6.

Provenance

–1983, Nicolas Koutoulakis (Geneva, Switzerland); 1983, donated to the J. Paul Getty Museum by Vasek Polak (Hermosa Beach, California), together with entry no. 7 (83.AE.255); according to Museum documentation at the time of acquisition, both vases were formerly in the Schweitzer Collection, but this has not been verified.

Shape and Ornament

Rim slightly convex on top with a vertical overhang; a flat handle plate extending beyond the rim at each side supported by two columns; ovoid body; ogee foot with a convex molding marked off by grooves at the join to the body. Top of rim black. Overhang of the rim on side A decorated with a double row of ivy leaves in black glaze between lines; a double row of dots on B. On neck: A, black dotted chain of pendant lotus buds between two black lines in a reserved panel; B, black. Figural decoration on the body set in panels framed by tongue pattern on the shoulder at junction with neck on A and B, and by a double row of ivy between black lines at the sides on A; on B, a double row of dots. Reserved line for ground; another between bowl and foot. Outside foot black, except for lower part. Resting surface and underside of foot reserved. Interior black, worn on the mouth, and heavily encrusted in the body.

Subject

A. Offerings at altar and herm. At left, a bearded man stands to right before a herm. He is nude except for a himation tied around his waist. He holds a kylix in his right hand and a sacrificial basket (kanoun) in the left; the handles of the kanoun are in a three-horned form. The ithyphallic bearded herm stands on a two-step base facing left. Next to it is an altar decorated with volutes and a band with black dots beneath. An epipyron (fire pan) is placed on top of the altar, and there are flames as well as traces of blood on the side. At the right stands a youth wrapped in a himation with his right shoulder nude. Presented with frontal chest, legs and head in profile and moving to right looking back, he holds a long staff in his right hand.

B. Two youths flank a pillar. Both are wrapped in himatia and lean on staffs. The himation on the youth at left leaves his left shoulder nude. The pillar between them, standing on a base and decorated with dots on the upper part, supports a dinos.

Attribution and Date

Attributed to the Pan Painter by J. Frel. Circa 480–470 B.C.

Dimensions and Condition

Height 32.5 cm; diam. of rim 25.5 cm (outside); diam. of rim 19.3 cm (inside); width with handles 29.5 cm; diam. of body 24.7 cm; diam. of foot 13.5 cm. Black misfired on side B. Capacity to rim is 5.715 liters. The vase is intact, although the black gloss surface has numerous areas of loss inside and outside, due to pitting and spalling, and it is substantially abraded; some chips are missing. Inside and outside black. Heavy incrustation covers the interior.

Technical Features

Preliminary sketch. Relief contour. Accessory color. Red: inside rim, flames on altar. Dilute black: kanoun, groundline, blood on altar. The right end of the lotus bud chain on the neck is covered by black glaze.

Bibliography

Abbreviation: BAPDBeazley Archive Pottery Database. http://www.beazley.ox.ac.uk 13373; “Acquisitions/1983,” Abbreviation: GettyMusJThe J. Paul Getty Museum Journal 12 (1984): 242–43, no. 57, figs. 57a–b; Abbreviation: Van Straten, Hierà KaláF. T. Van Straten. Hierà Kalá: Images of Animal Sacrifice in Archaic and Classical Greece. Leiden, 1995; new ed., 2016, p. 249, cat. no. V298; Abbreviation: Aktseli, AltäreD. Aktseli. Altäre in der archaischen und klassischen Kunst: Untersuchungen zu Typologie und Ikonographie. Munich, 1996, pp. 39, 100, no. Vc 76; J. Gebauer, Pompe und Thysia: Attische Tieropferdarstellungen auf schwarz- und rotfigurigen Vasen (Münster, 2002), p. 563, cat. no. Kv 18.

Comparanda

For the Pan Painter, see Abbreviation: ARV²J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 550–61, 1658–59; A. B. Follmann, Der Pan-Maler (Bonn, 1968); J. D. Beazley, The Pan Painter (Mainz am Rhein, 1974); C. Sourvinou-Inwood, “Who Was the Teacher of the Pan Painter?,” Abbreviation: JHSJournal of Hellenic Studies 95 (1975): 107–21; Abbreviation: Becker, Formen attischer PelikenM. Becker. Formen attischer Peliken von der Pionier-Gruppe bis zum Beginn der Frühklassik. Böblingen, 1977, pp. 46–47; C. M. Robertson, “Two Pelikai by the Pan Painter,” in Greek Vases in the J. Paul Getty Museum, vol. 3, Occasional Papers on Antiquities 2 (Malibu, 1986), pp. 71–90; idem, “Corn and Vine on a Vase by the Pan Painter,” in Praktika tou 12ou Diethnous Synedriou Klasikēs Archaiologias, Athens, 4–10 September, 1983, vol. 2 (Athens, 1988), pp. 186–92; Abbreviation: Robertson, Art of Vase-PaintingM. Robertson, The Art of Vase-Painting in Classical Athens. Cambridge, 1992, pp. 143–52; Abbreviation: Agora 30M. B. Moore. Attic Red-Figured and White-Ground Pottery. The Athenian Agora, vol. 30. Princeton, 1997, pp. 105–6 and passim; Abbreviation: Gaunt, “Attic Volute Krater,”J. Gaunt. “The Attic Volute Krater.” Ph.D. diss., Institute of Fine Arts, New York University, 2002 pp. 218–21; A. Smith, “The Evolution of the Pan Painter’s Artistic Style,” Hesperia 75 (2006): 435–51.

The herm is among the favorite subjects of the Pan Painter; cf. his name vase, a bell-krater in Boston, Museum of Fine Arts 10.185 (Abbreviation: ARV²J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 550.1; Abbreviation: Beazley Addenda²Beazley Addenda: Additional References to ABV, ARV² & Paralipomena. 2nd ed. Compiled by T. H. Carpenter with T. Mannack and M. Mendonça. Oxford, 1989 256; Abbreviation: Robertson, Art of Vase-PaintingM. Robertson, The Art of Vase-Painting in Classical Athens. Cambridge, 1992, p. 145, figs. 148–49); a fragmentary pelike in Paris, Louvre C 10793 (Abbreviation: ARV²J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 555.92; Abbreviation: Simon, Die Götter der GriechenE. Simon. Die Götter der Griechen. Darmstadt, 1985, p. 308, fig. 295). For herms, see J. F. Crome, “ΙΠΠΑΡΧΕΙΟΙ ΕΡΜΑΙ,” Abbreviation: AMMitteilungen des Deutschen Archäologischen Instituts, Athenische Abteilung 60–61 (1935–36): 300–313; J.-L. Durand, “L’ Hermès multiple,” in L’image en jeu: De l’antiquité à Paul Klee, ed. C. Bron and E. Kasapoglou (Lausanne, 1992), pp. 25–34; H. Goldman, “The Origin of the Greek Herm,” Abbreviation: AJAAmerican Journal of Archaeology 46 (1942): 58–68; P. Devambez, “Piliers hermaïques et stèles,” Abbreviation: RARevue archéologique (1968): 139–54; R. Lullies, Die Typen der griechischen Herme (Königsberg, 1931); J. Marcadé, “Hermès doubles,” Abbreviation: BCHBulletin de correspondance hellénique 76 (1952): 596–624; P. Zanker, Wandel der Hermesgestalt in der attischen Vasenmalerei (Bonn, 1965), pp. 91–103; Abbreviation: Simon, Die Götter der GriechenE. Simon. Die Götter der Griechen. Darmstadt, 1985 (supra), pp. 303–12; H. Wrede, Die antike Herme (Mainz, 1985); G. Siebert, Abbreviation: LIMCLexicon Iconographicum Mythologiae Classicae. 1981–2009, vol. 5 (1990), pt. 1, pp. 295–306, nos. 9–187, 374–78, s.v. “Hermes”; M. De Cesare, Le statue in immagine: Studi sulle raffigurazioni di statue nella pittura vascolare greca (Rome, 1997), pp. 161–65, 263–78. For the apotropaic power of the herm, see W. Burkert, Structure and History in Greek Mythology and Ritual (Berkeley, 1979), 39–41; Abbreviation: Bonfante, “Nudity,”L. Bonfante. “Nudity as Costume in Classical Art.” American Journal of Archaeology 93 (1989): 543–70 550. For herms as symbols of Attic unity and Athenian democracy in the fifth century B.C., see also B. M. Lavelle, “Hipparchos’ Herms,” Echos du monde classique: Classical Views 29 (1985): 411–20; R. Osborne, “The Erection and Mutilation of the Hermai,” Proceedings of the Cambridge Philosophical Society 211, n.s. 31 (1985): 58–64; W. D. Furley, Andocides and the Herms: A Study of Crisis in Fifth-Century Athenian Religion, Bulletin of the Institute of Classical Studies, Supplement 65 (London, 1996); J. C. Quinn, “Herms, Kouroi and the Political Anatomy of Athens,” Greece and Rome 54 (2007): 82–105; H. S. Versnel, Coping with the Gods: Wayward Readings in Greek Theology (Leiden, 2011), 335–52. Cf. a column-krater by a follower of the Pan Painter depicting a sacrifice scene with kanoun, in Durham, NC, Duke University Museum of Art 72.1 (Abbreviation: Goddess and PolisGoddess and Polis: The Panathenaic Festival in Ancient Athens. Edited by J. Neils and E. J. W. Barber. Princeton, 1992, p. 182, cat. no. 54 [ill. P. 25]).

Sacrifice or libation to a herm is a popular theme in Attic vase-painting from the late sixth century B.C. onward. For similar scenes, see a column-krater by the Pan Painter in Naples, Museo Archeologico Nazionale 127929 (Abbreviation: ARV²J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 551.15, 1659; Abbreviation: Beazley Addenda²Beazley Addenda: Additional References to ABV, ARV² & Paralipomena. 2nd ed. Compiled by T. H. Carpenter with T. Mannack and M. Mendonça. Oxford, 1989 257; Abbreviation: Durand, SacrificeJ.-L. Durand. Sacrifice et labour en Grèce ancienne. Rome, 1986, p. 140, fig. 66); a cup by the Painter of Louvre G 265 in Oxford, Ashmolean Museum G 236 (Abbreviation: ARV²J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 416.3; Abbreviation: Beazley Addenda²Beazley Addenda: Additional References to ABV, ARV² & Paralipomena. 2nd ed. Compiled by T. H. Carpenter with T. Mannack and M. Mendonça. Oxford, 1989 234; Abbreviation: CVACorpus Vasorum Antiquorum Oxford 1 [Great Britain 3], pl. 7.1–2). See also a black-figure amphora by the Edinburgh Painter in London, British Museum 1856.12-26.20 (Siebert, “Hermes” [supra], p. 301, no. 104); a skyphos by the Triptolemos Painter in Berlin, Antikensammlung F 2594 (Abbreviation: ARV²J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 367.104; Abbreviation: CVACorpus Vasorum Antiquorum Berlin, Antiquarium 3 [Germany 22], pl. 141.1.3); a cup by the Curtius Painter in Berlin, Antikensammlung F 2525 (Abbreviation: ARV²J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 931.4; Abbreviation: CVACorpus Vasorum Antiquorum Berlin, Antiquarium 3 [Germany 22], pl. 111); a column-krater by the Boreas Painter in Bologna, Museo Civico Archeologico 206 (Abbreviation: ARV²J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 537.12; Abbreviation: ParalipomenaJ. D. Beazley. Paralipomena: Additions to Attic Black-Figure Vase-Painters and to Attic Red-Figure Vase-Painters. Oxford, 1971 384; Abbreviation: Beazley Addenda²Beazley Addenda: Additional References to ABV, ARV² & Paralipomena. 2nd ed. Compiled by T. H. Carpenter with T. Mannack and M. Mendonça. Oxford, 1989 255; Siebert, “Hermes” [supra], p. 304, no. 153). For a similar type of altar in the scene, see a pelike by the Perseus Painter in Berlin, Antikensammlung F 2172 (Abbreviation: ARV²J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 581.4; Siebert, “Hermes” [supra], p. 301, no. 94); an amphora by the Nikon Painter in Boston, Museum of Fine Arts 68.163 (Abbreviation: ParalipomenaJ. D. Beazley. Paralipomena: Additions to Attic Black-Figure Vase-Painters and to Attic Red-Figure Vase-Painters. Oxford, 1971 402; Siebert, “Hermes” [supra], p. 301, no. 93); a lekythos by the Bowdoin Painter in Palermo, Museo Nazionale V 687 (Abbreviation: ARV²J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 685.163; Abbreviation: CVACorpus Vasorum Antiquorum Palermo, Museo Nazionale 1 [Italy 50], pl. 23.4); a lekythos by the Bowdoin Painter in London, British Museum E 585 (Abbreviation: ARV²J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 685.162; Siebert, “Hermes” [supra], p. 301, no. 95c); a cup in Altenburg, Staatliches Lindenau-Museum 229 (Abbreviation: CVACorpus Vasorum Antiquorum Altenburg 2 [Germany 18], pl. 70); a pelike that recalls the Hasselmann Painter in Boston, Museum of Fine Arts 13.100 (Abbreviation: ARV²J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 1139.1; L. D. Caskey with J. D. Beazley, Attic Vase-Paintings in the Museum of Fine Arts, Boston, vol. 3 [Oxford, 1963], pl. 96.164). For the subject, see also Abbreviation: Aktseli, AltäreD. Aktseli. Altäre in der archaischen und klassischen Kunst: Untersuchungen zu Typologie und Ikonographie. Munich, 1996, pp. 38–40, esp. 39 for the Pan Painter; J.-L. Durand, “Images pour un autel,” in Abbreviation: Espace sacrificielL’espace sacrificiel dans les civilisations méditerranéennes de l’antiquité: Actes du Colloque tenu à la Maison de l’Orient, Lyon, 4–7 juin 1988. Edited by M.-T. le Dinahet and R. Étienne. Paris, 1991, pp. 45–55; Abbreviation: Van Straten, Hierà KaláF. T. Van Straten. Hierà Kalá: Images of Animal Sacrifice in Archaic and Classical Greece. Leiden, 1995; new ed., 2016, pp. 27–30; Abbreviation: McNiven, “Things to Which We Give Service,”T. J. McNiven. “Things to Which We Give Service: Interactions with Sacred Images on Athenian Pottery.” In An Archaeology of Representations: Ancient Greek Vase-Painting and Contemporary Methodologies, edited by D. Yatromanolakis, pp. 298–324. Athens, 2009 pp. 315–24. The flames and the blood on the altar indicate that the sacrifice has already taken place here, probably recently. For sacrifice, see Abbreviation: Durand, SacrificeJ.-L. Durand. Sacrifice et labour en Grèce ancienne. Rome, 1986, passim; J.-L. Durand and A. Schnapp, “Sacrificial Slaughter and Initiatory Hunt,” in Abbreviation: City of ImagesA City of Images: Iconography and Society in Ancient Greece. Edited by C. Bérard et. al. and translated from French by D. Lyons. Princeton, 1989, pp. 53–70; Abbreviation: Espace sacrificielL’espace sacrificiel dans les civilisations méditerranéennes de l’antiquité: Actes du Colloque tenu à la Maison de l’Orient, Lyon, 4–7 juin 1988. Edited by M.-T. le Dinahet and R. Étienne. Paris, 1991; Abbreviation: Van Straten, Hierà KaláF. T. Van Straten. Hierà Kalá: Images of Animal Sacrifice in Archaic and Classical Greece. Leiden, 1995; new ed., 2016, pp. 27–30. Cf. the scene on a stamnos by the Pan Painter in Madrid, Museo Arqueologico Nacional, coll. Varez Fisa 1999.99.102 (Abbreviation: ARV²J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 552.23; P. C. Bonet, ed., La colección Varez Fisa en el Museo Arqueologico Nacional, Septembre–Novembre 2003 [Madrid, 2003], pp. 282–84, no. 97). Cf. also H. Laxander, Individuum und Gemeinschaft im Fest: Untersuchungen zu attischen Darstellungen von Festgeschehen im 6. und frühen 5. Jahrhundert v. Chr. (Münster, 2000), pp. 48–53; G. Ekroth, The Sacrificial Rituals of Greek Hero-Cults in the Archaic to the Early Hellenistic Period, Kernos, Supplement 12 (Liège, 2002); J. Gebauer, “Sklaven beim Opfer? Zur Bestimmung der sozialen Stellung von Helferfiguren in Tieropferdarstellungen,” in Abbreviation: Griechische Keramik im Kulturellen KontextGriechische Keramik im Kulturellen Kontext: Akten des Internationalen Vasen-Symposions in Kiel vom 24. bis 28.9.2001 veranstaltet durch das Archäologische Institut der Christian-Albrechts-Universität zu Kiel. Edited by B. Schmalz and M. Söldner. Münster, 2003, pp. 111–13; G. Ekroth, “Blood on the Altars? On the Treatment of Blood at Greek Sacrifices and the Iconographical Evidence,” Abbreviation: AKAntike Kunst 48 (2005): 9–28; idem, “Why (Not) Paint an Altar? A Study of Where, When and Why Altars Appear on Attic Red-Figure Vases,” in The World of Greek Vases, ed. V. Nørskov et al. (Analecta Romana Instituti Danici, Supplementum 41 [Rome, 2009]), pp. 89–114. Especially for sacrifice on vases, see O. Borgers, “Religious Citizenship in Classical Athens: Men and Women in Religious Representations on Athenian Vase-Painting,” Abbreviation: BABeschBulletin antieke beschaving. Annual Papers on Classical Archaeology 83 (2008): 73–97; S. D. Bundrick, “Selling Sacrifice on Classical Athenian Vases,” Hesperia 83 (2014): 653–708; T. J. Smith, “The Art of Ancient Greek Sacrifice: Spectacle, Gaze, Performance,” in Diversity of Sacrifice: Form and Function of Sacrificial Practices in the Ancient World and Beyond, ed. C. A. Murray (Albany, N.Y., 2016), pp. 127–43.

The altar belongs to the rectangular type with volutes (Type V), the most popular category depicted in vase-painting. The type appears often in works by the Pan Painter and his circle. Cf. the altar on a pelike by the Pan Painter in Athens, National Museum 9683 (Abbreviation: ARV²J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 554.82; T. Fogen and M.-M. Lee, eds., Bodies and Boundaries in Graeco-Roman Antiquity [Berlin and New York, 2009], p. 176, fig. 10); a hydria perhaps by the Pan Painter in Athens, National Museum 13119 (Abbreviation: ARV²J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 1656; D. Tsiafaki, He Thrakē stēn attikē eikonographia tou 5ou aiona p. Ch., Prosengiseis stis scheseis Athēnas kai Thrakēs [Komotēnē, 1998], p. 360, fig. 38a); a neck amphora in the manner of the Pan Painter in Palermo, Museo Archeologico Regionale 42 (Abbreviation: ARV²J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 530.14; Abbreviation: CVACorpus Vasorum Antiquorum Palermo, Museo Nazionale 1 [Italy 14], pls. I, III, 1c, 28.1). For the type, see Abbreviation: Aktseli, AltäreD. Aktseli. Altäre in der archaischen und klassischen Kunst: Untersuchungen zu Typologie und Ikonographie. Munich, 1996, pp. 15–17, 21–22, 65–66, 72–73, 75–76, 88–106. For altars, see also C. G. Yavis, Greek Altars: Origins and Typology (Saint Louis, 1949); W. H. Mare, “A Study of the Greek βωμός in Classical Greek Literature” (Ph.D. diss., University of Pennsylvania, 1961); D. W. Rupp, “Blazing Altars: The Representation of Altars in Attic Vase Painting,” in Abbreviation: Espace sacrificielL’espace sacrificiel dans les civilisations méditerranéennes de l’antiquité: Actes du Colloque tenu à la Maison de l’Orient, Lyon, 4–7 juin 1988. Edited by M.-T. le Dinahet and R. Étienne. Paris, 1991, pp. 56–62; G. Ekroth, “Altars on Attic Vases: The Identification of Bomos and Eschara,” in Ceramics in Context: Proceedings of the Internordic Colloquium on Ancient Pottery Held at Stockholm, 13–15 June 1997, ed. C. Scheffer (Stockholm, 2001), pp. 115–26; idem, “Altars in Greek Hero-Cults: A Review of the Archaeological Evidence,” in Ancient Greek Cult Practice from the Archaeological Evidence: Proceedings of the Fourth International Seminar on Ancient Greek Cult, Organized by the Swedish Institute at Athens, 22–24 October 1993, ed. R. Hagg (Stockholm, 1998), pp. 17–30; U. Sinn, in Thesaurus Cultus et Rituum Antiquorum 4 (2005): 14–21, s.v. “Altar.”

For the epipyron, see Abbreviation: Salapata, “Τριφίλητος Άδωνις,”G. Salapata. “Τριφίλητος Άδωνις: An Exceptional Pair of Terra-Cotta Arulae from South Italy.” Studia Varia from the J. Paul Getty Museum 2 (2001): 25–50 27; Abbreviation: Aktseli, AltäreD. Aktseli. Altäre in der archaischen und klassischen Kunst: Untersuchungen zu Typologie und Ikonographie. Munich, 1996, pp. 7, 18, 21.

The kanoun was the container of the tools necessary for the sacrifice, and this hornlike type is common in vase-painting. It is usually depicted in the preparation for the sacrifice, and it carried the holai (barleycorn), stemma (wreath), and machaira (single-edged sword), and sometimes popana (round cakes). Various images show the kanoun held in the hand of either a man or a woman, often beside an altar, in a ritual procession, or in a wedding context. Cf. the kanoun held by a youth on a column-krater in the manner of the Pan Painter in Basel, art market, Munzen und Medaillen A.G. (Abbreviation: Durand, SacrificeJ.-L. Durand. Sacrifice et labour en Grèce ancienne. Rome, 1986, p. 136, fig. 60); a neck amphora in the manner of the Pan Painter in Palermo, Museo Archeologico Regionale 42 (Abbreviation: ARV²J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 530.14; Abbreviation: CVACorpus Vasorum Antiquorum Palermo, Museo Nazionale 1 [Italy 14], pls. I, III, 1c, 28.1). For the kanoun, see J. Schelp, Das Kanoun: Der griechische Opferkorb (Würzburg, 1975); L. Deubner, “Hochzeit und Opferkorb,” Abbreviation: JdIJahrbuch des Deutschen Archäologischen Instituts 40 (1925): 210–23; Abbreviation: Van Straten, Hierà KaláF. T. Van Straten. Hierà Kalá: Images of Animal Sacrifice in Archaic and Classical Greece. Leiden, 1995; new ed., 2016, pp. 31–46. For popana, see A. Chatzidimitriou, “Red-Figured Chous with a Dionysian Scene from Argyroupoli, Athens,” in Abbreviation: Kerameōs PaidesKerameōs Paides: Studies Offered to Professor Michalis Tiverios by His Students. Edited by E. Kefalidou and D. Tsiafaki. Thessaloniki, 2012, p. 120.

The youth to the left on B is similar to that to the right on A. Because of the absence of any athletic activity on the vase, it is not clear whether the lebes on the pillar is an epathlon (prize) for a victory or a dedication in a sanctuary. The libation on A, suggestive of a sacred area, could also be related to an athletic victory, especially on account of the presence of the herm, which are common in athletic areas, such as a gymnasium or palaestra. For a dinos as an epathlon, see Abbreviation: Kephalidou, NikētēsE. Kephalidou. Nikētēs. Eikonographikē meletē tou archaiou hellēnikou athlētismou. Thessaloniki, 1996, pp. 66–68, 104.

For males in himatia leaning on sticks, see Abbreviation: Fehr, “Ponos and the Pleasure of Rest,”B. Fehr. “Ponos and the Pleasure of Rest: Some Thoughts on Body Language in Ancient Greek Art and Life.” In An Archaeology of Representations: Ancient Greek Vase-Painting and Contemporary Methodologies, edited by D. Yatromanolakis, pp. 128–58. Athens, 2009 pp. 132–41.