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• 1261. [Image] [no caption]; Lekythos; Vase E588 (left); Old Catalogue 747, Vase E584 (center); Vase E643 (right)

  	On left is Lekythos, Vase E588 attributed to the Bowdoin Painter, created in 480-440 BCE, and measuring 13.335 cm in height. The vase was created in Attica, Central Greece and Euboea, Greece and is housed ...
  	Citation × Citation Citation Abstract Copy Title: [no caption]; Lekythos; Vase E588 (left); Old Catalogue 747, Vase E584 (center); Vase E643 (right) Year: 480 On left is Lekythos, Vase E588 attributed to the Bowdoin Painter, created in 480-440 BCE, and measuring 13.335 cm in height. The vase was created in Attica, Central Greece and Euboea, Greece and is housed at British Museum, London, England, United Kingdom under Repository ID: 1851,0227.1. Pottery: red-figured lekythos. An owl to right looking back; behind, a tendril springing from the ground. The clay has been burnt to a pale ashen colour, and a foot in red clay, which does not belong, has been added. Drawing of good period. Below, key pattern; on the shoulder, a group of two palmettes, with one inverted between them, and two single palmettes; round the neck, rays. --The British Museum; In center is Lekythos, Old Catalogue 747, Vase E584 attributed to the Bowdoin Painter, created in 480-440 BCE, and measuring 29.21 cm in height. The vase was created in Attica, Central Greece and Euboea, Greece, discovered in Sicily, Italy and is housed at British Museum, London, England, United Kingdom under Repository ID: 1836,0224.70. Pottery: red-figured lekythos. Nike in a long undertied chiton, with hair falling loose (one tress in front of ear), fillet, and bracelets, flies to right, holding out in her right an oinochoe, in her left a phiale, from which wine flows on to a blazing altar having an Ionic capital, with three sashes attached to its shaft. Late and careless stage of severe style. Purple flames, wine, inscription and fillet. Below, pairs of maeander separated by black cross squares. On shoulder, which is left red, five black palmettes; round the neck, black rays. --The British Museum; On right is Lekythos, Vase E643 attributed to the Palermo Painter, created in 480-460 BCE, and measuring 29.21 cm in height. The vase was created in Attica, Central Greece and Euboea, Greece, discovered in Fikellura Cemetery, Tomb 43, Kámiros, Aegean Islands, Greece and is housed at British Museum, London, England, United Kingdom under Repository ID: 1864,1007.191.Pottery: red-figured lekythos. Nike, in long chiton, bordered mantle fastened on left shoulder, bracelets and fillet, hair falling loose down back, flies to right, holding phiale in left, and with right pouring wine from a jug over a blazing altar of a form developed from an Ionic capital, with necking of dots. The lower part of her legs and her feet are missing. Left-hand lower part of design missing. Late stage of severe style. Purple flame, inscription, wine, and ends of fillet. Eye in archaic type (inner angle open). Below, strip of maeander with red cross squares (mostly broken away). Round the neck, a band of rays. --The British Museum; default; Red-figure; Attic (Mainland Greek pottery styles) Title: [no caption]; Lekythos; Vase E588 (left); Old Catalogue 747, Vase E584 (center); Vase E643 (right) Year: 480 On left is Lekythos, Vase E588 attributed to the Bowdoin Painter, created in 480-440 BCE, and measuring 13.335 cm in height. The vase was created in Attica, Central Greece and Euboea, Greece and is housed at British Museum, London, England, United Kingdom under Repository ID: 1851,0227.1. Pottery: red-figured lekythos. An owl to right looking back; behind, a tendril springing from the ground. The clay has been burnt to a pale ashen colour, and a foot in red clay, which does not belong, has been added. Drawing of good period. Below, key pattern; on the shoulder, a group of two palmettes, with one inverted between them, and two single palmettes; round the neck, rays. --The British Museum; In center is Lekythos, Old Catalogue 747, Vase E584 attributed to the Bowdoin Painter, created in 480-440 BCE, and measuring 29.21 cm in height. The vase was created in Attica, Central Greece and Euboea, Greece, discovered in Sicily, Italy and is housed at British Museum, London, England, United Kingdom under Repository ID: 1836,0224.70. Pottery: red-figured lekythos. Nike in a long undertied chiton, with hair falling loose (one tress in front of ear), fillet, and bracelets, flies to right, holding out in her right an oinochoe, in her left a phiale, from which wine flows on to a blazing altar having an Ionic capital, with three sashes attached to its shaft. Late and careless stage of severe style. Purple flames, wine, inscription and fillet. Below, pairs of maeander separated by black cross squares. On shoulder, which is left red, five black palmettes; round the neck, black rays. --The British Museum; On right is Lekythos, Vase E643 attributed to the Palermo Painter, created in 480-460 BCE, and measuring 29.21 cm in height. The vase was created in Attica, Central Greece and Euboea, Greece, discovered in Fikellura Cemetery, Tomb 43, Kámiros, Aegean Islands, Greece and is housed at British Museum, London, England, United Kingdom under Repository ID: 1864,1007.191.Pottery: red-figured lekythos. Nike, in long chiton, bordered mantle fastened on left shoulder, bracelets and fillet, hair falling loose down back, flies to right, holding phiale in left, and with right pouring wine from a jug over a blazing altar of a form developed from an Ionic capital, with necking of dots. The lower part of her legs and her feet are missing. Left-hand lower part of design missing. Late stage of severe style. Purple flame, inscription, wine, and ends of fillet. Eye in archaic type (inner angle open). Below, strip of maeander with red cross squares (mostly broken away). Round the neck, a band of rays. --The British Museum; default; Red-figure; Attic (Mainland Greek pottery styles) Close

• 1262. [Image] Lukaon leaving home; Pelike; Old Catalogue 721; Vase E379

  	Pottery: red-figured pelike, with ribbed handles. (a) Nike pouring wine for a warrior. On the left, Nike, in a sleeved Ionic chiton, and over it a Doric chiton schistos with black border (cf. BM Vase Ε494), ...
  	Citation × Citation Citation Abstract Copy Title: Lukaon leaving home; Pelike; Old Catalogue 721; Vase E379 Year: 445 Pottery: red-figured pelike, with ribbed handles. (a) Nike pouring wine for a warrior. On the left, Nike, in a sleeved Ionic chiton, and over it a Doric chiton schistos with black border (cf. BM Vase Ε494), hair looped up with a fillet, and a caduceus in her left hand, looks down, pouring-wine from an oinochoe in her right hand; beside her is inscribed NIKF, Νίκη. In the centre a bearded warrior stands en face, but looks at Nike, holding out in his right a phiale (half broken away); on his left arm is a shield, the interior coloured black and decorated with a wreath; he wears a helmet with cheek-pieces lowered, decorated on the crown with a sea-horse, a sword hanging at his waist, and a mantle hanging over his arms; in his left hand is a spear, point downwards. On the right a bearded man, bald on the crown, Antandros, stands en face, but looking to the left; he is draped and wreathed, and wears shoes; his right hand rests on a crutch-staff. Above him is inscribed ΑΝΤΑΝΔΡΟΣ, Άντανδρος. On the left of the scene above Nike is inscribed EVAION KAΛΟΣ, Eύαίων καλός. (b) A king (?) and two women with armour. In the centre a bearded man, draped and wreathed with laurel, stands to right, holding upright in his right a sceptre. The woman on the right holds a sword by the sword-belt, the one on the left a tall crested helmet; each wears a long sleeved chiton and himation; the one on the right has a saccos, the other has her hair looped up with a fillet. Large style. Purple inscriptions and sword-belt. White is used for handles of swords and shield, for wreath on interior of shield, wreath of Antandros, sea-horse, and taenia in hand of one of the female figures in b. Brown inner markings. Eye in developed profile type. The edge of the hair and beard, and crest of helmet in a, are painted in brown. The shield and left arm of the warrior in a are drawn in bold foreshortening. Below, a continuous band, sets of three maeanders separated by dotted cross squares. Above a, a strip of alternate palmette and anthemion; above b, a strip of double palmettes set obliquely; below each handle, an ornament composed of seven palmettes. --The British Museum; default; Red-figure; Attic (Mainland Greek pottery styles) Title: Lukaon leaving home; Pelike; Old Catalogue 721; Vase E379 Year: 445 Pottery: red-figured pelike, with ribbed handles. (a) Nike pouring wine for a warrior. On the left, Nike, in a sleeved Ionic chiton, and over it a Doric chiton schistos with black border (cf. BM Vase Ε494), hair looped up with a fillet, and a caduceus in her left hand, looks down, pouring-wine from an oinochoe in her right hand; beside her is inscribed NIKF, Νίκη. In the centre a bearded warrior stands en face, but looks at Nike, holding out in his right a phiale (half broken away); on his left arm is a shield, the interior coloured black and decorated with a wreath; he wears a helmet with cheek-pieces lowered, decorated on the crown with a sea-horse, a sword hanging at his waist, and a mantle hanging over his arms; in his left hand is a spear, point downwards. On the right a bearded man, bald on the crown, Antandros, stands en face, but looking to the left; he is draped and wreathed, and wears shoes; his right hand rests on a crutch-staff. Above him is inscribed ΑΝΤΑΝΔΡΟΣ, Άντανδρος. On the left of the scene above Nike is inscribed EVAION KAΛΟΣ, Eύαίων καλός. (b) A king (?) and two women with armour. In the centre a bearded man, draped and wreathed with laurel, stands to right, holding upright in his right a sceptre. The woman on the right holds a sword by the sword-belt, the one on the left a tall crested helmet; each wears a long sleeved chiton and himation; the one on the right has a saccos, the other has her hair looped up with a fillet. Large style. Purple inscriptions and sword-belt. White is used for handles of swords and shield, for wreath on interior of shield, wreath of Antandros, sea-horse, and taenia in hand of one of the female figures in b. Brown inner markings. Eye in developed profile type. The edge of the hair and beard, and crest of helmet in a, are painted in brown. The shield and left arm of the warrior in a are drawn in bold foreshortening. Below, a continuous band, sets of three maeanders separated by dotted cross squares. Above a, a strip of alternate palmette and anthemion; above b, a strip of double palmettes set obliquely; below each handle, an ornament composed of seven palmettes. --The British Museum; default; Red-figure; Attic (Mainland Greek pottery styles) Close

• 1263. [Image] Nike and Warrior; Pelike; Old Catalogue 721; Vase E379

  	Pottery: red-figured pelike, with ribbed handles. (a) Nike pouring wine for a warrior. On the left, Nike, in a sleeved Ionic chiton, and over it a Doric chiton schistos with black border (cf. BM Vase Ε494), ...
  	Citation × Citation Citation Abstract Copy Title: Nike and Warrior; Pelike; Old Catalogue 721; Vase E379 Year: 445 Pottery: red-figured pelike, with ribbed handles. (a) Nike pouring wine for a warrior. On the left, Nike, in a sleeved Ionic chiton, and over it a Doric chiton schistos with black border (cf. BM Vase Ε494), hair looped up with a fillet, and a caduceus in her left hand, looks down, pouring-wine from an oinochoe in her right hand; beside her is inscribed NIKF, Νίκη. In the centre a bearded warrior stands en face, but looks at Nike, holding out in his right a phiale (half broken away); on his left arm is a shield, the interior coloured black and decorated with a wreath; he wears a helmet with cheek-pieces lowered, decorated on the crown with a sea-horse, a sword hanging at his waist, and a mantle hanging over his arms; in his left hand is a spear, point downwards. On the right a bearded man, bald on the crown, Antandros, stands en face, but looking to the left; he is draped and wreathed, and wears shoes; his right hand rests on a crutch-staff. Above him is inscribed ΑΝΤΑΝΔΡΟΣ, Άντανδρος. On the left of the scene above Nike is inscribed EVAION KAΛΟΣ, Eύαίων καλός. (b) A king (?) and two women with armour. In the centre a bearded man, draped and wreathed with laurel, stands to right, holding upright in his right a sceptre. The woman on the right holds a sword by the sword-belt, the one on the left a tall crested helmet; each wears a long sleeved chiton and himation; the one on the right has a saccos, the other has her hair looped up with a fillet. Large style. Purple inscriptions and sword-belt. White is used for handles of swords and shield, for wreath on interior of shield, wreath of Antandros, sea-horse, and taenia in hand of one of the female figures in b. Brown inner markings. Eye in developed profile type. The edge of the hair and beard, and crest of helmet in a, are painted in brown. The shield and left arm of the warrior in a are drawn in bold foreshortening. Below, a continuous band, sets of three maeanders separated by dotted cross squares. Above a, a strip of alternate palmette and anthemion; above b, a strip of double palmettes set obliquely; below each handle, an ornament composed of seven palmettes. --The British Museum; default; Red-figure; Attic (Mainland Greek pottery styles) Title: Nike and Warrior; Pelike; Old Catalogue 721; Vase E379 Year: 445 Pottery: red-figured pelike, with ribbed handles. (a) Nike pouring wine for a warrior. On the left, Nike, in a sleeved Ionic chiton, and over it a Doric chiton schistos with black border (cf. BM Vase Ε494), hair looped up with a fillet, and a caduceus in her left hand, looks down, pouring-wine from an oinochoe in her right hand; beside her is inscribed NIKF, Νίκη. In the centre a bearded warrior stands en face, but looks at Nike, holding out in his right a phiale (half broken away); on his left arm is a shield, the interior coloured black and decorated with a wreath; he wears a helmet with cheek-pieces lowered, decorated on the crown with a sea-horse, a sword hanging at his waist, and a mantle hanging over his arms; in his left hand is a spear, point downwards. On the right a bearded man, bald on the crown, Antandros, stands en face, but looking to the left; he is draped and wreathed, and wears shoes; his right hand rests on a crutch-staff. Above him is inscribed ΑΝΤΑΝΔΡΟΣ, Άντανδρος. On the left of the scene above Nike is inscribed EVAION KAΛΟΣ, Eύαίων καλός. (b) A king (?) and two women with armour. In the centre a bearded man, draped and wreathed with laurel, stands to right, holding upright in his right a sceptre. The woman on the right holds a sword by the sword-belt, the one on the left a tall crested helmet; each wears a long sleeved chiton and himation; the one on the right has a saccos, the other has her hair looped up with a fillet. Large style. Purple inscriptions and sword-belt. White is used for handles of swords and shield, for wreath on interior of shield, wreath of Antandros, sea-horse, and taenia in hand of one of the female figures in b. Brown inner markings. Eye in developed profile type. The edge of the hair and beard, and crest of helmet in a, are painted in brown. The shield and left arm of the warrior in a are drawn in bold foreshortening. Below, a continuous band, sets of three maeanders separated by dotted cross squares. Above a, a strip of alternate palmette and anthemion; above b, a strip of double palmettes set obliquely; below each handle, an ornament composed of seven palmettes. --The British Museum; default; Red-figure; Attic (Mainland Greek pottery styles) Close

• 1264. [Image] Departure of Lykaon; Pelike; Old Catalogue 721; Vase E379

  	Pottery: red-figured pelike, with ribbed handles. (a) Nike pouring wine for a warrior. On the left, Nike, in a sleeved Ionic chiton, and over it a Doric chiton schistos with black border (cf. BM Vase Ε494), ...
  	Citation × Citation Citation Abstract Copy Title: Departure of Lykaon; Pelike; Old Catalogue 721; Vase E379 Year: 445 Pottery: red-figured pelike, with ribbed handles. (a) Nike pouring wine for a warrior. On the left, Nike, in a sleeved Ionic chiton, and over it a Doric chiton schistos with black border (cf. BM Vase Ε494), hair looped up with a fillet, and a caduceus in her left hand, looks down, pouring-wine from an oinochoe in her right hand; beside her is inscribed NIKF, Νίκη. In the centre a bearded warrior stands en face, but looks at Nike, holding out in his right a phiale (half broken away); on his left arm is a shield, the interior coloured black and decorated with a wreath; he wears a helmet with cheek-pieces lowered, decorated on the crown with a sea-horse, a sword hanging at his waist, and a mantle hanging over his arms; in his left hand is a spear, point downwards. On the right a bearded man, bald on the crown, Antandros, stands en face, but looking to the left; he is draped and wreathed, and wears shoes; his right hand rests on a crutch-staff. Above him is inscribed ΑΝΤΑΝΔΡΟΣ, Άντανδρος. On the left of the scene above Nike is inscribed EVAION KAΛΟΣ, Eύαίων καλός. (b) A king (?) and two women with armour. In the centre a bearded man, draped and wreathed with laurel, stands to right, holding upright in his right a sceptre. The woman on the right holds a sword by the sword-belt, the one on the left a tall crested helmet; each wears a long sleeved chiton and himation; the one on the right has a saccos, the other has her hair looped up with a fillet. Large style. Purple inscriptions and sword-belt. White is used for handles of swords and shield, for wreath on interior of shield, wreath of Antandros, sea-horse, and taenia in hand of one of the female figures in b. Brown inner markings. Eye in developed profile type. The edge of the hair and beard, and crest of helmet in a, are painted in brown. The shield and left arm of the warrior in a are drawn in bold foreshortening. Below, a continuous band, sets of three maeanders separated by dotted cross squares. Above a, a strip of alternate palmette and anthemion; above b, a strip of double palmettes set obliquely; below each handle, an ornament composed of seven palmettes. --The British Museum; default; Red-figure; Attic (Mainland Greek pottery styles) Title: Departure of Lykaon; Pelike; Old Catalogue 721; Vase E379 Year: 445 Pottery: red-figured pelike, with ribbed handles. (a) Nike pouring wine for a warrior. On the left, Nike, in a sleeved Ionic chiton, and over it a Doric chiton schistos with black border (cf. BM Vase Ε494), hair looped up with a fillet, and a caduceus in her left hand, looks down, pouring-wine from an oinochoe in her right hand; beside her is inscribed NIKF, Νίκη. In the centre a bearded warrior stands en face, but looks at Nike, holding out in his right a phiale (half broken away); on his left arm is a shield, the interior coloured black and decorated with a wreath; he wears a helmet with cheek-pieces lowered, decorated on the crown with a sea-horse, a sword hanging at his waist, and a mantle hanging over his arms; in his left hand is a spear, point downwards. On the right a bearded man, bald on the crown, Antandros, stands en face, but looking to the left; he is draped and wreathed, and wears shoes; his right hand rests on a crutch-staff. Above him is inscribed ΑΝΤΑΝΔΡΟΣ, Άντανδρος. On the left of the scene above Nike is inscribed EVAION KAΛΟΣ, Eύαίων καλός. (b) A king (?) and two women with armour. In the centre a bearded man, draped and wreathed with laurel, stands to right, holding upright in his right a sceptre. The woman on the right holds a sword by the sword-belt, the one on the left a tall crested helmet; each wears a long sleeved chiton and himation; the one on the right has a saccos, the other has her hair looped up with a fillet. Large style. Purple inscriptions and sword-belt. White is used for handles of swords and shield, for wreath on interior of shield, wreath of Antandros, sea-horse, and taenia in hand of one of the female figures in b. Brown inner markings. Eye in developed profile type. The edge of the hair and beard, and crest of helmet in a, are painted in brown. The shield and left arm of the warrior in a are drawn in bold foreshortening. Below, a continuous band, sets of three maeanders separated by dotted cross squares. Above a, a strip of alternate palmette and anthemion; above b, a strip of double palmettes set obliquely; below each handle, an ornament composed of seven palmettes. --The British Museum; default; Red-figure; Attic (Mainland Greek pottery styles) Close

• 1265. [Image] 842.127 (left); 842.128 (right); Neck-amphora, Vase E324 (left); Neck-amphora, Vase E323(right)

  	On left is a Neck-amphora, Vase E324, measuring at 33.655 cm in height and listed under Repository ID: 1867,0508.1059. Pottery: red-figured neck-amphora. On side A, a woman is depicted pouring a libation ...
  	Citation × Citation Citation Abstract Copy Title: 842.127 (left); 842.128 (right); Neck-amphora, Vase E324 (left); Neck-amphora, Vase E323(right) Year: 460 On left is a Neck-amphora, Vase E324, measuring at 33.655 cm in height and listed under Repository ID: 1867,0508.1059. Pottery: red-figured neck-amphora. On side A, a woman is depicted pouring a libation before the goddess Athena. At the left is a woman wearing a chiton; her hair is tied in a bun at the back with hair bands in added red. She is seen in profile to the right. In her raised right hand she holds a phiale and in her left an oinochoe. To the right stands the goddess Athena, who wears a diadem; her hair is gathered in a bun. She stands frontally but looks to the right, toward the woman. She is dressed in a chiton and a long, folded-over cloak, on top of which rests her snake-fringed aegis. In her right hand she holds a spear and in her left a crested Attic helmet. Both figures stand on a reserved base line decorated with three strips of meanders in alternating directions, separated by dotted crosses. On side B a single female figure stands facing right, wearing a chiton and a cloak. Her right arm is raised, and her hair is confined in a snood. She stands on a reserved base line decorated with a running meander. --The British Museum; On right is a Neck-amphora, Vase E323, measuring at 34.29 cm in height and listed under Repository ID: 1867,0508.1116. Pottery: red-figured neck-amphora. (a) Paris and Hermes on Mount Ida. Mount Ida is indicated on left by a series of wavy lines; Paris is seated on the top, a wreathed youth with wavy hair falling to his neck, and a mantle about his lower limbs and left arm, playing upon the chelys with a plectrum. On the right Hermes stands en face, but looking towards Paris; he is bearded, and has a short chiton, a chlamys fastened on the right shoulder, and a petasos hanging at his back; his left arm is concealed by his mantle; in his right hand, which hangs at his side, is a caduceus. (b) Draped ephebos resting right on staff, standing en face, looking to left. Fine style. Purple ground-lines, cord of petasos, pegs of lyre, and wreath; brown inner markings. Ends of hair in thinned black. Eye in developed profile type. Below a, sets of three maeanders alternately to right and left, separated by dotted cross squares; below b, a strip of key pattern. --The British Museum; default; default; Red-figure; Attic (Mainland Greek pottery styles) Title: 842.127 (left); 842.128 (right); Neck-amphora, Vase E324 (left); Neck-amphora, Vase E323(right) Year: 460 On left is a Neck-amphora, Vase E324, measuring at 33.655 cm in height and listed under Repository ID: 1867,0508.1059. Pottery: red-figured neck-amphora. On side A, a woman is depicted pouring a libation before the goddess Athena. At the left is a woman wearing a chiton; her hair is tied in a bun at the back with hair bands in added red. She is seen in profile to the right. In her raised right hand she holds a phiale and in her left an oinochoe. To the right stands the goddess Athena, who wears a diadem; her hair is gathered in a bun. She stands frontally but looks to the right, toward the woman. She is dressed in a chiton and a long, folded-over cloak, on top of which rests her snake-fringed aegis. In her right hand she holds a spear and in her left a crested Attic helmet. Both figures stand on a reserved base line decorated with three strips of meanders in alternating directions, separated by dotted crosses. On side B a single female figure stands facing right, wearing a chiton and a cloak. Her right arm is raised, and her hair is confined in a snood. She stands on a reserved base line decorated with a running meander. --The British Museum; On right is a Neck-amphora, Vase E323, measuring at 34.29 cm in height and listed under Repository ID: 1867,0508.1116. Pottery: red-figured neck-amphora. (a) Paris and Hermes on Mount Ida. Mount Ida is indicated on left by a series of wavy lines; Paris is seated on the top, a wreathed youth with wavy hair falling to his neck, and a mantle about his lower limbs and left arm, playing upon the chelys with a plectrum. On the right Hermes stands en face, but looking towards Paris; he is bearded, and has a short chiton, a chlamys fastened on the right shoulder, and a petasos hanging at his back; his left arm is concealed by his mantle; in his right hand, which hangs at his side, is a caduceus. (b) Draped ephebos resting right on staff, standing en face, looking to left. Fine style. Purple ground-lines, cord of petasos, pegs of lyre, and wreath; brown inner markings. Ends of hair in thinned black. Eye in developed profile type. Below a, sets of three maeanders alternately to right and left, separated by dotted cross squares; below b, a strip of key pattern. --The British Museum; default; default; Red-figure; Attic (Mainland Greek pottery styles) Close

• 1266. [Image] Lukaon leaving home; Pelike; Old Catalogue 721; Vase E379

  	Pottery: red-figured pelike, with ribbed handles. (a) Nike pouring wine for a warrior. On the left, Nike, in a sleeved Ionic chiton, and over it a Doric chiton schistos with black border (cf. BM Vase Ε494), ...
  	Citation × Citation Citation Abstract Copy Title: Lukaon leaving home; Pelike; Old Catalogue 721; Vase E379 Year: 445 Pottery: red-figured pelike, with ribbed handles. (a) Nike pouring wine for a warrior. On the left, Nike, in a sleeved Ionic chiton, and over it a Doric chiton schistos with black border (cf. BM Vase Ε494), hair looped up with a fillet, and a caduceus in her left hand, looks down, pouring-wine from an oinochoe in her right hand; beside her is inscribed NIKF, Νίκη. In the centre a bearded warrior stands en face, but looks at Nike, holding out in his right a phiale (half broken away); on his left arm is a shield, the interior coloured black and decorated with a wreath; he wears a helmet with cheek-pieces lowered, decorated on the crown with a sea-horse, a sword hanging at his waist, and a mantle hanging over his arms; in his left hand is a spear, point downwards. On the right a bearded man, bald on the crown, Antandros, stands en face, but looking to the left; he is draped and wreathed, and wears shoes; his right hand rests on a crutch-staff. Above him is inscribed ΑΝΤΑΝΔΡΟΣ, Άντανδρος. On the left of the scene above Nike is inscribed EVAION KAΛΟΣ, Eύαίων καλός. (b) A king (?) and two women with armour. In the centre a bearded man, draped and wreathed with laurel, stands to right, holding upright in his right a sceptre. The woman on the right holds a sword by the sword-belt, the one on the left a tall crested helmet; each wears a long sleeved chiton and himation; the one on the right has a saccos, the other has her hair looped up with a fillet. Large style. Purple inscriptions and sword-belt. White is used for handles of swords and shield, for wreath on interior of shield, wreath of Antandros, sea-horse, and taenia in hand of one of the female figures in b. Brown inner markings. Eye in developed profile type. The edge of the hair and beard, and crest of helmet in a, are painted in brown. The shield and left arm of the warrior in a are drawn in bold foreshortening. Below, a continuous band, sets of three maeanders separated by dotted cross squares. Above a, a strip of alternate palmette and anthemion; above b, a strip of double palmettes set obliquely; below each handle, an ornament composed of seven palmettes. --The British Museum; default; Red-figure; Attic (Mainland Greek pottery styles) Title: Lukaon leaving home; Pelike; Old Catalogue 721; Vase E379 Year: 445 Pottery: red-figured pelike, with ribbed handles. (a) Nike pouring wine for a warrior. On the left, Nike, in a sleeved Ionic chiton, and over it a Doric chiton schistos with black border (cf. BM Vase Ε494), hair looped up with a fillet, and a caduceus in her left hand, looks down, pouring-wine from an oinochoe in her right hand; beside her is inscribed NIKF, Νίκη. In the centre a bearded warrior stands en face, but looks at Nike, holding out in his right a phiale (half broken away); on his left arm is a shield, the interior coloured black and decorated with a wreath; he wears a helmet with cheek-pieces lowered, decorated on the crown with a sea-horse, a sword hanging at his waist, and a mantle hanging over his arms; in his left hand is a spear, point downwards. On the right a bearded man, bald on the crown, Antandros, stands en face, but looking to the left; he is draped and wreathed, and wears shoes; his right hand rests on a crutch-staff. Above him is inscribed ΑΝΤΑΝΔΡΟΣ, Άντανδρος. On the left of the scene above Nike is inscribed EVAION KAΛΟΣ, Eύαίων καλός. (b) A king (?) and two women with armour. In the centre a bearded man, draped and wreathed with laurel, stands to right, holding upright in his right a sceptre. The woman on the right holds a sword by the sword-belt, the one on the left a tall crested helmet; each wears a long sleeved chiton and himation; the one on the right has a saccos, the other has her hair looped up with a fillet. Large style. Purple inscriptions and sword-belt. White is used for handles of swords and shield, for wreath on interior of shield, wreath of Antandros, sea-horse, and taenia in hand of one of the female figures in b. Brown inner markings. Eye in developed profile type. The edge of the hair and beard, and crest of helmet in a, are painted in brown. The shield and left arm of the warrior in a are drawn in bold foreshortening. Below, a continuous band, sets of three maeanders separated by dotted cross squares. Above a, a strip of alternate palmette and anthemion; above b, a strip of double palmettes set obliquely; below each handle, an ornament composed of seven palmettes. --The British Museum; default; Red-figure; Attic (Mainland Greek pottery styles) Close

• 1267. [Image] OSU Women's Center Group Oral History Interview

  	Amelia Allee grew up in Denver, but calls Portland, Oregon her home. Allee is 20 years old, and self-identifies as French, English, and Huron (a Native American Tribe). This is her first year at Oregon ...
  	Citation × Citation Citation Abstract Copy Title: OSU Women's Center Group Oral History Interview Year: 2015 Amelia Allee grew up in Denver, but calls Portland, Oregon her home. Allee is 20 years old, and self-identifies as French, English, and Huron (a Native American Tribe). This is her first year at Oregon State University as a transfer student from Portland Community College. As a junior, she is majoring in public health with a focus in health management and policy. Allee is also working towards her certificate of food and culture and social justice. Previously a student advocate at PCC's women's center, Allee began working at OSU's women's center in 2014. She is currently a peer facilitator, but will soon become the leadership liaison. Shelby Baisden recognizes Gresham, Oregon as her hometown, but calls Portland and Corvallis her home. Baisden is 22, self-identifies as white, and is a senior at Oregon State University. She is studying human development and family sciences in the school of public health and human sciences. This is her first year working for the women's center, although she had previously collaborated with the center. She serves as the communications representative. Soreth Dahri's hometown is Karachi, Pakistan. She self-identifies as Muslim and Pakistani. She is 21 and in her second year at Oregon State University. She is majoring in finance in the college of business. Dahri is currently a peer facilitator at the women's center, and this is her first year working for the center. While Nicthé Verdugo lives in Corvallis, Oregon, her hometown is Chandler, Arizona. Verdugo is 22, self-identifies as Chicana, and is a senior at Oregon State University. She is majoring in ethnic studies with a minor in women, gender, and sexuality studies within the college of liberal arts. This is Verdugo's second year working at the women's center. During her first year, she served as the program coordinator, creating and organizing events. Currently she is the leadership liaison. One of her duties is to serve as a mentor for the staff of the women's center. The interview begins by introducing four staff members of Oregon State University's women's center–Amelia Allee, Shelby Baisden, Soreth Dahri, and Nicthé Verdugo. After discussing their backgrounds, majors, and positions at the women's center, they discuss the challenges of their jobs. These challenges include white privilege and misunderstandings of feminism. They recommend sexual assault awareness and expanded definitions of feminism for future event topics. The interview then chronicles their ideas and advice for the future of the women's center. For this, the interviewees recognize open mindedness, good and purposeful intentions, non-generalizations, and challenging barriers. On a more personal level, they describe several experiences in which their identities have caused them to have both negative and positive interactions. The interview ends with an acknowledgement of the family-like environment of the staff and of the center. Title: OSU Women's Center Group Oral History Interview Year: 2015 Amelia Allee grew up in Denver, but calls Portland, Oregon her home. Allee is 20 years old, and self-identifies as French, English, and Huron (a Native American Tribe). This is her first year at Oregon State University as a transfer student from Portland Community College. As a junior, she is majoring in public health with a focus in health management and policy. Allee is also working towards her certificate of food and culture and social justice. Previously a student advocate at PCC's women's center, Allee began working at OSU's women's center in 2014. She is currently a peer facilitator, but will soon become the leadership liaison. Shelby Baisden recognizes Gresham, Oregon as her hometown, but calls Portland and Corvallis her home. Baisden is 22, self-identifies as white, and is a senior at Oregon State University. She is studying human development and family sciences in the school of public health and human sciences. This is her first year working for the women's center, although she had previously collaborated with the center. She serves as the communications representative. Soreth Dahri's hometown is Karachi, Pakistan. She self-identifies as Muslim and Pakistani. She is 21 and in her second year at Oregon State University. She is majoring in finance in the college of business. Dahri is currently a peer facilitator at the women's center, and this is her first year working for the center. While Nicthé Verdugo lives in Corvallis, Oregon, her hometown is Chandler, Arizona. Verdugo is 22, self-identifies as Chicana, and is a senior at Oregon State University. She is majoring in ethnic studies with a minor in women, gender, and sexuality studies within the college of liberal arts. This is Verdugo's second year working at the women's center. During her first year, she served as the program coordinator, creating and organizing events. Currently she is the leadership liaison. One of her duties is to serve as a mentor for the staff of the women's center. The interview begins by introducing four staff members of Oregon State University's women's center–Amelia Allee, Shelby Baisden, Soreth Dahri, and Nicthé Verdugo. After discussing their backgrounds, majors, and positions at the women's center, they discuss the challenges of their jobs. These challenges include white privilege and misunderstandings of feminism. They recommend sexual assault awareness and expanded definitions of feminism for future event topics. The interview then chronicles their ideas and advice for the future of the women's center. For this, the interviewees recognize open mindedness, good and purposeful intentions, non-generalizations, and challenging barriers. On a more personal level, they describe several experiences in which their identities have caused them to have both negative and positive interactions. The interview ends with an acknowledgement of the family-like environment of the staff and of the center. Close

• 1268. [Image] Copa De Oro

  	Eschsholtzia californica. California Poppy Here is perhaps the most celebrated West Coast wildflower. Called Copa de Oro by the earliest Hispanic inhabitants, this golden poppy once emblazoned such vast ...
  	Citation × Citation Citation Abstract Copy Title: Copa De Oro Author: Hall, Bonnie Year: 1975 Eschsholtzia californica. California Poppy Here is perhaps the most celebrated West Coast wildflower. Called Copa de Oro by the earliest Hispanic inhabitants, this golden poppy once emblazoned such vast fields that its brilliant color was visible from sailing ships miles offshore -- a plausible basis for the early name La Tierra del Fuego, land of fire. Discouraged by grazing, agriculture, and development, it now blooms in lesser abundance, May-September, from Southern California north to the Columbia River, and elsewhere escaped from garden plantings. This marvelous perennial arises from a deep taproot and generally reaches two feet in height. The flowers are two to three inches across and vary from pale to deep yellow and orange. They are remarkably responsive to sunlight, closing at nightfall or in overcast weather. Sepals are united in a conical structure that is thrust off by the opening petals, much like doffing a little hat. The seed capsule is linear and tipped by the withering styles. The foliage is grayish-green and finely divided. E. Californica owes its introduction to the botanical world to three explorer naturalists and a coincident Russian. Archibald Menzies, Scottish botanist and surgeon with Captain George Vancouver, was first to collect specimens for transport to foreign shores, in Monterey in December if 1792. But his classification was incorrect, his collection suffered badly on shipboard, and the plants delivered to Kew Gardens soon died. Next was Adelbert van Chamisso, French naturalist with the Russian Romanoff expedition, spending October of 1816 at San Francisco. Here he collected, described, classified, and named Eschscholtzia californica after the ship's noble young surgeon, Johann Friedrich Escholtz. Finally, it came to David Douglas, Scottish botanist and practical gardener, to convey this vibrant poppy to the world. Collecting along the Multnomah (Willamette) River in 1825, he first encountered E. colifornica and sent back to the Horticultural Society of London the seeds that thrived in English gardens and beyond. (provided by Oregon Arts Commission) Title: Copa De Oro Author: Hall, Bonnie Year: 1975 Eschsholtzia californica. California Poppy Here is perhaps the most celebrated West Coast wildflower. Called Copa de Oro by the earliest Hispanic inhabitants, this golden poppy once emblazoned such vast fields that its brilliant color was visible from sailing ships miles offshore -- a plausible basis for the early name La Tierra del Fuego, land of fire. Discouraged by grazing, agriculture, and development, it now blooms in lesser abundance, May-September, from Southern California north to the Columbia River, and elsewhere escaped from garden plantings. This marvelous perennial arises from a deep taproot and generally reaches two feet in height. The flowers are two to three inches across and vary from pale to deep yellow and orange. They are remarkably responsive to sunlight, closing at nightfall or in overcast weather. Sepals are united in a conical structure that is thrust off by the opening petals, much like doffing a little hat. The seed capsule is linear and tipped by the withering styles. The foliage is grayish-green and finely divided. E. Californica owes its introduction to the botanical world to three explorer naturalists and a coincident Russian. Archibald Menzies, Scottish botanist and surgeon with Captain George Vancouver, was first to collect specimens for transport to foreign shores, in Monterey in December if 1792. But his classification was incorrect, his collection suffered badly on shipboard, and the plants delivered to Kew Gardens soon died. Next was Adelbert van Chamisso, French naturalist with the Russian Romanoff expedition, spending October of 1816 at San Francisco. Here he collected, described, classified, and named Eschscholtzia californica after the ship's noble young surgeon, Johann Friedrich Escholtz. Finally, it came to David Douglas, Scottish botanist and practical gardener, to convey this vibrant poppy to the world. Collecting along the Multnomah (Willamette) River in 1825, he first encountered E. colifornica and sent back to the Horticultural Society of London the seeds that thrived in English gardens and beyond. (provided by Oregon Arts Commission) Close

• 1269. [Image] 1998 Nez artist statement

  	My recent works on paper are inspired by alchemical manuscripts. The alchemists documented their labors in enigmatic texts in which chemical procedures, cosmology and myths are woven together into fantastic ...
  	Citation × Citation Citation Abstract Copy Title: 1998 Nez artist statement Author: Nez, David Year: 1975 My recent works on paper are inspired by alchemical manuscripts. The alchemists documented their labors in enigmatic texts in which chemical procedures, cosmology and myths are woven together into fantastic allegories. Similarly in my paintings I use imagery of birds, beasts, plants and minerals as symbols of the process of transformation, As an artist I view alchemy as a metaphor for the creative process in which there is progressive transformation and refinement of materials, imagery and ultimately consciousness. In alchemy and art alike the creative imagination is the vital agent of change. The alchemists described their labors as an "art". Like the alchemist I attempt to use physical processes as a mirror of inner experience. The materials become "transmuted" from their initially inert state through creative and chaotic struggle into a new synthesis. In my painting I use physical processes of dissolution, evaporation, heat and gravity which remind me of the alchemist's use of the elements of water, air, fire and earth. Humor is an important element of my work. Likewise humor and paradox were not unknown to the alchemist. The texts abound with cryptic riddles meant to befuddle the literal-minded and catalyze intuitive insight. Hermes, the Greek god of wisdom, was the patron of alchemists and also the trickster who could lead his followers on a search to find "fools gold". Anyone who embarks on a potentially quixotic search to find the elixir of immortality should have plenty of humor and humility to sustain themselves! The homunculus, a human-like creature nurtured in a glass vessel was reputed to have been created in the alchemical laboratory. In the novel "Frankenstein" the renegade doctor studies the writings of Paracelsus, the swiss alchemist, before creating his monster. I see the homunculus as a metaphor for modem technology with all its wonders and potential horrors. The series of "Homunculus" sculptures which utilize remnants of household appliances and found objects explores this theme in a whimsical fashion. The alchemist searched for the "gold of the philosophers"-philosophical wisdom. In their pursuit of nature's secrets they combined scientific experimentation with a mystical quest for illumination. Their holistic view of the universe viewed matter and consciousness as a continuum, anticipating recent developments in physics. Alchemy is the ancestor of modem science; perhaps there is something that can be learned from its legacy? I am inspired artistically by the beauty of the texts and their insights into the mysteries of creation. Hopefully my own fanciful creations convey something of the spirit of that tradition. (Nez, 1998) Title: 1998 Nez artist statement Author: Nez, David Year: 1975 My recent works on paper are inspired by alchemical manuscripts. The alchemists documented their labors in enigmatic texts in which chemical procedures, cosmology and myths are woven together into fantastic allegories. Similarly in my paintings I use imagery of birds, beasts, plants and minerals as symbols of the process of transformation, As an artist I view alchemy as a metaphor for the creative process in which there is progressive transformation and refinement of materials, imagery and ultimately consciousness. In alchemy and art alike the creative imagination is the vital agent of change. The alchemists described their labors as an "art". Like the alchemist I attempt to use physical processes as a mirror of inner experience. The materials become "transmuted" from their initially inert state through creative and chaotic struggle into a new synthesis. In my painting I use physical processes of dissolution, evaporation, heat and gravity which remind me of the alchemist's use of the elements of water, air, fire and earth. Humor is an important element of my work. Likewise humor and paradox were not unknown to the alchemist. The texts abound with cryptic riddles meant to befuddle the literal-minded and catalyze intuitive insight. Hermes, the Greek god of wisdom, was the patron of alchemists and also the trickster who could lead his followers on a search to find "fools gold". Anyone who embarks on a potentially quixotic search to find the elixir of immortality should have plenty of humor and humility to sustain themselves! The homunculus, a human-like creature nurtured in a glass vessel was reputed to have been created in the alchemical laboratory. In the novel "Frankenstein" the renegade doctor studies the writings of Paracelsus, the swiss alchemist, before creating his monster. I see the homunculus as a metaphor for modem technology with all its wonders and potential horrors. The series of "Homunculus" sculptures which utilize remnants of household appliances and found objects explores this theme in a whimsical fashion. The alchemist searched for the "gold of the philosophers"-philosophical wisdom. In their pursuit of nature's secrets they combined scientific experimentation with a mystical quest for illumination. Their holistic view of the universe viewed matter and consciousness as a continuum, anticipating recent developments in physics. Alchemy is the ancestor of modem science; perhaps there is something that can be learned from its legacy? I am inspired artistically by the beauty of the texts and their insights into the mysteries of creation. Hopefully my own fanciful creations convey something of the spirit of that tradition. (Nez, 1998) Close

• 1270. [Image] Vancouver Avenue First Baptist Church (Portland, Oregon); Central Methodist Episcopal Church (Portland, Oregon)

  	The 1909 church in the Albina neighborhood, on Portland’s east side, was purchased by the congregation in 1951 and remodeled to its current appearance in 1958. The congregation was established in 1944 ...
  	Citation × Citation Citation Abstract Copy Title: Vancouver Avenue First Baptist Church (Portland, Oregon); Central Methodist Episcopal Church (Portland, Oregon) Author: Martin, Richard H., Jr. Year: 1909 The 1909 church in the Albina neighborhood, on Portland’s east side, was purchased by the congregation in 1951 and remodeled to its current appearance in 1958. The congregation was established in 1944 in a housing development for war-time workers employed in the nearby shipyards. After the war, the church moved to the Albina neighborhood of Portland, where African Americans were forced to live in this era due to discriminatory housing practices. The congregation grew rapidly under the leadership of Reverend O.B. Williams and by the early 1950s needed more space. They engaged architect Hubert Athling Williams, who renovated the Gothic Revival church, giving it the modern appearance it has today. In their nearly 50-year tenure at the helm of the Vancouver Avenue First Baptist Church, Reverend Williams and his wife Willia offered not only spiritual leadership to the congregation, but also provided education, social services and a real community center. Additionally, the church encouraged civic and social engagement, which was enhanced by Williams’ extensive social and political connections. The church became central to the civil rights movement, as it played out locally, regionally, and nationally, with lectures and rallies by civil rights leaders and activists such as the national president of the NAACP, Roy Wilkins, and Dr. Martin Luther King, Jr. In 1968 the church hosted the Portland’s memorial service for the slain Martin Luther King, Jr., which was attended by Senator Mark Hatfield, Governor Tom McCall, Portland mayor Terry Schrunk, a host of municipal dignitaries, and a crowd of over 1,500 persons. The church’s congregation, which was locally based historically, has been impacted by urban renewal, institutional expansion, and now gentrification. Nonetheless, the institution continues in a leadership position in the African American community. Today the building is one of the few remaining historic structures in Albina that is directly associated with the Civil Rights movement. Title: Vancouver Avenue First Baptist Church (Portland, Oregon); Central Methodist Episcopal Church (Portland, Oregon) Author: Martin, Richard H., Jr. Year: 1909 The 1909 church in the Albina neighborhood, on Portland’s east side, was purchased by the congregation in 1951 and remodeled to its current appearance in 1958. The congregation was established in 1944 in a housing development for war-time workers employed in the nearby shipyards. After the war, the church moved to the Albina neighborhood of Portland, where African Americans were forced to live in this era due to discriminatory housing practices. The congregation grew rapidly under the leadership of Reverend O.B. Williams and by the early 1950s needed more space. They engaged architect Hubert Athling Williams, who renovated the Gothic Revival church, giving it the modern appearance it has today. In their nearly 50-year tenure at the helm of the Vancouver Avenue First Baptist Church, Reverend Williams and his wife Willia offered not only spiritual leadership to the congregation, but also provided education, social services and a real community center. Additionally, the church encouraged civic and social engagement, which was enhanced by Williams’ extensive social and political connections. The church became central to the civil rights movement, as it played out locally, regionally, and nationally, with lectures and rallies by civil rights leaders and activists such as the national president of the NAACP, Roy Wilkins, and Dr. Martin Luther King, Jr. In 1968 the church hosted the Portland’s memorial service for the slain Martin Luther King, Jr., which was attended by Senator Mark Hatfield, Governor Tom McCall, Portland mayor Terry Schrunk, a host of municipal dignitaries, and a crowd of over 1,500 persons. The church’s congregation, which was locally based historically, has been impacted by urban renewal, institutional expansion, and now gentrification. Nonetheless, the institution continues in a leadership position in the African American community. Today the building is one of the few remaining historic structures in Albina that is directly associated with the Civil Rights movement. Close