The Getty Villa

Lion's Head Waterspout Greek, made in Taras, South Italy, 425-400 BC Terracotta and pigment Sima This waterspout is still attached to a small piece of a sima, a roof element that functioned as a gutter. The style of decorative palmettes and upside-down lotus blossoms is typical of art from Taras, a Greek colony in Southern Italy. Text from the Getty Villa museum label.

Funerary Relief with a Hunter Greek, made in Taras, South Italy, 290-250 BC Limestone and pigment Inventory # 74.AA.7 This relief sculpture probably comes from a grave monument. It shows a nude youth lunging forward to attack an unseen foe. A horse rears up behind him, its rider missing. The presence of a large dog, snarling menacingly, indicates that this is a hunting scene. The theme of hunting indicates the elite status of the deceased and also refers to one of the pleasures of the afterlife. Text from the Getty Villa museum label.

Perfume Container Unknown Greek, 440 - 430 B.C. Marble and pigment 9 1/16 x 5 1/2 in. 96.AA.103 An exaleiptron was used to hold perfumed oil, either as part of a woman's toilette or as a grave offering. This function is reflected in the shape of the vessel, which had a sharply inward-curving lip in order to prevent the precious oil from spilling. The form takes its name for the Greek verb meaning "to anoint." This vase is an unusual marble example of the form; most surviving examples are made of terracotta. These marble vases may have been luxury versions of the terracotta form, and this exaleiptron is one of the earliest marble examples known. This exaleiptron is composed of four separately-made elements: the stem, body, shoulder, and lid. Marble vessels were carved on lathes, and lathe marks are still visible on this vase on the underside of the body and the interior of the bowl. Marble vases were often brightly painted. Only a small area of paint survives on this vase--a bit of pink or red along one section of incised line on the shoulder. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=35589

Incense Burner Unknown Greek, South Italy or Sicily, 400 - 300 B.C. Marble 9 in. 95.AA.59 Thymiateria were used in antiquity to burn incense during religious rituals such as sacrifices or offerings to the gods. Carved from marble, this thymiaterion is composed of three parts: a stemmed foot, a deep receptacle, and a lid. The deep bowl, which would have held a large amount of costly incense, rests on the spreading tray-like top of the tall foot. The lip of the bowl is scored along the edges to suggest an organic plant pattern. The same pattern is repeated on the domed lid, which is decorated with small ridges and perforated at regular intervals to allow the scented smoke to escape. The top of the lid is flat and undecorated, but originally, a separately-made finial may have been attached. The sharp-edged, angular form of the thymiaterion with its decorative ridges imitates metal vessels. Traces of red paint remain on the foot and lid suggesting that the thymiaterion was originally brightly painted. A yellowish, shiny, resin-like staining on the interior of the lid indicates that this incense burner was actually used and not just a display piece. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=38154

Mask of a Satyr Greek, made in the eastern Mediterranean 300-100 BC Terracotta and pigment Text from the Getty Villa museum label.

Vessel in the Shape of a Bird Greek, made in Campania, Italy, 310-280 BC Terracotta Text from the Getty Villa museum label.

Applique with the Head of Pan Greek, about 100 BC Ivory Inventory # 87.AI.18 Text from the Getty Villa museum label.

Lidded Cauldron with a Satyr Unknown Greek, Eastern Mediterranean, 50 - 1 B.C. Bronze and silver 22 13/16 in. 96.AC.51 From the front of this lebes or cauldron emerges a half-length figure of a drunken satyr, one of the companions of Dionysos, the god of wine. The young satyr, wearing a wreath and holding a drinking cup, snaps his fingers, throws his head back, and grins in Dionysiac ecstasy. He seems to grow from a swirl of flowering tendrils, grape leaves, and plants meant to refer to Dionysos. Wine and water would have been mixed and served in this lidded, bronze lebes, following the Greek custom of diluting the strong wine they produced. The luxuriously decorated lebes with spool feet is unique. No other vessel of this large size, showing such a variety of metalworking techniques, is known. Silver inlays form the satyr's eyes and teeth and many of the flowers. This was a costly item, attesting to the wealth and status of its owner. The vessel's excellent state of preservation implies that it comes from a tomb, where it may have been used as an offering to the gods or as a cinerary urn for cremated remains. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=35498

Title: Roundel with Comic Mask Artist/Maker: Unknown Culture: Greek (South Italian) Place: South Italy (?), Europe (Place created) Date: about 300 B.C. Medium: Bronze Object Number: 96.AC.88 Dimensions: 2.1 × 7 cm (13/16 × 2 3/4 in.) Credit Line: Gift of Barbara and Lawrence Fleischman Alternate Titles: Roundel with a Comic Mask (Display Title) Object Type: Roundel A mask of the sort worn by an actor in a comic play decorates this bronze roundel. Shown in three-quarter view against a plain background, the high relief, repoussé mask has straight hair brushed back from a receding hairline, a thick moustache and a small, pointed beard. The raised eyebrows cause the forehead to crease, and the eyes, framed by crow's feet, roll to the side. The full lips appear to be natural rather than the artificial mouthpiece of a mask. These features suggest that this mask represents a leading slave role. The form of the mask and the expression of impish guile are very similar to masks decorating pottery made in the Greek colonies in South Italy, especially in Apulia. On the back of the roundel, two bronze bands attached with rivets would have held a thick, narrow strap running vertically. This arrangement of attachment points suggests that the roundel was probably a bridle ornament. Text from: www.getty.edu/art/collection/objects/29541/unknown-maker-roundel-with-comic-mask-greek-south-italian-about-300-bc

Herm of Dionysos Attributed to the Workshop of Boethos of Kalchedon Greek, Asia Minor (present-day Turkey) 100 - 50 B.C. Bronze and ivory 40 3/4 x 9 1/4 in. 79.AB.138 Beginning in the 500s B.C., Greeks placed herms, pillars surmounted by a head of the god Hermes, at physical boundaries, such as crossroads or even doorways. Such places were sites of ritual and worship, where the herms served a magical, protective function. By the Hellenistic period, the repertoire of heads found on herms had expanded to include other gods and even famous mortals, and people began to use the herms for non-religious, decorative purposes. This herm carries a head of Dionysos wearing a turbanlike headdress of loosely wound ribbons. Both the hair and the beard of Dionysos have been carved in a style that would have looked old-fashioned to the contemporary viewer. Greek bronze statues typically had eyes made of contrasting materials. In most instances the eyes have been lost, but this herm still retains the ivory inlay of the white of its left eye, giving a better idea of the work's original appearance. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=9917

Herm of Dionysos Attributed to the Workshop of Boethos of Kalchedon Greek, Asia Minor (present-day Turkey) 100 - 50 B.C. Bronze and ivory 40 3/4 x 9 1/4 in. 79.AB.138 Beginning in the 500s B.C., Greeks placed herms, pillars surmounted by a head of the god Hermes, at physical boundaries, such as crossroads or even doorways. Such places were sites of ritual and worship, where the herms served a magical, protective function. By the Hellenistic period, the repertoire of heads found on herms had expanded to include other gods and even famous mortals, and people began to use the herms for non-religious, decorative purposes. This herm carries a head of Dionysos wearing a turbanlike headdress of loosely wound ribbons. Both the hair and the beard of Dionysos have been carved in a style that would have looked old-fashioned to the contemporary viewer. Greek bronze statues typically had eyes made of contrasting materials. In most instances the eyes have been lost, but this herm still retains the ivory inlay of the white of its left eye, giving a better idea of the work's original appearance. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=9917

Bull's Head Cup Greek, from the eastern Mediterranean, 100 BC- 100 AD Silver and gold; weight: 267.7 grams Shaped as the head of a bull calf, this cup was used for drinking ceremonial wine or pouring libations. The gilt garland and horns indicate that this calf is a sacrificial animal. Made of two parts, the cup has a smooth, removable liner for holding liquid. An inscription on the liner's rim gives the vessel's weight as sixty-seven drachmas. Text from the Getty Villa museum label.

Mug Shaped as the Head of a God Roman, from Asia Minor (present-day Turkey), 100-1 BC Lead-glazed terracotta Signed by Likinnios Inventory # 83.AE.40 The colors of this mold-made mug imitate precious metals. The deep yellow skin mimics gold or bronze, the reddish brown lips resemble copper, and the green leaves look like patinated bronze. The head may represent Dionysos, the messenger god Hermes, or the woodland god Pan. The signature of the craftsman, Likinnios, is incised on the underside of this mug. Text from the Getty Villa museum label.

Fragment of a Female Head Greek, made in Taras, South Italy, 440-430 BC Terracotta Inventory # 82.AD.93.1 Even though only a fragment of this head remains, it shows the power of highly skilled sculpting. Both the upper and the lower eyelids are carefully detailed, and the lips are full and sensuous. These elements are characteristic of the naturalistic style of sculpture executed during the Classical period (480-323 BC). Text from the Getty Villa museum label.

Ceremonial Chair (The Elgin Throne) Unknown Greek, 400 - 300 B.C. Marble across front 74.AA.12 A rare surviving example of Greek marble furniture, the Elgin Throne originally was placed in a public space in Athens, perhaps in the Theater of Dionysos, where it would have been a seat of honor. The decoration on the sides of the chair appears connected with this official function. The two complementary figural scenes depict tales of Athens' liberation, one historical and one mythological. In 514 B.C., Harmodios and Aristogeiton, during a failed attempt to assassinate the tyrant Hippias, killed Hippias' brother Hipparchos, thus initiating the development of democracy in Athens. The image of the tyrannicides or tyrant slayers on the throne reproduces a famous statue of the pair that once stood in the Athenian Agora and is now known from Roman copies. The other scene on the throne most likely depicts the Athenian hero Theseus battling an Amazon during a legendary invasion of the city. Amazons were often shown in Greek art, as on the Parthenon, to represent barbarian invasions of civilized Greek territories. A partial inscription running along the upper edge of the back of the throne names Boethos, perhaps the dedicator of the throne. The throne was once in the collection of Lord Elgin, a noted collector of antiquities. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=8235

Ceremonial Chair (The Elgin Throne) Unknown Greek, 400 - 300 B.C. Marble across front 74.AA.12 A rare surviving example of Greek marble furniture, the Elgin Throne originally was placed in a public space in Athens, perhaps in the Theater of Dionysos, where it would have been a seat of honor. The decoration on the sides of the chair appears connected with this official function. The two complementary figural scenes depict tales of Athens' liberation, one historical and one mythological. In 514 B.C., Harmodios and Aristogeiton, during a failed attempt to assassinate the tyrant Hippias, killed Hippias' brother Hipparchos, thus initiating the development of democracy in Athens. The image of the tyrannicides or tyrant slayers on the throne reproduces a famous statue of the pair that once stood in the Athenian Agora and is now known from Roman copies. The other scene on the throne most likely depicts the Athenian hero Theseus battling an Amazon during a legendary invasion of the city. Amazons were often shown in Greek art, as on the Parthenon, to represent barbarian invasions of civilized Greek territories. A partial inscription running along the upper edge of the back of the throne names Boethos, perhaps the dedicator of the throne. The throne was once in the collection of Lord Elgin, a noted collector of antiquities. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=8235

Ceremonial Chair (The Elgin Throne) Unknown Greek, 400 - 300 B.C. Marble across front 74.AA.12 A rare surviving example of Greek marble furniture, the Elgin Throne originally was placed in a public space in Athens, perhaps in the Theater of Dionysos, where it would have been a seat of honor. The decoration on the sides of the chair appears connected with this official function. The two complementary figural scenes depict tales of Athens' liberation, one historical and one mythological. In 514 B.C., Harmodios and Aristogeiton, during a failed attempt to assassinate the tyrant Hippias, killed Hippias' brother Hipparchos, thus initiating the development of democracy in Athens. The image of the tyrannicides or tyrant slayers on the throne reproduces a famous statue of the pair that once stood in the Athenian Agora and is now known from Roman copies. The other scene on the throne most likely depicts the Athenian hero Theseus battling an Amazon during a legendary invasion of the city. Amazons were often shown in Greek art, as on the Parthenon, to represent barbarian invasions of civilized Greek territories. A partial inscription running along the upper edge of the back of the throne names Boethos, perhaps the dedicator of the throne. The throne was once in the collection of Lord Elgin, a noted collector of antiquities. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=8235

Ceremonial Chair (The Elgin Throne) Unknown Greek, 400 - 300 B.C. Marble across front 74.AA.12 A rare surviving example of Greek marble furniture, the Elgin Throne originally was placed in a public space in Athens, perhaps in the Theater of Dionysos, where it would have been a seat of honor. The decoration on the sides of the chair appears connected with this official function. The two complementary figural scenes depict tales of Athens' liberation, one historical and one mythological. In 514 B.C., Harmodios and Aristogeiton, during a failed attempt to assassinate the tyrant Hippias, killed Hippias' brother Hipparchos, thus initiating the development of democracy in Athens. The image of the tyrannicides or tyrant slayers on the throne reproduces a famous statue of the pair that once stood in the Athenian Agora and is now known from Roman copies. The other scene on the throne most likely depicts the Athenian hero Theseus battling an Amazon during a legendary invasion of the city. Amazons were often shown in Greek art, as on the Parthenon, to represent barbarian invasions of civilized Greek territories. A partial inscription running along the upper edge of the back of the throne names Boethos, perhaps the dedicator of the throne. The throne was once in the collection of Lord Elgin, a noted collector of antiquities. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=8235