The Flickr Southitalian Image Generatr

This fragment of a terracotta calyx-krater - a vessel for the mixing of wine and water - is executed in incision, drawing lines into the blackened pottery. It was then decorated with added white and yellow pigments. This is known as Gnathian pottery - vessels in which polychrome decoration is applied to a black-glaze ground.

It depicts a naked satyr with white hair, beard, and tail (with yellow highlights), talking and gesturing to a sitting figure, perhaps Dionysos. The satyr holds a thyrsus, a magical staff. A part of a wreath can be seen at the broken right edge.

Greek, South Italian, Apulian, Gnathian, ca. 360-340 BCE.

Met Museum, New York (10.210.17b)

One of two fragments from a red-figure terracotta calyx-krater (for holding watered wine), attributed to the famed Black Fury Painter. The larger fragment shows Priam, king of Troy, kneeling as he supplicates the Greek hero Achilles for the corpse of his son Hector. Behind Priam stands Hermes, the messenger god, identifiable by his winged boots. The male figure at the far left is probably an attendant of Priam.

Of note here is the complexity in the designs of the clothing. Priam's 'eastern' headwear is partly a crown and studded with pearls, and he wears a golden belt. Even Hermes' cloak is fully decorated.

Greek, South Italian, Apulian, ca. 400-380 BCE. Attributed to the Black Fury Painter.

Met Museum, New York (20.195)

One of two fragments from a red-figure terracotta calyx-krater (for holding watered wine), attributed to the famed Black Fury Painter. This is the smaller fragment - it shows Apollo, god of music, holding his kithara, a lyre used in performance. The seated female before him may be his sister Artemis. The painting is exceptional for the rich detail and polychromy as well as the characterization of the distraught Priam (on the larger fragment).

The gold details - the snake bracelet of the goddess, the decoration of the kithara and of Apollo's belt - are almost 3D, applied thickly to give these details dimension.

Greek, South Italian, Apulian, ca. 400-380 BCE. Attributed to the Black Fury Painter.

Met Museum, New York (20.196)

This askos - a flask with a spout and handle - is in the form of a sleeping or recumbant bull. South Italian pottery is rich in hand-sized flasks for oil. The askos shape originates in that of a leather bag; when used for wine, the source is an oxhide, trimmed and sewn closed. Askoi often assume the form of animals.

Greek, South Italian, Apulian, 4th century BCE.

Met Museum, New York (1979.11.5)

A situla is a bucket that served to decant wine. The shape is well attested in metal examples and in terracotta counterparts of different types. This piece presents a spirited depiction of the wine-god Dionysos driving his griffin-drawn chariot to a gathering of his followers. Particularly engaging is the old satyr Silenos dipping a jug into the decorated calyx-krater, probably to fill the libation bowl in his left hand. On the back, not seen in this photo, Dionysos is seated between a satyr and a maenad and is surrounded by attributes, including a fawn, a cista (cylindrical box), and wreaths.

Greek, Late Classical, South Italian, Apulian, ca. 360-340 BCE. Attributed to the Lycurgus Painter.

Met Museum, New York (56.171.64)

Produced in inland Lucania
Attributed to the Primato Painter
Late Classical-Early Hellenistic period, ca. 330-300 BCE (museum); ca. 350-330 BCE (Todisco)

On the neck are two male Dionysiac figures holding torch and thyrsus. On the belly, a nude youth before a winged Nike holding a palm frond of victory; below, a half-draped male figure (the same as above?) leaning on a staff before a male figure (Orpheus?) wearing Italic dress and holding a lyre and plectrum.

In the collection of the Bowdoin Museum of Art, Brunswick, Maine, United States
Gift of Edward Perry Warren, Esq., Honorary Degree 1926
Inv. 1893.1

Photographed on display in the exhibit "Etruscan Gifts. Artifacts from Early Italy at Bowdoin" (February 1, 2024 - February 9, 2025)
www.bowdoin.edu/art-museum/exhibitions/2024/etruscan-gift...

artmuseum.bowdoin.edu/objects-1/info/310
www.bowdoin.edu/art-museum/news/2022/nestoris.html

Produced in inland Lucania
Attributed to the Primato Painter
Late Classical-Early Hellenistic period, ca. 330-300 BCE (museum); ca. 350-330 BCE (Todisco)

On the neck are two male Dionysiac figures holding torch and thyrsus. On the belly, a nude youth before a winged Nike holding a palm frond of victory; below, a half-draped male figure (the same as above?) leaning on a staff before a male figure (Orpheus?) wearing Italic dress and holding a lyre and plectrum.

In the collection of the Bowdoin Museum of Art, Brunswick, Maine, United States
Gift of Edward Perry Warren, Esq., Honorary Degree 1926
Inv. 1893.1

Photographed on display in the exhibit "Etruscan Gifts. Artifacts from Early Italy at Bowdoin" (February 1, 2024 - February 9, 2025)
www.bowdoin.edu/art-museum/exhibitions/2024/etruscan-gift...

artmuseum.bowdoin.edu/objects-1/info/310
www.bowdoin.edu/art-museum/news/2022/nestoris.html

Produced in inland Lucania
Attributed to the Primato Painter
Late Classical-Early Hellenistic period, ca. 330-300 BCE (museum); ca. 350-330 BCE (Todisco)

On the neck are two male Dionysiac figures holding torch and thyrsus. On the belly, a nude youth before a winged Nike holding a palm frond of victory; below, a half-draped male figure (the same as above?) leaning on a staff before a male figure (Orpheus?) wearing Italic dress and holding a lyre and plectrum.

In the collection of the Bowdoin Museum of Art, Brunswick, Maine, United States
Gift of Edward Perry Warren, Esq., Honorary Degree 1926
Inv. 1893.1

Photographed on display in the exhibit "Etruscan Gifts. Artifacts from Early Italy at Bowdoin" (February 1, 2024 - February 9, 2025)
www.bowdoin.edu/art-museum/exhibitions/2024/etruscan-gift...

artmuseum.bowdoin.edu/objects-1/info/310
www.bowdoin.edu/art-museum/news/2022/nestoris.html

Produced in inland Lucania
Attributed to the Primato Painter
Late Classical-Early Hellenistic period, ca. 330-300 BCE (museum); ca. 350-330 BCE (Todisco)

On the neck are two male Dionysiac figures holding torch and thyrsus. On the belly, a nude youth before a winged Nike holding a palm frond of victory; below, a half-draped male figure (the same as above?) leaning on a staff before a male figure (Orpheus?) wearing Italic dress and holding a lyre and plectrum.

In the collection of the Bowdoin Museum of Art, Brunswick, Maine, United States
Gift of Edward Perry Warren, Esq., Honorary Degree 1926
Inv. 1893.1

Photographed on display in the exhibit "Etruscan Gifts. Artifacts from Early Italy at Bowdoin" (February 1, 2024 - February 9, 2025)
www.bowdoin.edu/art-museum/exhibitions/2024/etruscan-gift...

artmuseum.bowdoin.edu/objects-1/info/310
www.bowdoin.edu/art-museum/news/2022/nestoris.html

Produced in inland Lucania
Attributed to the Primato Painter
Late Classical-Early Hellenistic period, ca. 330-300 BCE (museum); ca. 350-330 BCE (Todisco)

On the neck are two male Dionysiac figures holding torch and thyrsus. On the belly, a nude youth before a winged Nike holding a palm frond of victory; below, a half-draped male figure (the same as above?) leaning on a staff before a male figure (Orpheus?) wearing Italic dress and holding a lyre and plectrum.

In the collection of the Bowdoin Museum of Art, Brunswick, Maine, United States
Gift of Edward Perry Warren, Esq., Honorary Degree 1926
Inv. 1893.1

Photographed on display in the exhibit "Etruscan Gifts. Artifacts from Early Italy at Bowdoin" (February 1, 2024 - February 9, 2025)
www.bowdoin.edu/art-museum/exhibitions/2024/etruscan-gift...

artmuseum.bowdoin.edu/objects-1/info/310
www.bowdoin.edu/art-museum/news/2022/nestoris.html

Produced in inland Lucania
Attributed to the Primato Painter
Late Classical-Early Hellenistic period, ca. 330-300 BCE (museum); ca. 350-330 BCE (Todisco)

On the neck are two male Dionysiac figures holding torch and thyrsus. On the belly, a nude youth before a winged Nike holding a palm frond of victory; below, a half-draped male figure (the same as above?) leaning on a staff before a male figure (Orpheus?) wearing Italic dress and holding a lyre and plectrum.

In the collection of the Bowdoin Museum of Art, Brunswick, Maine, United States
Gift of Edward Perry Warren, Esq., Honorary Degree 1926
Inv. 1893.1

Photographed on display in the exhibit "Etruscan Gifts. Artifacts from Early Italy at Bowdoin" (February 1, 2024 - February 9, 2025)
www.bowdoin.edu/art-museum/exhibitions/2024/etruscan-gift...

artmuseum.bowdoin.edu/objects-1/info/310
www.bowdoin.edu/art-museum/news/2022/nestoris.html

Produced in inland Lucania
Attributed to the Primato Painter
Late Classical-Early Hellenistic period, ca. 330-300 BCE (museum); ca. 350-330 BCE (Todisco)

On the neck are two male Dionysiac figures holding torch and thyrsus. On the belly, a nude youth before a winged Nike holding a palm frond of victory; below, a half-draped male figure (the same as above?) leaning on a staff before a male figure (Orpheus?) wearing Italic dress and holding a lyre and plectrum.

In the collection of the Bowdoin Museum of Art, Brunswick, Maine, United States
Gift of Edward Perry Warren, Esq., Honorary Degree 1926
Inv. 1893.1

Photographed on display in the exhibit "Etruscan Gifts. Artifacts from Early Italy at Bowdoin" (February 1, 2024 - February 9, 2025)
www.bowdoin.edu/art-museum/exhibitions/2024/etruscan-gift...

artmuseum.bowdoin.edu/objects-1/info/310
www.bowdoin.edu/art-museum/news/2022/nestoris.html

Produced in inland Lucania
Attributed to the Primato Painter
Late Classical-Early Hellenistic period, ca. 330-300 BCE (museum); ca. 350-330 BCE (Todisco)

On the neck are two male Dionysiac figures holding torch and thyrsus. On the belly, a nude youth before a winged Nike holding a palm frond of victory; below, a half-draped male figure (the same as above?) leaning on a staff before a male figure (Orpheus?) wearing Italic dress and holding a lyre and plectrum.

In the collection of the Bowdoin Museum of Art, Brunswick, Maine, United States
Gift of Edward Perry Warren, Esq., Honorary Degree 1926
Inv. 1893.1

Photographed on display in the exhibit "Etruscan Gifts. Artifacts from Early Italy at Bowdoin" (February 1, 2024 - February 9, 2025)
www.bowdoin.edu/art-museum/exhibitions/2024/etruscan-gift...

artmuseum.bowdoin.edu/objects-1/info/310
www.bowdoin.edu/art-museum/news/2022/nestoris.html

Produced in inland Lucania
Attributed to the Primato Painter
Late Classical-Early Hellenistic period, ca. 330-300 BCE (museum); ca. 350-330 BCE (Todisco)

On the neck are two male Dionysiac figures holding torch and thyrsus. On the belly, a nude youth before a winged Nike holding a palm frond of victory; below, a half-draped male figure (the same as above?) leaning on a staff before a male figure (Orpheus?) wearing Italic dress and holding a lyre and plectrum.

In the collection of the Bowdoin Museum of Art, Brunswick, Maine, United States
Gift of Edward Perry Warren, Esq., Honorary Degree 1926
Inv. 1893.1

Photographed on display in the exhibit "Etruscan Gifts. Artifacts from Early Italy at Bowdoin" (February 1, 2024 - February 9, 2025)
www.bowdoin.edu/art-museum/exhibitions/2024/etruscan-gift...

artmuseum.bowdoin.edu/objects-1/info/310
www.bowdoin.edu/art-museum/news/2022/nestoris.html

This pair of terracotta altars (see the other image for the second one) depicts the death of Adonis, a god of vegetation, and the rituals that were celebrated in his honor. On this altar, Adonis - a youthful and effeminate appearance - looking weak, sits supported in the arms of his lover Aphrodite, the goddess of love. A himation is wrapped around the legs and, leaving the torso uncovered, covers his head like a veil with a ruffled edge. The long curly hair is held back by a mitra (a Near Eastern headband) and extends over the shoulders. With his left hand the figure pulls the hem of the himation away from his face; with the right hand, he embraces the female figure (Aphrodite) seated next to him, who is depicted with torso turned frontally and ankles crossed. This figure turns her head toward the youth and wraps her left arm around his torso; her right arm is laid on her right thigh, and she wears sandals. The goddess's flame-shaped locks of hair are gathered in a lampadion (knot) atop her head and curl alongside her face. On either side of this pair are two female characters: the woman on the left, shown standing behind the rocky platform, turns toward the couple; her left hand touches her head in a gesture of grief, while her right arm drops along the side of her body, her right hand holding a tympanon. She wears a veil with a ruffled edge that drapes over her shoulders; her left breast is uncovered. In the foreground at right is a female figure (Persephone) shown in profile, seated upon a cista with side openings. Grasping her right knee with both hands, her head is bowed and her expression is doleful. She wears a chiton that drapes in flowing folds, and her hair is gathered in a sphendone (headband). Pigments were applied over a layer of yellowish diluted clay and white slip. Preserved are traces of red (hair of the seated male figure in the center and of the female figure seated on the cista) and green (drapery of the seated female figure in the middle).

Adonis was born of an incestuous love between the Assyrian king Theias and his daughter Myrrha; Aphrodite was smitten by the infant Adonis's great beauty and hid him in a box (cista), which she entrusted to Persephone. When Persephone opened the box, she too fell in love with the beautiful infant and decided not to give him back to Aphrodite. Zeus interceded in the quarrel between the two goddesses and ordered that Adonis should spend a third of the year with Aphrodite, a third with Persephone, and the last third wherever he liked— Adonis chose to devote that time to Aphrodite as well.

On the other altar, three women rush to the scene, carrying musical instruments: a tympanum, or drum, and a xylophone.

Greek (South Italian), from Calabria, Italy, ca. first quarter of the 4th century BCE.

Getty Villa Museum (86.AD.598.2)

This pair of terracotta altars (see the other image for the second one) depicts the death of Adonis, a god of vegetation, and the rituals that were celebrated in his honor. On this altar,three female figures, depicted with their faces in profile and their bodies in three-quarter view, walk rapidly to the right over rocky ground. The hands of the outer women clasp the other about her shoulders as they move in apparent procession. Each figure is wearing a peplos that shows the form of the body beneath. The woman in the middle has a sakkos on her head and carries an eleven-part sistrum (percussion instrument) with both hands, while her companion on the right is holding a tympanon (drum) with her left hand. The hair of the flanking figures is short and curly, and they all wear hoop earrings with pendants. Pigments were applied over a layer of yellowish diluted clay and white slip. Preserved are traces of red (hair of the figure on the left), reddish brown (drapery of the figure on left), and green (musical instrument of the figure in the middle and drapery of the figure on the right).

On the other altar, Adonis, looking weak, sits supported in the arms of his lover Aphrodite, the goddess of love. Adonis was born of an incestuous love between the Assyrian king Theias and his daughter Myrrha; Aphrodite was smitten by the infant Adonis's great beauty and hid him in a box (cista), which she entrusted to Persephone. When Persephone opened the box, she too fell in love with the beautiful infant and decided not to give him back to Aphrodite. Zeus interceded in the quarrel between the two goddesses and ordered that Adonis should spend a third of the year with Aphrodite, a third with Persephone, and the last third wherever he liked— Adonis chose to devote that time to Aphrodite as well.

Greek (South Italian), from Calabria, Italy, ca. first quarter of the 4th century BCE.

Getty Villa Museum (86.AD.598.1)

This breastplate or prosternidion depicts a four-horse chariot (quadriga) seen from the front, flanked by flying, winged figures. They hold crowns and heralds’ staffs, and may depict Nikai – repeated images of Nike, the goddess of victory. The image of a chariot flanked by Nikai usually appears in Greek art in connection with victory in a chariot race. This elaborate armor probably had a ceremonial purpose, perhaps serving as a prize for a victorious chariot team.

The small holes running around the edge of the breastplate allowed a leather backing to be sewn onto the bronze for cushioning; the larger holes at the ends were used to attach a fastening strap.

Greek, South Italy (Magna Graecia, the Greek colonies in Italy), about 480 BCE.

Getty Villa Museum, Pacific Palisades, California (83.AC.7.3)

A youthful, beardless Herakles, naked save the Nemean Lion skin over his head and knotted at his throat, strides to the right. He carries a club in his right hand and with his left holds a bow from which hang two Kerkopes, who were the ‘monkey men’ of Greek mythology. The Kerkopes are small and look a lot like naked children. Here, they are suspended by their feet, and have their hands bound behind or over their heads. Their exaggeratedly large penises droop over their bellies. The face of the figure on the right is rendered in profile, and appears to have a snout rather than a nose. His counterpart is shown frontally, with a straggly beard and pointed ears.

The Kerkopes were troublemakers and thieves. They stole Herakles’ weapons, while he was the penitent servant of Omphale in Lydia. Herakles captured and bound them at Ephesus and punished them by tying them to a shoulder pole he slung over his shoulder with their faces pointing downwards, the only way they appear on Greek vases. Their mother, Theia, begged Heracles to let her sons go. According to Pherecydes, the Kerkopes were turned to stone; in another myth, Zeus turned them into monkeys.

Greek, made in Lucania, South Italy, abt. 380 BCE.

Getty Villa Museum (81.AE.189)

The helmet is Apulo-Corinthian in shape, a variation of the standard Corinthian type used in the Greek colonies in Apulia. On top, two rectangular attachments flank an M-shaped clamp, and these originally would have held horsehair crests, feathers, or metal animal horns. At the back, a neck guard takes the form of a narrow flange that projects from the body of the helmet. Low holes on either side of the helmet held a chinstrap, and a hole in the back may have been used to hang it for storage or display.

The helmet has two small eye-holes and a descending nose-guard, but there is no separation between the cheekplates for the mouth. It is unlikely to have had a practical purpose on the battlefield, but rather served a ceremonial function instead. The surface is elaborately decorated: incised lotus buds spring from the outer corners of the eyes, while hanging ringlets fall from a hairline and turn into a chain of lotus buds on the sides of the helmet. A seated sphinx wearing a diadem, with one foreleg raised, occupies each cheekpiece, and two reclining satyrs flank a kantharos on the back. The satyr on the left lies with his right knee drawn up. He supports himself on his left arm, clasping his right knee with his right so his upper torso rotates and he looks back at the kantharos. The satyr on the right of the kantharos lies on his back with his feet towards it. He lifts himself on his left elbow, resting his right wrist on his raised right knee.

Greek, South Italian, ca. 400–375 BCE.

Getty Villa Museu, Pacific Palisades, California (92.AC.7.1)

This small bronze statuette of a siren wears a diadem embellished with flowers. She may originally have stood on the lid of a bronze vase.

South Italian or Etruscan, Archaic, ca. 500 BCE.

Met Museum, New York (1996.42)