01 - Apulian Volute Krater, Red Figure
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<span class=auto-style3><strong>350 B.V</strong></span><br class=auto-style3>
<span class=auto-style1><span class=auto-style2>Attributed to the painter of Lycurgus. On the belly, a scene representing the Gigantomachy, feauturing Zeus riding in a chariot driven by Nike and on the neck Apollo defends Oreste from the pursuit of the Furies.</span></span><br>
<strong><span class=auto-style4>Saint Petersburg, Ηermitage Museum.</span></strong>
350 B.V
Attributed to the painter of Lycurgus. On the belly, a scene representing the Gigantomachy, feauturing Zeus riding in a chariot driven by Nike and on the neck Apollo defends Oreste from the pursuit of the Furies.
Saint Petersburg, Ηermitage Museum.
02 - Apulian Volute Krater, Red Figure
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<span class=auto-style3><strong>350 B.V</strong></span><br class=auto-style3>
<span class=auto-style1><span class=auto-style2>Attributed to the painter of Lycurgus. On the belly, a scene representing the Gigantomachy, feauturing Zeus riding in a chariot driven by Nike and on the neck Apollo defends Oreste from the pursuit of the Furies.</span></span><br>
<strong><span class=auto-style4>Saint Petersburg, Ηermitage Museum.</span></strong>
350 B.V
Attributed to the painter of Lycurgus. On the belly, a scene representing the Gigantomachy, feauturing Zeus riding in a chariot driven by Nike and on the neck Apollo defends Oreste from the pursuit of the Furies.
Saint Petersburg, Ηermitage Museum.
03 - Apulian Volute Krater, Red Figure
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<span class=auto-style3><strong>515-510 B.C</strong></span><br class=auto-style3>
<span class=auto-style1><span class=auto-style2>Signed by the potter Euxitheos and the vase-painter Euphronios. Hypnos (Sleep) and Thanatos (Death), assisted by Hermes  while transporting the body of Sarpedon to his home town, Lycia. 
Once the masterpiece of the Met’s ancient vase collection, it is now at its permanent home, Villa Giulia Museum.
</span></span><br>
<strong><span class=auto-style4>Villa Giulia Museum.</span></strong>
515-510 B.C
Signed by the potter Euxitheos and the vase-painter Euphronios. Hypnos (Sleep) and Thanatos (Death), assisted by Hermes while transporting the body of Sarpedon to his home town, Lycia. Once the masterpiece of the Met’s ancient vase collection, it is now at its permanent home, Villa Giulia Museum.
Villa Giulia Museum.
04 - Apulian Volute Krater, Red Figure
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<span class=auto-style3><strong>515-510 B.C</strong></span><br class=auto-style3>
<span class=auto-style1><span class=auto-style2>Signed by the potter Euxitheos and the vase-painter Euphronios. Hypnos (Sleep) and Thanatos (Death), assisted by Hermes  while transporting the body of Sarpedon to his home town, Lycia. 
Once the masterpiece of the Met’s ancient vase collection, it is now at its permanent home, Villa Giulia Museum.
</span></span><br>
<strong><span class=auto-style4>Villa Giulia Museum.</span></strong>
515-510 B.C
Signed by the potter Euxitheos and the vase-painter Euphronios. Hypnos (Sleep) and Thanatos (Death), assisted by Hermes while transporting the body of Sarpedon to his home town, Lycia. Once the masterpiece of the Met’s ancient vase collection, it is now at its permanent home, Villa Giulia Museum.
Villa Giulia Museum.
05 - Apulian Volute Krater, Red Figure
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<span class=auto-style3><strong>515-510 B.C</strong></span><br class=auto-style3>
<span class=auto-style1><span class=auto-style2>Signed by the potter Euxitheos and the vase-painter Euphronios. Hypnos (Sleep) and Thanatos (Death), assisted by Hermes  while transporting the body of Sarpedon to his home town, Lycia. 
Once the masterpiece of the Met’s ancient vase collection, it is now at its permanent home, Villa Giulia Museum.
</span></span><br>
<strong><span class=auto-style4>Villa Giulia Museum.</span></strong>
515-510 B.C
Signed by the potter Euxitheos and the vase-painter Euphronios. Hypnos (Sleep) and Thanatos (Death), assisted by Hermes while transporting the body of Sarpedon to his home town, Lycia. Once the masterpiece of the Met’s ancient vase collection, it is now at its permanent home, Villa Giulia Museum.
Villa Giulia Museum.
06 - Apulian Volute Krater, Red Figure
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<span class=auto-style3><strong>515-510 B.C</strong></span><br class=auto-style3>
<span class=auto-style1><span class=auto-style2>Signed by the potter Euxitheos and the vase-painter Euphronios. Hypnos (Sleep) and Thanatos (Death), assisted by Hermes  while transporting the body of Sarpedon to his home town, Lycia. 
Once the masterpiece of the Met’s ancient vase collection, it is now at its permanent home, Villa Giulia Museum.
</span></span><br>
<strong><span class=auto-style4>Villa Giulia Museum.</span></strong>
515-510 B.C
Signed by the potter Euxitheos and the vase-painter Euphronios. Hypnos (Sleep) and Thanatos (Death), assisted by Hermes while transporting the body of Sarpedon to his home town, Lycia. Once the masterpiece of the Met’s ancient vase collection, it is now at its permanent home, Villa Giulia Museum.
Villa Giulia Museum.
07 - Lebes Gamikos (Wedding Vase)
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<span class=auto-style3><strong>430-420 B.C</strong></span><br class=auto-style3>
<span class=auto-style1><span class=auto-style2>Attributed to the Washing Painter. On the belly  the bride sits on a diphros, a chair, with her bare feet resting on a footstool. Both hands finger the strings of a harp, a reminder of the wedding songs that accompanied all brides throughout their preparations. One of her attendants approaches from behind carrying a festooned loutrophoros, a vase containing water for the nuptial bath. Two other women approach carrying chests full of gifts for the marriage. The back of this vase depicts two women presenting gift-chests.
</span></span><br>
<strong><span class=auto-style4>New York. Metropolitan Museum of Arts..</span></strong>
430-420 B.C
Attributed to the Washing Painter. On the belly the bride sits on a diphros, a chair, with her bare feet resting on a footstool. Both hands finger the strings of a harp, a reminder of the wedding songs that accompanied all brides throughout their preparations. One of her attendants approaches from behind carrying a festooned loutrophoros, a vase containing water for the nuptial bath. Two other women approach carrying chests full of gifts for the marriage. The back of this vase depicts two women presenting gift-chests.
New York. Metropolitan Museum of Arts..
08 - Lebes Gamikos (Wedding Vase)
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<span class=auto-style3><strong>430-420 B.C</strong></span><br class=auto-style3>
<span class=auto-style1><span class=auto-style2>Attributed to the Washing Painter. On the belly  the bride sits on a diphros, a chair, with her bare feet resting on a footstool. Both hands finger the strings of a harp, a reminder of the wedding songs that accompanied all brides throughout their preparations. One of her attendants approaches from behind carrying a festooned loutrophoros, a vase containing water for the nuptial bath. Two other women approach carrying chests full of gifts for the marriage. The back of this vase depicts two women presenting gift-chests.
</span></span><br>
<strong><span class=auto-style4>New York. Metropolitan Museum of Arts..</span></strong>
430-420 B.C
Attributed to the Washing Painter. On the belly the bride sits on a diphros, a chair, with her bare feet resting on a footstool. Both hands finger the strings of a harp, a reminder of the wedding songs that accompanied all brides throughout their preparations. One of her attendants approaches from behind carrying a festooned loutrophoros, a vase containing water for the nuptial bath. Two other women approach carrying chests full of gifts for the marriage. The back of this vase depicts two women presenting gift-chests.
New York. Metropolitan Museum of Arts..
09 - Attic Lebes Gamikos (Wedding Vase), Kertch Style
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<span class=auto-style3><strong>430-420 B.C</strong></span><br class=auto-style3>
<span class=auto-style1><span class=auto-style2>Attributed to Marsyas Painter, it depicts the Epaulia, the celebration dedicated to a newly-married seen in the center accepting gifts.
</span></span><br>
<strong><span class=auto-style4>Saint Petersburg, Ηermitage Museum.</span></strong>
430-420 B.C
Attributed to Marsyas Painter, it depicts the Epaulia, the celebration dedicated to a newly-married seen in the center accepting gifts.
Saint Petersburg, Ηermitage Museum.
10 - Lebes Gamikos (Wedding Vase), Kertch Style
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<span class=auto-style3><strong>430-420 B.C</strong></span><br class=auto-style3>
<span class=auto-style1><span class=auto-style2>Attributed to Marsyas Painter, it depicts the Epaulia, the celebration dedicated to a newly-married seen in the center accepting gifts.
</span></span><br>
<strong><span class=auto-style4>Saint Petersburg, Ηermitage Museum.</span></strong>
430-420 B.C
Attributed to Marsyas Painter, it depicts the Epaulia, the celebration dedicated to a newly-married seen in the center accepting gifts.
Saint Petersburg, Ηermitage Museum.
11 - Apulian Red-Figure Lekythos
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<span class=auto-style3><strong>330 B.C</strong></span><br class=auto-style3>
<span class=auto-style1><span class=auto-style2>Attributed to the Underworld Painter. On the upper register, the battle between  Dioscuri and the sons of Aphareus, over King Leucippus’ daughters.
</span></span><br>
<strong><span class=auto-style4>Richmond, Virginia Museum of Fine Arts.</span></strong>
330 B.C
Attributed to the Underworld Painter. On the upper register, the battle between Dioscuri and the sons of Aphareus, over King Leucippus’ daughters.
Richmond, Virginia Museum of Fine Arts.
12 - Apulian Red-Figure Lekythos
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<span class=auto-style3><strong>330 B.C</strong></span><br class=auto-style3>
<span class=auto-style1><span class=auto-style2>Attributed to the Underworld Painter. On the upper register, the battle between  Dioscuri and the sons of Aphareus, over King Leucippus’ daughters.
</span></span><br>
<strong><span class=auto-style4>Richmond, Virginia Museum of Fine Arts.</span></strong>
330 B.C
Attributed to the Underworld Painter. On the upper register, the battle between Dioscuri and the sons of Aphareus, over King Leucippus’ daughters.
Richmond, Virginia Museum of Fine Arts.
13 - Attic Red Figure Oinochoe, Kerch Style
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<span class=auto-style3><strong>330 B.C - Attic Red Figure Oinochoe, Kerch Style</strong></span><br class=auto-style3>
<span class=auto-style1><span class=auto-style2>Dionysos, Pompe (personification of Procession) with Eros bent over to tie his sandal.
New York, Metropolitan Museum of Art.

</span></span><br>
<strong><span class=auto-style4>New York, Metropolitan Museum of Art.</span></strong>
330 B.C - Attic Red Figure Oinochoe, Kerch Style
Dionysos, Pompe (personification of Procession) with Eros bent over to tie his sandal. New York, Metropolitan Museum of Art.
New York, Metropolitan Museum of Art.
14 - Attic Red Figure Oinochoe, Kerch Style
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<span class=auto-style3><strong>330 B.C - Attic Red Figure Oinochoe, Kerch Style</strong></span><br class=auto-style3>
<span class=auto-style1><span class=auto-style2>Dionysos, Pompe (personification of Procession) with Eros bent over to tie his sandal.
New York, Metropolitan Museum of Art.

</span></span><br>
<strong><span class=auto-style4>New York, Metropolitan Museum of Art.</span></strong>
330 B.C - Attic Red Figure Oinochoe, Kerch Style
Dionysos, Pompe (personification of Procession) with Eros bent over to tie his sandal. New York, Metropolitan Museum of Art.
New York, Metropolitan Museum of Art.
15 - Attic Red Figure Oinochoe, Kerch Style
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<span class=auto-style3><strong>330 B.C - Attic Red Figure Oinochoe, Kerch Style</strong></span><br class=auto-style3>
<span class=auto-style1><span class=auto-style2>Dionysos, Pompe (personification of Procession) with Eros bent over to tie his sandal.
New York, Metropolitan Museum of Art.

</span></span><br>
<strong><span class=auto-style4>New York, Metropolitan Museum of Art.</span></strong>
330 B.C - Attic Red Figure Oinochoe, Kerch Style
Dionysos, Pompe (personification of Procession) with Eros bent over to tie his sandal. New York, Metropolitan Museum of Art.
New York, Metropolitan Museum of Art.
16 - Attic Red Figure Oinochoe, Kerch Style
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<span class=auto-style3><strong>330 B.C - Attic Red Figure Oinochoe, Kerch Style</strong></span><br class=auto-style3>
<span class=auto-style1><span class=auto-style2>Dionysos, Pompe (personification of Procession) with Eros bent over to tie his sandal.
New York, Metropolitan Museum of Art.

</span></span><br>
<strong><span class=auto-style4>New York, Metropolitan Museum of Art.</span></strong>
330 B.C - Attic Red Figure Oinochoe, Kerch Style
Dionysos, Pompe (personification of Procession) with Eros bent over to tie his sandal. New York, Metropolitan Museum of Art.
New York, Metropolitan Museum of Art.
17 - Attic Red Figure Oinochoe, Kerch Style
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<span class=auto-style3><strong>330 B.C - Attic Red Figure Oinochoe, Kerch Style</strong></span><br class=auto-style3>
<span class=auto-style1><span class=auto-style2>Dionysos, Pompe (personification of Procession) with Eros bent over to tie his sandal.
New York, Metropolitan Museum of Art.

</span></span><br>
<strong><span class=auto-style4>New York, Metropolitan Museum of Art.</span></strong>
330 B.C - Attic Red Figure Oinochoe, Kerch Style
Dionysos, Pompe (personification of Procession) with Eros bent over to tie his sandal. New York, Metropolitan Museum of Art.
New York, Metropolitan Museum of Art.
18 - Attic Red Figure Oinochoe, Kerch Style
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<span class=auto-style3><strong>330 B.C - Attic Red Figure Oinochoe, Kerch Style</strong></span><br class=auto-style3>
<span class=auto-style1><span class=auto-style2>Dionysos, Pompe (personification of Procession) with Eros bent over to tie his sandal.
New York, Metropolitan Museum of Art.

</span></span><br>
<strong><span class=auto-style4>New York, Metropolitan Museum of Art.</span></strong>
330 B.C - Attic Red Figure Oinochoe, Kerch Style
Dionysos, Pompe (personification of Procession) with Eros bent over to tie his sandal. New York, Metropolitan Museum of Art.
New York, Metropolitan Museum of Art.
19 - Red Figure Amphora, Type A'
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<span class=auto-style3><strong>495-490 B.C – Red Figure Amphora, Type A'</strong></span><br class=auto-style3>
<span class=auto-style1><span class=auto-style2>On side A feature Hermes, a Satyr named Oreimachos and a deer . Hermes is dressed in a short tunic and chlamys, and wears a winged cap and winged boots. He holds a kerykeion (herald's wand) and a large kantharos in his left hand,  a small oinochoe in his right hand and strides to the right. Next to Hermes strides Oreimachos holding a barbiton (lyre) in one hand,in his other hand, held out behind him, he holds the end of a string attached to the lyre. His head turned to the opposite direction, connecting the synthesis to the depiction of a single satyr named Orochares on Side B.  According to M.Tiberius it is possible that on the vase are depicted the protagonists of a Satyric Drama.
Both formes are characterized by their long figures and incomparable beauty, forming a unified contour isolated against the black background of the vase as they are superimposed on one another.
</span></span><br>
<strong><span class=auto-style4>Berlin, Antikenmuseum.</span></strong>
495-490 B.C – Red Figure Amphora, Type A'
On side A feature Hermes, a Satyr named Oreimachos and a deer . Hermes is dressed in a short tunic and chlamys, and wears a winged cap and winged boots. He holds a kerykeion (herald's wand) and a large kantharos in his left hand, a small oinochoe in his right hand and strides to the right. Next to Hermes strides Oreimachos holding a barbiton (lyre) in one hand,in his other hand, held out behind him, he holds the end of a string attached to the lyre. His head turned to the opposite direction, connecting the synthesis to the depiction of a single satyr named Orochares on Side B. According to M.Tiberius it is possible that on the vase are depicted the protagonists of a Satyric Drama. Both formes are characterized by their long figures and incomparable beauty, forming a unified contour isolated against the black background of the vase as they are superimposed on one another.
Berlin, Antikenmuseum.
20 - Red Figure Amphora, Type A'
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<span class=auto-style3><strong>495-490 B.C – Red Figure Amphora, Type A'</strong></span><br class=auto-style3>
<span class=auto-style1><span class=auto-style2>On side A feature Hermes, a Satyr named Oreimachos and a deer . Hermes is dressed in a short tunic and chlamys, and wears a winged cap and winged boots. He holds a kerykeion (herald's wand) and a large kantharos in his left hand,  a small oinochoe in his right hand and strides to the right. Next to Hermes strides Oreimachos holding a barbiton (lyre) in one hand,in his other hand, held out behind him, he holds the end of a string attached to the lyre. His head turned to the opposite direction, connecting the synthesis to the depiction of a single satyr named Orochares on Side B.  According to M.Tiberius it is possible that on the vase are depicted the protagonists of a Satyric Drama.
Both formes are characterized by their long figures and incomparable beauty, forming a unified contour isolated against the black background of the vase as they are superimposed on one another.
</span></span><br>
<strong><span class=auto-style4>Berlin, Antikenmuseum.</span></strong>
495-490 B.C – Red Figure Amphora, Type A'
On side A feature Hermes, a Satyr named Oreimachos and a deer . Hermes is dressed in a short tunic and chlamys, and wears a winged cap and winged boots. He holds a kerykeion (herald's wand) and a large kantharos in his left hand, a small oinochoe in his right hand and strides to the right. Next to Hermes strides Oreimachos holding a barbiton (lyre) in one hand,in his other hand, held out behind him, he holds the end of a string attached to the lyre. His head turned to the opposite direction, connecting the synthesis to the depiction of a single satyr named Orochares on Side B. According to M.Tiberius it is possible that on the vase are depicted the protagonists of a Satyric Drama. Both formes are characterized by their long figures and incomparable beauty, forming a unified contour isolated against the black background of the vase as they are superimposed on one another.
Berlin, Antikenmuseum.
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