Foreword

Oakley, John H.

doi:10.2307/j.ctvh1djzf.3

Cited by 2 publications

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“…These are often regarded as framing elements for hunts (Neils 2013, 154) and as signifying a thematic parallel between human hunting on the top register and the brutal animal hunt below (Barringer 2013, 159). But the sphinxes also link vertically with a central character on the François Crater, namely Dionysus, who occupies a central place in the wedding of Peleus and Thetis, and is portrayed returning Hephaestus to Olympus (an act for which he wins the right to sit among the other Olympian gods) (Isler-Kerényi 1997, 529; Torelli 2013, 98; Petit 2019, 440–1). The Throne of Apollo also shows Dionysus’ apotheosis (Pausanias 3.18.11), which, alongside Heracles’ rise to heaven, underscores the end goal of a life centred around illustrious activities.…”

Section: Placing the Prothesis Plaques In The Ivory Corpusmentioning

confidence: 99%

“… 58 Isler-Kerényi 1997, 523–5; Torelli 2013, 85–6; Neils 2013, 126–7. Episodes include the Calydonian Boar Hunt, ritual dancing of Athenian youths, the funeral games of Patroclus, the battle of the Lapiths and Centaurs, the wedding of Peleus and Thetis, the ambush of Troilus by Achilles, and the return of Hephaestus to Olympus by Dionysus (see Torelli 2007, 62–3; 2013, 95; Neils 2013).…”

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CELEBRATING DEATH AT THE SANCTUARY OF ORTHIA: APROTHESISSCENE, THE IVORY CORPUS AND RITUAL LANDSCAPES IN THE ARCHAIC PERIOD

Daniels

2023

Annu. Br. Sch. Athens

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The corpus of carved ivories from the sanctuary of Orthia at Sparta forms one of the most cosmopolitan assemblages from Archaic Laconia. One image within this corpus, however, has remained an anomaly: a mirror-image scene on two plaques showing three figures mourning a deceased male in the prothesis ritual. The puzzling nature of these plaques rests on the dearth of imagery elsewhere in Laconia from this period displaying the prothesis, unlike Attica. These images have been viewed as representing a mythical death or a commemoration of an actual death, tied to a period in Sparta's history when elite groups claimed power through ostentatious ritual, but their overall meaning within Orthia's sanctuary remains obscure. I argue, however, that these plaques are not anomalies within the ivory corpus, nor are they divorced from the broader ritual programme in Orthia's sanctuary – rather, the ivory corpus itself represents a unified composition that merged scenes showing ideal activities for Spartan citizens with heroic episodes from myth, geared towards the achievement of everlasting kléos. The semantics of these combined iconographies are clarified via comparison with cultic implements described in ancient literature alongside extant examples of multi-scene figural pottery from the seventh and sixth centuries. This paper thus highlights the mythological and ideological meanings of the prothesis plaques within the broader ivory corpus, and elucidates the role of complex figural iconographies in the elaboration of heroic ideals centred on Spartan citizens in this period.

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Section: Placing the Prothesis Plaques In The Ivory Corpusmentioning

confidence: 99%

mentioning

confidence: 99%

CELEBRATING DEATH AT THE SANCTUARY OF ORTHIA: APROTHESISSCENE, THE IVORY CORPUS AND RITUAL LANDSCAPES IN THE ARCHAIC PERIOD

Daniels

2023

Annu. Br. Sch. Athens

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“…1986 saw the centenary celebrations of the BSA, during which time the collection was packed and moved into Annexe 2 (BSA MUS 02/05/04). In 1994-95 the ASCSA organized an exhibition entitled Athenian Potters and Painters, a display at the Gennadius Library that included 33 objects from the BSA 'A series' and seven from the 'K series' (alongside ceramics from elsewhere) (Oakley and Langridge-Noti 1994;Fig. 9.19).…”

Section: The Collection In the Early Twentieth Century (With Contribu...mentioning

confidence: 99%

9 A brief history of the BSA Museum Study Collection

Loy¹

2022

Arch. Rep.

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The BSA Museum houses a study collection of artefacts donated to the BSA and collected by its members up to the 1960s. The collection provides a valuable resource for teaching and research, enabling scholars to gain first-hand familiarity with objects from a range of material types (including ceramics, metals, stone, terracotta) dating from the Neolithic through to the Late Byzantine period. The collection comprises some 4,000 individual artefacts and over 46,000 sherds of pottery, objects that have been displayed in different parts of the BSA premises over the past 130 years. Of the whole collection, various small sections have been published in the Annual of the BSA. What has been lacking, however, is a narrative about the museum itself: where its objects came from, who studied them, how the collection as a whole has been catalogued and organized. This paper tells that story: from the collection’s humble beginnings, with the first donation of just a few sherds in 1892, through to recently completed digitization and public engagement projects.

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Foreword

Cited by 2 publications

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CELEBRATING DEATH AT THE SANCTUARY OF ORTHIA: APROTHESISSCENE, THE IVORY CORPUS AND RITUAL LANDSCAPES IN THE ARCHAIC PERIOD

CELEBRATING DEATH AT THE SANCTUARY OF ORTHIA: APROTHESISSCENE, THE IVORY CORPUS AND RITUAL LANDSCAPES IN THE ARCHAIC PERIOD

9 A brief history of the BSA Museum Study Collection

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