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Lekythos

A lekythos (plural: lekythoi) is a distinctive ancient Greek pottery vessel characterized by its tall, slender, cylindrical body, narrow neck, single looping handle, and flat base, designed primarily as an oil flask for holding olive oil, perfumes, or ointments.^[1]^[2] Originating in the Archaic period around the mid-6th century BCE, lekythoi evolved significantly in Attic workshops during the Archaic and Classical eras (ca. 600–300 BCE), becoming a staple of Athenian pottery production with refined shapes and decorative techniques.^[3]^[4] They served practical daily functions, such as storing oil for personal use at baths and gymnasiums, but gained prominence in funerary rituals as grave offerings, libation vessels, or even substitutes for gravestones, often containing oil poured during mourning ceremonies or cremations.^[5]^[2] Lekythoi are renowned for their painted decorations, which varied by technique and reflected evolving artistic styles: early black-figure examples from the 6th century BCE featured silhouetted figures incised through black slip to reveal red clay beneath, depicting domestic scenes like women preparing wool; by the early 5th century BCE, the white-ground technique emerged, applying a white clay slip over the body for more delicate, colorful outlines and added details, almost exclusively reserved for funerary-themed lekythoi showing mourners at graves, mythological journeys to the underworld, or symbolic gestures of farewell.^[1]^[6] This shift highlighted their cultural role in visualizing death and remembrance in Athenian society, with thousands unearthed from graves across Greece and beyond, underscoring their ubiquity in classical burial practices.^[2] Larger marble versions also appeared in the 4th century BCE as monumental grave markers, adapting the form to sculptural memorials with inscribed epitaphs and relief scenes of the deceased.^[5]

Historical Development

Origins and Chronology

The lekythos traces its roots to simple oil containers in Minoan and Mycenaean traditions, where pottery forms for storing and pouring olive oil emerged as essential household items during the Bronze Age. These early vessels, often bulbous or flask-like, provided foundational designs for later Greek adaptations, emphasizing functionality for oil in daily rituals, anointing, and trade. By the Geometric period around 700 BCE, precursors appeared in Attic pottery as elongated, handled flasks with minimal decoration, reflecting a continuity from Mycenaean styles amid the post-palatial recovery of Greek ceramic production.^[3]^[7] The distinct lekythos shape first materialized in Corinth around 650 BCE during the Orientalizing period, where potters developed narrow-necked, single-handled oil flasks influenced by Eastern prototypes like Phoenician flasks, adapting them to Greek needs for compact oil storage in athletic, grooming, and ceremonial contexts. This innovation marked a shift from broader Geometric oinochoai and aryballoi, with Corinthian examples featuring incised linear motifs on a light clay body. The form's introduction aligned with increased maritime trade, incorporating Levantine elements such as streamlined profiles for easier transport.^[8]^[9] By 600 BCE, the lekythos spread to Athens, evolving into the shouldered type with a tapering body, and reached its early peak in the Attic black-figure style circa 590 BCE. Workshops near the Dipylon gate produced initial examples, such as small-scale flasks with figural scenes of daily life or myths incised before firing, establishing the lekythos as a staple of Attic export ware. Initial shipments to Etruria began around this time, with black-figure lekythoi appearing in Italic tombs by the early 6th century BCE, signaling the vessel's role in broader Mediterranean exchange networks.^[3]^[10]

Evolution Through Periods

The lekythos reached its peak popularity in 5th-century BCE Athens, where hundreds of examples, particularly white-ground variants, have survived, reflecting a shift from everyday oil storage to predominantly funerary applications by around 440 BCE.^[11]^[12] Initially produced for export without strong local demand, these vessels became integral to Athenian burial rites post-430 BCE, often deposited in graves as symbols of mourning rather than functional containers.^[12] The introduction of the red-figure technique around 530 BCE marked a significant advancement for lekythos decoration, allowing for greater detail in figural scenes compared to earlier black-figure styles.^[13] By approximately 500 BCE, the white-ground technique emerged, primarily on lekythoi, enabling refined, outline-based designs with added white slip for flesh tones and monochromatic effects that emphasized funerary themes.^[14] This evolution culminated in the late 5th century, with workshops like those of the Achilles Painter producing delicate, polychrome-enhanced pieces using post-firing colors for enhanced realism.^[14] In the Hellenistic period (4th–1st century BCE), lekythos forms adapted regionally, especially in South Italian workshops, where Apulian examples incorporated added white for figural details and gilding on relief elements like jewelry and wings to evoke luxury and sculptural influences.^[14] These variations, often in squat shapes with Kerch-style polychromy, extended the vessel's use in tomb contexts across Magna Graecia.^[15] By the 3rd century BCE, the painted terracotta lekythos declined amid broader shifts in Greek pottery production and rising Roman cultural influences, which favored imported or localized forms. The type persisted in terracotta for ritual purposes and evolved into monumental stone versions, such as marble lekythoi, which continued as grave markers into the Roman imperial period.^[16]

Physical Characteristics

Shape and Form Variations

Lekythoi exhibit a range of primary shapes adapted to their roles as oil containers, with the most common being the cylindrical form, which features a tall, slender body typically measuring 30-50 cm in height and a broad, elongated profile suitable for holding larger volumes of oil.^[8] Some cylindrical lekythoi include a smaller inner chamber to contain the oil. This shape, emerging around 530 BCE, includes an oval body, narrow round mouth, short neck, and an oblique shoulder, often resting on a disk foot. In contrast, the shoulder lekythos, popular from approximately 570-560 BCE, is more compact and slender at about 20 cm tall, characterized by a scooped mouth, narrow neck, sharply angled shoulder, and a bulbous, swollen body transitioning to an echinus foot, emphasizing a pronounced division between the neck and body. The squat lekythos, dating to the late fifth century BCE, is notably compact under 20 cm in height, with a large flared mouth, ovoid body, and ring foot, designed for easier portability and often used as grave goods from the late fifth century BCE onward. Regional variants introduce further diversity, such as the Deianeira type, an Attic form from the early sixth century BCE with regional variants in Corinth, which measures around 25-30 cm and features an ovoid, globular body, short dipped mouth, and echinus foot, reflecting local adaptations of Attic influences.^[17] Rarer forms include the acorn-shaped lekythos, distinguished by its bulbous base mimicking the cup of an acorn and a narrower upper section, produced in limited numbers during the fifth century BCE for specialized uses.^[18] Additionally, plastic lekythoi adopt anthropomorphic or zoomorphic designs, such as head-shaped vessels depicting female faces or animal forms like birds, molded in terracotta to integrate figural elements directly into the structure, primarily from Attic workshops in the fifth to fourth centuries BCE. A defining structural feature across most lekythoi is the single vertical handle, positioned from the neck to the shoulder, which facilitates controlled pouring of oils without spillage.^[8] Mouth variations complement these forms: cylindrical types typically have a narrow, deep mouth for precise dispensing, while shoulder and squat variants often feature wider, flared mouths to accommodate quicker access to contents. Size ranges among lekythoi span from miniature examples, 5-10 cm tall, serving as modest grave goods in child burials or simple offerings, to monumental "giant" versions exceeding 1 m in height, employed as funerary markers in the late fifth and early fourth centuries BCE to evoke stelae-like memorials.^[19] These extremes highlight the versatility of the lekythos form in both everyday and ritual contexts.^[16]

Materials and Manufacturing

Lekythoi were primarily crafted from fine Attic clay, a high-quality terracotta valued for its plasticity and iron content, which produced the characteristic orange-red hue after firing.^[20] This clay was sourced locally from deposits near Athens, ensuring consistency in production for the slender, oil-holding vessels. In earlier Corinthian examples from the late 7th to 6th centuries BCE, potters used a finer, yellowish clay that allowed for intricate detailing on small-scale forms, differing from the coarser clays employed in some proto-Corinthian prototypes.^[21] Later periods saw alternatives such as marble for monumental funerary lekythoi in the 4th century BCE, carved to mimic pottery shapes while symbolizing permanence.^[22] The manufacturing process began with preparing the clay by wedging to remove air pockets, followed by wheel-throwing to form the ovoid body and narrow neck, achieving the precise proportions essential for the vessel's function.^[23] Handles were typically hand-coiled or pulled from the same clay and attached while leather-hard, ensuring a secure bond before drying. A thin slip—a refined clay suspension—was applied as a base coat for decoration, particularly in black-figure and red-figure techniques, to create a smooth surface for painting. Assembly emphasized thin walls to maintain lightness without compromising structural integrity, with the interior often coated in a glossy black slip to seal porosity and prevent oil absorption or leakage.^[13] Firing occurred in updraft kilns using a three-phase process to achieve the desired coloration and vitrification. In the initial oxidizing phase, temperatures reached approximately 800–900°C, turning the clay red and the iron-rich slip black. A reducing phase followed at 900–950°C, where limited oxygen caused the slip to vitrify into a glossy black through iron reduction, while the body remained red. Re-oxidation at around 800°C then restored the body's color, locking in the contrast. This method, peaking at 900–1000°C overall, ensured durability for oil storage.^[24] Mass production in areas like the Athenian Kerameikos quarter facilitated standardization, with workshops firing multiple vessels simultaneously.^[25] Period-specific variations included coarser clay mixtures in early Corinthian lekythoi for robustness in export-oriented production, evolving to the refined Attic clay by the 6th century BCE for superior finish. White-ground lekythoi, prominent in the 5th century BCE, incorporated a kaolin-rich slip or gypsum coating applied before or after firing to yield a pale, ivory-like background, enhancing the vessel's funerary elegance without altering the core clay body. These adaptations balanced aesthetic appeal with practical oil containment, underscoring the technical evolution in Greek pottery.^[26]^[27]

Decoration and Styles

Techniques and Methods

The decoration of lekythoi primarily employed three major painting techniques in ancient Athenian pottery production: black-figure, red-figure, and white-ground, each involving specific surface preparation, application of slips and paints, and multi-stage firing processes to achieve contrasting colors and glossy finishes.^[13]^[28]^[25] In the black-figure technique, predominant before approximately 530 BCE, potters prepared the vase surface by smoothing the natural clay body and applying a fine iron-rich slip (typically 10–40 µm thick) to outline figural and ornamental motifs, while leaving the background as the reserved clay color. Details such as anatomical features or drapery were incised through the slip using sharp tools to reveal the underlying clay, and occasional added colors like white or purple were applied for highlights. The vessel was then fired in a three-phase process in a kiln reaching 850–1000°C: initial oxidation to turn the clay reddish, reduction in a smoky atmosphere to blacken the slip via chemical reactions forming magnetite and hercynite, and final re-oxidation to restore the reserved areas to orange-red while maintaining the glossy black gloss on thicker slip layers. This method suited early lekythoi with dense, silhouetted figural scenes on the shoulder or body.^[13]^[25] The red-figure technique, introduced around 530 BCE and increasingly used thereafter, reversed the black-figure approach by reserving the natural clay color for figural motifs and applying the iron-rich black slip only to the background. Surface preparation mirrored black-figure, with the slip painted to fill non-figural areas, followed by outlining figures with thin relief lines of dilute gloss or thicker contour lines for definition, enabling more naturalistic rendering of internal details like muscles or folds in garments without incision. Firing followed the same three-stage oxidizing-reducing-re-oxidizing cycle at 900–1050°C, producing a glossy black background against the reserved red figures, which could be further enhanced with dilute washes in shades from golden-orange to brown. On lekythoi, this technique allowed for finer, more dynamic compositions, gradually supplanting black-figure by the late 6th century BCE.^[13]^[25] From the 5th century BCE onward, the white-ground technique became prominent, particularly for lekythoi, involving the application of a white slip base—composed of kaolinite, calcite, gypsum, or talc—over the prepared clay surface to create a pale, chalky or creamy canvas resembling panel painting. Decoration used black gloss for outlines, dilute slips in red, brown, or yellow for shading and flesh tones, and post-firing application of translucent tempera-like paints (e.g., cinnabar red, Egyptian blue, or ocher) for polychrome effects, often at lower temperatures of 750–900°C to preserve fugitive colors, though a second firing was sometimes used. Due to the cylindrical shape and rear handle obstructing access, decoration was typically applied to one side only, focusing on the frontal panel. This method's delicacy limited its durability, making it ideal for short-term uses like grave offerings.^[28]^[25]^[29] Supplementary methods enhanced these primary techniques across lekythoi types. Added clay in white or gilt form created raised highlights for elements like jewelry, wreaths, or figures, applied before firing and often gilded post-firing for metallic sheen. Relief decoration appeared in plastic variants, with molded three-dimensional features up to 3 mm deep, such as protomes or vegetation, formed on the leather-hard clay. Incising and stamping provided additional patterning: incising for fine lines or signatures through slips, and stamping for repetitive motifs like dots or rosettes impressed into the surface before painting. These approaches, peaking in the Classical period, added textural and chromatic variety without altering core firing processes.^[28]^[25]

Iconographic Themes

The decoration of lekythoi frequently featured recurring motifs that reflected both the vessel's practical role in oil storage and its deeper cultural associations with mortality and the afterlife. Funerary scenes predominated, particularly on later examples, depicting mourners visiting tombs, prothesis rituals where the deceased was laid out, and the soul's journey guided by figures such as Charon the ferryman or Hermes the psychopomp. These scenes often showed women as primary mourners, carrying offerings like baskets filled with lekythoi, ribbons, or wreaths to steles marking graves, emphasizing themes of remembrance and farewell. Daily life motifs appeared more commonly on earlier vessels, illustrating intimate domestic activities such as women fetching water at fountains or men engaged in athletic exercises, which highlighted gendered social roles and routines. Mythological figures also recurred, including heroes like Achilles in battle or departure scenes and hybrid creatures such as sirens, symbolizing temptation or the perils of the underworld.^[30]^[31]^[30] The iconography of lekythoi evolved significantly across stylistic periods, mirroring shifts in artistic focus and societal attitudes toward death. In the black-figure technique of the late sixth and early fifth centuries BCE, decorations often consisted of multiple friezes encircling the body, presenting a variety of lively scenes from mythology, such as Dionysiac revels or heroic exploits, interspersed with daily life vignettes like courtship or hunting, creating a narrative abundance. By the mid-fifth century BCE, the white-ground technique introduced a more restrained approach, typically featuring a single, somber panel on the shoulder that concentrated on funerary themes, such as quiet tomb visits or the deceased's departure, to evoke introspection and the finality of death rather than heroic vitality. This transition underscored a growing emphasis on the afterlife and personal loss, with explicit funerary imagery becoming nearly exclusive in later white-ground examples.^[32]^[33] Symbolic elements enriched these motifs, linking the lekythos's form and function to metaphysical concepts. The act of pouring oil from the vessel symbolized anointing the body or soul in funerary rites, representing purification and preparation for the journey to the underworld, as lekythoi were used to hold perfumed oils applied during prothesis. Offerings like pomegranates or eggs, often held by mourners, carried connotations of rebirth and fertility, evoking cycles of life and death amid the grief of loss.^[30] Gender-specific imagery further layered meaning, with white-ground lekythoi predominantly portraying women in intimate, empathetic roles—such as adjusting veils or pouring libations—reflecting Athenian ideals of female piety in mourning rituals.^[30] Regional variations in lekythos iconography highlighted local cultural influences while adapting Attic prototypes. Attic productions emphasized intimate, emotionally charged scenes of family and personal farewell, fostering a sense of quiet domesticity in the face of death. In contrast, South Italian workshops, particularly in Apulia and Campania, incorporated theatrical elements inspired by satyr plays and comedy, featuring lively depictions of satyrs dancing or Dionysiac processions that infused funerary motifs with exuberant, performative energy.^[30]^[34]^[35]

Functions and Significance

Practical Uses

Lekythoi primarily functioned as slender flasks for storing and dispensing olive oil, which was essential for personal hygiene, cosmetics, and grooming in ancient Greek households. The narrow neck and single handle allowed for precise pouring of the viscous oil, often perfumed, to anoint the body during bathing or daily cleansing rituals.^[36]^[5] In athletic settings, lekythoi supplied oil for wrestlers and gymnasts to rub onto their skin before exercise, creating a protective layer that reduced friction and enhanced performance at gymnasia. Beyond athletics, these vessels supported household needs, including oil for cooking and lighting lamps.^[37]^[38] During social gatherings such as symposia, lekythoi held scented oils applied to enhance fragrance and comfort among participants. For women's beauty routines, the vessels contained oils used to moisturize and soften skin, with smaller variants prized for their portability in travel kits or daily carry. Economically, lekythoi were mass-produced in large quantities by Athenian potters to meet widespread domestic demand, ensuring accessibility for everyday use across social classes.^[39]^[5]^[40]

Funerary and Ritual Roles

Lekythoi served as prominent grave goods in ancient Greek burial practices, particularly from the late 6th century BCE onward, when they began to function specifically as funerary vases containing offerings of oil for the deceased. These slender oil flasks were deposited in tombs to provision the dead for their journey to the afterlife, with the oil symbolizing sustenance and ritual purity, such as for anointing the body in Hades. In Attic contexts, they were often placed alongside other vessels in family burial plots, reflecting beliefs in the continued needs of the soul post-mortem.^[41]^[42] In funerary rituals, lekythoi played key roles during the prothesis, where the body was washed and anointed with oil from such flasks by female relatives, and the ekphora, the procession to the cemetery, where they might be carried in sets with other pottery for libations or symbolic gestures. Women typically handled these vessels, using the perfumed oil to honor and prepare the deceased, sometimes drawing parallels to bridal preparations for unmarried women, enabling a metaphorical "wedding" to the afterlife. This integration underscored the lekythos's function in bridging the living and the dead, often ritually broken or burned during cremations to release the oil's essence.^[42]^[43]^[2] Archaeological evidence from Attic cemeteries, such as the Kerameikos in Athens, reveals clusters of lekythoi in tombs dating to the 6th–5th centuries BCE, frequently found with grave stelai and other offerings, indicating standardized deposition practices. Analysis of residues confirms the presence of perfumed oils, used to maintain olfactory connections with the deceased during mourning visits. These finds, including examples from terrace graves and peribolos enclosures, highlight the vases' prevalence in urban burial grounds.^[42]^[43]^[30] The lekythos embodied core Greek conceptions of mortality, serving as a tangible link between earthly life and the underworld, with white-ground variants emerging around 500 BCE as personalized memorials often depicting mourners at tombs. These fragile, one-time-use vessels emphasized familial piety and the transient nature of existence, their iconography—such as scenes of libations or soul escorts—reinforcing communal remembrance without overt daily utility. By the 5th century BCE, they had become quintessential symbols of Athenian funerary devotion, prioritizing symbolic over practical provision.^[6]^[2]^[30]

Production and Legacy

Workshops and Artisans

The production of lekythoi was centered primarily in Athens, particularly in the Kerameikos district, which served as a major hub for pottery workshops from the 6th to 4th century BCE, where potters and painters collaborated to create both black-figure and red-figure examples.^[44]^[45] Early Attic forms, such as the Deianeira type lekythoi (ca. 590–550 BCE), featured elongated bodies and black-figure decoration; Corinthian workshops produced variants around 580–570 BCE influenced by Attic styles, before the shape became more standardized in Attic production.^[46]^[47] In the Hellenistic period, workshops in South Italy, especially Taranto, adapted lekythoi into Apulian red-figure variants, often with more elaborate, narrative scenes suited to local tastes and export markets.^[48] Notable artisans included the Amasis Painter, an early black-figure specialist active around 550–530 BCE, who contributed to the development of detailed figural scenes on lekythoi through his precise incising technique.^[1] The Achilles Painter, a master of white-ground lekythoi circa 450–440 BCE, specialized in funerary themes with subtle, diluted glazes that evoked mourning rituals, producing works that emphasized emotional depth in domestic and grave settings.^[49]^[50] In the red-figure tradition, the Providence Painter, a follower of the Berlin Painter active in the early 5th century BCE, focused on small-scale lekythoi with elegant, minimalist compositions of figures in profile.^[51] Potters like Xenophantos, who signed several squat lekythoi in the late 5th to early 4th century BCE, often worked with relief elements and added colors, marking a shift toward more decorative Hellenistic forms.^[52] Ancient Greek pottery workshops, including those producing lekythoi, were typically family-run operations where skills were passed down through generations, with a clear division of labor between potters—who shaped and fired the vessels—and painters—who applied decoration.^[53]^[54] This specialization is evident in signatures, which rarely appear but when present distinguish roles using terms like egrapsen ("painted") for painters and epoiesen ("made") for potters, as seen on Xenophantos's works; such inscriptions highlight the collaborative yet hierarchical nature of these small-scale enterprises.^[55] Modern attribution of lekythoi to specific artisans relies on the Beazley method, developed by John D. Beazley in the early 20th century, which involves meticulous stylistic analysis of motifs, anatomy, and drapery to group unsigned vases with known hands, forming the basis for catalogs like Attic Red-Figure Vase-Painters.^[56]^[57] Recent advancements, including post-2020 applications of digital imaging such as 3D modeling and reflectance transformation imaging (RTI), have facilitated reattributions by revealing subtle surface details like relief lines and pigment traces, refining earlier groupings for lekythoi in collections.^[58]^[59]

Notable Examples and Collections

One of the most renowned surviving examples of a white-ground lekythos is the work attributed to the Achilles Painter, dating to approximately 445 BCE, housed in the British Museum. This vase depicts a poignant warrior arming scene, characteristic of the artist's focus on domestic and funerary themes, with delicate outlines and added white and purple details enhancing the emotional farewell-like atmosphere.^[60] A significant black-figure lekythos attributed to the Amasis Painter, from ca. 550–530 BCE, in the Metropolitan Museum of Art features women engaged in wool-working, showcasing the painter's innovative use of incision and added details to convey daily narratives.^[1] Major collections of lekythoi are preserved in several institutions, reflecting their widespread production and export. The Metropolitan Museum of Art in New York holds an extensive array of Attic lekythoi spanning black-figure, red-figure, and white-ground varieties, including multiple examples by the Achilles Painter and others illustrating daily life and funerary rituals.^[49]^[61] The National Archaeological Museum in Athens features significant funerary groups, such as white-ground lekythoi depicting scenes of Hermes guiding souls, underscoring their role in Athenian burial practices.^[62]^[63] The Getty Villa in California holds several white-ground lekythoi, including examples attributed to the Achilles Painter workshop, enhancing its representation of Classical Greek pottery.^[64] Recent archaeological efforts have yielded new insights into lekythoi distribution, such as imported Attic examples from Etruscan contexts, with attributions to lesser-known painters emerging from ongoing excavations. Additionally, conservation work on a Kerch-style red-figure lekythos from circa 350 BCE in the Hermitage Museum has revealed finer details of its elaborate floral and figural decoration, aiding in stylistic analysis.^[65] The form and function of the lekythos influenced later Roman unguentaria, small fusiform vessels for oils that evolved from Greek prototypes by the late 4th century BCE, adapting the slender shape for similar perfumed uses in funerary and daily contexts.^[66] Modern replicas, produced using traditional firing techniques, facilitate scholarly study and educational displays, as seen in museum programs replicating Attic white-ground examples for hands-on analysis of ancient pottery methods.^[25]

References

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[34]
Picturing Death in Classical Athens. The Evidence of the White ...
Chapter 1 summarizes the historical development of white ground lekythoi and their archaeological character. Chapters 2-5 provide a series of iconographical ...
[35]
What is the significance of the marble funerary lekythos ... - Facebook
May 11, 2025 · A lekythos (plural lekythoi) is a type of ancient Greek vessel used for storing oil. The lekythos was used for anointing dead bodies of ...Ancient Greek ceramic artistry in 5th century BCE lekythos - FacebookAncient Greek funerary vessels and their significance - FacebookMore results from www.facebook.com
[36]
Fragment of an Apulian Squat Lekythos - Getty Museum
Aug 13, 2024 · The red-figure technique used for the main design is augmented with added color for the pattern work, a combination frequently used on small ...Missing: Hellenistic gilding
[37]
Lekythos with Dionysos and Dancing Satyrs - Ackland Art Museum
The satyr at right dances to the right but looks back toward the center; the satyr at left moves toward Dionysos. The satyrs are characterized with bestial ...
[38]
Lekythos – Art and Artifacts of Rhode Island Hall - Brown University
Jun 3, 2020 · With a narrow neck and a single handle, the lekythos is a small vessel that stores perfumed olive oils or other balms. ... Dimensions H.
[39]
Common vase shapes in ancient Greece - Reconstructing Antiquity
Common vase shapes in ancient Greece ; Lekythos: A narrow flask with one handle used for storing oils for lighting, cooking, and perfumes. Fragile white-ground ...Missing: practical uses
[40]
Oil Flask (Lekythos) - RISD Museum
Oil flasks (lekythoi) were filled with olive oil, used in cooking, bathing, and as gifts for the dead, often buried in tombs. White-ground type was for graves.
[41]
1. The Scent of Status: Perfume and Scented Oils in Ancient Greece
The lekythos, another vessel designed with a narrow neck and single handle, was used in both personal adornment and ritual contexts. It commonly stored oils ...
[42]
[PDF] Greek Vases - Yale University Art Gallery
Early Attic (Athenian) vase painting is directly derived from the black- figure animal style vases of Corinth. The black-figure technique, in which the painted ...<|control11|><|separator|>
[43]
Terracotta lekythos (oil flask) - Greek, Attic - Classical - The ...
Terracotta lekythos (oil flask) ... From the end of the sixth century B.C., the lekythos served as a funerary vase to contain offerings of oil for the dead.
[44]
Death, Burial, and the Afterlife in Ancient Greece
Relatives of the deceased, primarily women, conducted the elaborate burial rituals that were customarily of three parts: the prothesis (laying out of the body (
[45]
Death and the Athenian Family: An Athenian Funerary Lekythos
Sep 21, 2021 · This tombstone takes the form of a Greek ceramic vessel called a lekythos (plural: lekythoi). Lekythoi were very common types of Greek pottery, ...Missing: Brandeis | Show results with:Brandeis
[46]
The Senses of Attic Pottery Production - ArcGIS StoryMaps
Apr 23, 2024 · Pottery Production occurred in the Kerameikos, an area of Athens that served as the Potters Quarter as well as a cemetery. The Kerameikos was ...Missing: lekythoi | Show results with:lekythoi
[47]
Ministry of Culture and Sports | Kerameikos
Kerameikos was a settlement of potters and a main vase production center, later becoming a major cemetery. It contains the famous 'Dipylon Oinochoe' and has a ...Missing: lekythoi | Show results with:lekythoi
[48]
a corinthian black-figure 'deianeira' lekythos - Christie's
A CORINTHIAN BLACK-FIGURE 'DEIANEIRA' LEKYTHOS CIRCA 570 B.C.. The ovoid body with central panel containing a seated panther, facing left, with tail curled ...
[49]
Collection Paul Canellopoulos (VII). A Corinthian cylindrical lekythos
... lekythos,5 which is in turn evidently derived from the Attic "Deianeira" lekythos.6 Both types are examples of the Atticizing movement in Corinthian pottery ...
[50]
South Italian ancient Greek pottery - Wikipedia
South Italian is a designation for ancient Greek pottery fabricated in Magna Graecia largely during the 4th century BC.Missing: variations gilding
[51]
[PDF] Southern Italian and Sicilian Vases - UC Classics
Tomb scenes are the principal subject of many south vases, whereas such themes are all but lacking from Siceliote vase-painting. In Apulia, representations of ...
[52]
Attributed to the Achilles Painter - Terracotta lekythos (oil flask)
White-ground lekythoi served as funerary vases at this time, the subject is probably one of farewell, set in the woman's quarters of a house.
[53]
White-ground lekythos: youth and woman at a tomb, ca. 450–440 BCE
Title. White-ground lekythos: youth and woman at a tomb ; Dates. ca. 450–440 BCE ; Maker. attributed to the Achilles Painter ; Medium. Ceramic ; Dimensions. h. 35.5 ...Missing: introduction date
[54]
Attributed to the Providence Painter - Terracotta lekythos (oil flask)
The Providence Painter, one of the most gifted followers of the Berlin Painter, specialized in small shapes, notably Nolan amphorae (jars) and lekythoi.Missing: Amasis Xenophantos
[55]
xenophantos - University of Oxford
Xenophantos's signed squat lekythos · Museum: St. · Size: 38.5cm (squat lekythos) · Function: special funerary gift? · Technique: red-figure with figures in relief, ...Missing: signature | Show results with:signature
[56]
WORKSHOPS OF GREEK VASE PAINTERS AND POTTERS - jstor
Williams' contrasting portrait of the industry as family-based, with a hierarchy founded on age, experience and training. A central issue for many ofthe ...Missing: run | Show results with:run
[57]
[PDF] Workshops and Technology
In the vase-painting of the Archaic period (both in Athens and much less at Corinth), we find a further division of labor reflected in the signatures: the maker ...<|separator|>
[58]
Painter and potter signatures - University of Oxford
Signatures use 'egrapsen' (painted) and 'epoiesen' (made/potted). 'egraphsenkapoesme' means 'painted and potted'. 'epoiesen' can also refer to the workshop ...Missing: organization family- run division labor
[59]
8 Drawing as an Instrument of Connoisseurship: JD Beazley and His ...
Jun 22, 2023 · It is generally acknowledged that John Davidson Beazley legitimized the practice of connoisseurship in the study of ancient Greek pottery. Based ...
[60]
The beginnings of the scholarly study of ancient greek vase painting
Aug 25, 2025 · John Beazley pioneered an attribution method based on stylistic analysis, allowing for the identification of individual painters and workshops, ...
[61]
[PDF] new perspectives on documenting attic pottery
The attribution process works through comparison; to incorporate a new vase into the lists provided by Beazley, it is necessary to identify those style-defining ...
[62]
[PDF] Classical Art Research Centre Beazley for the 21st Century
Sep 27, 2022 · Beazley's connoisseurial method involved the closely analysis of individual craftsmen's styles in order to attribute the pots and their figural.<|separator|>
[63]
lekythos | British Museum
Attributed to: The Achilles Painter. Cultures/periods: Attic. Production date ... Pottery: White-ground lekythos (oil or perfume flask) with a warrior arming.Missing: farewell | Show results with:farewell
[64]
[PDF] Papers on the Amasis Painter and His World - Getty Museum
The cover illustration is a detail of side B of a panel-amphora (type B) by the Amasis. Painter in the collection of the Staatliche Antikensammlung und ...
[65]
Lekythos - Greek, Attic - Classical - The Metropolitan Museum of Art
The Museum's collection of Greek and Roman art comprises more than 30,000 works ranging in date from the Neolithic period to the time of the Roman emperor ...
[66]
Classical Period - National Archaeological Museum
4485 The marble funerary lekythos of Myrrhine, found in Athens 420-410 BC. 1449 Marble votive relief in the shape of a cave, from Sparta (Laconia). 3344 ...
[67]
Ministry of Culture and Sports | National Archaeological Museum
White-ground lekythos by the Achilles painter. This is one the finest works ... The white surface of the lekythos bears a farewell scene; a theme in keeping with ...Missing: British | Show results with:British
[68]
Attic White-Ground Lekythos - Getty Museum
Aug 1, 2025 · Attic White-Ground Lekythos; about 490 B.C.; Attributed to Douris ... John. H. Oakley, ed. Oxford: Oxbow Books, 2014, p.38, footnote 46 ...
[69]
Marie Svoboda - Getty Iris
The recently acquired white-ground lekythos on display in Women and Children in Antiquity (Gallery 207) at the Getty Villa is a handsome addition to.
[70]
The Colors of Clay: Special Techniques in Athenian Vases
Mar 9, 2007 · ... Painter to an astonishing squat lekythos in the Hermitage, signed by the early fourth-century potter Xenophantos (cat. 37), on which all the ...<|separator|>
[71]
hellenistic and roman unguentaria from the necropolis of tralleis
Aug 6, 2025 · periods. 9 The unguentaria are believed to have replaced the. lekythos in grave deposits by the end of the 4th cen-. tury B.C (Thompson 1934 ...