The Hermitage guide

The Department of Classical Antiquity

The Hermitage collection оf Greek and Roman antiquities is one of the largest in the world, and was assembled over a period of almost three hundred years. Interest in the art of Greece and Rome arose in Russia long before the Museum was founded: pieces of sculpture were being bought in Italy on the orders of the Russian court and the nobility in the early years of the eighteenth century. Thus, numerous marble statues, including the famous Venus of Tauris and The Shepherd, were brought into the country during the reign of Peter the Great. Later, most of them found their way into the Museum.

In the second half of the eighteenth century, several collections of cameos and intaglios acquired from the German painter Anton Raffaël Mengs, the Duke of Orleans, and Giovanni Battista Casanova, director of the Dresden Academy of Arts, formed the basis of a magnificent collection of antique gems. The Lyde Browne collection purchased in 1787 included, apart from Roman copies of Greek originals, a superb portrait bust of Philip the Arabian, and portraits of Posthumus and Salonina.

In 1834 the Pizzati collection arrived from Rome, and formed the nucleus of the Hermitage collection of painted vases, bronzes and terra-cottas. In the 1850s the collection of sculpture was greatly enriched by a number of new additions: The Resting Satyr and Athena (by sculptors of Phidias’s circle) from the collection of the Urals industrialists, the Demidovs; and forty-six sculptures from the Laval collection, including a magnificent bust of the Emperor Balbinus.

In 1861—62 the Hermitage acquired a large part of the fabulous Campana collection — 787 items, comprising a large number of Italic vases, bronzes and sculptures. Suffice it to say that these accessions included the monumental statue of Jupiter and a beautiful sculpture of Athena, known as Athena Campana. Many of the vases in the collection had been skilfully restored, and some of them even reconstructed, but in those days their authenticity was not questioned. It was only after thorough investigation that scholars have managed to identify the original parts and restore the authentic designs. In 1884 the Museum received a group of Tanagra statuettes and carved gems from Piotr Saburov, the Russian ambassador to Berlin.

The actual composition of the collection is largely a result of the way in which it was assembled. On the one hand, the personal taste of the agents entrusted with purchasing art works at European sales played a considerable role; on the other, the artistic interests of the royal family and the nobility who followed in its footsteps, were not to be neglected. This explains the great wealth of certain sections (gems, vases, Roman portrait sculptures), and the relative incompleteness of others. From around the turn of the century fewer and fewer works were purchased abroad, partly because a new, very important source of materials had appeared with the beginning of excavations in the south of Russia in the 1830s. Diverse art objects were discovered in the necropoli of Greek colonies founded on the Black Sea coast from the sixth century B.C. onwards. These finds soon became known all over the world, and have proved exceptionally valuable to archaeologists since, coming as they do from such rich burials as those of the Semibratny (Seven Brothers’), the Bolshaya Bliznitsa, Artiukhovsky and Kul-Oba Barrows, they can be dated with a fair degree of accuracy.

After the October Revolution of 1917, a number of decrees were issued by the Government for the purpose of protecting the artistic heritage of the young Soviet Republic. In accordance with these decrees, artistic and historic monuments were registered, private collections nationalized, and the export of objects of artistic and historic value was discontinued.

Many private collections (those of the Shuvalovs, the Stroganovs, Botkin, and Nelidova, among others) passed to the State Museum Reserve and thence to the Hermitage. The Department of Greek and Roman antiquities was thereby greatly enriched, the new additions including some genuine pearls of classical art, such as the Attic red-figure vase which earned its creator the title of the Shuvalov Painter.

Simultaneously a fundamental reorganization of the research and exhibition work of the Department was undertaken. A purely decorative approach to display was abandoned and complex exhibitions were arranged, based on the chronological principle. Through the careful study of the works, revision of dating, exclusion of fakes, and removal of roughly restored objects, it became possible to present a fairly accurate picture of the development of classical art and the material and spiritual culture of classical antiquity.

Today, the collection is being expanded by materials acquired in two main ways: first, from systematic archaeological excavations being carried out by the Hermitage in Berezan Island (near Ochakov), at Nymphaeum (near Kerch), and Ghersonesus (near Sevastopol); second, by the purchase of collections and individual works from private owners. Thus, in the 1950s and 1960s, the Purchasing Commission of the Hermitage bought over a hundred items from the collector Ivan Tolstoy, a professor of classical philology. They included interesting terracottas, vases, marble busts, and ancient glassware.

The Hermitage has an extremely rich and diverse collection of pottery. A jug from Temir Gora, a Berezan amphora with a group of komasts, and other works of Rhodian-Ionian provenance, discovered on the northern Black Sea coast, are the pride of the collection. The specimens brought to light in large numbers during excavations in Berezan Island permitted Soviet scholars not only to make a thorough investigation of the class of pottery to which they belong, but also to posit Miletus as the possible origin of one group of East Ionian vessels.

From the study of an extensive collection of Corinthian pottery, including many items also found on the northern Black Sea coast, it has been possible to identify new groups of works and attribute them to conventionally named artists, and to revise certain ideas, hitherto current in literature, concerning the economic links between the Bosporan area and Corinth.

The collection of Attic pottery is quite substantial. The black-figure vases feature objects painted by pupils of Exekias, some pieces by the Amasis Painter displaying the decorative elegance characteristic of his manner, and several examples of the subtle work produced by Psiax. There is also a collection of Little-Master cups, whose number is constantly being increased by new finds from Berezan Island.

Epictetos, Euphronios, Douris, and the Brygos Painter are among the famous names to paint red-figure vases. Many potters and artists, however, did not sign their works. Nevertheless, practically all the Attic vases that have survived can be divided according to their stylistic features into certain groups ascribed to one artist and named conventionally after their most representative specimen. We have thus the vases of the Shuvalov Painter, the Pan Painter (after a krater now in Boston), the Penelope Painter (after a skyphos depicting her, now in Munich), and others. One of the masterpieces of red-figure vase painting, conventionally called “Vase with a Swallow”, is also attributed to an anonymous artist.

The Hermitage is justly proud of its collection of red-figure vases of the late fifth and fourth centuries B.C. (the time of the Meidias Painter, and the post-Meidias period) from the Bosporan necropoli. Also from the Bosporan Kingdom are a number of vases with figures in relief, such as a lekythos by Xenophantos, and the “Sphinx” and “Aphrodite”, two figure vessels of world renown from a necropolis near Phanagoria. They were made in the same workshop, and are remarkable for the harmony of their forms, the classical beauty of their faces, and for their polychrome colouring enhanced by restrained gilding.

The large collection of Italic vases contains examples from all periods of the development of vase painting in various areas of the Apennine Peninsula. Among the most exquisite are the bucchero vases, the Apulian kraters, and the works from Lucania and Campania, including the famous “Regina vasorum”, decorated with painted and gilt figures in relief. The artists who produced it employed the sophisticated techniques of relief work and polychrome painting that had been achieved by the fifth century B.C.

The collection of Greek and Roman sculpture comprises over a thousand pieces. Only a few are Greek originals, with the best of them, the funerary stele of Philostrata (fifth century B.C.), done under the influence of Phidias. The examples of Greek sculpture and fragments from the Archaic, Classical, and Hellenistic periods come mainly from the excavations in the area of the northern Black Sea coast. The main material for studying the sculpture of ancient Greece is provided by Roman copies giving a fair idea of the artistic qualities of originals which have generally not survived.

The nucleus of the collection is formed by copies of the works of the great Greek sculptors of the fifth and fourth centuries B.C. or of masters of their circle. On the whole they provide a worthy picture of the unparalleled flowering of Greek sculpture in the Classical period. The monumental statue of Asklepios, an example of cult statuary, is by the Athenian sculptor Myron or by one of the masters of his circle. The Head of the Doryphoros (probably representation of Achilles) is a magnificent example of the style of Polykleitos, a sculptor of the Argivo-Sikyonian school. It is executed in dark basalt and is very close to its bronze prototype. An idea of the works of Phidias, the most brilliant representative of classical art, can be obtained from copies by anonymous sculptors of his circle, and from a Roman copy of a frieze depicting the Slaughter of the Niobids, based on a relief by Phidias that has not come down to us. The colossal, majestic Head of Athena may be attributed to Kresilas, so great is its stylistic affinity with his famous Portrait of Perikles.

Among the outstanding Greek sculptors of the fourth century B.C., the works of Praxiteles and Lysippos are best represented in the Hermitage. We can form an idea of Praxiteles’ artistic idiom from the copies of his famous Eros and Resting Satyr while we can learn about Lysippos from the copies of his Eros Stringing the Bow and Herakles Slaying the Lion of Nemea, one of a series of sculptures depicting the Twelve Labours of Herakles. Although the Hermitage has no works that can be directly associated with the creations of Skopas, it does possess fine copies of several sculptures which were strongly influenced by this great master and contain unmistakable features of his style. These include Herakles with the Golden Apples of the Hesperides, and Head of a Poet, one of the masterpieces of the Department.

The Museum has a small but varied collection of Hellenistic sculpture. The early stage of its development, for example, is represented by the Portrait of Menander, a copy of an original ascribed to Kephisodotos and Timarchos. The consummate skill with which it is executed ensures it a special place among the numerous copies of this portrait of the dramatist who was so popular with the Romans. Oleg Waldhauer, an authority on the art of antiquity, identified two sculptured heads as fragments of copies of the famous compositions from Pergamum, Menelaos with the Body of Patrokles and The Dying Gaul (from a series of votive sculptures of Attalus I).

The Venus of Tauris is world famous. The Roman imitator lost none of the charm of the Greek original. Hellenistic influence is also seen in Roman copies of sculptures of children, which served as funerary monuments or as offerings to temples.

The Hermitage has a superb collection of Roman portrait busts, including several works of world renown. The art of portraiture in the period from the first to the third century is illustrated by a wide range of work reflecting different stages in the development of Roman art at the time of its flowering.

The sculpture of the reign of Augustus (31 B.C. — A.D. 14) and his successors is represented by portraits of members of the Julio-Claudian dynasty, and by those of private persons. A comparison of these two varieties reveals the distinctive features of the official dynastic portrait whose purpose was to assert the right of the imperial family to rule and to inherit power, and to be deified as objects of the imperial cult. These features are expressed with equal clarity in the sculptures of Augustus and Liviá, and in the bust of the young Gaius Caesar. The general tendency to emulate the classical art of Greece led to a certain amount of idealization in sculpture. The Classicism of the Augustan Age did not, however, exclude verisimilitude. In the portrait of Livia, for instance, the face is carved in a broad, generalized manner, dispensing with details and signs of age, yet at the same time clearly delineating her characteristic features: the eyes set wide apart, the thin, somewhat hooked nose, and the small well-shaped mouth.

The portrait sculpture of the second half of the first century, under the Flavians (A.D. 69—96), is represented in the Hermitage only by female portraits, which nevertheless vividly reflect the new stylistic idiom — its verisimilitude, its monumentality, and its massive forms. The specific features of Flavian art are also patent in such later work as Head of a Dacian, part of a statue that is thought to have decorated an arch in the Forum of the Emperor Trajan (A.D. 98—117). While this work can hardly be considered a portrait, the exact depiction of the ethnic traits of the model and the high degree of individualization are most unusual in a decorative sculpture.

Most representative for the reign of Hadrian (A.D. 117—138) are not the portraits of this emperor but a portrait of Antinous, in which the individual features of the young man’s face are idealized according to the canons of Greek art.

The Hermitage has some first-class pieces belonging to the next phase in the development of Roman portrait sculpture, the Antonine period (A.D. 138—192). The most outstanding is the head of a woman, known to scholars as The Syrian Woman. Its value lies not only in its realism and brilliant workmanship but also in the way it reveals the subject’s inner world. The Syrian Woman is one of the earliest examples of a psychological portrait in the modern sense of the term. The bust of Lucius Verus (co-ruler with Marcus Aurelius, A.D. 161 — 169) is a most interesting example of a formal portrait. The original was made с. A.D. 168 after the Roman victory over the Parthians. Among the many imitations housed in museums in various parts of the world, the Hermitage bust occupies a special place owing to the virtuosity of the technique with which the marble is sculptured, and to its fine state of preservation.

The high technical standards achieved by the sculptors of the Antonine period, who were the first to make full use of the qualities inherent in marble as a medium, were continued by the sculptors of the Severan period (A.D. 193—235). The most subtle modelling of the surface, the smooth contours typical of that time, and the elaborate patterns of the coiffures all serve to convey the character of the subject and to give a poignant expression to the inner qualities of the personality, often negative ones not visible on the surface. Caracalla as a Boy is notable in this respect; it is quite amazing how the artist managed to penetrate so deeply the psychology of the child and to reveal so skilfully the qualities which later developed in the emperor who was to be remembered by posterity for his excesses. The superlative technical achievements of the Antonine period are still in evidence in the portrait bust of Balbinus (A.D. 238). But instead of the strictly structural modelling of the face, with its smooth surface, delicately worked over, here the forms are highly elusive due to the play of light and shade on the differently textured marble. This produces the effect of showing not so much the firm, already established traits of the man’s character as a succession of moods reflecting the complex nature of the old senator, philosopher and scholar, his innate joie de vivre, undermined by a growing awareness of his own helplessness as a statesman. This work is a masterpiece of the Roman psychological portrait at the time of its most brilliant flowering in the second quarter of the third century. No less remarkable, although belonging to a different artistic trend, is the almost contemporaneous bust of Emperor Philip the Arabian (A.D. 244—249) in which the expressive effect is achieved by broad rather than detailed modelling, by the accentuation of basic forms, and by the deliberately coarse and simplified treatment of the marble. Only a more careful examination can reveal the complexity of character which is not seen at first glance. This is a superb example of the new type of official portrait that arose during the period of the crisis of the principate as a political institution.

The art of the fourth century is represented in the Hermitage by a single but superb portrait that the Soviet scholar A. Voshchinina believed to depict Flavia Julia Constantia, wife of the Emperor Licinius (A.D. 308—324). Iconographie analysis enables the experts to date the portrait within a decade, since it is known that Licinius married the sister of Constantine the Great in A.D. 313. This work concludes the gallery of Roman portraits in the Hermitage.

The Hermitage collection of classical bronzes consists primarily of statuettes, household utensils, and horse trappings from the barrows of the northern Black Sea coast area. The collection contains but a few isolated specimens of monumental sculpture, of which the most outstanding is undoubtedly Portrait of a Man.

Archaic Greek bronzes are represented by several works only. Worthy of special note are a votive statuette of a youth bearing the inscription of the Samian tyrant Polykrates, a sphinx from Peloponnesus, and a figure of a youth that once served as the handle of an Attic vase. These figures, coining as they do from different centres, to some extent compensate for the gap in the collection of Greek sculpture, which contains practically no Attic models.

The Greek bronzes of the fifth and fourth centuries B.C. are also few in number. They include a stand from a burial at Nymphaeum, which is decorated with a superbly executed figure of a naked athlete and may have served some utilitarian purpose. Close study of the stylistic features of the figure has led Soviet scholars to identify it as South Italic, probably Locrian, rather than Attic as was hitherto believed. This conclusion points to the necessity of further research into the links which existed between the Bosporan Kingdom and Magna Graecia. There is an interesting group of bronze mirrors; the stand of one of them is shaped as the figure of Aphrodite; its static pose and austere appearance recalls the monumental sculptures of the Archaic period.

The Etruscan collection of bronzes boasts some superb examples. The cinerary urn in the form of a reclining youth (early fourth century B.C.) illustrates a type of funerary sculpture widespread in Etruria. The proportions of the body are characteristic of Etruscan art, but in the treatment of the face, hair, and dress we feel a Greek influence.

The collection of Italic and Roman bronzes, apart from the afore-mentioned Portrait of a Man, dishes and household utensils, also includes statuettes of characters from mythology, gods, lares, etc. A particularly interesting feature of the collection is a rich group of ornaments from Thracian chariots, providing yet another example of the complex mutual influences in the art of the Roman provinces.

The collection of jewellery, mainly originating from the excavations in the south of Russia, has long since become world famous. What makes the collection so priceless is the wide range of types and the variety of subjects and techniques (the skilful use of enamels, and later of precious stones).

The earrings from Theodosia and Kul-Oba, remarkable for their superb technique and the harmony of all their elements, were without doubt produced in Attica. The famous Kul-Oba temple pendants would also appear to be of Attic provenance. They bear reliefs that are supposed to be an accurate likeness of the head of the chryselephantine statue of Athena created by Phidias for the Parthenon.

The reliefs decorating the Kul-Oba electrum vessel reproduce the appearance of Scythian warriors, their dress and occupations with extraordinary skill and realism. The same capacity for observation and the same degree of technical mastery are displayed by the artist who produced the pectoral with a representation of a grazing herd, found in the Bolshaya Bliznitsa Barrow. The collection of gold wreaths, necklaces and costume plaques found in the burials is particularly extensive.

In one of the richest burials, the Artiukhovsky Barrow, Hellenistic jewellery embellished with semiprecious stones was brought to light. Maria Maximova, one of the leading authorities on Bosporan jewellery, studied a diadem from this burial, and demonstrated the high value given to jewellery at the time: the diadem was proved to have been repaired using details from other pieces, probably outdated, or damaged beyond repair. Objects of jewellery are studied in the context of the accompanying finds. The Hermitage collections help scholars, both in the Soviet Union and abroad, to categorize pieces in their correct place, both stylistically and chronologically, in the history of ancient jewellery. Valuable information has been obtained recently thanks to new finds in the Ukraine.

The pair bracelets from the burial of the Bosporan king Rhescuporis (third century A.D.) may serve as another outstanding example of the jeweller’s art of the Roman period.

Equally interesting is the collection of silverware, consisting of numerous early vessels (from the Semibratny Barrows and Kul-Oba) and Hellenistic kylikes depicting Helios riding in a chariot. Late Hellenistic artefacts include a part of a harness found in the Akhtanizovsky Barrow. They all point to the high level achieved by the art of toreutics in ancient times.

The Hermitage collection of carved gems is rightly considered one of the finest in the world. There are only a few examples of Aegean glyptics of the Homeric and Archaic periods. The period when engraving reached its height (fifth and fourth centuries B.C.) is far better represented. Individual miniature figures and groups are carved with great precision on large translucent sapphirine chalcedony, cornelian and opaque jasper. Graphic skill is here combined with a great plastic sense; the oval figure compositions are extremely varied. The intaglios by Dexamenos are of outstanding artistic merit, especially his Flying Heron.

The Hellenistic period is illustrated by intaglios and cameos among which pride of place is held by the world-famous Gonzaga Cameo depicting Ptolemy Philadelphus and his wife Arsinoë. Another Hellenistic masterpiece is the Zeus Cameo, remarkable for its plasticity and the ingenious use of natural polychromy in sardonyx. The cameos depicting groups of figures are of special interest, since some of them reproduce compositions from monumental Hellenistic painting that have not survived to our time.

The Hermitage collection of Etruscan (sixth to fourth centuries B.C.) and Italic (third and second centuries B.C.) gems, and Roman works of the first century B.C. to the fourth century A.D. is also very rich. Some of them reproduce compositions from classical and Hellenistic painting or sculpture, such as the two intaglios by Hyllos, an outstanding engraver of the Augustan Age, who interprets the Zeus of Phidias and the Apollo of Skopas in the spirit of Augustan Classicism.

The Hermitage has an extremely varied collection of terracottas, and some groups from sites at Olbia, Chersonesus and various other towns, and from the necropoli of the Bosporan Kingdom are unique. The terra-cotta statuettes of the fifth and fourth centuries B.C. from the sanctuary of the goddess Demeter at Nymphaeum and the Bolshaya Bliznitsa Barrow provide a wealth of information for scholars. The Attic and Corinthian terra-cottas and those from Asia Minor are very valuable. Even more important are the works from Tanagra that help make up for the lack of Hellenistic monumental sculpture, which is rather poorly represented in the Hermitage.

Only two museums in the world possess large collections of Greek and Roman wooden sarcophagi and other objects in wood: the Graeco-Roman Museum in Alexandria and the Hermitage in Leningrad. The stone-lined burial vaults of the Bosporan Kingdom and the tombs of Abusir have preserved these examples of ancient craftsmanship, made in a highly perishable material. Other museums have only odd specimens of such works, usually from these very same necropoli.

The sarcophagi were decorated with carving, turned details, sculptural insets (as, for example, on the sarcophagus from the Zmeïny, or Snake Barrow), and were brightly painted and sometimes gilded. Study of these works can add to our knowledge of ancient Graeco-Roman sculpture and even architecture, since in their form and decoration they often reproduce architectural features of fine buildings and temples. The funerary objects inside the sarcophagi help date the whole burial. Clearly then such finds are immensely valuable.

Burials have provided us not only with ancient objects in wood but also with fabrics. The Hermitage has about forty specimens of textiles from the fifth and fourth centuries B.C., representing the world’s largest collection of fragments of Greek clothing, palls, and cloths used for lining sarcophagi. They enable us to see the various methods of weaving, and to form an idea of the range of colours and techniques employed in decorative embroidery at the time. Thus, a fragment of a woollen fabric from the Semibratny Barrows, decorated with ducks and stags’ heads, still preserves its bright colours quite well. The Hermitage collection, consisting chiefly of woollen fabrics, includes local and imported productions. Some of the specimens bear patterns reminiscent of those which adorn the dresses of characters painted on red-figure vases, or those depicted in ancient literary sources.

No description of the Greek and Roman antiquities housed in the Hermitage would be complete without mention of its glassware. This rich and varied collection enables us to trace the development of ancient glass-making through fine, high-quality examples in an excellent state of preservation. The majority of items come from the northern Black Sea coast, from Panticapaeum, Olbia, and Chersonesus, and are of Eastern Mediterranean or Italic provenance.

The early period is represented by opaque polychrome vessels executed in the sand-core technique — Phoenician aryballoi, alabastra, and oinochoæ from the sixth to fourth centuries B.C. The vessels from the third and second centuries B.C., fashioned in moulds, and then cut and polished, deserve special mention. No less interesting are the examples from the first century B.C. and first century A.D., imitating coloured stones. The main body of the collection consists of free-blown glass vessels of the Roman period. Displaying a remarkable diversity of shapes and a wide range of colours, decorated with ornamental patterns and figures in relief, they are evidence of the flowering of glass-making in the first centuries A.D. One of the outstanding items of Syrian provenance is a superb mould-blown amphora signed by Ennion of Sidon.

The few examples of Roman mosaic represent a variety of techniques and subject matter. Hylas and the Nymphs, a multifigure composition on a mythological theme, is associated not only thematically but also stylistically with the tradition of Hellenistic painting, while Allegory of June is a typical example of a Roman allegorical composition. Both works date from the third century and characterize two trends in the development of mosaic art.

The finest items of the Hermitage collections presented in this book give an idea of the value of the art of antiquity and its contribution to world culture.

X. Gorbunova, I. Saverkina

24

Figured vessel: sphinx

Clay. Greece, Attica. 4th century B.C.

25

Athlete

Bronze. Greece, Locris. 460—450 B.C.

26

Red-figure pelike with a swallow

Clay. Greece. Attica. C. 510 B.C.

27

Jug

Clay. Asia Minor. 7th century B.C.

28

Amphora with revellers (komasts)

Clay. Greece, Samos. 550—540 B.C.

29

Detail of a horse-harness with a head of Medusa

Silver. Eastern Mediterranean coast area. 1st century B.C.

30

The Syrian Woman

Marble. Rome. 2nd century

31

The Resting Satyr

Marble. Homan copy of Praxiteles’ original. 4th century B.C.

32

Venus of Tauris

Marble. Roman copy from a Greek original. 3rd century B.C.

33

Lid of a bronze cinerary urn

Bronze. Etruria. Early 4th century B.C.

34

The tombstone of Philostrata

Marble. Greece, Attica. 5th century B.C.

35

Kylix with Helios riding in a chariot

Silver. Greece (?). First half of the 3rd century B.C.

36

Portrait of Gaius Caesar

Marble. Rome. 1st century

37

Portrait of Balbinus

Marble. Rome. 3rd century

38

Herakles Slaying the Lion of Nemea

Marble. Roman copy of Lysippos’ original. 4th century B.C.

39

Portrait oj Lucias Verus

Marble. Rome. 2nd century

40

Portrait of Emperor Philip the Arabian

Marble. Rome. 3rd century

41

Portrait of an Unknown Roman

Bronze. Rome. 1st century B.C.

42

Bust of a silenus

Detail of a bronze decoration of a chariot. Thrace. Late 2nd — early 3rd century

43

Bronze statuette Kithared.

Roman copy of a Greek original. 470—460 B.C.

44

Portrait of Dynamis

Bronze. 1st century

45

The Zeus Cameo

Sardonyx. Egypt, Alexandria. 3rd century B.C.

46

The Gonzaga Cameo with a representation of Ptolemy Philadelphus and his wife Arsinoë

Sardonyx. Egypt, Alexandria. 3rd century B.C.

47

Temple pendants with a head of Athena

Gold. Greece. 4th century B.C.

48

Bracelet

Gold. Eastern Mediterranean coast area. 3rd century

49

Terra-cotta statuette: standing girl

Greece, Tanagra. 3rd century B.C.

50

Terra-cotta statuette: two girl friends

Greece, Corinth. Second half of the 4th century B.C.

51

Mirror-stand with Aphrodite and erotes

Bronze. 5th century B.C.

52

Figured vessel

Clay. Greece, Attica. Made by Charin. C. 510 B.C.

53

Amphora

Glass. Syria. Made by Ennion. 1st century

54

Vessel

Glass. Rome. 1st century