LaurieAnnie's photos with the keyword: 2018

Drinking cup (skyphos) depicting jumpers the Brygos Painter Greek Early Classical Period about 480 B.C. Place of Manufacture: Greece, Attica, Athens Medium/Technique: Ceramic, Red Figure Dimensions : Height: 14.4 cm (5 11/16 in.) Diameter without Handles: 17.8 cm (7 in.) Credit Line: Julia Bradford Huntington James Fund and Museum purchase with funds donated by contribution Accession Number: 10.176 Collections: Ancient Greece and Rome Classifications: Vessels Catalogue Raisonné: Caskey-Beazley, Attic Vase Paintings (MFA), no. 018. Description: Side A: Nude pentathlete holding jumping weights (halteres) prepares to jump. Two javelins in background. A trainer stands before him holding a switch to point out fouls. Behind the jumper is a small boy holding a staff and the athlete's sponge and oil flask. Side B: A jumper, at right holding halteres (facing left), taking his position. Before him a beardless trainer leans on a staff. Two javelins in background. Provenance: By 1901: with Edward Perry Warren (according to Warren's records: Bought from a Greek in 1901 in the Spring. From Greece); purchased by MFA from Edward Perry Warren, June 2, 1910, for $4,000.00 (this figure is the total price for MFA 10.159-10.230) Text from: collections.mfa.org/objects/153875/drinking-cup-skyphos-depicting-jumpers

Drinking cup (skyphos) depicting jumpers the Brygos Painter Greek Early Classical Period about 480 B.C. Place of Manufacture: Greece, Attica, Athens Medium/Technique: Ceramic, Red Figure Dimensions : Height: 14.4 cm (5 11/16 in.) Diameter without Handles: 17.8 cm (7 in.) Credit Line: Julia Bradford Huntington James Fund and Museum purchase with funds donated by contribution Accession Number: 10.176 Collections: Ancient Greece and Rome Classifications: Vessels Catalogue Raisonné: Caskey-Beazley, Attic Vase Paintings (MFA), no. 018. Description: Side A: Nude pentathlete holding jumping weights (halteres) prepares to jump. Two javelins in background. A trainer stands before him holding a switch to point out fouls. Behind the jumper is a small boy holding a staff and the athlete's sponge and oil flask. Side B: A jumper, at right holding halteres (facing left), taking his position. Before him a beardless trainer leans on a staff. Two javelins in background. Provenance: By 1901: with Edward Perry Warren (according to Warren's records: Bought from a Greek in 1901 in the Spring. From Greece); purchased by MFA from Edward Perry Warren, June 2, 1910, for $4,000.00 (this figure is the total price for MFA 10.159-10.230) Text from: collections.mfa.org/objects/153875/drinking-cup-skyphos-depicting-jumpers

Drinking cup (kylix) depicting pentathletes Onesimos Greek Late Archaic Period about 500–490 B.C. Place of Manufacture: Greece, Attica, Athens Medium/Technique Ceramic, Red Figure Dimensions: Height: 9 cm (3 9/16 in.); diameter: 22.5 cm (8 7/8 in.) Credit Line: Henry Lillie Pierce Fund Accession Number: 01.8020 Collections: Ancient Greece and Rome Classifications: Vessels The exterior of this drinking cup shows scenes of youthful athletes working out under the watchful gazes of their trainers, probably preparing to compete in the pentathlon--a multipart event consisting of running, discus, long jumo, javelin, and wrestling components. Although no scenery is included, the setting is surely the palaestra, an athletic training ground that was often incorporated into a larger complex, the gymnasium, at the center of social and intellectual activity in ancient Greek cities. Men and boys frequented the palaestra for recreation, instruction, and preparation for competition and to maintain their bodies in a state of battle readiness. On one side of the cup, a nude youth practicing the long jump appears in midflight, holding a pair of halteres (jumping weights); while modern scholars debate exactly how these were used, according to Aristotle, "a pentathlete using halteres jumps farther than one without them" (On the Movement of Animals 3.705a) To the right of the jumper, a trainer--only slightly older, judging by his lack of a beard, but clothed, a mark of his higher status--stands ready with a rod. At the left is another youth holding weights, preparing for his turn to jump. On the other side of the cup, not pictured here, a trainer looks upon a discus thrower in the midst of his backswing; a youth holding a discus also appears on the bottom of the interior. Athletic scenes were a popular subject for the decoration of Greek vases. The male Athenian who used these vessels at symposia would have been intimately familiar with the palaestra, where many of them underwent the kind of athletic training depicted on the cup. Catalogue Raisonné Caskey-Beazley, Attic Vase Paintings (MFA), no. 078; Highlights: Classical Art (MFA), p. 121. Description: Interior: Youth with diskos. The athlete bends forward at the moment in the backward swing just before the forward swing and release. Greek inscription, "Panaitios is handsome" (PANAITIOS KALOS), along the inner edge of the tondo above the athlete. Exterior: Scenes of the athletic practice at the palaestra. One of the main figures is a jumper in mid-flight. At his right is his trainer, ready with the rod used for correcting mistakes. At the left, another youth runs, holding jumping weights (halteres). On the other side, the main figure is a diskos-thrower in the midst of his back swing. Again, a trainer and another athlete accompany the main figure. Condition: Kylix was broken and repaired. Inscriptions: Interior: "Panaitios is handsome" (PANAITIOS KALOS) ΠΑΝΑΙΤΙΟS ΚΑLΟS Provenance: Said to come from Orvieto [see note]. 1901, sold by Alfred Bourguignon, Naples, to Edward Perry Warren (b. 1860 - d. 1928), London; 1901, sold by Edward Perry Warren to the MFA. (Accession Date: December, 1, 1901) NOTE: According to Bourguignon's label. Text from: collections.mfa.org/objects/153699/drinking-cup-kylix-depicting-pentathletes

Drinking cup (kylix) depicting pentathletes Onesimos Greek Late Archaic Period about 500–490 B.C. Place of Manufacture: Greece, Attica, Athens Medium/Technique Ceramic, Red Figure Dimensions: Height: 9 cm (3 9/16 in.); diameter: 22.5 cm (8 7/8 in.) Credit Line: Henry Lillie Pierce Fund Accession Number: 01.8020 Collections: Ancient Greece and Rome Classifications: Vessels The exterior of this drinking cup shows scenes of youthful athletes working out under the watchful gazes of their trainers, probably preparing to compete in the pentathlon--a multipart event consisting of running, discus, long jumo, javelin, and wrestling components. Although no scenery is included, the setting is surely the palaestra, an athletic training ground that was often incorporated into a larger complex, the gymnasium, at the center of social and intellectual activity in ancient Greek cities. Men and boys frequented the palaestra for recreation, instruction, and preparation for competition and to maintain their bodies in a state of battle readiness. On one side of the cup, a nude youth practicing the long jump appears in midflight, holding a pair of halteres (jumping weights); while modern scholars debate exactly how these were used, according to Aristotle, "a pentathlete using halteres jumps farther than one without them" (On the Movement of Animals 3.705a) To the right of the jumper, a trainer--only slightly older, judging by his lack of a beard, but clothed, a mark of his higher status--stands ready with a rod. At the left is another youth holding weights, preparing for his turn to jump. On the other side of the cup, not pictured here, a trainer looks upon a discus thrower in the midst of his backswing; a youth holding a discus also appears on the bottom of the interior. Athletic scenes were a popular subject for the decoration of Greek vases. The male Athenian who used these vessels at symposia would have been intimately familiar with the palaestra, where many of them underwent the kind of athletic training depicted on the cup. Catalogue Raisonné Caskey-Beazley, Attic Vase Paintings (MFA), no. 078; Highlights: Classical Art (MFA), p. 121. Description: Interior: Youth with diskos. The athlete bends forward at the moment in the backward swing just before the forward swing and release. Greek inscription, "Panaitios is handsome" (PANAITIOS KALOS), along the inner edge of the tondo above the athlete. Exterior: Scenes of the athletic practice at the palaestra. One of the main figures is a jumper in mid-flight. At his right is his trainer, ready with the rod used for correcting mistakes. At the left, another youth runs, holding jumping weights (halteres). On the other side, the main figure is a diskos-thrower in the midst of his back swing. Again, a trainer and another athlete accompany the main figure. Condition: Kylix was broken and repaired. Inscriptions: Interior: "Panaitios is handsome" (PANAITIOS KALOS) ΠΑΝΑΙΤΙΟS ΚΑLΟS Provenance: Said to come from Orvieto [see note]. 1901, sold by Alfred Bourguignon, Naples, to Edward Perry Warren (b. 1860 - d. 1928), London; 1901, sold by Edward Perry Warren to the MFA. (Accession Date: December, 1, 1901) NOTE: According to Bourguignon's label. Text from: collections.mfa.org/objects/153699/drinking-cup-kylix-depicting-pentathletes

Drinking cup (kylix) depicting pentathletes Onesimos Greek Late Archaic Period about 500–490 B.C. Place of Manufacture: Greece, Attica, Athens Medium/Technique Ceramic, Red Figure Dimensions: Height: 9 cm (3 9/16 in.); diameter: 22.5 cm (8 7/8 in.) Credit Line: Henry Lillie Pierce Fund Accession Number: 01.8020 Collections: Ancient Greece and Rome Classifications: Vessels The exterior of this drinking cup shows scenes of youthful athletes working out under the watchful gazes of their trainers, probably preparing to compete in the pentathlon--a multipart event consisting of running, discus, long jumo, javelin, and wrestling components. Although no scenery is included, the setting is surely the palaestra, an athletic training ground that was often incorporated into a larger complex, the gymnasium, at the center of social and intellectual activity in ancient Greek cities. Men and boys frequented the palaestra for recreation, instruction, and preparation for competition and to maintain their bodies in a state of battle readiness. On one side of the cup, a nude youth practicing the long jump appears in midflight, holding a pair of halteres (jumping weights); while modern scholars debate exactly how these were used, according to Aristotle, "a pentathlete using halteres jumps farther than one without them" (On the Movement of Animals 3.705a) To the right of the jumper, a trainer--only slightly older, judging by his lack of a beard, but clothed, a mark of his higher status--stands ready with a rod. At the left is another youth holding weights, preparing for his turn to jump. On the other side of the cup, not pictured here, a trainer looks upon a discus thrower in the midst of his backswing; a youth holding a discus also appears on the bottom of the interior. Athletic scenes were a popular subject for the decoration of Greek vases. The male Athenian who used these vessels at symposia would have been intimately familiar with the palaestra, where many of them underwent the kind of athletic training depicted on the cup. Catalogue Raisonné Caskey-Beazley, Attic Vase Paintings (MFA), no. 078; Highlights: Classical Art (MFA), p. 121. Description: Interior: Youth with diskos. The athlete bends forward at the moment in the backward swing just before the forward swing and release. Greek inscription, "Panaitios is handsome" (PANAITIOS KALOS), along the inner edge of the tondo above the athlete. Exterior: Scenes of the athletic practice at the palaestra. One of the main figures is a jumper in mid-flight. At his right is his trainer, ready with the rod used for correcting mistakes. At the left, another youth runs, holding jumping weights (halteres). On the other side, the main figure is a diskos-thrower in the midst of his back swing. Again, a trainer and another athlete accompany the main figure. Condition: Kylix was broken and repaired. Inscriptions: Interior: "Panaitios is handsome" (PANAITIOS KALOS) ΠΑΝΑΙΤΙΟS ΚΑLΟS Provenance: Said to come from Orvieto [see note]. 1901, sold by Alfred Bourguignon, Naples, to Edward Perry Warren (b. 1860 - d. 1928), London; 1901, sold by Edward Perry Warren to the MFA. (Accession Date: December, 1, 1901) NOTE: According to Bourguignon's label. Text from: collections.mfa.org/objects/153699/drinking-cup-kylix-depicting-pentathletes

Drinking cup (kylix) depicting pentathletes Onesimos Greek Late Archaic Period about 500–490 B.C. Place of Manufacture: Greece, Attica, Athens Medium/Technique Ceramic, Red Figure Dimensions: Height: 9 cm (3 9/16 in.); diameter: 22.5 cm (8 7/8 in.) Credit Line: Henry Lillie Pierce Fund Accession Number: 01.8020 Collections: Ancient Greece and Rome Classifications: Vessels The exterior of this drinking cup shows scenes of youthful athletes working out under the watchful gazes of their trainers, probably preparing to compete in the pentathlon--a multipart event consisting of running, discus, long jumo, javelin, and wrestling components. Although no scenery is included, the setting is surely the palaestra, an athletic training ground that was often incorporated into a larger complex, the gymnasium, at the center of social and intellectual activity in ancient Greek cities. Men and boys frequented the palaestra for recreation, instruction, and preparation for competition and to maintain their bodies in a state of battle readiness. On one side of the cup, a nude youth practicing the long jump appears in midflight, holding a pair of halteres (jumping weights); while modern scholars debate exactly how these were used, according to Aristotle, "a pentathlete using halteres jumps farther than one without them" (On the Movement of Animals 3.705a) To the right of the jumper, a trainer--only slightly older, judging by his lack of a beard, but clothed, a mark of his higher status--stands ready with a rod. At the left is another youth holding weights, preparing for his turn to jump. On the other side of the cup, not pictured here, a trainer looks upon a discus thrower in the midst of his backswing; a youth holding a discus also appears on the bottom of the interior. Athletic scenes were a popular subject for the decoration of Greek vases. The male Athenian who used these vessels at symposia would have been intimately familiar with the palaestra, where many of them underwent the kind of athletic training depicted on the cup. Catalogue Raisonné Caskey-Beazley, Attic Vase Paintings (MFA), no. 078; Highlights: Classical Art (MFA), p. 121. Description: Interior: Youth with diskos. The athlete bends forward at the moment in the backward swing just before the forward swing and release. Greek inscription, "Panaitios is handsome" (PANAITIOS KALOS), along the inner edge of the tondo above the athlete. Exterior: Scenes of the athletic practice at the palaestra. One of the main figures is a jumper in mid-flight. At his right is his trainer, ready with the rod used for correcting mistakes. At the left, another youth runs, holding jumping weights (halteres). On the other side, the main figure is a diskos-thrower in the midst of his back swing. Again, a trainer and another athlete accompany the main figure. Condition: Kylix was broken and repaired. Inscriptions: Interior: "Panaitios is handsome" (PANAITIOS KALOS) ΠΑΝΑΙΤΙΟS ΚΑLΟS Provenance: Said to come from Orvieto [see note]. 1901, sold by Alfred Bourguignon, Naples, to Edward Perry Warren (b. 1860 - d. 1928), London; 1901, sold by Edward Perry Warren to the MFA. (Accession Date: December, 1, 1901) NOTE: According to Bourguignon's label. Text from: collections.mfa.org/objects/153699/drinking-cup-kylix-depicting-pentathletes

Ellen Mary in a White Coat Mary Stevenson Cassatt (American, 1844–1926) about 1896 Medium/Technique: Oil on canvas Dimensions: 81.28 x 60.32 cm (32 x 23 3/4 in.) Credit Line: Gift of Charles, Hope, and Binney Hare in honor of Ellen Mary Cassatt Accession Number: 1982.630 Collections: Americas Classifications: Paintings Mary Cassatt is especially admired for her domestic scenes—of women reading, knitting, taking tea, and caring for their children. Born in western Pennsylvania to a wealthy family, she trained at the Pennsylvania Academy of the Fine Arts and then traveled in Europe before settling in Paris in 1874. Encouraged by her friend and mentor Edgar Degas, she became a member of the Impressionist circle, exhibiting with them in 1879, 1880, 1881, and 1886—Cassatt was the only American to exhibit with this group. She lived for the rest of her life in France, initially in Paris and then in nearby Mesnil-Théribus, where she owned a château. Ellen Mary, the second child of Cassatt’s youngest brother Gardner, was about two years old when the artist painted this portrait, the first of many that Cassatt would make throughout her niece’s childhood. Cassatt probably painted this likeness when her brother and his family were visiting her at Beaufresne, her château, in 1896. Ellen Mary in a White Coat is a tour de force of compositional invention and psychological insight. Ellen Mary is encased in a luxurious, bulky hat and coat that become the key structural elements of the composition. The curved line formed by the fur trim of the coat and hat contrast with the rectangles of the yellow chair and background panels. Ellen Mary is pushed forward and fills the picture space, seeming at once immediate and monumental. Despite the fact that only Ellen Mary’s tiny face, hands, and summarily sketched feet are visible, Cassatt has managed to indicate the child’s personality and mood. Although the costume and setting that envelop her were designed as much to indicate her family’s wealth as to provide for her comfort, Ellen Mary is able to assert her individuality. Serious beyond her years, Ellen Mary seems to know that sitting for a portrait is important, although not much fun for a two-year-old. Cassatt painted Ellen Mary in a White Coat when she was at the height of her powers. She had studied Spanish painting, especially Velázquez’s pictures of children of the royal Spanish family—like Ellen Mary, small children trapped in elaborate costumes. She was a friend of Edgar Degas and had seen firsthand his manipulation of space and his ability to use the background of a portrait [31.33] to comment on the sitter. In addition, the flat patterns in this painting reflect Cassatt’s interest in Japanese woodblock prints, which she had enthusiastically collected and studied. Having absorbed these various influences, she applied her own sensitive appreciation of childhood to create a perceptive and unsentimental portrait of her niece. Aunt and niece grew especially close, and when Cassatt died, she left Beaufresne to Ellen Mary. This text was adapted from Carol Troyen and Janet L. Comey, Amerikakaigakodomo no sekai [Children in American art], exh. cat. (Nagoya, Japan: Nagoya/Boston Museum of Fine Arts, 2007). Inscriptions: Lower left: Mary Cassatt Provenance1911, given by the artist to her niece (the sitter), Ellen Mary Cassatt (Mrs. Horace Binney Hare, b. 1894 - d. 1966), Pennsylvania; 1966, by inheritance to her son, Charles Hare; 2012, gift of Charles, Hope, and Binney Hare to the MFA. (Accession Date: April 25, 2012) Text from: collections.mfa.org/objects/34519/ellen-mary-in-a-white-coat

Ellen Mary in a White Coat Mary Stevenson Cassatt (American, 1844–1926) about 1896 Medium/Technique: Oil on canvas Dimensions: 81.28 x 60.32 cm (32 x 23 3/4 in.) Credit Line: Gift of Charles, Hope, and Binney Hare in honor of Ellen Mary Cassatt Accession Number: 1982.630 Collections: Americas Classifications: Paintings Mary Cassatt is especially admired for her domestic scenes—of women reading, knitting, taking tea, and caring for their children. Born in western Pennsylvania to a wealthy family, she trained at the Pennsylvania Academy of the Fine Arts and then traveled in Europe before settling in Paris in 1874. Encouraged by her friend and mentor Edgar Degas, she became a member of the Impressionist circle, exhibiting with them in 1879, 1880, 1881, and 1886—Cassatt was the only American to exhibit with this group. She lived for the rest of her life in France, initially in Paris and then in nearby Mesnil-Théribus, where she owned a château. Ellen Mary, the second child of Cassatt’s youngest brother Gardner, was about two years old when the artist painted this portrait, the first of many that Cassatt would make throughout her niece’s childhood. Cassatt probably painted this likeness when her brother and his family were visiting her at Beaufresne, her château, in 1896. Ellen Mary in a White Coat is a tour de force of compositional invention and psychological insight. Ellen Mary is encased in a luxurious, bulky hat and coat that become the key structural elements of the composition. The curved line formed by the fur trim of the coat and hat contrast with the rectangles of the yellow chair and background panels. Ellen Mary is pushed forward and fills the picture space, seeming at once immediate and monumental. Despite the fact that only Ellen Mary’s tiny face, hands, and summarily sketched feet are visible, Cassatt has managed to indicate the child’s personality and mood. Although the costume and setting that envelop her were designed as much to indicate her family’s wealth as to provide for her comfort, Ellen Mary is able to assert her individuality. Serious beyond her years, Ellen Mary seems to know that sitting for a portrait is important, although not much fun for a two-year-old. Cassatt painted Ellen Mary in a White Coat when she was at the height of her powers. She had studied Spanish painting, especially Velázquez’s pictures of children of the royal Spanish family—like Ellen Mary, small children trapped in elaborate costumes. She was a friend of Edgar Degas and had seen firsthand his manipulation of space and his ability to use the background of a portrait [31.33] to comment on the sitter. In addition, the flat patterns in this painting reflect Cassatt’s interest in Japanese woodblock prints, which she had enthusiastically collected and studied. Having absorbed these various influences, she applied her own sensitive appreciation of childhood to create a perceptive and unsentimental portrait of her niece. Aunt and niece grew especially close, and when Cassatt died, she left Beaufresne to Ellen Mary. This text was adapted from Carol Troyen and Janet L. Comey, Amerikakaigakodomo no sekai [Children in American art], exh. cat. (Nagoya, Japan: Nagoya/Boston Museum of Fine Arts, 2007). Inscriptions: Lower left: Mary Cassatt Provenance1911, given by the artist to her niece (the sitter), Ellen Mary Cassatt (Mrs. Horace Binney Hare, b. 1894 - d. 1966), Pennsylvania; 1966, by inheritance to her son, Charles Hare; 2012, gift of Charles, Hope, and Binney Hare to the MFA. (Accession Date: April 25, 2012) Text from: collections.mfa.org/objects/34519/ellen-mary-in-a-white-coat

Drinking cup (kylix) depicting a mule the Antiphon Painter Greek Late Archaic or Early Classical Period about 480 B.C. Medium/Technique: Ceramic, Red Figure Dimensions: Diameter: 16.7 cm (6 9/16 in.) Credit Line: Julia Bradford Huntington James Fund and Museum purchase with funds donated by contribution Accession Number: 10.199 Collections: Ancient Greece and Rome Classifications: Vessels Catalogue Raisonné: Caskey-Beazley, Attic Vase Paintings (MFA), no. 144. Description: Interior: Greek inscription on exergue in brown lettering "Laches is handsome" (LAXES KALOS). Greek inscription in field at the edge of the tondo, "Nikostratos is handsome" (NIKOSTRATOS KALOS). The inscription begins above the donkey's foot, and its ears intervene between the letters Tau and Rho. Exterior: Undecorated. Inscriptions: Inscriptions: "Laches is handsome" (LAXES KALOS); "Nikostratos is handsome" (NIKOSTRATOS KALOS) LΑΧΕS ΚΑLΟS ΝΙΚΟSΤΡΑΤΟS ΚΑΛΟS Provenance: By date unknown: purchased by E. P. Warren from the Bourguignon Collection (according to Warren's records: bought from Bourguignon in Naples. From Orvieto); purchased by MFA from E. P. Warren, June 2, 1910, for $4,000.00 (this figure is the total price for MFA 10.159-10.230) Text from: collections.mfa.org/objects/153731/drinking-cup-kylix-depicting-a-mule

Drinking cup (kylix) depicting a mule the Antiphon Painter Greek Late Archaic or Early Classical Period about 480 B.C. Medium/Technique: Ceramic, Red Figure Dimensions: Diameter: 16.7 cm (6 9/16 in.) Credit Line: Julia Bradford Huntington James Fund and Museum purchase with funds donated by contribution Accession Number: 10.199 Collections: Ancient Greece and Rome Classifications: Vessels Catalogue Raisonné: Caskey-Beazley, Attic Vase Paintings (MFA), no. 144. Description: Interior: Greek inscription on exergue in brown lettering "Laches is handsome" (LAXES KALOS). Greek inscription in field at the edge of the tondo, "Nikostratos is handsome" (NIKOSTRATOS KALOS). The inscription begins above the donkey's foot, and its ears intervene between the letters Tau and Rho. Exterior: Undecorated. Inscriptions: Inscriptions: "Laches is handsome" (LAXES KALOS); "Nikostratos is handsome" (NIKOSTRATOS KALOS) LΑΧΕS ΚΑLΟS ΝΙΚΟSΤΡΑΤΟS ΚΑΛΟS Provenance: By date unknown: purchased by E. P. Warren from the Bourguignon Collection (according to Warren's records: bought from Bourguignon in Naples. From Orvieto); purchased by MFA from E. P. Warren, June 2, 1910, for $4,000.00 (this figure is the total price for MFA 10.159-10.230) Text from: collections.mfa.org/objects/153731/drinking-cup-kylix-depicting-a-mule

Drinking cup (kylix) with a nude youth washing at a basin Painter: Douris Greek Early Classical Period about 480 B.C. Place of Manufacture: Greece, Attica, Athens Medium/Technique: Ceramic, Red Figure Dimensions: Height: 7.3 cm (2 7/8 in.); diameter: 19.8 cm (7 13/16 in.) Credit Line: Henry Lillie Pierce Fund Accession Number: 01.8029 Collections: Ancient Greece and Rome Classifications: Vessels Catalogue Raisonné: Caskey-Beazley, Attic Vase Paintings (MFA), no. 128. Description: Interior: Nude youth washing at a laver. Repaired with slight restorations. Provenance: By date unknown: Alfred Bourguignon collection; by 1901: with Edward Perry Warren (according to Warren's records: bought privately from the collection of Alfred Bourguignon. Bourguignon's label [on the vase to indicate provenience]: Orvieto); purchased by MFA from Edward Perry Warren, December 1901 Text from: collections.mfa.org/objects/118/drinking-cup-kylix-with-a-nude-youth-washing-at-a-basin

Drinking cup (kylix) with a nude youth washing at a basin Painter: Douris Greek Early Classical Period about 480 B.C. Place of Manufacture: Greece, Attica, Athens Medium/Technique: Ceramic, Red Figure Dimensions: Height: 7.3 cm (2 7/8 in.); diameter: 19.8 cm (7 13/16 in.) Credit Line: Henry Lillie Pierce Fund Accession Number: 01.8029 Collections: Ancient Greece and Rome Classifications: Vessels Catalogue Raisonné: Caskey-Beazley, Attic Vase Paintings (MFA), no. 128. Description: Interior: Nude youth washing at a laver. Repaired with slight restorations. Provenance: By date unknown: Alfred Bourguignon collection; by 1901: with Edward Perry Warren (according to Warren's records: bought privately from the collection of Alfred Bourguignon. Bourguignon's label [on the vase to indicate provenience]: Orvieto); purchased by MFA from Edward Perry Warren, December 1901 Text from: collections.mfa.org/objects/118/drinking-cup-kylix-with-a-nude-youth-washing-at-a-basin

Drinking cup (kylix) with a nude youth washing at a basin Painter: Douris Greek Early Classical Period about 480 B.C. Place of Manufacture: Greece, Attica, Athens Medium/Technique: Ceramic, Red Figure Dimensions: Height: 7.3 cm (2 7/8 in.); diameter: 19.8 cm (7 13/16 in.) Credit Line: Henry Lillie Pierce Fund Accession Number: 01.8029 Collections: Ancient Greece and Rome Classifications: Vessels Catalogue Raisonné: Caskey-Beazley, Attic Vase Paintings (MFA), no. 128. Description: Interior: Nude youth washing at a laver. Repaired with slight restorations. Provenance: By date unknown: Alfred Bourguignon collection; by 1901: with Edward Perry Warren (according to Warren's records: bought privately from the collection of Alfred Bourguignon. Bourguignon's label [on the vase to indicate provenience]: Orvieto); purchased by MFA from Edward Perry Warren, December 1901 Text from: collections.mfa.org/objects/118/drinking-cup-kylix-with-a-nude-youth-washing-at-a-basin

Drinking cup (kylix) with a nude youth washing at a basin Painter: Douris Greek Early Classical Period about 480 B.C. Place of Manufacture: Greece, Attica, Athens Medium/Technique: Ceramic, Red Figure Dimensions: Height: 7.3 cm (2 7/8 in.); diameter: 19.8 cm (7 13/16 in.) Credit Line: Henry Lillie Pierce Fund Accession Number: 01.8029 Collections: Ancient Greece and Rome Classifications: Vessels Catalogue Raisonné: Caskey-Beazley, Attic Vase Paintings (MFA), no. 128. Description: Interior: Nude youth washing at a laver. Repaired with slight restorations. Provenance: By date unknown: Alfred Bourguignon collection; by 1901: with Edward Perry Warren (according to Warren's records: bought privately from the collection of Alfred Bourguignon. Bourguignon's label [on the vase to indicate provenience]: Orvieto); purchased by MFA from Edward Perry Warren, December 1901 Text from: collections.mfa.org/objects/118/drinking-cup-kylix-with-a-nude-youth-washing-at-a-basin

Relief of Mithras slaying the bull (Mithras Tauroctonos) Roman Imperial Period about A.D. 125–175 Place of Manufacture: Italy, Lazio, Rome Medium/Technique: Marble, from Carrara in northwest Italy Dimensions: Overall: 65 × 85 × 11.1 cm (25 9/16 × 33 7/16 × 4 3/8 in.) Credit Line: Gift of Edward Perry Warren Accession Number: 92.2692 Collections: Ancient Greece and Rome Classifications: Sculpture Besides the traditional Olympian gods, Roman religion absorbed many foreign deities, some of whose cults involved mysterious rites kept secret from outsiders. Growing in popularity alongside Christianity, these "mystery cults" similarly promised a personal connection to a heavenly guardian. Some of these extinct sects have left behind fascinating works of art packed with religious symbolism, the meanings of which are often difficult to decipher. The all-male cult of Mithras, a god of Indo-Iranian origin, became particularly popular with soldiers. Cave-like shrines, called mithraea, were set up throughout the Roman Empire, along military frontiers and in urban settings. This fragmentary marble relief, unusual for its monumental scale, costly material, and high-quality carving, probably adorned a shrine in Rome. All mithraea contained a version of this image, in which Mithras, wearing an eastern-style costume of leggings, a belted tunic, and a short cape, plunges a knife into the neck of a bull; a dog and a snake harass the dying animal from below. The scene may relate to a story from Zoroastrian mythology or chart constellations of stars. The principal archaeological trace of the cult of Sabazios, a Thracian god associated with Dionysus, consists of about one hundred bronze sculptures in the form of human hands. Since Sabazios was worshiped primarily in houses and other makeshift settings, a desire for portability may explain why these hands were generally made smaller than life-size. Most are decorated with fauna, flora, and inanimate objects. Among the symbols visible in this view are a snake (coiled around the wrist and stretching up the back of the hand), a turtle (at the base of the thumb), an eagle (perched at the tips of the extended middle fingers), and a pinecone (on the tip of the thumb). Catalogue Raisonné: Sculpture in Stone (MFA), no. 240; Sculpture in Stone and Bronze (MFA), p. 112 (additional published references); Highlights: Classical Art (MFA), p. 044-045. Description: This relief shows an important scene from the life of Mithras, a god of Iranian origin whose cult had established itself in the Roman world by the second century A.D. The slaying of the bull terminated the god's heroic labors and served as the central image in the cults sanctuaries (known as mithraia). Mithras is shown here plunging a short sword into the bull's throat. He wears oriental costume, a belted tunic with overfold, tight sleeves, trousers, boots, and a short cloak fastened by a large round brooch. The relief is broken away irregularly through the neck and cloak of Mithras, and on the right side by his right hand and including the bull's forefeet and the body of the dog. Both the raised right hand and the knife or short sword in the bull's throat are well preserved. A badly damaged, small strip of the molding survives on the right. The remaining surfaces are in superlative condition, with some root marks and a light yellow patina usually characteristic of Pentelic marble. Details such as the chasing or brocading on Mithras's footgear are as fresh as the day they were carved. Scientific Analysis: Harvard Lab No. HI772: Isotope ratios - delta13C +2.15 / delta18O -2.17, Attribution - Carrara, Justification - Very fine grained marble. Provenance: By date unknown: with Edward Perry Warren (according to Sculpture in Stone: from Rome; said to have been found near the Ponte Palatino, in the river bed or bank); gift of Edward Perry Warren to MFA, September 1892 Text from: collections.mfa.org/objects/151238/relief-of-mithras-slaying-the-bull-mithras-tauroctonos

Relief of Mithras slaying the bull (Mithras Tauroctonos) Roman Imperial Period about A.D. 125–175 Place of Manufacture: Italy, Lazio, Rome Medium/Technique: Marble, from Carrara in northwest Italy Dimensions: Overall: 65 × 85 × 11.1 cm (25 9/16 × 33 7/16 × 4 3/8 in.) Credit Line: Gift of Edward Perry Warren Accession Number: 92.2692 Collections: Ancient Greece and Rome Classifications: Sculpture Besides the traditional Olympian gods, Roman religion absorbed many foreign deities, some of whose cults involved mysterious rites kept secret from outsiders. Growing in popularity alongside Christianity, these "mystery cults" similarly promised a personal connection to a heavenly guardian. Some of these extinct sects have left behind fascinating works of art packed with religious symbolism, the meanings of which are often difficult to decipher. The all-male cult of Mithras, a god of Indo-Iranian origin, became particularly popular with soldiers. Cave-like shrines, called mithraea, were set up throughout the Roman Empire, along military frontiers and in urban settings. This fragmentary marble relief, unusual for its monumental scale, costly material, and high-quality carving, probably adorned a shrine in Rome. All mithraea contained a version of this image, in which Mithras, wearing an eastern-style costume of leggings, a belted tunic, and a short cape, plunges a knife into the neck of a bull; a dog and a snake harass the dying animal from below. The scene may relate to a story from Zoroastrian mythology or chart constellations of stars. The principal archaeological trace of the cult of Sabazios, a Thracian god associated with Dionysus, consists of about one hundred bronze sculptures in the form of human hands. Since Sabazios was worshiped primarily in houses and other makeshift settings, a desire for portability may explain why these hands were generally made smaller than life-size. Most are decorated with fauna, flora, and inanimate objects. Among the symbols visible in this view are a snake (coiled around the wrist and stretching up the back of the hand), a turtle (at the base of the thumb), an eagle (perched at the tips of the extended middle fingers), and a pinecone (on the tip of the thumb). Catalogue Raisonné: Sculpture in Stone (MFA), no. 240; Sculpture in Stone and Bronze (MFA), p. 112 (additional published references); Highlights: Classical Art (MFA), p. 044-045. Description: This relief shows an important scene from the life of Mithras, a god of Iranian origin whose cult had established itself in the Roman world by the second century A.D. The slaying of the bull terminated the god's heroic labors and served as the central image in the cults sanctuaries (known as mithraia). Mithras is shown here plunging a short sword into the bull's throat. He wears oriental costume, a belted tunic with overfold, tight sleeves, trousers, boots, and a short cloak fastened by a large round brooch. The relief is broken away irregularly through the neck and cloak of Mithras, and on the right side by his right hand and including the bull's forefeet and the body of the dog. Both the raised right hand and the knife or short sword in the bull's throat are well preserved. A badly damaged, small strip of the molding survives on the right. The remaining surfaces are in superlative condition, with some root marks and a light yellow patina usually characteristic of Pentelic marble. Details such as the chasing or brocading on Mithras's footgear are as fresh as the day they were carved. Scientific Analysis: Harvard Lab No. HI772: Isotope ratios - delta13C +2.15 / delta18O -2.17, Attribution - Carrara, Justification - Very fine grained marble. Provenance: By date unknown: with Edward Perry Warren (according to Sculpture in Stone: from Rome; said to have been found near the Ponte Palatino, in the river bed or bank); gift of Edward Perry Warren to MFA, September 1892 Text from: collections.mfa.org/objects/151238/relief-of-mithras-slaying-the-bull-mithras-tauroctonos