegedly hegemonic system of thought, characterized by normative goals concerning culture and social behavior.

Adorno'sComment C'est

According to Theodor Adorno, the modern artwork makes the beholder shudder and reflect, purging his habit of over-conceptualizing. Furthermore, although the modern artwork may seem incomprehensible and foreign to the beholder, it expresses only a simple message: “this is how it is.” The artwork is not in itself an imposition, demand, or confrontation, though it may have all of these effects. Ontologically, the artwork is an expression: “It is thus.” To avoid the trap of conceptualization, Adorno varies the concept-name of this simple expression throughout Aesthetic Theory—from Sosein (or So-und-nicht-anders-Seins) to So ist es (with some other variations: for example, the “Here I am” or “This is what I am” of Etruscan vases), and finally to “Comment c'est,” which Adorno equates with “that's what it's like out there” (“so geht es zu, so ist es draussen”) as well as with “how it is” (“wie es ist”). This concept-name at times appears demonstrative—“It is thus”—at times general—“how it is”—and at times self-referential—“here I am.”Although Adorno's English translator Hullot-Kentor notes that the meaning of Sosein for Adorno is equivalent to that of Beckett's “Comment c'est,” he refers to the French phrase as though it were a theoretical concept instead of the title of a prose work by Beckett published in 1961. In this essay I attempt to rectify that oversight by demonstrating that within Adorno's Aesthetic Theory Beckett's Comment c'est functions not as an artwork but as the slippage of the concept Sosein. Comment c'est remains a “comment c'est” for Adorno—not just an exemplum, or a reference, but something between a concept-name and an actual artwork: a “title” that reveals not only its own essence but also the essence of modern art. My analysis thus moves between reading Comment c'est as, on the one hand, a literalization of Adorno's ideas in Aesthetic Theory (in other words, as a kind of meta-text) and, on the other, as an exemplum of his views on the new, on unity and meaning, and on mimesis and expression. In doing so, I hope to deepen our understanding of the special place that Beckett occupies within Adorno's philosophy.

Vasos de bronce con asas ‘a kouroi’ en el Occidente arcaico a la luz de un nuevo ejemplar procedente de Cuenca

The identification of a new anthropomorphous handle allows to consider in a general way the distribution of this type of productions in the Iberian Peninsula as well as to outline some questions about the production shops, in Etruria, at the same the distribution systems and circulation of metallic vessels from the Italic Peninsula until the Iberian allong the archaism. In this way it is indispensable to treat the well known handles from Pozo Moro and Malaga as well as some other bronze etruscan vases.

The earliest foresail, on another Etruscan vase

International Journal of Nautical ArchaeologyVolume 28, Issue 3 p. 292-296 The earliest foresail, on another Etruscan vase J. MACINTOSH TURFA, J. MACINTOSH TURFA Department of Classical & Near Eastern Archaeology Bryn Mawr College, 101 N. Merion Avenue PA 19010-2899, USASearch for more papers by this authorA. G. STEINMAYER JR, A. G. STEINMAYER JR Department of Classical & Near Eastern Archaeology Bryn Mawr College, 101 N. Merion Avenue PA 19010-2899, USASearch for more papers by this author J. MACINTOSH TURFA, J. MACINTOSH TURFA Department of Classical & Near Eastern Archaeology Bryn Mawr College, 101 N. Merion Avenue PA 19010-2899, USASearch for more papers by this authorA. G. STEINMAYER JR, A. G. STEINMAYER JR Department of Classical & Near Eastern Archaeology Bryn Mawr College, 101 N. Merion Avenue PA 19010-2899, USASearch for more papers by this author First published: 22 February 2007 https://doi.org/10.1111/j.1095-9270.1999.tb00839.xCitations: 2AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Citing Literature Volume28, Issue3August 1999Pages 292-296 RelatedInformation

The earliest foresail, on another Etruscan vase

Presentation d'un vase etrusque du 7e siecle av. J.-C. decore d'une scene de bataille navale. Les auteurs etudient plus particulierement la conception des bateaux representes.

Sir William Hamilton's ‘Account of a Journey into the Province of Abruzzo’

Hamilton did this journey in May 1785. He was fifty-four, had been Ambassador at the Court of Naples for twenty years, and enjoyed some standing in the intellectual life of Europe as a connoisseur of classical antiquities (especially vases) and as a vulcanologist. His chief publications to date in either field were Etruscan Vases (4 volumes, 1767-76) and Campi Phlegraei (2 volumes and a supplement, 1776, 1779). This latter work, dealing mainly with the great eruptions of Vesuvius in 1767 and 1779, was a putting together of a series of letters to the Royal Society. Hamilton had been a member since 1766, and letters of his from Naples, addressed to the President, who after 1778 was his good friend Sir Joseph Banks, were quite often read out at the Society's London meetings. Most recently he had sent them an extraordinarily vivid autopsy of the devastation caused by the earthquake in Calabria and Sicily in February 1783. It seems likely that he intended to write up his travels in Abruzzo for them too; but in the event he sent only a very abbreviated account, merely including it in a letter whose main contents were the renewed and prolonged activity of Vesuvius from November 1784 till December 1785 and his visit, in August

Le souper grec de Mme Vigée Le Brun

Monique Mosser : Mme Vigée Le Brun's Greek supper. The famous woman painter Elizabeth Vigée Le Brun, who held an important Parisian artistic salon in the rue de Clery, attempted to reconstitute a Greek supper after the publication of J. -J. Barthelemy's novel Le Voyage du jeune Anacharsis en Grèce in 1788. She thus symbolises the emergence of a new type of social figure — the leader of fashion. The account of this social event given by the artist in her Souvenirs reveals the close link between art and fashion. Apart from the draperies amd Etruscan vases, the disposition of this dinner reproduces «attitudes » and «tableaux vivants » which are essential for an understanding of the evolution of painting and theatrical design on the eve of the Revolution. Thus, a simple dinner can become a manifesto of Neoclassical art at its zenith.

Cremation among the Lucanians

Cremation among the Lucanians

The Iron Age and Etruscan Vases in the Olcott Collection at Columbia University, New York. By Ingrid E. M. Edlund. Il "Gruppo Clusium" della Ceramografia Etrusca. By Maurizio Harari.

Previous articleNext article No AccessBook ReviewsThe Iron Age and Etruscan Vases in the Olcott Collection at Columbia University, New York. By Ingrid E. M. Edlund. Il "Gruppo Clusium" della Ceramografia Etrusca. By Maurizio Harari.Stockton H. GarverStockton H. Garver Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by American Journal of Archaeology Volume 86, Number 1January 1982 The journal of the Archaeological Institute of America Article DOIhttps://doi.org/10.2307/504314 Copyright © 1982 by the Archaeological Institute of America. All rights reserved.PDF download Crossref reports no articles citing this article.

The Iron Age and Etruscan Vases in the Olcott Collection at Columbia University, New York

The Iron Age and Etruscan Vases in the Olcott Collection at Columbia University, New York

Etruscan and Faliscan Vases in the World Heritage Museum, University of Illinois at Urbana-Champaign

Etruscan and Faliscan Vases in the World Heritage Museum, University of Illinois at Urbana-Champaign

Etruscan Vases at San Simeon

Among the many examples of classical antiquities per manently exhibited in the Hearst San Simeon State Historical Monument, six products-five vases and an engraved bronze cista are attributable to Etruscan workmanship.1 Exclusive of the cista,2 the vases clearly illustrate some of the major wares, vase-types, and techniques known to Etruscan potters and vase-painters of the seventh through the fourth century B.C.; namely, impasto, bucchero, and red figured wares, vases in plastic form, and decoration executed by stamping, incising, or painting.

A New Pontic Amphora

The amphora here published (Plates XLIII–XLIV) was acquired for the Reading University collection on the London market in 1947. Nothing is known of its provenance. A detailed description with full illustrations will be given in the first Reading fascicule of the Corpus Vasorum, but so notable an addition to the Pontie series (to keep this convenient and generally used name for these vases which are now universally agreed to have been made in Etruria) calls for more comment than is desirable in a Corpus publication. The vase has a triple interest: it has unique pictures of scenes from the Troilus story, it affords new material for the study of the Pontic series, and it helps to connect Etruscan vase paintings with the wall paintings of Etruscan tombs. It thus provides a new item in a group of monuments which I have long believed to have been the source of a whole series of statements about the history of the Tarquin family which were dismissed by historians of the last century as obvious inventions, but which are in all probability the only statements about them which are in fact based on contemporary sources, that is to say, the archaeological material of which we can now speak with some assurance thanks to the work of Beazley and members of his school.To begin with the pictures on our vase. When I first saw it the gaily coloured pictures at once recalled the painting of Achilles lurking behind the fountain on the wall of the Tomba dei Tori at Tarquinia. The interpretation of the actual scene I owe to Beazley, who has described it with his usual pregnant brevity in Etruscan Vase Painting2 as ‘a unique representation, in a furious style, of Achilles carrying Troilos to the altar of Apollo’ (Plates XLIII, b and XLIV, a). This final scene of the Troilus tragedy appears comparatively seldom on vase paintings, and, where it does occur, never, as far as I am aware, depicts this precise moment. Generally Achilles has reached the altar and Troilus is either being killed or has been killed already.

A Sakonides in Sydney

Of the four cups signed by the painter Sakonides (ABS pp. 16–17 note 3; JHS 52 p. 201; Rumpf, Sakonides) two—those in Munich and Berlin—are lip-cups decorated on each half of the exterior with a female head in outline—‘ head-cups ’ (JHS 52 pp. 174–5) or ‘ little mistress cups ’ (AJA 1927 p. 346). Other head-cups, unsigned, are in the same style and must be by the same hand (ABS loc. cit. and JHS 52 p. 201). A cup in Sydney is also by Sakonides. It is described by Louisa Macdonald in the Catalogue of Greek and Etruscan Vases in the Nicholson Museum, University of Sydney (Sydney, 1898: no. 39), and I owe a photograph, and permission to publish it, to the kindness of Prof. J. Enoch Powell (Fig. I). It is specially close to the unsigned side of the Munich cup (Rumpf Sakonides pl. 28, d) and to cups in London (B 402 : CV He pl. 12, 10) and Orvieto (291: phot. Armoni, whence Rumpf pl. 28, b). One of the particulars it shares with them is the small reserved space right in the middle of the lower termination of the peplos: it represents the bare arm, as may be seen from the London cup B 401 (CV He pl. 14, 9), but seems strangely misplaced. The inscription on the Sydney cup, +ΑΙΡΕΚΑΙΓΙΕΙΤΕΔΙ, recurs on the signed cup in Munich, as well as on contemporary cups in Cambridge and the Vatican (see Raccolta Guglielmi p. 54).

Prehistoric Aegean Pottery. Catalogue of the Greek and Etruscan Vases in the British Museum. Vol. I. Part I. By E. J. ForsdykeM.A., F.S.A., Assistant Keeper in the Department of Greek and Roman Antiquities. London: The British Museum; Oxford University Press, etc. 1925. £2 5s.

Prehistoric Aegean Pottery. Catalogue of the Greek and Etruscan Vases in the British Museum. Vol. I. Part I. By E. J. ForsdykeM.A., F.S.A., Assistant Keeper in the Department of Greek and Roman Antiquities. London: The British Museum; Oxford University Press, etc. 1925. £2 5s. - Volume 45 Issue 2

Catalogue of the Greek and Etruscan Vases in the British Museum. Vol. I, Part II—Cypriote, Italian, and Etruscan Pottery. By H. B. Walters, M.A., F.S.A. Pp. xxxii + 276; 34 Plates. London, 1912.

Catalogue of the Greek and Etruscan Vases in the British Museum. Vol. I, Part II—Cypriote, Italian, and Etruscan Pottery. By H. B. Walters, M.A., F.S.A. Pp. xxxii + 276; 34 Plates. London, 1912.

Soap-Bubbles

SOAP-BUBBLES fill the same happy position as do those charming books in which Lewis Carroll describes the adventures of Alice, in that they serve equally to delight the young and to attract the old. Clerk-Maxwell has mentioned the fact that on an Etruscan vase in the Louvre are seen the figures of children amusing themselves with bubbles, while to-day the same subject is being forced on the attention of the world by a strange development of modern enterprise. On the other hand, the bubble has occupied the minds of scientific men of all times. Sir Isaac Newton, Sir David Brewster, and Faraday, not to mention many others, devoted themselves to the soap-bubble as a means for investigating the subtleties of light. Plateau a few years ago delighted men of science with that wonderful book in which he, a blind man, expounded, in the clearest and most elegant manner, the result of years of labour on this one subject. Lately, Profs. Reinold and Rücker have employed the soap-film in investigations which tend to throw more light on the molecular constitution of bodies. These experiments will be remembered by all who saw them as being no less beautiful than instructive. The latest experiments with bubbles, which were shown by Mr. C. V. Boys to the Physical Society and at the Royal Society conversazione, and of which a full account is to be found in the May number of the Philosophical Magazine, depend upon no property which is not well known, and, unlike those referred to above,are not intended to increase our scientific knowledge; and yet no one would have ventured to predict that bubbles would submit to the treatment described in the paper, or would have expected such simple means to produce such beautiful results.

Statique expérimentale et théorique des Liquides soumis aux seules Forces moléculaires

ON an Etruscan vase in the Louvre figures ot children are seen blowing bubbles. Those children probably enjoyed their occupation just as modern children do. Our admiration of the beautiful and delicate forms, growing and developing themselves, the feeling that it is our breath which is turning dirty soapsuds into spheres of splendour, the fear lest by an irreverent touch we may cause the gorgeous vision to vanish with a sputter of soapy water in our eyes, our wistful gaze as we watch the perfected bubble when it sails away from the pipe's mouth to join, somewhere in the sky, all the other beautiful things that have vanished be fore it, assure us that, whatever our nominal age may be-we are of the same family as those Etruscan children. Statique experimentale et theorique des Liquides soumis aux seules Forces moleculaires. Par J. Plateau, Professeur a l'Universite de Gand, c London, Trubner & Co.; Gand et Leipzig, F. Clemm. 1873.)