Compare: Athens, Acropolis, 6th c. BCE lion & bull pediment (half a symmetrical pediment) for an unidentified shrine, treasury, or palace building put up under the Peisistratids. Cf. the animal combat metaphors constant in Homer's epics, which were specially edited and promulagted by the Peisistratids.

"Helmet-maker" Armorer statuette, H&F 4.2, bronze, 5.1 cm ht (tiny!), NY Met. Probably a votive. No provenance.

Compare:

Warriors in chariots and figure-eight shields (neither used for warfare in Archaic Greece, as they were in Homer) on the geometric funeral pots from Athens (cf. H&F p. 97, shield description, and cf. web text Iliad Shield of Achilles).

- Krater (wine mixing bowl) for male grave - above, funeral bier mourning scene for a man, below, warrior procession

- H&F 4.1 "Dipylon Amphora" (wine storage jar) for female grave, life-size (1.5 m.), Athens. Between handles, funeral bier mourning scene for a woman; animal frieze at neck; rich ornament, much of it meander pattern. Note the abstracted pattern image of rich textiles on/over the bier as canopy; we often, also, compare the geometric pots' ornament schemes to (lost) textile patterns.

[Funerals: the body was laid out in the home on a draped bier, and mourners keened around it (women tearing at hair and clothes) - for aristocrats, for several days - while freinds, relatives and 'clients" came to pay respects. Then the body was taken in procession to the cemetery, with a parade of clan members and displaty of grave gifts, to be burned on a pyre; bones & ahes and grave goods were then buried and (for persons of any wealth) a marker set on top - in the Archaic period, sometimes a kouros or kore, sometimes a stele with an image of the deceased. The family regularly returned to feast the dead person at the tomb and feed them by pouring libations of wine and other liquids. There is an elaborate funeral scene in the Iliad, Achilles' funeral for the dead Patroklos, with great chariot races and other contests.]

Orientalizing Pots: Corinth H&F 4.3, c. 600, London, 29 cm. Jug made for export trade. Typical of style (later 7th, and early 6th c. BC) of export wares from this major mercantile center: black-figure decoration with added red and engraved detail on white clay ground, stacked animal & monster friezes and ornamental rosette blobs as filler. On this jug, the animals in the friezes are arranged so that it has a "front" with heraldic motifs, on line with the jug mouth (handle attachments visible behind). Above, snarling lions flank "python"; below, central motif of animal frieze is winged bird-lion monster pair sharing a single frontal panther face.

Compare: Ephesos (Anatolian coast, Ionia), 6th c. Archaic Temple of Artemis, reconstructed view showing bands of figure ornament around bottom of columns - you can see a heraldic winged figure motif on one of them.

H&F 4.45 Ivory Kneeling Youth from Samos (island), c. 600 BC, ca. 15 cm ht. "Daedalic Style" A figural ivory strut for a larger thing, such as a lyre or a chair or a stand of some kind; now missing inlays, for eyes and for pubic hair triangle. From something deicated to Hera at the great international sanctuary at Samos.

context: det. Siphnian Treasury, Throne of Zeus, figural chair-arm struts. Related to the ivory production (cf the Nimrud Ethiopian 7 Lion!) of the Middle East, in material and carving techniques. Note kouros-style physique and pose, clenched fists, long hair.

context: compare Samos ivory handle/stand, caryatid kore at bottom, and caryatid porch Siphnian Treasury.

H&F 4.6 Nikandre of Naxos (island), c. 600, votive from the Temple of Artemis at Delos (island, Pan-Ionian Apollo sanctuary), 1.75 m. A stele-like kore, in a belted tunic, once painted with "woven" ornament, and inscribed with the dedicator's name.

Compare: Monsters (centaur [this one 9th c. terracotta from Lefkandi on Euboea, an island along the coast of Attica), Gorgon and heraldic felines etc. [the pediment of the temple of Artemis at Corfu, island on the West coast of Greece on the trade routes to Italy, a colony of Corinth], and sphinx [the Sphinx of the Naxians at Delphi's pan-hellenic Apollo sanctuary], on top of its votive column stand]

6th c. BCE "Kleobis & Biton" from Olympia (H&F p. 100), limestone, life-size, inscribed on statues - kouroi as images of mythical heroes. (These seem to be by the same school of Peloponnesian sculptors who made H&F 4.7 The limestone "Hera" head also from Olympia, c. 600).

H&F 4.9 Kouros from Tenea in Attica, marble, c. 570, Munich. Kouros probably for a tomb marker (on top of an aristocrat's tumulus).

Other kouroi found as votives, especially in Apollo sanctuaries, and sometimes used as images of Apollo.

H&F 4.8, Kore from the Acropolis in Athens, made by artists from the island of Chios, painted marble, c. 510. Originally ca. 1m., now 54 cm. (broken at knees). A votive to Athena. She wears Ionian dress - the traces of paint are valuable documents both for sculpture and for textiles - a thin chiton adn over it a digonally draped himation, both elaborately pleaated, and a corown (stpehane) in her hair. Her left arm pulled her skirt to one side to help her take a step

[context - Antenor's kore from Athens, a more complete statue] and her right arm was bent at the elbow with the forearm, now broken away, extended to hold an offering such as a fruit or a bird. For the East Greek style of this deication in Athens, compare the caryatids of the Treasury of the Siphnians (an East Greek island) at Delphi, ca. 525 - and recall that East Greek sculptors were hired for the 2nd Tyrannicides dedication in Athens.

H&F 4.12 "Wrestler's base", from Athens, marble, c. 500 BC, just over a foot long. H&F show the front of this base which was carved on 3 sides, I add for you one of the other sides - all showed young men at athletic training in the gymnasium, carved in low relief (in a style very // to contemporary vase painting), with the background painted red to make them stand out (the side still has paint).

It seems that very elaborate kouros votives in Athens could stand on a carved base whose images would comment further on the character and social roles of the dedicant, showing male activities at play and at war. His kouros (I show you one in the style of this base's era) would have stood stiffly over the very active scenes. Heraldic, very symmetrical compositions are typical of these bases' fronts, looser compositions for their sides. I show you for comparison another one with warrior images.

Athen's vase-painting workshops take over the dominant export role of Corinth. Many of the pots were used to ship Attica's famous wine & olive oil. They were enormously popular in Italy, and most of our Athenian painted pots survive in fact becuase they were used by the Etruscans, whose upper class buried in safe underground chamber tombs richly stocked with grave goods.

H&F 4.13 Exekias' Ajax & Achilles black-figure amphora from an Etruscan tomb at Vulci, now in the Vatican, ca. 540-530, ca. 61 cm ht. Both sides show great warrior heroes at moments of rest.

View and dets. of "front": a scene from the Iliad - Ajax and Achilles playing a board game in the tent of Achilles, signed by the painter; little word strings over the protagonist' heads spell out their comments on their moves. The tent "sides" are the frame sides, their armor leaning against it.

View back: the Dioscuri (the heroes Castor & Pollux, cf. Siphnian Treasury) at the end of a day with their horses.

H&F 4.14 The Kleophrades Painter's red-figure krater (wine-mixing bowl) found in an Etruscan chamber tomb in Tarquinia (South Italy), made in Athens, c. 500-490 BC, with scenes of young men working out in the gymnasium. This slide whows the whole face of the young discus thrower (context, Myron's Discobolos) in H&F's detail; the other side (detail in H&F) showed weight training, and jumping exercises (the pick is to swing for strength exercise, not to actually "work"!) This is the painter (the pot inscriptions name only the potter Kleophrades) who decorated your Heracles stamnos.