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Every-day vases were often not painted, but wealthy Greeks could afford luxuriously painted ones. Funerary vases on male graves might have themes of military prowess, or athletics. However, allusions to death in Greek tragedies was a popular motif. Famous centers of vase styles include Corinth, Lakonia, Ionia, South Italy, and Athens. [1]
Vases generally share a similar shape. The foot or the base may be bulbous, flat, carinate, [1] or another shape. The body forms the main portion of the piece. Some vases have a shoulder, where the body curves inward, a neck, which gives height, and a lip, where the vase flares back out at the top. Some vases are also given handles.
The Chigi vase itself is a polychrome work decorated in four friezes of mythological and genre scenes and four bands of ornamentation; amongst these tableaux is the earliest representation of the hoplite phalanx formation – the sole pictorial evidence of its use in the mid- to late-7th century, [6] and terminus post quem of the "hoplite reform" that altered military tactics.
The following vases are mostly Attic, from the 5th and 6th centuries, and follow the Beazley naming convention. Many shapes derive from metal vessels, especially in silver, which survive in far smaller numbers. Some pottery vases were probably intended as cheaper substitutes for these, either for use or to be placed as grave goods.
It is one of around 50 examples amongst the Dipylon gravesites attributed to an unknown artist given the notname of "the Dipylon Master".Also known as the Dipylon Painter, the Dipylon Master is one of the earliest individually identifiable Greek artists, who specialized in not just large funerary vases, but pitchers, high rimmed bowls, tankards, as well as giant and standard sized oinochoai. [3]
French ormolu mantel clock (around 1800) by Julien Béliard (1758 – died after 1806), Paris.The clock case by Claude Galle (1758–1815) Ormolu (/ ˈ ɔːr m ə ˌ l uː /; from French or moulu 'ground/pounded gold') is the gilding technique of applying finely ground, high-carat gold–mercury amalgam to an object of bronze, and objects finished in this way.
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