Pottery: red-figured calyx-krater (bowl for mixing wine and water) showing the madness of Lycurgus. He has been driven mad by Dionysos and has killed his son Dryas, and goes on to attack his wife. Above hovers Lyssa, the personification of madness. At the bottom is an old retainer. The scene was perhaps inspired by Aeschylus' Edonoi. The other side shows Pelops preparing for the chariot race against Oinomaos, watched by his future bride Hippodameia and her mother Sterope. Oinomaos' charioteer Myrtillos holds the wheel, and is about to replace the lynch pin with wax in order to cause a fatal accident. The scene may have been inspired by Euripides' or Sophocles' tragedy Oinomaos.

Museum number

1849,0623.48

Description

Full: Front

Pottery: red-figured calyx-krater (bowl for mixing wine and water) showing the madness of Lycurgus. He has been driven mad by Dionysos and has killed his son Dryas, and goes on to attack his wife. Above hovers Lyssa, the personification of madness. At the bottom is an old retainer. The scene was perhaps inspired by Aeschylus' Edonoi. The other side shows Pelops preparing for the chariot race against Oinomaos, watched by his future bride Hippodameia and her mother Sterope. Oinomaos' charioteer Myrtillos holds the wheel, and is about to replace the lynch pin with wax in order to cause a fatal accident. The scene may have been inspired by Euripides' or Sophocles' tragedy Oinomaos.

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  • Pottery: red-figured calyx-krater (bowl for mixing wine and water) showing the madness of Lycurgus. He has been driven mad by Dionysos and has killed his son Dryas, and goes on to attack his wife. Above hovers Lyssa, the personification of madness. At the bottom is an old retainer. The scene was perhaps inspired by Aeschylus' Edonoi. The other side shows Pelops preparing for the chariot race against Oinomaos, watched by his future bride Hippodameia and her mother Sterope. Oinomaos' charioteer Myrtillos holds the wheel, and is about to replace the lynch pin with wax in order to cause a fatal accident. The scene may have been inspired by Euripides' or Sophocles' tragedy Oinomaos.

    Full: Front

  • Pottery: red-figured calyx-krater (bowl for mixing wine and water) showing the madness of Lycurgus. He has been driven mad by Dionysos and has killed his son Dryas, and goes on to attack his wife. Above hovers Lyssa, the personification of madness. At the bottom is an old retainer. The scene was perhaps inspired by Aeschylus' Edonoi. The other side shows Pelops preparing for the chariot race against Oinomaos, watched by his future bride Hippodameia and her mother Sterope. Oinomaos' charioteer Myrtillos holds the wheel, and is about to replace the lynch pin with wax in order to cause a fatal accident. The scene may have been inspired by Euripides' or Sophocles' tragedy Oinomaos.

    Detail: Other

  • Pottery: red-figured calyx-krater (bowl for mixing wine and water) showing the madness of Lycurgus. He has been driven mad by Dionysos and has killed his son Dryas, and goes on to attack his wife. Above hovers Lyssa, the personification of madness. At the bottom is an old retainer. The scene was perhaps inspired by Aeschylus' Edonoi. The other side shows Pelops preparing for the chariot race against Oinomaos, watched by his future bride Hippodameia and her mother Sterope. Oinomaos' charioteer Myrtillos holds the wheel, and is about to replace the lynch pin with wax in order to cause a fatal accident. The scene may have been inspired by Euripides' or Sophocles' tragedy Oinomaos.

    Full: Front

  • Pottery: red-figured calyx-krater (bowl for mixing wine and water) showing the madness of Lycurgus. He has been driven mad by Dionysos and has killed his son Dryas, and goes on to attack his wife. Above hovers Lyssa, the personification of madness. At the bottom is an old retainer. The scene was perhaps inspired by Aeschylus' Edonoi. The other side shows Pelops preparing for the chariot race against Oinomaos, watched by his future bride Hippodameia and her mother Sterope. Oinomaos' charioteer Myrtillos holds the wheel, and is about to replace the lynch pin with wax in order to cause a fatal accident. The scene may have been inspired by Euripides' or Sophocles' tragedy Oinomaos.

    Full: Front

  • Pottery: red-figured calyx-krater (bowl for mixing wine and water) showing the madness of Lycurgus. He has been driven mad by Dionysos and has killed his son Dryas, and goes on to attack his wife. Above hovers Lyssa, the personification of madness. At the bottom is an old retainer. The scene was perhaps inspired by Aeschylus' Edonoi. The other side shows Pelops preparing for the chariot race against Oinomaos, watched by his future bride Hippodameia and her mother Sterope. Oinomaos' charioteer Myrtillos holds the wheel, and is about to replace the lynch pin with wax in order to cause a fatal accident. The scene may have been inspired by Euripides' or Sophocles' tragedy Oinomaos.

    Detail: Other

  • Apulian red-figured calyx-krater (bowl for mixing wine and water).  Designs black on white ground, with accessories of white and yellow. Large style. Above the designs, a pattern of palmettes; below, the vase is ribbed. The stand has egg-and-dart pattern on the upper part, and an ivy-wreath below; the part between is fluted.  (a) Lycurgos destroying his family: Composition in two rows, divided by a line of white dots. In the centre, on the lower level, is Lycurgos to front, turning half to left, with shaggy hair, beard, and moustache, cap made of the skin of a panther's head, bordered chlamys fastened with a fibula in front, endromides with tops turned over and laced up the front, and sword at side; the hair on the breast and abdomen is indicated. In right hand he brandishes a double-edged axe, and with left he seizes his wife by the hair; she has fallen on the ground with face to front and left leg doubled under her. She has dishevelled hair, double necklace, bracelets, long girt chiton fastened with studs on the right shoulder, embroidered himation over lower limbs, and white sandals; both hands are raised to thrust away Lycurgos' arm; blood flows from a wound in left breast. On the left is a youth to right, with dishevelled hair, slight whiskers, bordered chlamys on left arm, white endromides, sword with belt, left hand raised as if upbraiding Lycurgos, right at back of head, with gesture of despair. Behind him advances a paidagogos, with white hair and beard, wrinkled face, short bordered chiton with a stripe down the side and belt with white studs, beneath which appear the sleeves of a jerkin ornamented with lozenge-pattern and white dots, bordered chlamys over left arm, fastened with a fibula in front, and endromides as above, in right hand a crooked staff; he points with two fingers of right hand. On the right are a male and female figure carrying off one of Lycurgos' dead sons; the female, who supports the body, looks back at Lycurgos with an expression of sorrow; she has short hair, earrings, necklace, long girt embroidered chiton, Thracian jerkin and anaxyrides, in one piece and ornamented with chevron patterns; shoes with white spots. The male figure, who supports the legs, also looks back; he is beardless, with dishevelled hair, whiskers, bordered chlamys, endromides laced up the front, and sword at side. The dead son has dishevelled hair, whiskers, and a chlamys over his body; his head is fallen back, and his right arm hangs down; on his breast is a wound from which flows a stream of blood. Above, on the upper level, is an altar on which an offering is burning between two fruits; the altar is white, with egg-moulding round the cornice; below it is an uncertain object, perhaps a fan. Over it is Apollo seated on an eminence to left, looking down to right, beardless, with long curls, laurel-wreath, bordered chlamys over knees, right hand raised to his head, in left a lyre painted white. On the right facing him is Hermes, with right foot raised on a rock, beardless, with curly hair, white petasos slung at back, bordered chlamys over left arm, endromides with wings issuing from under the heel, caduceus in left hand, right hand extended as if addressing Apollo; behind him a plant, and above, a taenia.    On the left is a winged figure, probably Lyssa, flying downwards to right, with hair gathered under a cap open at the back and radiated in front, earrings, necklace, long bordered embroidered chiton drawn up to her knees in her rapid descent, girdle with white studs and cross-belt, goad in right hand aimed downwards; round her left arm are twined two snakes with heads stretched  threateningly forward. Behind her is a triple r

    Full: Front

  • Apulian red-figured calyx-krater (bowl for mixing wine and water).  Designs black on white ground, with accessories of white and yellow. Large style. Above the designs, a pattern of palmettes; below, the vase is ribbed. The stand has egg-and-dart pattern on the upper part, and an ivy-wreath below; the part between is fluted.  (a) Lycurgos destroying his family: Composition in two rows, divided by a line of white dots. In the centre, on the lower level, is Lycurgos to front, turning half to left, with shaggy hair, beard, and moustache, cap made of the skin of a panther's head, bordered chlamys fastened with a fibula in front, endromides with tops turned over and laced up the front, and sword at side; the hair on the breast and abdomen is indicated. In right hand he brandishes a double-edged axe, and with left he seizes his wife by the hair; she has fallen on the ground with face to front and left leg doubled under her. She has dishevelled hair, double necklace, bracelets, long girt chiton fastened with studs on the right shoulder, embroidered himation over lower limbs, and white sandals; both hands are raised to thrust away Lycurgos' arm; blood flows from a wound in left breast. On the left is a youth to right, with dishevelled hair, slight whiskers, bordered chlamys on left arm, white endromides, sword with belt, left hand raised as if upbraiding Lycurgos, right at back of head, with gesture of despair. Behind him advances a paidagogos, with white hair and beard, wrinkled face, short bordered chiton with a stripe down the side and belt with white studs, beneath which appear the sleeves of a jerkin ornamented with lozenge-pattern and white dots, bordered chlamys over left arm, fastened with a fibula in front, and endromides as above, in right hand a crooked staff; he points with two fingers of right hand. On the right are a male and female figure carrying off one of Lycurgos' dead sons; the female, who supports the body, looks back at Lycurgos with an expression of sorrow; she has short hair, earrings, necklace, long girt embroidered chiton, Thracian jerkin and anaxyrides, in one piece and ornamented with chevron patterns; shoes with white spots. The male figure, who supports the legs, also looks back; he is beardless, with dishevelled hair, whiskers, bordered chlamys, endromides laced up the front, and sword at side. The dead son has dishevelled hair, whiskers, and a chlamys over his body; his head is fallen back, and his right arm hangs down; on his breast is a wound from which flows a stream of blood. Above, on the upper level, is an altar on which an offering is burning between two fruits; the altar is white, with egg-moulding round the cornice; below it is an uncertain object, perhaps a fan. Over it is Apollo seated on an eminence to left, looking down to right, beardless, with long curls, laurel-wreath, bordered chlamys over knees, right hand raised to his head, in left a lyre painted white. On the right facing him is Hermes, with right foot raised on a rock, beardless, with curly hair, white petasos slung at back, bordered chlamys over left arm, endromides with wings issuing from under the heel, caduceus in left hand, right hand extended as if addressing Apollo; behind him a plant, and above, a taenia.    On the left is a winged figure, probably Lyssa, flying downwards to right, with hair gathered under a cap open at the back and radiated in front, earrings, necklace, long bordered embroidered chiton drawn up to her knees in her rapid descent, girdle with white studs and cross-belt, goad in right hand aimed downwards; round her left arm are twined two snakes with heads stretched  threateningly forward. Behind her is a triple r

    Full: Front