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• 51. [Image] Pillars of Hercules on the Columbia River

  	Colored image. Close-in view of the Pillars of Hercules rock formation as seen from the vista of the Columbia River, facing the riverbank. In the foreground is the riverbank where it touches upon a sandy ...
  	Citation × Citation Citation Abstract Copy Title: Pillars of Hercules on the Columbia River Colored image. Close-in view of the Pillars of Hercules rock formation as seen from the vista of the Columbia River, facing the riverbank. In the foreground is the riverbank where it touches upon a sandy beach. There are two pillars at the riverbank and two that can be seen inland (there may be more), with the beach situated between the pairs. Upon the beach are remnants of trees: stumps, branches and logs, along with a number of wired utility poles. Behind the riverbank is an elevated, level area that may be a road. There are equally distanced posts outlining the level area. In the far background are rising hills covered with fir trees. The pillars are substantial in height; each has patches of green moss over a predominantly gray surface. Title: Pillars of Hercules on the Columbia River Colored image. Close-in view of the Pillars of Hercules rock formation as seen from the vista of the Columbia River, facing the riverbank. In the foreground is the riverbank where it touches upon a sandy beach. There are two pillars at the riverbank and two that can be seen inland (there may be more), with the beach situated between the pairs. Upon the beach are remnants of trees: stumps, branches and logs, along with a number of wired utility poles. Behind the riverbank is an elevated, level area that may be a road. There are equally distanced posts outlining the level area. In the far background are rising hills covered with fir trees. The pillars are substantial in height; each has patches of green moss over a predominantly gray surface. Close

• 52. [Image] Icefields

  	Image Description from historic lecture booklet: "Every large snow-field is also an ice-field, for where snow accumulates to great depth and lies long upon the surface, it is changed to ice. the beginning ...
  	Citation × Citation Citation Abstract Copy Title: Icefields Year: 1915 Image Description from historic lecture booklet: "Every large snow-field is also an ice-field, for where snow accumulates to great depth and lies long upon the surface, it is changed to ice. the beginning of this change may be seen in the snow a few days after it falls, for it soon loses its light, flaky character and becomes granular, so that it feels harsh to the hand. The change is very distinct in the last banks of snow in the spring. They are made up of coarse grains (granules) of ice, sometimes as larges as peas. The change from flakes of snow to granules of ice is due, in part, to the melting of the snow and the freezing of the water. If there is much snow, it is compressed by its own weight, and after being compacted in this way, the freezing of the sinking water binds the granules together. By this and perhaps other process, the large part of every thick snow-field becomes an ice-field merely coated over with snow." Title: Icefields Year: 1915 Image Description from historic lecture booklet: "Every large snow-field is also an ice-field, for where snow accumulates to great depth and lies long upon the surface, it is changed to ice. the beginning of this change may be seen in the snow a few days after it falls, for it soon loses its light, flaky character and becomes granular, so that it feels harsh to the hand. The change is very distinct in the last banks of snow in the spring. They are made up of coarse grains (granules) of ice, sometimes as larges as peas. The change from flakes of snow to granules of ice is due, in part, to the melting of the snow and the freezing of the water. If there is much snow, it is compressed by its own weight, and after being compacted in this way, the freezing of the sinking water binds the granules together. By this and perhaps other process, the large part of every thick snow-field becomes an ice-field merely coated over with snow." Close

• 53. [Image] Jordan and the Promised Land

  	Image Description from historic lecture booklet: "The Jordan rises west of Mt. Hermon and after spreading out into Lake Mermon and the sea of Galilee, discharges its waters into the Dead Sea, 1292 feet ...
  	Citation × Citation Citation Abstract Copy Title: Jordan and the Promised Land Year: 1910 Image Description from historic lecture booklet: "The Jordan rises west of Mt. Hermon and after spreading out into Lake Mermon and the sea of Galilee, discharges its waters into the Dead Sea, 1292 feet below the level of the Mediterranean. From Lake Mermon to the Dead Sea, which has no outlet and is a body of salt water, the course of the Jordon is below sea level. The Valley of the Jordon the Dead Sea and the Sea of Galilee occupy a portion of the long narrow depression in the surface of the earth. At the east and west margins of the depression there are great fissures of breaks in the rocks and the land between these fissures has fallen or been drawn in toward the center of the earth. The Jordon varies in width from 30 to 70 yards, but in January and February it over flows its banks and is from a half-mile to two miles wide. The soil in the valley is very rich except near the Dead Sea. In Mid-winter the landscape is green with grass and bright with flowers, but in summer it has the general appearance of a desert." Title: Jordan and the Promised Land Year: 1910 Image Description from historic lecture booklet: "The Jordan rises west of Mt. Hermon and after spreading out into Lake Mermon and the sea of Galilee, discharges its waters into the Dead Sea, 1292 feet below the level of the Mediterranean. From Lake Mermon to the Dead Sea, which has no outlet and is a body of salt water, the course of the Jordon is below sea level. The Valley of the Jordon the Dead Sea and the Sea of Galilee occupy a portion of the long narrow depression in the surface of the earth. At the east and west margins of the depression there are great fissures of breaks in the rocks and the land between these fissures has fallen or been drawn in toward the center of the earth. The Jordon varies in width from 30 to 70 yards, but in January and February it over flows its banks and is from a half-mile to two miles wide. The soil in the valley is very rich except near the Dead Sea. In Mid-winter the landscape is green with grass and bright with flowers, but in summer it has the general appearance of a desert." Close

• 54. [Image] Crater Lake, view from north

  	Here is an inspiring view of Crater Lake - that which is left of grim old Mt. Mazama - the deepest and bluest lake in the world. It measures two thousand feet in depth and the intensity of its color is ...
  	Citation × Citation Citation Abstract Copy Title: Crater Lake, view from north Year: 1900 Here is an inspiring view of Crater Lake - that which is left of grim old Mt. Mazama - the deepest and bluest lake in the world. It measures two thousand feet in depth and the intensity of its color is almost unbelievable even while you look at it. Many Alpine lakes are blue under some lights. The deep blueness of Crater Lake may possibly be due to mineral which the water holds in solution; yet a glassful of the water is as clear as the clearest. Its cliffs from skyline to surface are a thousand feet high, and its color may be due in part to these surrounding walls and to its enormous depth. From the rim, a narrow margin of the water along the walls appears to be sea-green. The lake has no visible inlet or outlet as it occupies the great cavity left by Mt. Mazama when it disappeared into its own depths. It is a gem of wonderful color in a setting of pearly lavas relieved by patches of pine-green and snow-white - a gem which varies in hue with every atmospheric change and every shift of light. Because of the unique character and extraordinary beauty of the lake called by Joaquin Miller, 'The Sea of Silence', Crater Lake National Park was established in 1902. Title: Crater Lake, view from north Year: 1900 Here is an inspiring view of Crater Lake - that which is left of grim old Mt. Mazama - the deepest and bluest lake in the world. It measures two thousand feet in depth and the intensity of its color is almost unbelievable even while you look at it. Many Alpine lakes are blue under some lights. The deep blueness of Crater Lake may possibly be due to mineral which the water holds in solution; yet a glassful of the water is as clear as the clearest. Its cliffs from skyline to surface are a thousand feet high, and its color may be due in part to these surrounding walls and to its enormous depth. From the rim, a narrow margin of the water along the walls appears to be sea-green. The lake has no visible inlet or outlet as it occupies the great cavity left by Mt. Mazama when it disappeared into its own depths. It is a gem of wonderful color in a setting of pearly lavas relieved by patches of pine-green and snow-white - a gem which varies in hue with every atmospheric change and every shift of light. Because of the unique character and extraordinary beauty of the lake called by Joaquin Miller, 'The Sea of Silence', Crater Lake National Park was established in 1902. Close

• 55. [Image] PH263_55-20 James Cloutier photographs

  	Black and white photograph. Children playing outdoors in front of an abandoned building, located in Alpine, Oregon. The building has been identified as the vacated Alpine Market. A young girl in the ...
  	Citation × Citation Citation Abstract Copy Title: PH263_55-20 James Cloutier photographs Year: 1968 Black and white photograph. Children playing outdoors in front of an abandoned building, located in Alpine, Oregon. The building has been identified as the vacated Alpine Market. A young girl in the center of the image holds a hose that squirts water towards a man named Lee Mintonye. Lee stands in the doorway of the wooden building. Above him is a sign that reads, Lee Mintonye's Appliance Service 424-3135. He is dressed in a long sleeve shirt and jeans. Utility boxes and a board with writing on its surface are mounted to the building next to the doorway. Also visible on the building is a brick chimney and multiple windows that are broken, or boarded up. A double door with glass windows is visible between the large windows of the building. Two boys, one who is seated on a bike, stand behind the girl. A street fills the foreground of the image. Title: PH263_55-20 James Cloutier photographs Year: 1968 Black and white photograph. Children playing outdoors in front of an abandoned building, located in Alpine, Oregon. The building has been identified as the vacated Alpine Market. A young girl in the center of the image holds a hose that squirts water towards a man named Lee Mintonye. Lee stands in the doorway of the wooden building. Above him is a sign that reads, Lee Mintonye's Appliance Service 424-3135. He is dressed in a long sleeve shirt and jeans. Utility boxes and a board with writing on its surface are mounted to the building next to the doorway. Also visible on the building is a brick chimney and multiple windows that are broken, or boarded up. A double door with glass windows is visible between the large windows of the building. Two boys, one who is seated on a bike, stand behind the girl. A street fills the foreground of the image. Close

• 56. [Image] Buttermere Lake from the Meadows

  	"Here is another view of Buttermere Lake. One who has often visited this region and has seen Buttermere from almost every point of view says of it and its surroundings: 'Like a soft slab of slate the ...
  	Citation × Citation Citation Abstract Copy Title: Buttermere Lake from the Meadows Year: 1900 "Here is another view of Buttermere Lake. One who has often visited this region and has seen Buttermere from almost every point of view says of it and its surroundings: 'Like a soft slab of slate the lake stretched from the fringe of tree-tops before to the stony scrubby hillside opposite. Save where coots and waterhens played by the sedges and rooty river mouths, the surface was calm. The light rain merged into the water without splash or circle. The hillsides are furrowed into ravines; dark and gaping they split the festive green swathes of summer tide. Down these hollows dash lively rivulets playing hide-and-seek, mazily threading through shadow of alder and rowan, by groves of flowering hawthorns, now lost in the depths of a gill (gorge), now spouting in lively haste over a ledge curtained with fern and bracken.' It is a rare pleasure to visit Buttermere, especially just after a rainstorm." Title: Buttermere Lake from the Meadows Year: 1900 "Here is another view of Buttermere Lake. One who has often visited this region and has seen Buttermere from almost every point of view says of it and its surroundings: 'Like a soft slab of slate the lake stretched from the fringe of tree-tops before to the stony scrubby hillside opposite. Save where coots and waterhens played by the sedges and rooty river mouths, the surface was calm. The light rain merged into the water without splash or circle. The hillsides are furrowed into ravines; dark and gaping they split the festive green swathes of summer tide. Down these hollows dash lively rivulets playing hide-and-seek, mazily threading through shadow of alder and rowan, by groves of flowering hawthorns, now lost in the depths of a gill (gorge), now spouting in lively haste over a ledge curtained with fern and bracken.' It is a rare pleasure to visit Buttermere, especially just after a rainstorm." Close

• 57. [Image] Lake Derwentwater, from Friar's Crag

  	Derwentwater is perhaps the loveliest of the English lakes. Its compact form enables it to be taken in at one view. The picturesque variety of the steep wooded crags and green hills rising from its bank, ...
  	Citation × Citation Citation Abstract Copy Title: Lake Derwentwater, from Friar's Crag Year: 1900 Derwentwater is perhaps the loveliest of the English lakes. Its compact form enables it to be taken in at one view. The picturesque variety of the steep wooded crags and green hills rising from its bank, and the grouping of its wooded islets are very beautiful. This view of the lake includes a fine mountain background. On “St. Herbert’s Isle” in the lake is the ruined cell of a hermit of the seventh century. Few lakes have so extensive shoals as Derwentwater. From a small boat one may look over the side “into the clear, amber water at the growing reeds, white spathes piercing the mud, green stems and hasty leaves unfolding ere they reach the upper air, or thin waving threads linking a tuft of foliage on the surface with unseen roots beneath. All kinds of pond life are creeping and swimming about.” Title: Lake Derwentwater, from Friar's Crag Year: 1900 Derwentwater is perhaps the loveliest of the English lakes. Its compact form enables it to be taken in at one view. The picturesque variety of the steep wooded crags and green hills rising from its bank, and the grouping of its wooded islets are very beautiful. This view of the lake includes a fine mountain background. On “St. Herbert’s Isle” in the lake is the ruined cell of a hermit of the seventh century. Few lakes have so extensive shoals as Derwentwater. From a small boat one may look over the side “into the clear, amber water at the growing reeds, white spathes piercing the mud, green stems and hasty leaves unfolding ere they reach the upper air, or thin waving threads linking a tuft of foliage on the surface with unseen roots beneath. All kinds of pond life are creeping and swimming about.” Close

• 58. [Image] Theseus and Minataur; Kylix; Old Catalogue 824; Vase E84

  	Pottery: red-figured kylix showing the deeds of Theseus. Interior: Within a circle of pattern consisting of sets of three maeanders separated by chequer squares, Theseus slaying the Minotaur. Theseus, ...
  	Citation × Citation Citation Abstract Copy Title: Theseus and Minataur; Kylix; Old Catalogue 824; Vase E84 Pottery: red-figured kylix showing the deeds of Theseus. Interior: Within a circle of pattern consisting of sets of three maeanders separated by chequer squares, Theseus slaying the Minotaur. Theseus, with drawn sword in right, moves to left, looking back, and dragging with his left hand the Minotaur by the left horn out of a building. The Minotaur has apparently fallen forward, dying: only his head, right arm, and body to waist are visible, the rest being concealed behind the building: the surface of his bull's head and human body are covered with brown strokes, indicating hair. The building is represented by a Doric fluted column with entablature and triglyphs, forming a porch to the main building, which is itself represented by a broad vertical stripe of pattern, consisting of alternate labyrinth (?) patterns and chequer squares; this is partly cut off by the border of the design. In this, as in all the other scenes, Theseus is beardless and wears a fillet and a sword-belt with scabbard. Round the central design is a frieze composed of a series of groups representing six more of the Labours of Theseus in the following order, starting from the left handle and proceeding from left to right: (i) The sow of Crommyon springs upward to right against Theseus, who advances with sword drawn back and left hand raised and wrapped in a mantle as a shield. Beside the sow, in the background, an old woman stands, bending forward, with both arms outstretched towards Theseus, the left resting on a long staff with forefinger extended; she has a long chiton and a mass of white hair; her face is wrinkled, and the flesh of her arms covered with strokes, indicating hair. She is probably Crommyon, the personification or wood-nymph (see Loeschcke, loc. cit.) of the locality, (ii) Kerkyon: Theseus (on left) has gripped with his right the left arm and with his left the right side of his opponent, and, drawing the other's body towards him, throws Kerkyon backwards across his thighs: the left arm of Kerkyon hangs uselessly behind the back of Theseus, and with his right he vainly tries to loosen Theseus' grasp of his side. He has a short beard and hair and a fillet, and is bald over the forehead. Beside this group, a club hanging up and a spear or staff resting on end obliquely against the background. (iii) Procrustes has fallen backwards to left on his bed, supporting himself with his right hand, and, with left hand and foot feebly raised, tries to ward off the blow which Theseus, swinging over his back the double axe (pelekys), is dealing him. Procrustes has rough shaggy hair and beard: the bed is marked off into lengths by curved strokes of brown, (iv) Skiron: Theseus on left in three-quarter back view, swings over his head the foot-pan (podanipter) to strike down Skiron, who has fallen backwards to right on the hill in an attitude balancing that of Procrustes in iii: he is bald over the forehead, and has shaggy hair and beard; on the summit of the hill, beside Skiron, is a willow (?) tree; at the foot is the tortoise, half seen, as though climbing up out of water, (v) The Marathonian bull, charging violently to right, is checked by Theseus, who, with right leg supported against a rock and left knee pressed against the bull's shoulder, throws his weight back on a cord in his left which is fastened to the animal's horns, and throws it back on its haunches; in his right he holds a club, (vi) Sinis Pityocamptes, seated on a hill-top beside a tall pine-tree, is dragged to left by Theseus, who has seized him by the right arm in one hand and with the other draws down the top of the pine-tree. Sinis has thrown one arm around the pine and presses his right foot against the rock in scene v: with his left foot drawn up he struggles to rise: his body and this leg are towards the spectator. At the foot of the hill the outline of a tortoise has been drawn in error and left unfinished; the hill conceals the hind legs of the sow in i. Exterior: Here the six scenes just described are repeated in their corresponding positions; each figure, however, standing immediately below the corresponding one of the interior, so that here the relative positions are reversed. There are slight differences in points of detail: in (i) the left hand of Crommyon leaning on the staff is drawn back; in (ii) Kerkyon is characterised as a pancratiast by the bruised face and large shapeless ear; between (i) and (ii) hang a pilos; in (v) the rock is not shown; and in (vi) no hill is given, Sinis merely kneels to right on the ground-line, out of which the pine-tree grows: here again his body is en face, and his bent right leg is drawn in bold foreshortening. The human opponents of Theseus throughout all the scenes have an irregular profile and wrinkled forehead, in contrast to the regular outline of the face of Theseus. On the bottom of the foot engraved characters. Purple (or vermilion, ? now faded to grey) is used for the leaves of trees, strings of pilos, and cord tied to bull; white for the hair of Crommyon. Brown inner markings for anatomy, surface of hills, tortoise-shell, and skin of Minotaur, &c. The eye is of the realistic profile type. Below the exterior scenes is a band of pattern like that round the interior medallion; below each handle an ornament formed by a palmette resting on one half seen, with side tendrils. --The British Museum; default; Red-figure; Attic (Mainland Greek pottery styles) Title: Theseus and Minataur; Kylix; Old Catalogue 824; Vase E84 Pottery: red-figured kylix showing the deeds of Theseus. Interior: Within a circle of pattern consisting of sets of three maeanders separated by chequer squares, Theseus slaying the Minotaur. Theseus, with drawn sword in right, moves to left, looking back, and dragging with his left hand the Minotaur by the left horn out of a building. The Minotaur has apparently fallen forward, dying: only his head, right arm, and body to waist are visible, the rest being concealed behind the building: the surface of his bull's head and human body are covered with brown strokes, indicating hair. The building is represented by a Doric fluted column with entablature and triglyphs, forming a porch to the main building, which is itself represented by a broad vertical stripe of pattern, consisting of alternate labyrinth (?) patterns and chequer squares; this is partly cut off by the border of the design. In this, as in all the other scenes, Theseus is beardless and wears a fillet and a sword-belt with scabbard. Round the central design is a frieze composed of a series of groups representing six more of the Labours of Theseus in the following order, starting from the left handle and proceeding from left to right: (i) The sow of Crommyon springs upward to right against Theseus, who advances with sword drawn back and left hand raised and wrapped in a mantle as a shield. Beside the sow, in the background, an old woman stands, bending forward, with both arms outstretched towards Theseus, the left resting on a long staff with forefinger extended; she has a long chiton and a mass of white hair; her face is wrinkled, and the flesh of her arms covered with strokes, indicating hair. She is probably Crommyon, the personification or wood-nymph (see Loeschcke, loc. cit.) of the locality, (ii) Kerkyon: Theseus (on left) has gripped with his right the left arm and with his left the right side of his opponent, and, drawing the other's body towards him, throws Kerkyon backwards across his thighs: the left arm of Kerkyon hangs uselessly behind the back of Theseus, and with his right he vainly tries to loosen Theseus' grasp of his side. He has a short beard and hair and a fillet, and is bald over the forehead. Beside this group, a club hanging up and a spear or staff resting on end obliquely against the background. (iii) Procrustes has fallen backwards to left on his bed, supporting himself with his right hand, and, with left hand and foot feebly raised, tries to ward off the blow which Theseus, swinging over his back the double axe (pelekys), is dealing him. Procrustes has rough shaggy hair and beard: the bed is marked off into lengths by curved strokes of brown, (iv) Skiron: Theseus on left in three-quarter back view, swings over his head the foot-pan (podanipter) to strike down Skiron, who has fallen backwards to right on the hill in an attitude balancing that of Procrustes in iii: he is bald over the forehead, and has shaggy hair and beard; on the summit of the hill, beside Skiron, is a willow (?) tree; at the foot is the tortoise, half seen, as though climbing up out of water, (v) The Marathonian bull, charging violently to right, is checked by Theseus, who, with right leg supported against a rock and left knee pressed against the bull's shoulder, throws his weight back on a cord in his left which is fastened to the animal's horns, and throws it back on its haunches; in his right he holds a club, (vi) Sinis Pityocamptes, seated on a hill-top beside a tall pine-tree, is dragged to left by Theseus, who has seized him by the right arm in one hand and with the other draws down the top of the pine-tree. Sinis has thrown one arm around the pine and presses his right foot against the rock in scene v: with his left foot drawn up he struggles to rise: his body and this leg are towards the spectator. At the foot of the hill the outline of a tortoise has been drawn in error and left unfinished; the hill conceals the hind legs of the sow in i. Exterior: Here the six scenes just described are repeated in their corresponding positions; each figure, however, standing immediately below the corresponding one of the interior, so that here the relative positions are reversed. There are slight differences in points of detail: in (i) the left hand of Crommyon leaning on the staff is drawn back; in (ii) Kerkyon is characterised as a pancratiast by the bruised face and large shapeless ear; between (i) and (ii) hang a pilos; in (v) the rock is not shown; and in (vi) no hill is given, Sinis merely kneels to right on the ground-line, out of which the pine-tree grows: here again his body is en face, and his bent right leg is drawn in bold foreshortening. The human opponents of Theseus throughout all the scenes have an irregular profile and wrinkled forehead, in contrast to the regular outline of the face of Theseus. On the bottom of the foot engraved characters. Purple (or vermilion, ? now faded to grey) is used for the leaves of trees, strings of pilos, and cord tied to bull; white for the hair of Crommyon. Brown inner markings for anatomy, surface of hills, tortoise-shell, and skin of Minotaur, &c. The eye is of the realistic profile type. Below the exterior scenes is a band of pattern like that round the interior medallion; below each handle an ornament formed by a palmette resting on one half seen, with side tendrils. --The British Museum; default; Red-figure; Attic (Mainland Greek pottery styles) Close

• 59. [Image] Theseus and Minataur; Kylix; Old Catalogue 824; Vase E84

  	Pottery: red-figured kylix showing the deeds of Theseus. Interior: Within a circle of pattern consisting of sets of three maeanders separated by chequer squares, Theseus slaying the Minotaur. Theseus, ...
  	Citation × Citation Citation Abstract Copy Title: Theseus and Minataur; Kylix; Old Catalogue 824; Vase E84 Pottery: red-figured kylix showing the deeds of Theseus. Interior: Within a circle of pattern consisting of sets of three maeanders separated by chequer squares, Theseus slaying the Minotaur. Theseus, with drawn sword in right, moves to left, looking back, and dragging with his left hand the Minotaur by the left horn out of a building. The Minotaur has apparently fallen forward, dying: only his head, right arm, and body to waist are visible, the rest being concealed behind the building: the surface of his bull's head and human body are covered with brown strokes, indicating hair. The building is represented by a Doric fluted column with entablature and triglyphs, forming a porch to the main building, which is itself represented by a broad vertical stripe of pattern, consisting of alternate labyrinth (?) patterns and chequer squares; this is partly cut off by the border of the design. In this, as in all the other scenes, Theseus is beardless and wears a fillet and a sword-belt with scabbard. Round the central design is a frieze composed of a series of groups representing six more of the Labours of Theseus in the following order, starting from the left handle and proceeding from left to right: (i) The sow of Crommyon springs upward to right against Theseus, who advances with sword drawn back and left hand raised and wrapped in a mantle as a shield. Beside the sow, in the background, an old woman stands, bending forward, with both arms outstretched towards Theseus, the left resting on a long staff with forefinger extended; she has a long chiton and a mass of white hair; her face is wrinkled, and the flesh of her arms covered with strokes, indicating hair. She is probably Crommyon, the personification or wood-nymph (see Loeschcke, loc. cit.) of the locality, (ii) Kerkyon: Theseus (on left) has gripped with his right the left arm and with his left the right side of his opponent, and, drawing the other's body towards him, throws Kerkyon backwards across his thighs: the left arm of Kerkyon hangs uselessly behind the back of Theseus, and with his right he vainly tries to loosen Theseus' grasp of his side. He has a short beard and hair and a fillet, and is bald over the forehead. Beside this group, a club hanging up and a spear or staff resting on end obliquely against the background. (iii) Procrustes has fallen backwards to left on his bed, supporting himself with his right hand, and, with left hand and foot feebly raised, tries to ward off the blow which Theseus, swinging over his back the double axe (pelekys), is dealing him. Procrustes has rough shaggy hair and beard: the bed is marked off into lengths by curved strokes of brown, (iv) Skiron: Theseus on left in three-quarter back view, swings over his head the foot-pan (podanipter) to strike down Skiron, who has fallen backwards to right on the hill in an attitude balancing that of Procrustes in iii: he is bald over the forehead, and has shaggy hair and beard; on the summit of the hill, beside Skiron, is a willow (?) tree; at the foot is the tortoise, half seen, as though climbing up out of water, (v) The Marathonian bull, charging violently to right, is checked by Theseus, who, with right leg supported against a rock and left knee pressed against the bull's shoulder, throws his weight back on a cord in his left which is fastened to the animal's horns, and throws it back on its haunches; in his right he holds a club, (vi) Sinis Pityocamptes, seated on a hill-top beside a tall pine-tree, is dragged to left by Theseus, who has seized him by the right arm in one hand and with the other draws down the top of the pine-tree. Sinis has thrown one arm around the pine and presses his right foot against the rock in scene v: with his left foot drawn up he struggles to rise: his body and this leg are towards the spectator. At the foot of the hill the outline of a tortoise has been drawn in error and left unfinished; the hill conceals the hind legs of the sow in i. Exterior: Here the six scenes just described are repeated in their corresponding positions; each figure, however, standing immediately below the corresponding one of the interior, so that here the relative positions are reversed. There are slight differences in points of detail: in (i) the left hand of Crommyon leaning on the staff is drawn back; in (ii) Kerkyon is characterised as a pancratiast by the bruised face and large shapeless ear; between (i) and (ii) hang a pilos; in (v) the rock is not shown; and in (vi) no hill is given, Sinis merely kneels to right on the ground-line, out of which the pine-tree grows: here again his body is en face, and his bent right leg is drawn in bold foreshortening. The human opponents of Theseus throughout all the scenes have an irregular profile and wrinkled forehead, in contrast to the regular outline of the face of Theseus. On the bottom of the foot engraved characters. Purple (or vermilion, ? now faded to grey) is used for the leaves of trees, strings of pilos, and cord tied to bull; white for the hair of Crommyon. Brown inner markings for anatomy, surface of hills, tortoise-shell, and skin of Minotaur, &c. The eye is of the realistic profile type. Below the exterior scenes is a band of pattern like that round the interior medallion; below each handle an ornament formed by a palmette resting on one half seen, with side tendrils. --The British Museum; default; Red-figure; Attic (Mainland Greek pottery styles) Title: Theseus and Minataur; Kylix; Old Catalogue 824; Vase E84 Pottery: red-figured kylix showing the deeds of Theseus. Interior: Within a circle of pattern consisting of sets of three maeanders separated by chequer squares, Theseus slaying the Minotaur. Theseus, with drawn sword in right, moves to left, looking back, and dragging with his left hand the Minotaur by the left horn out of a building. The Minotaur has apparently fallen forward, dying: only his head, right arm, and body to waist are visible, the rest being concealed behind the building: the surface of his bull's head and human body are covered with brown strokes, indicating hair. The building is represented by a Doric fluted column with entablature and triglyphs, forming a porch to the main building, which is itself represented by a broad vertical stripe of pattern, consisting of alternate labyrinth (?) patterns and chequer squares; this is partly cut off by the border of the design. In this, as in all the other scenes, Theseus is beardless and wears a fillet and a sword-belt with scabbard. Round the central design is a frieze composed of a series of groups representing six more of the Labours of Theseus in the following order, starting from the left handle and proceeding from left to right: (i) The sow of Crommyon springs upward to right against Theseus, who advances with sword drawn back and left hand raised and wrapped in a mantle as a shield. Beside the sow, in the background, an old woman stands, bending forward, with both arms outstretched towards Theseus, the left resting on a long staff with forefinger extended; she has a long chiton and a mass of white hair; her face is wrinkled, and the flesh of her arms covered with strokes, indicating hair. She is probably Crommyon, the personification or wood-nymph (see Loeschcke, loc. cit.) of the locality, (ii) Kerkyon: Theseus (on left) has gripped with his right the left arm and with his left the right side of his opponent, and, drawing the other's body towards him, throws Kerkyon backwards across his thighs: the left arm of Kerkyon hangs uselessly behind the back of Theseus, and with his right he vainly tries to loosen Theseus' grasp of his side. He has a short beard and hair and a fillet, and is bald over the forehead. Beside this group, a club hanging up and a spear or staff resting on end obliquely against the background. (iii) Procrustes has fallen backwards to left on his bed, supporting himself with his right hand, and, with left hand and foot feebly raised, tries to ward off the blow which Theseus, swinging over his back the double axe (pelekys), is dealing him. Procrustes has rough shaggy hair and beard: the bed is marked off into lengths by curved strokes of brown, (iv) Skiron: Theseus on left in three-quarter back view, swings over his head the foot-pan (podanipter) to strike down Skiron, who has fallen backwards to right on the hill in an attitude balancing that of Procrustes in iii: he is bald over the forehead, and has shaggy hair and beard; on the summit of the hill, beside Skiron, is a willow (?) tree; at the foot is the tortoise, half seen, as though climbing up out of water, (v) The Marathonian bull, charging violently to right, is checked by Theseus, who, with right leg supported against a rock and left knee pressed against the bull's shoulder, throws his weight back on a cord in his left which is fastened to the animal's horns, and throws it back on its haunches; in his right he holds a club, (vi) Sinis Pityocamptes, seated on a hill-top beside a tall pine-tree, is dragged to left by Theseus, who has seized him by the right arm in one hand and with the other draws down the top of the pine-tree. Sinis has thrown one arm around the pine and presses his right foot against the rock in scene v: with his left foot drawn up he struggles to rise: his body and this leg are towards the spectator. At the foot of the hill the outline of a tortoise has been drawn in error and left unfinished; the hill conceals the hind legs of the sow in i. Exterior: Here the six scenes just described are repeated in their corresponding positions; each figure, however, standing immediately below the corresponding one of the interior, so that here the relative positions are reversed. There are slight differences in points of detail: in (i) the left hand of Crommyon leaning on the staff is drawn back; in (ii) Kerkyon is characterised as a pancratiast by the bruised face and large shapeless ear; between (i) and (ii) hang a pilos; in (v) the rock is not shown; and in (vi) no hill is given, Sinis merely kneels to right on the ground-line, out of which the pine-tree grows: here again his body is en face, and his bent right leg is drawn in bold foreshortening. The human opponents of Theseus throughout all the scenes have an irregular profile and wrinkled forehead, in contrast to the regular outline of the face of Theseus. On the bottom of the foot engraved characters. Purple (or vermilion, ? now faded to grey) is used for the leaves of trees, strings of pilos, and cord tied to bull; white for the hair of Crommyon. Brown inner markings for anatomy, surface of hills, tortoise-shell, and skin of Minotaur, &c. The eye is of the realistic profile type. Below the exterior scenes is a band of pattern like that round the interior medallion; below each handle an ornament formed by a palmette resting on one half seen, with side tendrils. --The British Museum; default; Red-figure; Attic (Mainland Greek pottery styles) Close