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• 2301. [Image] The Rosetta Stone

  	In speaking of ancient writing materials a few minutes ago, it was said that stone slabs, metal plates, etc., were used. But there were many other records besides, preserved from the earliest ages and ...
  	Citation × Citation Citation Abstract Copy Title: The Rosetta Stone Year: 1900 In speaking of ancient writing materials a few minutes ago, it was said that stone slabs, metal plates, etc., were used. But there were many other records besides, preserved from the earliest ages and evidencing the truth of such documents. The most important of these have been called the Stone Books. Hours might be spent in describing these records on rocks and slabs and public buildings. They were the earliest forms of records, and the chief events of national history are found recorded in this way-- hieroglyphics or picture writing were first used. Later on, outlines of objects alone were indicated. From these, characters indicative of an alphabet followed, especially in Egypt. But for generations all these remained a sealed book to man, till the year 1799, when a French officer dug up a slab of black marble at a place called Rosetta, on the banks of the Nile. It contained an inscription in characters of three different kinds, one being from ancient Greek. As this was a language which could be translated, it was not difficult to decipher from this clue the two other inscriptions on the stone, and, the alphabet being thus mastered, all other similar inscriptions could be read. The stone, which proved so valuable is known as the Rosetta Stone, and is preserved in the British Museum. The walls of the Temple of Karnak on the Nile are covered with similar inscriptions giving accounts of Egyptian oppressions, and the doings of Joseph and the Pharaoh of his time. Till the discovery of the Rosetta Stone these inscriptions could not be translated and so were absolutely unintelligible. It is the same with the Pyramids and the Egyptian Sphinx. These not only speak forcibly today of ancient skill and scientific knowledge from an architectural point of view, but the inscriptions which the contain confirm the truth of Scripture and make surer still our confidence in its worth. And all this has come to us through the finding of the Rosetta Stone, whose picture is now before us. Title: The Rosetta Stone Year: 1900 In speaking of ancient writing materials a few minutes ago, it was said that stone slabs, metal plates, etc., were used. But there were many other records besides, preserved from the earliest ages and evidencing the truth of such documents. The most important of these have been called the Stone Books. Hours might be spent in describing these records on rocks and slabs and public buildings. They were the earliest forms of records, and the chief events of national history are found recorded in this way-- hieroglyphics or picture writing were first used. Later on, outlines of objects alone were indicated. From these, characters indicative of an alphabet followed, especially in Egypt. But for generations all these remained a sealed book to man, till the year 1799, when a French officer dug up a slab of black marble at a place called Rosetta, on the banks of the Nile. It contained an inscription in characters of three different kinds, one being from ancient Greek. As this was a language which could be translated, it was not difficult to decipher from this clue the two other inscriptions on the stone, and, the alphabet being thus mastered, all other similar inscriptions could be read. The stone, which proved so valuable is known as the Rosetta Stone, and is preserved in the British Museum. The walls of the Temple of Karnak on the Nile are covered with similar inscriptions giving accounts of Egyptian oppressions, and the doings of Joseph and the Pharaoh of his time. Till the discovery of the Rosetta Stone these inscriptions could not be translated and so were absolutely unintelligible. It is the same with the Pyramids and the Egyptian Sphinx. These not only speak forcibly today of ancient skill and scientific knowledge from an architectural point of view, but the inscriptions which the contain confirm the truth of Scripture and make surer still our confidence in its worth. And all this has come to us through the finding of the Rosetta Stone, whose picture is now before us. Close

• 2302. [Image] Slave block, St. Louis Hotel, New Orleans, La.

  	Having come of age, Lincoln left the family and “struck out for himself”. He had to “take jobs whenever he could get them”. The first of these carried him again as a flatboat hand to New Orleans. There ...
  	Citation × Citation Citation Abstract Copy Title: Slave block, St. Louis Hotel, New Orleans, La. Year: 1920 Having come of age, Lincoln left the family and “struck out for himself”. He had to “take jobs whenever he could get them”. The first of these carried him again as a flatboat hand to New Orleans. There something happened that made a lasting impression on his soul: he witnessed a slave auction. “His heart bled,” wrote one of his companions; “said nothing much; was silent; looked bad. I can say, knowing it, that it was on this trip that he formed his opinion on slavery. It ran its iron in him then and there, May, 1831. I have heard his say so often.” Then he lived several years at New Salem in Illinois, a small mushroom village, with a mill, some “stores” and whiskey shops, that rose quickly, and soon disappeared again. It was a desolate, disjointed, half-loitering life, without any other aim than to gain food and shelter from day to day. He served as pilot on a steamboat trip, then as clerk in a store and a mill; business failing he was adrift for some time. Being compelled to measure his strength with the chief bully of the neighborhood, and overcoming him, he became a noted person in that muscular community, and won the esteem and friendship of the ruling gang of ruffians to such a degree that, when the Black Hawk war broke out, they elected him, a young man of twenty-three, captain of a volunteer company, composed mainly of roughs of their kind. Title: Slave block, St. Louis Hotel, New Orleans, La. Year: 1920 Having come of age, Lincoln left the family and “struck out for himself”. He had to “take jobs whenever he could get them”. The first of these carried him again as a flatboat hand to New Orleans. There something happened that made a lasting impression on his soul: he witnessed a slave auction. “His heart bled,” wrote one of his companions; “said nothing much; was silent; looked bad. I can say, knowing it, that it was on this trip that he formed his opinion on slavery. It ran its iron in him then and there, May, 1831. I have heard his say so often.” Then he lived several years at New Salem in Illinois, a small mushroom village, with a mill, some “stores” and whiskey shops, that rose quickly, and soon disappeared again. It was a desolate, disjointed, half-loitering life, without any other aim than to gain food and shelter from day to day. He served as pilot on a steamboat trip, then as clerk in a store and a mill; business failing he was adrift for some time. Being compelled to measure his strength with the chief bully of the neighborhood, and overcoming him, he became a noted person in that muscular community, and won the esteem and friendship of the ruling gang of ruffians to such a degree that, when the Black Hawk war broke out, they elected him, a young man of twenty-three, captain of a volunteer company, composed mainly of roughs of their kind. Close

• 2303. [Image] Dr. John McLoughlin

  	In 1824 Dr. John Mc Loughlin became Chief Factor for the Hudson Bay Co. in the Columbia river region. He was a man of kindly disposition but resolute character and was a genius in leadership. He commanded ...
  	Citation × Citation Citation Abstract Copy Title: Dr. John McLoughlin Year: 2007 In 1824 Dr. John Mc Loughlin became Chief Factor for the Hudson Bay Co. in the Columbia river region. He was a man of kindly disposition but resolute character and was a genius in leadership. He commanded obedience but retained the respect and affection of his subordinates and also of the Indians who dealth with his company. Dr. McLoughlin combined far-seeing statesmanship with efficient business ability and made his region the most profitable part of the Hudson Bay Co's domain in the fur trade. He was hospitable to the missionaries and earlier settlers and contributed greatly to the development of Oregon through the encouragement of industry. He left the Hudson Bay Co. in 1845 and made his home at Oregon City until his death. He is buried in the Catholic church yard at Oregon City. F.V. Holman says 'Of all men whose lives and deeds are essential parts of the Oregon country, Dr. John Mc Loughlin stands supremely first - there is no second. His life and character illustrate the kinship of man to God.' Lyman says of Dr. Mc Loughlin, 'He was particularly one who wrote his life in deeds.' The twenty years of Oregon history from 1824 to 1844 is pre-eminently the age of McLoughlin. That Oregon did not pass through war - between the United States and England - was due beyond all question to Mc Loughlin.' Title: Dr. John McLoughlin Year: 2007 In 1824 Dr. John Mc Loughlin became Chief Factor for the Hudson Bay Co. in the Columbia river region. He was a man of kindly disposition but resolute character and was a genius in leadership. He commanded obedience but retained the respect and affection of his subordinates and also of the Indians who dealth with his company. Dr. McLoughlin combined far-seeing statesmanship with efficient business ability and made his region the most profitable part of the Hudson Bay Co's domain in the fur trade. He was hospitable to the missionaries and earlier settlers and contributed greatly to the development of Oregon through the encouragement of industry. He left the Hudson Bay Co. in 1845 and made his home at Oregon City until his death. He is buried in the Catholic church yard at Oregon City. F.V. Holman says 'Of all men whose lives and deeds are essential parts of the Oregon country, Dr. John Mc Loughlin stands supremely first - there is no second. His life and character illustrate the kinship of man to God.' Lyman says of Dr. Mc Loughlin, 'He was particularly one who wrote his life in deeds.' The twenty years of Oregon history from 1824 to 1844 is pre-eminently the age of McLoughlin. That Oregon did not pass through war - between the United States and England - was due beyond all question to Mc Loughlin.' Close

• 2304. [Image] Tjayasetimo, 26th dynasty; Statue; 1682

  	Limestone standing figure of Tjayasetimu: in archaising dress, based on the conventional standing mortuary figures of the Old Kingdom, wearing short wig and kilt; the waist-band of the kilt, the base and ...
  	Citation × Citation Citation Abstract Copy Title: Tjayasetimo, 26th dynasty; Statue; 1682 Author: unknown Year: 664 Limestone standing figure of Tjayasetimu: in archaising dress, based on the conventional standing mortuary figures of the Old Kingdom, wearing short wig and kilt; the waist-band of the kilt, the base and the dorsal pillar are inscribed with hieroglyphs. Curator's comments Jones 1990 [Information relating to registration nos. 1897,1009.1 (a) and 1921,0507.1 (b)] The period from about 700 BC to the Roman conquest witnessed a remarkable revival in Egyptian art, seemingly stimulated by the Nubian rulers who gained control of Egypt towards the end of the eighth century BC. One of the most influential factors in this revitalisation of art was the so-called 'archaising tendency', a harking back to the glories of what were regarded as the 'golden ages' of Egypt's past - the Old, Middle and New Kingdoms. The monuments of those periods were studied in detail and those qualities considered to be their finest were imitated in contemporary art, architecture, writing and religion. This was not done with any intention to deceive, but rather out of respect and admiration for the great achievements of the past, and out of a desire to identify the present more closely with those earlier epochs. Nowhere is this tendency more apparent than in private sculpture. The statue of the priest Tjayasetimu (b), which would have been placed in a temple to enable the owner's spirit to partake of the offerings, is clearly copied from the tomb statues made for private individuals in the Old Kingdom. That of Nenkheftka from Deshasha (a), is an excellent example of such a figure. The sculptor of the late statue has copied both the stiff formal pose, with left foot advanced and arms held rigidly at the sides, and the simple costume, reproducing carefully the short curled wig, fashionable in the Old Kingdom but not usual in the Late Period. Archaising sculptures of the 25th and 26th Dynasties are sometimes such successful imitations of earlier works that dating would be difficult were it not for the inscriptions, which provide essential clues. Since there is no reason to suppose that the texts of the present statue were later additions, the name of the owner, Tjayasetimu - not attested before the Late Period - is a reliable guide, while among his titles is that of Priest of the statues of King Psammetichus I (664-610 BC), demonstrating that the figure cannot be dated earlier than the middle of the seventh century BC. --The British Museum; default; Twenty-sixth Dynasty (Egyptian) Title: Tjayasetimo, 26th dynasty; Statue; 1682 Author: unknown Year: 664 Limestone standing figure of Tjayasetimu: in archaising dress, based on the conventional standing mortuary figures of the Old Kingdom, wearing short wig and kilt; the waist-band of the kilt, the base and the dorsal pillar are inscribed with hieroglyphs. Curator's comments Jones 1990 [Information relating to registration nos. 1897,1009.1 (a) and 1921,0507.1 (b)] The period from about 700 BC to the Roman conquest witnessed a remarkable revival in Egyptian art, seemingly stimulated by the Nubian rulers who gained control of Egypt towards the end of the eighth century BC. One of the most influential factors in this revitalisation of art was the so-called 'archaising tendency', a harking back to the glories of what were regarded as the 'golden ages' of Egypt's past - the Old, Middle and New Kingdoms. The monuments of those periods were studied in detail and those qualities considered to be their finest were imitated in contemporary art, architecture, writing and religion. This was not done with any intention to deceive, but rather out of respect and admiration for the great achievements of the past, and out of a desire to identify the present more closely with those earlier epochs. Nowhere is this tendency more apparent than in private sculpture. The statue of the priest Tjayasetimu (b), which would have been placed in a temple to enable the owner's spirit to partake of the offerings, is clearly copied from the tomb statues made for private individuals in the Old Kingdom. That of Nenkheftka from Deshasha (a), is an excellent example of such a figure. The sculptor of the late statue has copied both the stiff formal pose, with left foot advanced and arms held rigidly at the sides, and the simple costume, reproducing carefully the short curled wig, fashionable in the Old Kingdom but not usual in the Late Period. Archaising sculptures of the 25th and 26th Dynasties are sometimes such successful imitations of earlier works that dating would be difficult were it not for the inscriptions, which provide essential clues. Since there is no reason to suppose that the texts of the present statue were later additions, the name of the owner, Tjayasetimu - not attested before the Late Period - is a reliable guide, while among his titles is that of Priest of the statues of King Psammetichus I (664-610 BC), demonstrating that the figure cannot be dated earlier than the middle of the seventh century BC. --The British Museum; default; Twenty-sixth Dynasty (Egyptian) Close

• 2305. [Image] Sack of Troy; Volute krater; Vase F160

  	Pottery: red-figured volute-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Round the lip, egg-moulding; underneath, laurel-wreaths. Above the design, on the ...
  	Citation × Citation Citation Abstract Copy Title: Sack of Troy; Volute krater; Vase F160 Pottery: red-figured volute-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Round the lip, egg-moulding; underneath, laurel-wreaths. Above the design, on the neck, ivy-wreath; at the back of the neck, ivy-wreath and palmettes. Below the handles, palmettes; above each design on the body, tongue-pattern, and below all round, maeander and crosses. The handles terminate in swans' heads below, and above in female masks with rams' horns, in front white with black hair and yellow markings, at the back black throughout. On the neck in front : Dionysiac thiasos: In the centre is Dionysos moving rapidly to right, looking back; he is beardless, with long hair, wreath, bordered chlamys over left arm held up in right hand, thyrsos in left. On either side of him is a Maenad moving to right, with hair gathered in a bunch behind, earrings, necklace, bracelets, and long girt chiton; the one on the left has a thyrsos in right hand and a blazing torch in left; in front of her is a tendril. The other has a radiated ampyx, chiton over left shoulder, and a tympanon in left hand; she looks upwards, and before her is an altar, on which is a fruit. On the body: (a) Iliupersis: (1.) In the centre is represented Ajax seizing Cassandra: In front of a xoanon of Athene is an altar with wave-pattern on the cornice and imitation triglyphs and metopes in front; the statue looks to right and has long hair, high-crested helmet, long chiton with a stripe of chevrons down the front bordered by wave-patterns, girdle with white studs, aegis at back with snake-border, double-pointed spear couched in right hand, shield on left arm. On the altar is Cassandra, seated to left with face to front, clasping the statue with both hands; she has long dishevelled hair, necklace, bracelets, long girt bordered chiton over right shoulder, with apoptygma. On the right stands Ajax to left with right foot slightly raised, beardless, with curly hair, white high-crested helmet, bordered chlamys over left shoulder confined by a belt with white spots, sword slung at side, long spear in left hand; in right hand is his shield (device of four-spoked wheel in white on black, surrounded by a broad white band, outer rim of white dots), which he is laying down before seizing Cassandra. Below the altar is a prochoos lying on its side. On the right is Hecuba, or an aged priestess, running away and looking back, with white hair and eyebrows, double yellow fillet, sandals, long chiton and apoptygma reaching to the knees, embroidered down the front, and himation wrapped round her, right hand raised, left extended. (2.) On the left, the sacrifice of Polyxena is represented. Polyxena is fallen to right at the foot of the statue, clasping it with both arms; she has long dishevelled hair, necklace, bracelets, long girt chiton with a stripe down the side. Behind her is Odysseus running up to carry her off, with left hand extended to seize her; he is beardless, with white pilos, bordered chlamys fastened with a fibula in front, sword slung at side, long double-pointed spear in right hand. Above the scene on the left is Athene seated to right, with hair in a knot at the back tied with a double fillet, earrings, necklace, bracelets, aegis spotted white with snakes in front and radiated border with white zigzags, long chiton and apoptygma with border as the aegis, spear in right hand. Behind her is an Ionic column, round which is a string of large beads ending in tassels. (3.) Above are Anchises and Ascanios departing to right; Anchises is partly bald, with white hair, beard, and eyebrows, bordered embroidered himation over left arm, and staff in left hand; with right hand he leads Ascanios, who has a bordered himation over left arm. Behind them is a laurel-tree, and above are seen the segments of two shields, white with a border of dots. The ground-lines are indicated by white dots. (b) Departure of a warrior (?): In the centre is a beardless warrior to left with right foot raised on a rock, pilos, endromides, bordered himation over left shoulder, and spear in right hand; his left hand rests on his shield, which has a four-spoked wheel as device, with dots round the rim. Facing him is a beardless warrior with pilos slung at back, fillet, chlamys over his arms, endromides, spear in right hand, two fingers of left hand raised, as if addressing the other. Behind on a slightly higher level is a female figure to right with hair in a knot behind, embroidered opisthosphendone, earrings, necklace, bracelets, long girt chiton with apoptygma reaching to the hips, sandals, situla in right hand; in left hand she holds out phiale. Behind her hangs an embroidered taenia; above the warriors is seen part of a shield with device of an eight-point star and border of dots, and an open window with double shutter on which are rows of white spots. On the right is a youth seated to right looking, back, with fillet, drapery under him, and spear in left hand; on a higher level is a female figure to right looking back, with hair in a knot, earrings, necklace, bracelets, long girt chiton with apoptygma; with right hand she draws forward her drapery from behind. --The British Museum; default; Red-figure; Apulian (pottery style) Title: Sack of Troy; Volute krater; Vase F160 Pottery: red-figured volute-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Round the lip, egg-moulding; underneath, laurel-wreaths. Above the design, on the neck, ivy-wreath; at the back of the neck, ivy-wreath and palmettes. Below the handles, palmettes; above each design on the body, tongue-pattern, and below all round, maeander and crosses. The handles terminate in swans' heads below, and above in female masks with rams' horns, in front white with black hair and yellow markings, at the back black throughout. On the neck in front : Dionysiac thiasos: In the centre is Dionysos moving rapidly to right, looking back; he is beardless, with long hair, wreath, bordered chlamys over left arm held up in right hand, thyrsos in left. On either side of him is a Maenad moving to right, with hair gathered in a bunch behind, earrings, necklace, bracelets, and long girt chiton; the one on the left has a thyrsos in right hand and a blazing torch in left; in front of her is a tendril. The other has a radiated ampyx, chiton over left shoulder, and a tympanon in left hand; she looks upwards, and before her is an altar, on which is a fruit. On the body: (a) Iliupersis: (1.) In the centre is represented Ajax seizing Cassandra: In front of a xoanon of Athene is an altar with wave-pattern on the cornice and imitation triglyphs and metopes in front; the statue looks to right and has long hair, high-crested helmet, long chiton with a stripe of chevrons down the front bordered by wave-patterns, girdle with white studs, aegis at back with snake-border, double-pointed spear couched in right hand, shield on left arm. On the altar is Cassandra, seated to left with face to front, clasping the statue with both hands; she has long dishevelled hair, necklace, bracelets, long girt bordered chiton over right shoulder, with apoptygma. On the right stands Ajax to left with right foot slightly raised, beardless, with curly hair, white high-crested helmet, bordered chlamys over left shoulder confined by a belt with white spots, sword slung at side, long spear in left hand; in right hand is his shield (device of four-spoked wheel in white on black, surrounded by a broad white band, outer rim of white dots), which he is laying down before seizing Cassandra. Below the altar is a prochoos lying on its side. On the right is Hecuba, or an aged priestess, running away and looking back, with white hair and eyebrows, double yellow fillet, sandals, long chiton and apoptygma reaching to the knees, embroidered down the front, and himation wrapped round her, right hand raised, left extended. (2.) On the left, the sacrifice of Polyxena is represented. Polyxena is fallen to right at the foot of the statue, clasping it with both arms; she has long dishevelled hair, necklace, bracelets, long girt chiton with a stripe down the side. Behind her is Odysseus running up to carry her off, with left hand extended to seize her; he is beardless, with white pilos, bordered chlamys fastened with a fibula in front, sword slung at side, long double-pointed spear in right hand. Above the scene on the left is Athene seated to right, with hair in a knot at the back tied with a double fillet, earrings, necklace, bracelets, aegis spotted white with snakes in front and radiated border with white zigzags, long chiton and apoptygma with border as the aegis, spear in right hand. Behind her is an Ionic column, round which is a string of large beads ending in tassels. (3.) Above are Anchises and Ascanios departing to right; Anchises is partly bald, with white hair, beard, and eyebrows, bordered embroidered himation over left arm, and staff in left hand; with right hand he leads Ascanios, who has a bordered himation over left arm. Behind them is a laurel-tree, and above are seen the segments of two shields, white with a border of dots. The ground-lines are indicated by white dots. (b) Departure of a warrior (?): In the centre is a beardless warrior to left with right foot raised on a rock, pilos, endromides, bordered himation over left shoulder, and spear in right hand; his left hand rests on his shield, which has a four-spoked wheel as device, with dots round the rim. Facing him is a beardless warrior with pilos slung at back, fillet, chlamys over his arms, endromides, spear in right hand, two fingers of left hand raised, as if addressing the other. Behind on a slightly higher level is a female figure to right with hair in a knot behind, embroidered opisthosphendone, earrings, necklace, bracelets, long girt chiton with apoptygma reaching to the hips, sandals, situla in right hand; in left hand she holds out phiale. Behind her hangs an embroidered taenia; above the warriors is seen part of a shield with device of an eight-point star and border of dots, and an open window with double shutter on which are rows of white spots. On the right is a youth seated to right looking, back, with fillet, drapery under him, and spear in left hand; on a higher level is a female figure to right looking back, with hair in a knot, earrings, necklace, bracelets, long girt chiton with apoptygma; with right hand she draws forward her drapery from behind. --The British Museum; default; Red-figure; Apulian (pottery style) Close

• 2306. [Image] Other side of Sack of Troy; Volute krater; Vase F160

  	Pottery: red-figured volute-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Round the lip, egg-moulding; underneath, laurel-wreaths. Above the design, on the ...
  	Citation × Citation Citation Abstract Copy Title: Other side of Sack of Troy; Volute krater; Vase F160 Pottery: red-figured volute-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Round the lip, egg-moulding; underneath, laurel-wreaths. Above the design, on the neck, ivy-wreath; at the back of the neck, ivy-wreath and palmettes. Below the handles, palmettes; above each design on the body, tongue-pattern, and below all round, maeander and crosses. The handles terminate in swans' heads below, and above in female masks with rams' horns, in front white with black hair and yellow markings, at the back black throughout. On the neck in front : Dionysiac thiasos: In the centre is Dionysos moving rapidly to right, looking back; he is beardless, with long hair, wreath, bordered chlamys over left arm held up in right hand, thyrsos in left. On either side of him is a Maenad moving to right, with hair gathered in a bunch behind, earrings, necklace, bracelets, and long girt chiton; the one on the left has a thyrsos in right hand and a blazing torch in left; in front of her is a tendril. The other has a radiated ampyx, chiton over left shoulder, and a tympanon in left hand; she looks upwards, and before her is an altar, on which is a fruit. On the body: (a) Iliupersis: (1.) In the centre is represented Ajax seizing Cassandra: In front of a xoanon of Athene is an altar with wave-pattern on the cornice and imitation triglyphs and metopes in front; the statue looks to right and has long hair, high-crested helmet, long chiton with a stripe of chevrons down the front bordered by wave-patterns, girdle with white studs, aegis at back with snake-border, double-pointed spear couched in right hand, shield on left arm. On the altar is Cassandra, seated to left with face to front, clasping the statue with both hands; she has long dishevelled hair, necklace, bracelets, long girt bordered chiton over right shoulder, with apoptygma. On the right stands Ajax to left with right foot slightly raised, beardless, with curly hair, white high-crested helmet, bordered chlamys over left shoulder confined by a belt with white spots, sword slung at side, long spear in left hand; in right hand is his shield (device of four-spoked wheel in white on black, surrounded by a broad white band, outer rim of white dots), which he is laying down before seizing Cassandra. Below the altar is a prochoos lying on its side. On the right is Hecuba, or an aged priestess, running away and looking back, with white hair and eyebrows, double yellow fillet, sandals, long chiton and apoptygma reaching to the knees, embroidered down the front, and himation wrapped round her, right hand raised, left extended. (2.) On the left, the sacrifice of Polyxena is represented. Polyxena is fallen to right at the foot of the statue, clasping it with both arms; she has long dishevelled hair, necklace, bracelets, long girt chiton with a stripe down the side. Behind her is Odysseus running up to carry her off, with left hand extended to seize her; he is beardless, with white pilos, bordered chlamys fastened with a fibula in front, sword slung at side, long double-pointed spear in right hand. Above the scene on the left is Athene seated to right, with hair in a knot at the back tied with a double fillet, earrings, necklace, bracelets, aegis spotted white with snakes in front and radiated border with white zigzags, long chiton and apoptygma with border as the aegis, spear in right hand. Behind her is an Ionic column, round which is a string of large beads ending in tassels. (3.) Above are Anchises and Ascanios departing to right; Anchises is partly bald, with white hair, beard, and eyebrows, bordered embroidered himation over left arm, and staff in left hand; with right hand he leads Ascanios, who has a bordered himation over left arm. Behind them is a laurel-tree, and above are seen the segments of two shields, white with a border of dots. The ground-lines are indicated by white dots. (b) Departure of a warrior (?): In the centre is a beardless warrior to left with right foot raised on a rock, pilos, endromides, bordered himation over left shoulder, and spear in right hand; his left hand rests on his shield, which has a four-spoked wheel as device, with dots round the rim. Facing him is a beardless warrior with pilos slung at back, fillet, chlamys over his arms, endromides, spear in right hand, two fingers of left hand raised, as if addressing the other. Behind on a slightly higher level is a female figure to right with hair in a knot behind, embroidered opisthosphendone, earrings, necklace, bracelets, long girt chiton with apoptygma reaching to the hips, sandals, situla in right hand; in left hand she holds out phiale. Behind her hangs an embroidered taenia; above the warriors is seen part of a shield with device of an eight-point star and border of dots, and an open window with double shutter on which are rows of white spots. On the right is a youth seated to right looking, back, with fillet, drapery under him, and spear in left hand; on a higher level is a female figure to right looking back, with hair in a knot, earrings, necklace, bracelets, long girt chiton with apoptygma; with right hand she draws forward her drapery from behind. --The British Museum; default; Red-figure; Apulian (pottery style) Title: Other side of Sack of Troy; Volute krater; Vase F160 Pottery: red-figured volute-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Round the lip, egg-moulding; underneath, laurel-wreaths. Above the design, on the neck, ivy-wreath; at the back of the neck, ivy-wreath and palmettes. Below the handles, palmettes; above each design on the body, tongue-pattern, and below all round, maeander and crosses. The handles terminate in swans' heads below, and above in female masks with rams' horns, in front white with black hair and yellow markings, at the back black throughout. On the neck in front : Dionysiac thiasos: In the centre is Dionysos moving rapidly to right, looking back; he is beardless, with long hair, wreath, bordered chlamys over left arm held up in right hand, thyrsos in left. On either side of him is a Maenad moving to right, with hair gathered in a bunch behind, earrings, necklace, bracelets, and long girt chiton; the one on the left has a thyrsos in right hand and a blazing torch in left; in front of her is a tendril. The other has a radiated ampyx, chiton over left shoulder, and a tympanon in left hand; she looks upwards, and before her is an altar, on which is a fruit. On the body: (a) Iliupersis: (1.) In the centre is represented Ajax seizing Cassandra: In front of a xoanon of Athene is an altar with wave-pattern on the cornice and imitation triglyphs and metopes in front; the statue looks to right and has long hair, high-crested helmet, long chiton with a stripe of chevrons down the front bordered by wave-patterns, girdle with white studs, aegis at back with snake-border, double-pointed spear couched in right hand, shield on left arm. On the altar is Cassandra, seated to left with face to front, clasping the statue with both hands; she has long dishevelled hair, necklace, bracelets, long girt bordered chiton over right shoulder, with apoptygma. On the right stands Ajax to left with right foot slightly raised, beardless, with curly hair, white high-crested helmet, bordered chlamys over left shoulder confined by a belt with white spots, sword slung at side, long spear in left hand; in right hand is his shield (device of four-spoked wheel in white on black, surrounded by a broad white band, outer rim of white dots), which he is laying down before seizing Cassandra. Below the altar is a prochoos lying on its side. On the right is Hecuba, or an aged priestess, running away and looking back, with white hair and eyebrows, double yellow fillet, sandals, long chiton and apoptygma reaching to the knees, embroidered down the front, and himation wrapped round her, right hand raised, left extended. (2.) On the left, the sacrifice of Polyxena is represented. Polyxena is fallen to right at the foot of the statue, clasping it with both arms; she has long dishevelled hair, necklace, bracelets, long girt chiton with a stripe down the side. Behind her is Odysseus running up to carry her off, with left hand extended to seize her; he is beardless, with white pilos, bordered chlamys fastened with a fibula in front, sword slung at side, long double-pointed spear in right hand. Above the scene on the left is Athene seated to right, with hair in a knot at the back tied with a double fillet, earrings, necklace, bracelets, aegis spotted white with snakes in front and radiated border with white zigzags, long chiton and apoptygma with border as the aegis, spear in right hand. Behind her is an Ionic column, round which is a string of large beads ending in tassels. (3.) Above are Anchises and Ascanios departing to right; Anchises is partly bald, with white hair, beard, and eyebrows, bordered embroidered himation over left arm, and staff in left hand; with right hand he leads Ascanios, who has a bordered himation over left arm. Behind them is a laurel-tree, and above are seen the segments of two shields, white with a border of dots. The ground-lines are indicated by white dots. (b) Departure of a warrior (?): In the centre is a beardless warrior to left with right foot raised on a rock, pilos, endromides, bordered himation over left shoulder, and spear in right hand; his left hand rests on his shield, which has a four-spoked wheel as device, with dots round the rim. Facing him is a beardless warrior with pilos slung at back, fillet, chlamys over his arms, endromides, spear in right hand, two fingers of left hand raised, as if addressing the other. Behind on a slightly higher level is a female figure to right with hair in a knot behind, embroidered opisthosphendone, earrings, necklace, bracelets, long girt chiton with apoptygma reaching to the hips, sandals, situla in right hand; in left hand she holds out phiale. Behind her hangs an embroidered taenia; above the warriors is seen part of a shield with device of an eight-point star and border of dots, and an open window with double shutter on which are rows of white spots. On the right is a youth seated to right looking, back, with fillet, drapery under him, and spear in left hand; on a higher level is a female figure to right looking back, with hair in a knot, earrings, necklace, bracelets, long girt chiton with apoptygma; with right hand she draws forward her drapery from behind. --The British Museum; default; Red-figure; Apulian (pottery style) Close

• 2307. [Image] Sack of Troy; Volute krater; Vase F160

  	Pottery: red-figured volute-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Round the lip, egg-moulding; underneath, laurel-wreaths. Above the design, on the ...
  	Citation × Citation Citation Abstract Copy Title: Sack of Troy; Volute krater; Vase F160 Pottery: red-figured volute-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Round the lip, egg-moulding; underneath, laurel-wreaths. Above the design, on the neck, ivy-wreath; at the back of the neck, ivy-wreath and palmettes. Below the handles, palmettes; above each design on the body, tongue-pattern, and below all round, maeander and crosses. The handles terminate in swans' heads below, and above in female masks with rams' horns, in front white with black hair and yellow markings, at the back black throughout. On the neck in front : Dionysiac thiasos: In the centre is Dionysos moving rapidly to right, looking back; he is beardless, with long hair, wreath, bordered chlamys over left arm held up in right hand, thyrsos in left. On either side of him is a Maenad moving to right, with hair gathered in a bunch behind, earrings, necklace, bracelets, and long girt chiton; the one on the left has a thyrsos in right hand and a blazing torch in left; in front of her is a tendril. The other has a radiated ampyx, chiton over left shoulder, and a tympanon in left hand; she looks upwards, and before her is an altar, on which is a fruit. On the body: (a) Iliupersis: (1.) In the centre is represented Ajax seizing Cassandra: In front of a xoanon of Athene is an altar with wave-pattern on the cornice and imitation triglyphs and metopes in front; the statue looks to right and has long hair, high-crested helmet, long chiton with a stripe of chevrons down the front bordered by wave-patterns, girdle with white studs, aegis at back with snake-border, double-pointed spear couched in right hand, shield on left arm. On the altar is Cassandra, seated to left with face to front, clasping the statue with both hands; she has long dishevelled hair, necklace, bracelets, long girt bordered chiton over right shoulder, with apoptygma. On the right stands Ajax to left with right foot slightly raised, beardless, with curly hair, white high-crested helmet, bordered chlamys over left shoulder confined by a belt with white spots, sword slung at side, long spear in left hand; in right hand is his shield (device of four-spoked wheel in white on black, surrounded by a broad white band, outer rim of white dots), which he is laying down before seizing Cassandra. Below the altar is a prochoos lying on its side. On the right is Hecuba, or an aged priestess, running away and looking back, with white hair and eyebrows, double yellow fillet, sandals, long chiton and apoptygma reaching to the knees, embroidered down the front, and himation wrapped round her, right hand raised, left extended. (2.) On the left, the sacrifice of Polyxena is represented. Polyxena is fallen to right at the foot of the statue, clasping it with both arms; she has long dishevelled hair, necklace, bracelets, long girt chiton with a stripe down the side. Behind her is Odysseus running up to carry her off, with left hand extended to seize her; he is beardless, with white pilos, bordered chlamys fastened with a fibula in front, sword slung at side, long double-pointed spear in right hand. Above the scene on the left is Athene seated to right, with hair in a knot at the back tied with a double fillet, earrings, necklace, bracelets, aegis spotted white with snakes in front and radiated border with white zigzags, long chiton and apoptygma with border as the aegis, spear in right hand. Behind her is an Ionic column, round which is a string of large beads ending in tassels. (3.) Above are Anchises and Ascanios departing to right; Anchises is partly bald, with white hair, beard, and eyebrows, bordered embroidered himation over left arm, and staff in left hand; with right hand he leads Ascanios, who has a bordered himation over left arm. Behind them is a laurel-tree, and above are seen the segments of two shields, white with a border of dots. The ground-lines are indicated by white dots. (b) Departure of a warrior (?): In the centre is a beardless warrior to left with right foot raised on a rock, pilos, endromides, bordered himation over left shoulder, and spear in right hand; his left hand rests on his shield, which has a four-spoked wheel as device, with dots round the rim. Facing him is a beardless warrior with pilos slung at back, fillet, chlamys over his arms, endromides, spear in right hand, two fingers of left hand raised, as if addressing the other. Behind on a slightly higher level is a female figure to right with hair in a knot behind, embroidered opisthosphendone, earrings, necklace, bracelets, long girt chiton with apoptygma reaching to the hips, sandals, situla in right hand; in left hand she holds out phiale. Behind her hangs an embroidered taenia; above the warriors is seen part of a shield with device of an eight-point star and border of dots, and an open window with double shutter on which are rows of white spots. On the right is a youth seated to right looking, back, with fillet, drapery under him, and spear in left hand; on a higher level is a female figure to right looking back, with hair in a knot, earrings, necklace, bracelets, long girt chiton with apoptygma; with right hand she draws forward her drapery from behind. --The British Museum; default; Red-figure; Apulian (pottery style) Title: Sack of Troy; Volute krater; Vase F160 Pottery: red-figured volute-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Round the lip, egg-moulding; underneath, laurel-wreaths. Above the design, on the neck, ivy-wreath; at the back of the neck, ivy-wreath and palmettes. Below the handles, palmettes; above each design on the body, tongue-pattern, and below all round, maeander and crosses. The handles terminate in swans' heads below, and above in female masks with rams' horns, in front white with black hair and yellow markings, at the back black throughout. On the neck in front : Dionysiac thiasos: In the centre is Dionysos moving rapidly to right, looking back; he is beardless, with long hair, wreath, bordered chlamys over left arm held up in right hand, thyrsos in left. On either side of him is a Maenad moving to right, with hair gathered in a bunch behind, earrings, necklace, bracelets, and long girt chiton; the one on the left has a thyrsos in right hand and a blazing torch in left; in front of her is a tendril. The other has a radiated ampyx, chiton over left shoulder, and a tympanon in left hand; she looks upwards, and before her is an altar, on which is a fruit. On the body: (a) Iliupersis: (1.) In the centre is represented Ajax seizing Cassandra: In front of a xoanon of Athene is an altar with wave-pattern on the cornice and imitation triglyphs and metopes in front; the statue looks to right and has long hair, high-crested helmet, long chiton with a stripe of chevrons down the front bordered by wave-patterns, girdle with white studs, aegis at back with snake-border, double-pointed spear couched in right hand, shield on left arm. On the altar is Cassandra, seated to left with face to front, clasping the statue with both hands; she has long dishevelled hair, necklace, bracelets, long girt bordered chiton over right shoulder, with apoptygma. On the right stands Ajax to left with right foot slightly raised, beardless, with curly hair, white high-crested helmet, bordered chlamys over left shoulder confined by a belt with white spots, sword slung at side, long spear in left hand; in right hand is his shield (device of four-spoked wheel in white on black, surrounded by a broad white band, outer rim of white dots), which he is laying down before seizing Cassandra. Below the altar is a prochoos lying on its side. On the right is Hecuba, or an aged priestess, running away and looking back, with white hair and eyebrows, double yellow fillet, sandals, long chiton and apoptygma reaching to the knees, embroidered down the front, and himation wrapped round her, right hand raised, left extended. (2.) On the left, the sacrifice of Polyxena is represented. Polyxena is fallen to right at the foot of the statue, clasping it with both arms; she has long dishevelled hair, necklace, bracelets, long girt chiton with a stripe down the side. Behind her is Odysseus running up to carry her off, with left hand extended to seize her; he is beardless, with white pilos, bordered chlamys fastened with a fibula in front, sword slung at side, long double-pointed spear in right hand. Above the scene on the left is Athene seated to right, with hair in a knot at the back tied with a double fillet, earrings, necklace, bracelets, aegis spotted white with snakes in front and radiated border with white zigzags, long chiton and apoptygma with border as the aegis, spear in right hand. Behind her is an Ionic column, round which is a string of large beads ending in tassels. (3.) Above are Anchises and Ascanios departing to right; Anchises is partly bald, with white hair, beard, and eyebrows, bordered embroidered himation over left arm, and staff in left hand; with right hand he leads Ascanios, who has a bordered himation over left arm. Behind them is a laurel-tree, and above are seen the segments of two shields, white with a border of dots. The ground-lines are indicated by white dots. (b) Departure of a warrior (?): In the centre is a beardless warrior to left with right foot raised on a rock, pilos, endromides, bordered himation over left shoulder, and spear in right hand; his left hand rests on his shield, which has a four-spoked wheel as device, with dots round the rim. Facing him is a beardless warrior with pilos slung at back, fillet, chlamys over his arms, endromides, spear in right hand, two fingers of left hand raised, as if addressing the other. Behind on a slightly higher level is a female figure to right with hair in a knot behind, embroidered opisthosphendone, earrings, necklace, bracelets, long girt chiton with apoptygma reaching to the hips, sandals, situla in right hand; in left hand she holds out phiale. Behind her hangs an embroidered taenia; above the warriors is seen part of a shield with device of an eight-point star and border of dots, and an open window with double shutter on which are rows of white spots. On the right is a youth seated to right looking, back, with fillet, drapery under him, and spear in left hand; on a higher level is a female figure to right looking back, with hair in a knot, earrings, necklace, bracelets, long girt chiton with apoptygma; with right hand she draws forward her drapery from behind. --The British Museum; default; Red-figure; Apulian (pottery style) Close

• 2308. [Image] Iphigenia; Volute krater; Vase F160

  	Pottery: red-figured volute-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Round the lip, egg-moulding; underneath, laurel-wreaths. Above the design, on the ...
  	Citation × Citation Citation Abstract Copy Title: Iphigenia; Volute krater; Vase F160 Pottery: red-figured volute-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Round the lip, egg-moulding; underneath, laurel-wreaths. Above the design, on the neck, ivy-wreath; at the back of the neck, ivy-wreath and palmettes. Below the handles, palmettes; above each design on the body, tongue-pattern, and below all round, maeander and crosses. The handles terminate in swans' heads below, and above in female masks with rams' horns, in front white with black hair and yellow markings, at the back black throughout. On the neck in front : Dionysiac thiasos: In the centre is Dionysos moving rapidly to right, looking back; he is beardless, with long hair, wreath, bordered chlamys over left arm held up in right hand, thyrsos in left. On either side of him is a Maenad moving to right, with hair gathered in a bunch behind, earrings, necklace, bracelets, and long girt chiton; the one on the left has a thyrsos in right hand and a blazing torch in left; in front of her is a tendril. The other has a radiated ampyx, chiton over left shoulder, and a tympanon in left hand; she looks upwards, and before her is an altar, on which is a fruit. On the body: (a) Iliupersis: (1.) In the centre is represented Ajax seizing Cassandra: In front of a xoanon of Athene is an altar with wave-pattern on the cornice and imitation triglyphs and metopes in front; the statue looks to right and has long hair, high-crested helmet, long chiton with a stripe of chevrons down the front bordered by wave-patterns, girdle with white studs, aegis at back with snake-border, double-pointed spear couched in right hand, shield on left arm. On the altar is Cassandra, seated to left with face to front, clasping the statue with both hands; she has long dishevelled hair, necklace, bracelets, long girt bordered chiton over right shoulder, with apoptygma. On the right stands Ajax to left with right foot slightly raised, beardless, with curly hair, white high-crested helmet, bordered chlamys over left shoulder confined by a belt with white spots, sword slung at side, long spear in left hand; in right hand is his shield (device of four-spoked wheel in white on black, surrounded by a broad white band, outer rim of white dots), which he is laying down before seizing Cassandra. Below the altar is a prochoos lying on its side. On the right is Hecuba, or an aged priestess, running away and looking back, with white hair and eyebrows, double yellow fillet, sandals, long chiton and apoptygma reaching to the knees, embroidered down the front, and himation wrapped round her, right hand raised, left extended. (2.) On the left, the sacrifice of Polyxena is represented. Polyxena is fallen to right at the foot of the statue, clasping it with both arms; she has long dishevelled hair, necklace, bracelets, long girt chiton with a stripe down the side. Behind her is Odysseus running up to carry her off, with left hand extended to seize her; he is beardless, with white pilos, bordered chlamys fastened with a fibula in front, sword slung at side, long double-pointed spear in right hand. Above the scene on the left is Athene seated to right, with hair in a knot at the back tied with a double fillet, earrings, necklace, bracelets, aegis spotted white with snakes in front and radiated border with white zigzags, long chiton and apoptygma with border as the aegis, spear in right hand. Behind her is an Ionic column, round which is a string of large beads ending in tassels. (3.) Above are Anchises and Ascanios departing to right; Anchises is partly bald, with white hair, beard, and eyebrows, bordered embroidered himation over left arm, and staff in left hand; with right hand he leads Ascanios, who has a bordered himation over left arm. Behind them is a laurel-tree, and above are seen the segments of two shields, white with a border of dots. The ground-lines are indicated by white dots. (b) Departure of a warrior (?): In the centre is a beardless warrior to left with right foot raised on a rock, pilos, endromides, bordered himation over left shoulder, and spear in right hand; his left hand rests on his shield, which has a four-spoked wheel as device, with dots round the rim. Facing him is a beardless warrior with pilos slung at back, fillet, chlamys over his arms, endromides, spear in right hand, two fingers of left hand raised, as if addressing the other. Behind on a slightly higher level is a female figure to right with hair in a knot behind, embroidered opisthosphendone, earrings, necklace, bracelets, long girt chiton with apoptygma reaching to the hips, sandals, situla in right hand; in left hand she holds out phiale. Behind her hangs an embroidered taenia; above the warriors is seen part of a shield with device of an eight-point star and border of dots, and an open window with double shutter on which are rows of white spots. On the right is a youth seated to right looking, back, with fillet, drapery under him, and spear in left hand; on a higher level is a female figure to right looking back, with hair in a knot, earrings, necklace, bracelets, long girt chiton with apoptygma; with right hand she draws forward her drapery from behind. --The British Museum; default; Red-figure; Apulian (pottery style) Title: Iphigenia; Volute krater; Vase F160 Pottery: red-figured volute-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Round the lip, egg-moulding; underneath, laurel-wreaths. Above the design, on the neck, ivy-wreath; at the back of the neck, ivy-wreath and palmettes. Below the handles, palmettes; above each design on the body, tongue-pattern, and below all round, maeander and crosses. The handles terminate in swans' heads below, and above in female masks with rams' horns, in front white with black hair and yellow markings, at the back black throughout. On the neck in front : Dionysiac thiasos: In the centre is Dionysos moving rapidly to right, looking back; he is beardless, with long hair, wreath, bordered chlamys over left arm held up in right hand, thyrsos in left. On either side of him is a Maenad moving to right, with hair gathered in a bunch behind, earrings, necklace, bracelets, and long girt chiton; the one on the left has a thyrsos in right hand and a blazing torch in left; in front of her is a tendril. The other has a radiated ampyx, chiton over left shoulder, and a tympanon in left hand; she looks upwards, and before her is an altar, on which is a fruit. On the body: (a) Iliupersis: (1.) In the centre is represented Ajax seizing Cassandra: In front of a xoanon of Athene is an altar with wave-pattern on the cornice and imitation triglyphs and metopes in front; the statue looks to right and has long hair, high-crested helmet, long chiton with a stripe of chevrons down the front bordered by wave-patterns, girdle with white studs, aegis at back with snake-border, double-pointed spear couched in right hand, shield on left arm. On the altar is Cassandra, seated to left with face to front, clasping the statue with both hands; she has long dishevelled hair, necklace, bracelets, long girt bordered chiton over right shoulder, with apoptygma. On the right stands Ajax to left with right foot slightly raised, beardless, with curly hair, white high-crested helmet, bordered chlamys over left shoulder confined by a belt with white spots, sword slung at side, long spear in left hand; in right hand is his shield (device of four-spoked wheel in white on black, surrounded by a broad white band, outer rim of white dots), which he is laying down before seizing Cassandra. Below the altar is a prochoos lying on its side. On the right is Hecuba, or an aged priestess, running away and looking back, with white hair and eyebrows, double yellow fillet, sandals, long chiton and apoptygma reaching to the knees, embroidered down the front, and himation wrapped round her, right hand raised, left extended. (2.) On the left, the sacrifice of Polyxena is represented. Polyxena is fallen to right at the foot of the statue, clasping it with both arms; she has long dishevelled hair, necklace, bracelets, long girt chiton with a stripe down the side. Behind her is Odysseus running up to carry her off, with left hand extended to seize her; he is beardless, with white pilos, bordered chlamys fastened with a fibula in front, sword slung at side, long double-pointed spear in right hand. Above the scene on the left is Athene seated to right, with hair in a knot at the back tied with a double fillet, earrings, necklace, bracelets, aegis spotted white with snakes in front and radiated border with white zigzags, long chiton and apoptygma with border as the aegis, spear in right hand. Behind her is an Ionic column, round which is a string of large beads ending in tassels. (3.) Above are Anchises and Ascanios departing to right; Anchises is partly bald, with white hair, beard, and eyebrows, bordered embroidered himation over left arm, and staff in left hand; with right hand he leads Ascanios, who has a bordered himation over left arm. Behind them is a laurel-tree, and above are seen the segments of two shields, white with a border of dots. The ground-lines are indicated by white dots. (b) Departure of a warrior (?): In the centre is a beardless warrior to left with right foot raised on a rock, pilos, endromides, bordered himation over left shoulder, and spear in right hand; his left hand rests on his shield, which has a four-spoked wheel as device, with dots round the rim. Facing him is a beardless warrior with pilos slung at back, fillet, chlamys over his arms, endromides, spear in right hand, two fingers of left hand raised, as if addressing the other. Behind on a slightly higher level is a female figure to right with hair in a knot behind, embroidered opisthosphendone, earrings, necklace, bracelets, long girt chiton with apoptygma reaching to the hips, sandals, situla in right hand; in left hand she holds out phiale. Behind her hangs an embroidered taenia; above the warriors is seen part of a shield with device of an eight-point star and border of dots, and an open window with double shutter on which are rows of white spots. On the right is a youth seated to right looking, back, with fillet, drapery under him, and spear in left hand; on a higher level is a female figure to right looking back, with hair in a knot, earrings, necklace, bracelets, long girt chiton with apoptygma; with right hand she draws forward her drapery from behind. --The British Museum; default; Red-figure; Apulian (pottery style) Close

• 2309. [Image] Sack of Troy; Volute krater; Vase F160

  	Pottery: red-figured volute-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Round the lip, egg-moulding; underneath, laurel-wreaths. Above the design, on the ...
  	Citation × Citation Citation Abstract Copy Title: Sack of Troy; Volute krater; Vase F160 Pottery: red-figured volute-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Round the lip, egg-moulding; underneath, laurel-wreaths. Above the design, on the neck, ivy-wreath; at the back of the neck, ivy-wreath and palmettes. Below the handles, palmettes; above each design on the body, tongue-pattern, and below all round, maeander and crosses. The handles terminate in swans' heads below, and above in female masks with rams' horns, in front white with black hair and yellow markings, at the back black throughout. On the neck in front : Dionysiac thiasos: In the centre is Dionysos moving rapidly to right, looking back; he is beardless, with long hair, wreath, bordered chlamys over left arm held up in right hand, thyrsos in left. On either side of him is a Maenad moving to right, with hair gathered in a bunch behind, earrings, necklace, bracelets, and long girt chiton; the one on the left has a thyrsos in right hand and a blazing torch in left; in front of her is a tendril. The other has a radiated ampyx, chiton over left shoulder, and a tympanon in left hand; she looks upwards, and before her is an altar, on which is a fruit. On the body: (a) Iliupersis: (1.) In the centre is represented Ajax seizing Cassandra: In front of a xoanon of Athene is an altar with wave-pattern on the cornice and imitation triglyphs and metopes in front; the statue looks to right and has long hair, high-crested helmet, long chiton with a stripe of chevrons down the front bordered by wave-patterns, girdle with white studs, aegis at back with snake-border, double-pointed spear couched in right hand, shield on left arm. On the altar is Cassandra, seated to left with face to front, clasping the statue with both hands; she has long dishevelled hair, necklace, bracelets, long girt bordered chiton over right shoulder, with apoptygma. On the right stands Ajax to left with right foot slightly raised, beardless, with curly hair, white high-crested helmet, bordered chlamys over left shoulder confined by a belt with white spots, sword slung at side, long spear in left hand; in right hand is his shield (device of four-spoked wheel in white on black, surrounded by a broad white band, outer rim of white dots), which he is laying down before seizing Cassandra. Below the altar is a prochoos lying on its side. On the right is Hecuba, or an aged priestess, running away and looking back, with white hair and eyebrows, double yellow fillet, sandals, long chiton and apoptygma reaching to the knees, embroidered down the front, and himation wrapped round her, right hand raised, left extended. (2.) On the left, the sacrifice of Polyxena is represented. Polyxena is fallen to right at the foot of the statue, clasping it with both arms; she has long dishevelled hair, necklace, bracelets, long girt chiton with a stripe down the side. Behind her is Odysseus running up to carry her off, with left hand extended to seize her; he is beardless, with white pilos, bordered chlamys fastened with a fibula in front, sword slung at side, long double-pointed spear in right hand. Above the scene on the left is Athene seated to right, with hair in a knot at the back tied with a double fillet, earrings, necklace, bracelets, aegis spotted white with snakes in front and radiated border with white zigzags, long chiton and apoptygma with border as the aegis, spear in right hand. Behind her is an Ionic column, round which is a string of large beads ending in tassels. (3.) Above are Anchises and Ascanios departing to right; Anchises is partly bald, with white hair, beard, and eyebrows, bordered embroidered himation over left arm, and staff in left hand; with right hand he leads Ascanios, who has a bordered himation over left arm. Behind them is a laurel-tree, and above are seen the segments of two shields, white with a border of dots. The ground-lines are indicated by white dots. (b) Departure of a warrior (?): In the centre is a beardless warrior to left with right foot raised on a rock, pilos, endromides, bordered himation over left shoulder, and spear in right hand; his left hand rests on his shield, which has a four-spoked wheel as device, with dots round the rim. Facing him is a beardless warrior with pilos slung at back, fillet, chlamys over his arms, endromides, spear in right hand, two fingers of left hand raised, as if addressing the other. Behind on a slightly higher level is a female figure to right with hair in a knot behind, embroidered opisthosphendone, earrings, necklace, bracelets, long girt chiton with apoptygma reaching to the hips, sandals, situla in right hand; in left hand she holds out phiale. Behind her hangs an embroidered taenia; above the warriors is seen part of a shield with device of an eight-point star and border of dots, and an open window with double shutter on which are rows of white spots. On the right is a youth seated to right looking, back, with fillet, drapery under him, and spear in left hand; on a higher level is a female figure to right looking back, with hair in a knot, earrings, necklace, bracelets, long girt chiton with apoptygma; with right hand she draws forward her drapery from behind. --The British Museum; default; Red-figure; Apulian (pottery style) Title: Sack of Troy; Volute krater; Vase F160 Pottery: red-figured volute-krater (bowl for mixing wine and water). Designs red on black ground, with white accessories. Round the lip, egg-moulding; underneath, laurel-wreaths. Above the design, on the neck, ivy-wreath; at the back of the neck, ivy-wreath and palmettes. Below the handles, palmettes; above each design on the body, tongue-pattern, and below all round, maeander and crosses. The handles terminate in swans' heads below, and above in female masks with rams' horns, in front white with black hair and yellow markings, at the back black throughout. On the neck in front : Dionysiac thiasos: In the centre is Dionysos moving rapidly to right, looking back; he is beardless, with long hair, wreath, bordered chlamys over left arm held up in right hand, thyrsos in left. On either side of him is a Maenad moving to right, with hair gathered in a bunch behind, earrings, necklace, bracelets, and long girt chiton; the one on the left has a thyrsos in right hand and a blazing torch in left; in front of her is a tendril. The other has a radiated ampyx, chiton over left shoulder, and a tympanon in left hand; she looks upwards, and before her is an altar, on which is a fruit. On the body: (a) Iliupersis: (1.) In the centre is represented Ajax seizing Cassandra: In front of a xoanon of Athene is an altar with wave-pattern on the cornice and imitation triglyphs and metopes in front; the statue looks to right and has long hair, high-crested helmet, long chiton with a stripe of chevrons down the front bordered by wave-patterns, girdle with white studs, aegis at back with snake-border, double-pointed spear couched in right hand, shield on left arm. On the altar is Cassandra, seated to left with face to front, clasping the statue with both hands; she has long dishevelled hair, necklace, bracelets, long girt bordered chiton over right shoulder, with apoptygma. On the right stands Ajax to left with right foot slightly raised, beardless, with curly hair, white high-crested helmet, bordered chlamys over left shoulder confined by a belt with white spots, sword slung at side, long spear in left hand; in right hand is his shield (device of four-spoked wheel in white on black, surrounded by a broad white band, outer rim of white dots), which he is laying down before seizing Cassandra. Below the altar is a prochoos lying on its side. On the right is Hecuba, or an aged priestess, running away and looking back, with white hair and eyebrows, double yellow fillet, sandals, long chiton and apoptygma reaching to the knees, embroidered down the front, and himation wrapped round her, right hand raised, left extended. (2.) On the left, the sacrifice of Polyxena is represented. Polyxena is fallen to right at the foot of the statue, clasping it with both arms; she has long dishevelled hair, necklace, bracelets, long girt chiton with a stripe down the side. Behind her is Odysseus running up to carry her off, with left hand extended to seize her; he is beardless, with white pilos, bordered chlamys fastened with a fibula in front, sword slung at side, long double-pointed spear in right hand. Above the scene on the left is Athene seated to right, with hair in a knot at the back tied with a double fillet, earrings, necklace, bracelets, aegis spotted white with snakes in front and radiated border with white zigzags, long chiton and apoptygma with border as the aegis, spear in right hand. Behind her is an Ionic column, round which is a string of large beads ending in tassels. (3.) Above are Anchises and Ascanios departing to right; Anchises is partly bald, with white hair, beard, and eyebrows, bordered embroidered himation over left arm, and staff in left hand; with right hand he leads Ascanios, who has a bordered himation over left arm. Behind them is a laurel-tree, and above are seen the segments of two shields, white with a border of dots. The ground-lines are indicated by white dots. (b) Departure of a warrior (?): In the centre is a beardless warrior to left with right foot raised on a rock, pilos, endromides, bordered himation over left shoulder, and spear in right hand; his left hand rests on his shield, which has a four-spoked wheel as device, with dots round the rim. Facing him is a beardless warrior with pilos slung at back, fillet, chlamys over his arms, endromides, spear in right hand, two fingers of left hand raised, as if addressing the other. Behind on a slightly higher level is a female figure to right with hair in a knot behind, embroidered opisthosphendone, earrings, necklace, bracelets, long girt chiton with apoptygma reaching to the hips, sandals, situla in right hand; in left hand she holds out phiale. Behind her hangs an embroidered taenia; above the warriors is seen part of a shield with device of an eight-point star and border of dots, and an open window with double shutter on which are rows of white spots. On the right is a youth seated to right looking, back, with fillet, drapery under him, and spear in left hand; on a higher level is a female figure to right looking back, with hair in a knot, earrings, necklace, bracelets, long girt chiton with apoptygma; with right hand she draws forward her drapery from behind. --The British Museum; default; Red-figure; Apulian (pottery style) Close

• 2310. [Image] Martha

  	Maria Schwalb, too, had many an opportunity during the long summer, to show her housewife accomplishments. Nor was she unassisted by her humbler sister in these duties. The arrangements for entertaining ...
  	Citation × Citation Citation Abstract Copy Title: Martha Maria Schwalb, too, had many an opportunity during the long summer, to show her housewife accomplishments. Nor was she unassisted by her humbler sister in these duties. The arrangements for entertaining the crowds that came were in the hands of the central committee. This committee assigned travellers to the different hotels and homes. Lodgings cost from $1.00 to $2.50 per day according to location. The meals cost as much more. Here let one (Mrs. Elizabeth Hayhurst of Portland) who witnessed the portrayal of this great play in 1922 tell us some of her observations and experiences. "We left Munich Saturday afternoon on one of the many special trains for Oberammergau which is about a two hour journey by fast train. We went through a picturesque country, whose fir-clad hills reminded us very strongly of Oregon, while the numerous blue lakes and chalet-like houses partook of the characteristics of Switzerland. Soon we were in sight of the lovely Bavarian Alps, and entering the valley of the Ammer, beheld Oberammergau - a small village nestled at the foot of Kofel, a high mountain peak with precipitous sides whose crest is surmounted with a cross. Upon our arrival, we were put in the care of a porter, who was dressed in the quaint garb of the Bavarian peasant - short leather breeches, embroidered velvet jacket, and a peaked leather hat adorned with a feather of a wild fowl. We followed him to the home of our host - Hans Mayr, who had the role of "Pilate" in the play. Frau Mayr greeted us cordially, as she domiciled forty of us Americans seemingly without any effort whatsoever, and made us feel quite like we were her personal guests instead of playing ones. A walk about the village later brought forth many "Ohs and Ahs". Most of the houses are painted a soft green, gray or white, and on the outside walls of many are painted religious scenes, and on one house there was a canopy of ivy growing about a painted shrine to the Virgin. Everywhere there were shrines and on the banks of the clean, clear Ammer river was a splendid monument of the Crucifixion. After our simple but wholesome evening meal, many of us purchased copies of the play, and knowing no German, which is the original text, I obtained an English version, to familiarize myself with the lines I had journeyed so far to see and hear interpreted. The characters are selected by a committee that is elected by the whole community, and the villagers wait with breathless anticipation the announcement of the bestowal of the assignment, as often a near-tragedy is witnessed when one is deemed too old to continue in a famous role. Anton Lang has been the Christus for three consecutive decades but he will not be able to continue in the role, as the crucifixion scene where he is suspended on the cross for twenty minutes is a great physical strain. Frau Lang has never witnessed the crucifixion scene as given by her husband. On the day of the performance, Anton Lang remains at the auditorium all day - simple food being brought to him during the noon intermission when he rests. By profession, he is a potter. He is profound student of the life of Christ, and has made a pilgrimage to the Holy Land in order to portray the role. The bestowal of the role of the Christus is considered the highest honor within the power of the community as there is the character requisite as well as the acting one. That interest in the Play is lifelong can best be revealed by the interest of Johann Zwinck who was first a boy in the play, twice enacted the part of the disciple, Joh, and for three decades interpreted the role of Judas - said to be among the greatest of the Judases and in 1922 was the venerable Simon of Bethany, as well as understudy to the Judas. It is told of him that while he wished nothing to happen to Guida Mayr - the Judans of 1922, but Oh! how much he should like to just once again play the part of Judas, and when he was told that it would be difficult for him to make himself heard with so many of his teeth gone, he replied, "well, if I were sure of the chance, I would try in some way to gather together enough money to buy teeth". George Lang, the director of the play, is a young man of about thirty years. He was wounded in the late war and one hand is atrophied. He is their teacher in the wood carving school. Wood carving is the principal industry of the village and to that fact may be ascribed the artistic success of the play. The Villagers day by day experience the joy of creating beautiful objects. The robes have all been designed and made in the village from wonderful materials gotten mostly from the Orient. No make-up whatsoever is used, not even a wig is worn, another secret of the lovely hair one sees there everywhere. No married woman is given a speaking role, but an exception was made to the understudy of the Virgin Mary of 1922, who was the Virgin Mary of 1910, but who in the meantime has been wooed, wed, and widowed. Nine hundred five people have a part in the production of the play; there are 124 speaking roles; 50 musicians in the orchestra and 45 singers in the well-trained chorus. Seven hundred persons from mere tots of four to men and women of venerable years appear in the mob scene; 75 men are needed to collect the tickets and serve as doorkeepers and ushers, and remember at the same time thousands are being entertained in the homes of the villagers, as the few small hotels cannot begin to provide for the large number who come from all parts of the world to see the Marvelous Play of all time. The prices were established early in the year of 1922, and although the value of the mark declined many times in value before the season had hardly begun, there was no deviation from the established price of either the seats or the accomodations. Thus it was that eleven of the villagers journeyed to American to try to retrieve some of the deficit. Each summer a religious play is given which enables the selecting committee to know who is best adapted to the various roles, and each family hopes it may be represented in the famous characters and shapes its daily life to that end. We were awakened early Sunday morning by such peaceful sounds as the crowing of the cocks, lowing of the calves, tinkling of the bells of the cows as they were being driven through the village streets to the pasture, and the pealing of the chimes from the village's one church. Upon arising, we were greeted with frosted roofs and fences, which was a most welcome sight, as it foretold a clear day. We breakfasted at six-thirty, after which we were given our tickets to the open-air auditorium, as experience has shown that it simplifies matters to retain the tickets as long as possible to avoid all the useless mislayings and losings. The seats are distributed according to the household, the better homes secure the better seats for their guests. Our hostess very thoughtfully suggested our securing robes and cushions, which were provided for a small fee and made our stay in the open-air auditorium much more comfortable. As we went to the Play through the village streets, it seemed as though the whole world had come to Oberammergau. There were monks and nuns of the various orders, Hindoos from India, Syrians from the Near East, a Japanese and Chinese from the Far East, and very, very black people from Africa. We were requested to be in our seats at 7:45, and there we were, 4200 sitting, hundreds standing and scores kneeling, when at precisely eight o'clock the Chorus dressed in rich colorful robes advanced from the colonnades on either side of the stage and sang the opening number which is a prayer of thanks for their deliverance from the awful scourge in ages past and an appeal from the blessing of the presence of the Saviour always. Then the prologist in full, rich voice gave the following beautiful greeting which sounds the keynote of the whole play. "Welcome, welcome, to all, whom here the tender love Of the Saviour unites, mourning, to follow Him On His journey of suffering To the last resting place. Who from far and from near, all here have come today They all feel themselves now joined in brotherly love As disciples of one Lord Who has suffered death for all. Who gave Himself for us, with compassion and love Even to bitter death. To Him let us lift up Our gaze and our hearts too, With love unfeigned and gratitude. Up to Him let us lift all our thoughts and our souls, Pray with us - yea - with us pray, as the hour comes, When the dept of our sacred vow We pray to the supreme GOD". There are twenty-four tableaux and the function of the tableaux is to connect the incidents of the old testament that relate to the incidents of the last seven days of Christ. The dialogue begins with Christ's entry into Jerusalem, and our very souls were quickened as we beheld the face of Him who has beem so familiar to us through the very best of painting and sculpture. As the sad story unfolded, there were lovely pictures of indelible impress left upon our minds. The bleating of the sheep as they were freed from the pens and the flying of the doves over the audience, all added to the realism of the Temple scene. Then the beauty and the humility of Mary Magdalene as she wiped the feet of the Christus with her lovely long hair; the pathos and the tenderness of the leave-taking of the Christus of His mother in Bethany, and the Last Supper which is an animated counterpart of the Da Vinci painting. The play has progressed until the betrayal of the Christus by Judas in the Garden of Gethsamane when the Noon intermission is announced which is the first intermission of the morning. We were all enthralled as we wended our way quietly to our various place of abode for luncheon, which in many instances, is served by those appearing in the performance. At 1:15 we were again in our seats in eager anticipation of the continuance of the wonderful story of the Ages, as the shortening of days of September made it necessary to resume the Play at 1:30 in order to finish before nightfall. The lines of the Play have Judas reveal where the Christus is spending the night rather than an actual betrayal, and when Judas realized all to late what his telling has brought to the Christus, he is so filled with compassion that he receives our pity instead of our scorn. Scene after scene is portrayed until we are confronted with the realistic "Way of the Cross", and the Chorus, now dressed in black, sing a dirge-like refrain all through the Crucifixion Scene, which was too real and too sad for most of us. As the body was removed from the cross we thought at once of another famous painting "Rubens' Descent From the Cross" and during the rites of the last unction, another work of art came to our mind, Michael Angelo's marble masterpiece "Pieta" as Mary, the Mother, folded in her arms the beautiful body of the Christus. The Christ appeared for a moment to Mary Magdalene after the resurrection, and in a final tableau, we had a glimpse of the Ascension. The last chorus was sung--a glad, halleluiah one-- and the somber robes of mourning have been replaced by the first, bright, colorful ones, and the final curtain is drawn about five-thirty upon the marvelous Passion Play. It has filled our very souls with reverence and a prayer that the Great Sacrifice of Reconcilliation upon Golgotha may contribute to a world peace and a better understanding among the nations and within the nations until the whole world is imbued with the same unity and co-operation that makes possible the perfect rendering of this marvellous Play by the villagers of Oberammergau. Title: Martha Maria Schwalb, too, had many an opportunity during the long summer, to show her housewife accomplishments. Nor was she unassisted by her humbler sister in these duties. The arrangements for entertaining the crowds that came were in the hands of the central committee. This committee assigned travellers to the different hotels and homes. Lodgings cost from $1.00 to $2.50 per day according to location. The meals cost as much more. Here let one (Mrs. Elizabeth Hayhurst of Portland) who witnessed the portrayal of this great play in 1922 tell us some of her observations and experiences. "We left Munich Saturday afternoon on one of the many special trains for Oberammergau which is about a two hour journey by fast train. We went through a picturesque country, whose fir-clad hills reminded us very strongly of Oregon, while the numerous blue lakes and chalet-like houses partook of the characteristics of Switzerland. Soon we were in sight of the lovely Bavarian Alps, and entering the valley of the Ammer, beheld Oberammergau - a small village nestled at the foot of Kofel, a high mountain peak with precipitous sides whose crest is surmounted with a cross. Upon our arrival, we were put in the care of a porter, who was dressed in the quaint garb of the Bavarian peasant - short leather breeches, embroidered velvet jacket, and a peaked leather hat adorned with a feather of a wild fowl. We followed him to the home of our host - Hans Mayr, who had the role of "Pilate" in the play. Frau Mayr greeted us cordially, as she domiciled forty of us Americans seemingly without any effort whatsoever, and made us feel quite like we were her personal guests instead of playing ones. A walk about the village later brought forth many "Ohs and Ahs". Most of the houses are painted a soft green, gray or white, and on the outside walls of many are painted religious scenes, and on one house there was a canopy of ivy growing about a painted shrine to the Virgin. Everywhere there were shrines and on the banks of the clean, clear Ammer river was a splendid monument of the Crucifixion. After our simple but wholesome evening meal, many of us purchased copies of the play, and knowing no German, which is the original text, I obtained an English version, to familiarize myself with the lines I had journeyed so far to see and hear interpreted. The characters are selected by a committee that is elected by the whole community, and the villagers wait with breathless anticipation the announcement of the bestowal of the assignment, as often a near-tragedy is witnessed when one is deemed too old to continue in a famous role. Anton Lang has been the Christus for three consecutive decades but he will not be able to continue in the role, as the crucifixion scene where he is suspended on the cross for twenty minutes is a great physical strain. Frau Lang has never witnessed the crucifixion scene as given by her husband. On the day of the performance, Anton Lang remains at the auditorium all day - simple food being brought to him during the noon intermission when he rests. By profession, he is a potter. He is profound student of the life of Christ, and has made a pilgrimage to the Holy Land in order to portray the role. The bestowal of the role of the Christus is considered the highest honor within the power of the community as there is the character requisite as well as the acting one. That interest in the Play is lifelong can best be revealed by the interest of Johann Zwinck who was first a boy in the play, twice enacted the part of the disciple, Joh, and for three decades interpreted the role of Judas - said to be among the greatest of the Judases and in 1922 was the venerable Simon of Bethany, as well as understudy to the Judas. It is told of him that while he wished nothing to happen to Guida Mayr - the Judans of 1922, but Oh! how much he should like to just once again play the part of Judas, and when he was told that it would be difficult for him to make himself heard with so many of his teeth gone, he replied, "well, if I were sure of the chance, I would try in some way to gather together enough money to buy teeth". George Lang, the director of the play, is a young man of about thirty years. He was wounded in the late war and one hand is atrophied. He is their teacher in the wood carving school. Wood carving is the principal industry of the village and to that fact may be ascribed the artistic success of the play. The Villagers day by day experience the joy of creating beautiful objects. The robes have all been designed and made in the village from wonderful materials gotten mostly from the Orient. No make-up whatsoever is used, not even a wig is worn, another secret of the lovely hair one sees there everywhere. No married woman is given a speaking role, but an exception was made to the understudy of the Virgin Mary of 1922, who was the Virgin Mary of 1910, but who in the meantime has been wooed, wed, and widowed. Nine hundred five people have a part in the production of the play; there are 124 speaking roles; 50 musicians in the orchestra and 45 singers in the well-trained chorus. Seven hundred persons from mere tots of four to men and women of venerable years appear in the mob scene; 75 men are needed to collect the tickets and serve as doorkeepers and ushers, and remember at the same time thousands are being entertained in the homes of the villagers, as the few small hotels cannot begin to provide for the large number who come from all parts of the world to see the Marvelous Play of all time. The prices were established early in the year of 1922, and although the value of the mark declined many times in value before the season had hardly begun, there was no deviation from the established price of either the seats or the accomodations. Thus it was that eleven of the villagers journeyed to American to try to retrieve some of the deficit. Each summer a religious play is given which enables the selecting committee to know who is best adapted to the various roles, and each family hopes it may be represented in the famous characters and shapes its daily life to that end. We were awakened early Sunday morning by such peaceful sounds as the crowing of the cocks, lowing of the calves, tinkling of the bells of the cows as they were being driven through the village streets to the pasture, and the pealing of the chimes from the village's one church. Upon arising, we were greeted with frosted roofs and fences, which was a most welcome sight, as it foretold a clear day. We breakfasted at six-thirty, after which we were given our tickets to the open-air auditorium, as experience has shown that it simplifies matters to retain the tickets as long as possible to avoid all the useless mislayings and losings. The seats are distributed according to the household, the better homes secure the better seats for their guests. Our hostess very thoughtfully suggested our securing robes and cushions, which were provided for a small fee and made our stay in the open-air auditorium much more comfortable. As we went to the Play through the village streets, it seemed as though the whole world had come to Oberammergau. There were monks and nuns of the various orders, Hindoos from India, Syrians from the Near East, a Japanese and Chinese from the Far East, and very, very black people from Africa. We were requested to be in our seats at 7:45, and there we were, 4200 sitting, hundreds standing and scores kneeling, when at precisely eight o'clock the Chorus dressed in rich colorful robes advanced from the colonnades on either side of the stage and sang the opening number which is a prayer of thanks for their deliverance from the awful scourge in ages past and an appeal from the blessing of the presence of the Saviour always. Then the prologist in full, rich voice gave the following beautiful greeting which sounds the keynote of the whole play. "Welcome, welcome, to all, whom here the tender love Of the Saviour unites, mourning, to follow Him On His journey of suffering To the last resting place. Who from far and from near, all here have come today They all feel themselves now joined in brotherly love As disciples of one Lord Who has suffered death for all. Who gave Himself for us, with compassion and love Even to bitter death. To Him let us lift up Our gaze and our hearts too, With love unfeigned and gratitude. Up to Him let us lift all our thoughts and our souls, Pray with us - yea - with us pray, as the hour comes, When the dept of our sacred vow We pray to the supreme GOD". There are twenty-four tableaux and the function of the tableaux is to connect the incidents of the old testament that relate to the incidents of the last seven days of Christ. The dialogue begins with Christ's entry into Jerusalem, and our very souls were quickened as we beheld the face of Him who has beem so familiar to us through the very best of painting and sculpture. As the sad story unfolded, there were lovely pictures of indelible impress left upon our minds. The bleating of the sheep as they were freed from the pens and the flying of the doves over the audience, all added to the realism of the Temple scene. Then the beauty and the humility of Mary Magdalene as she wiped the feet of the Christus with her lovely long hair; the pathos and the tenderness of the leave-taking of the Christus of His mother in Bethany, and the Last Supper which is an animated counterpart of the Da Vinci painting. The play has progressed until the betrayal of the Christus by Judas in the Garden of Gethsamane when the Noon intermission is announced which is the first intermission of the morning. We were all enthralled as we wended our way quietly to our various place of abode for luncheon, which in many instances, is served by those appearing in the performance. At 1:15 we were again in our seats in eager anticipation of the continuance of the wonderful story of the Ages, as the shortening of days of September made it necessary to resume the Play at 1:30 in order to finish before nightfall. The lines of the Play have Judas reveal where the Christus is spending the night rather than an actual betrayal, and when Judas realized all to late what his telling has brought to the Christus, he is so filled with compassion that he receives our pity instead of our scorn. Scene after scene is portrayed until we are confronted with the realistic "Way of the Cross", and the Chorus, now dressed in black, sing a dirge-like refrain all through the Crucifixion Scene, which was too real and too sad for most of us. As the body was removed from the cross we thought at once of another famous painting "Rubens' Descent From the Cross" and during the rites of the last unction, another work of art came to our mind, Michael Angelo's marble masterpiece "Pieta" as Mary, the Mother, folded in her arms the beautiful body of the Christus. The Christ appeared for a moment to Mary Magdalene after the resurrection, and in a final tableau, we had a glimpse of the Ascension. The last chorus was sung--a glad, halleluiah one-- and the somber robes of mourning have been replaced by the first, bright, colorful ones, and the final curtain is drawn about five-thirty upon the marvelous Passion Play. It has filled our very souls with reverence and a prayer that the Great Sacrifice of Reconcilliation upon Golgotha may contribute to a world peace and a better understanding among the nations and within the nations until the whole world is imbued with the same unity and co-operation that makes possible the perfect rendering of this marvellous Play by the villagers of Oberammergau. Close