Tài liệu RELIGION OF THE GODS

Religion of the Gods This page intentionally left blank Religion of the Gods Ritual, Paradox, and Reflexivity kimberley christine patton 1 2009 3 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2009 by Kimberley C. Patton Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Patton, Kimberley C. (Kimberley Christine), 1958– Religion of the gods : ritual, paradox, and reflexivity / Kimberley Christine Patton. p. cm. Includes bibliographical references. ISBN 978-0-19-509106-9 1. Religion. 2. Religions. 3. Ritual. I. Title. BL41.P38 2006 202'.11—dc22 2005018935 9 8 7 6 5 4 3 2 1 Printed in the United States of America on acid-free paper MOSES H. ROLFE May 8, 1848 April 18, 1907 “He sleeps but wakes elsewhere For God hath said Amen” Grave epitaph First Parish Burying Ground Newbury, Massachusetts 1635 For Moses Amín This page intentionally left blank Die Welt steht auf mit euch Jetzt wär es Zeit, daß Götter traten aus bewohnten Dingen . . . Und daß sie jede Wand in meinem Haus umschlügen. Neue Seite. Nur der Wind, den solches Blatt im Wenden würfe, reichte hin, die Luft wie eine Scholle umzuschaufeln: ein neues Atemfeld. Oh Götter, Götter! Ihr Oftgekommenen, Schläfer in den Dingen, die heiter aufstehn, die sich an den Brunnen, die wir vermuten, Hals und Antlitz waschen und die ihr Ausgeruhtsein leicht hinzutun zu dem, was voll scheint, unserm vollen Leben. Noch einmal sei es euer Morgen, Götter. Wir wiederholen. Ihr allein seid Ursprung. Die Welt steht auf mit euch, und Anfang glänzt an allen Bruchstellen unseres Mißlingens . . . Now would be the time for Gods to step forth From inhabited things . . . And knock down every wall In my house. New page. Only the wind, Flinging such a leaf into change, Would suffice to blow up the air like soil; A new breathing-field. Oh Gods! Gods! You often-come, sleepers in things, Who resurrect gaily, who at the well Which we imagine bathe throat and face, And who easily add their restedness To that which seems full, our full lives. Once more let it be your morning, Gods. We repeat. You alone are the primal source. With you the world arises, and a fresh start gleams On all the fragments of our failures . . . —Rainer Maria Rilke Trans. Murray Stein, with corrections by author Ich begreife im Leben der Götter (das doch wohl im Geistigen immer wieder sich erneut und abspielt und recht hat) nichts so sehr als den Moment, da sie sich entziehen; was wäre ein Gott ohne die Wolke, die ihn schont, was wäre ein abgenutzter Gott? I grasp nothing in the life of the Gods (which in the spirit most probably ever renews itself and runs its course and has its truth) so much as the moment in which they withdraw themselves: what would be a God without the cloud which preserves him? What would be a worn-out God? —Rainer Maria Rilke, Letter to the Fürstin Marie von Thurn und Taxis, September 23, 1911. Trans. Murray Stein Acknowledgments This book has been a long time in birthing, and divine reflexivity, “the religion of the gods,” might have been better illumined by others. Nevertheless it is my hope that this might be an dρχa. To my advisors and colleagues in ancient Greek religion, Albert Henrichs, and in classical archaeology, David Gordon Mitten, my heartfelt thanks for your help and heroic patience over the years. I offer special thanks to the American School of Classical Studies at Athens, without whose sponsorship for my work as an associate I could not have researched this topic in 1991. A Charlotte Newcombe Fellowship and a Whiting Fellowship allowed the initial dissertation to be written at Harvard University. Thanks belong to Cynthia Read, executive editor in religion at Oxford University Press, who has waited far longer for this work than any editor deserves. I want to express my great gratitude, as well, to copyeditor Margaret Case and production editor Jessica Ryan. Thank you, Michael Anthony Fowler, fearless research assistant. For access to vases, I deeply appreciate the assistance and patience of the curators of classical collections in Europe and the United States: Katerina Romiopoulou and Betty Stasinopoulou at the Athens National Museum; Friedrich Hamdorf at the Antikensammlungen in Munich; in Berlin, at the Staatliche Museen, Ursula Kästner at the Pergamon Museum and Gertrude Platz at the Schloss Charlottenburg; Alain Pasquier and Martine DeNoyelle at the Louvre; Judith Swaddling at the British Museum and Donna Kurtz at the Beazley Archives at Oxford; and in this country, John Herrmann at the Boston Museum of Fine Arts and Joan Mertens at the New York Metropolitan Museum of Art. Without the work of Prof. Erika Simon at the University of Würzburg, whose brave and provocative Opfernde Götter opened up x acknowledgments the problem in classical studies of libating gods on Attic vases over fifty years ago, and who was so gracious and encouraging to me in my efforts to rethink her conclusions, this book could never have been written. I owe her a great debt. A comparative religionist must constantly call upon the wisdom of others. I would like to express special gratitude for their generously detailed comments on the manuscript to scholars Ali Asani, William Graham, Stephanie Jamison, Jon Levenson, Bruce Lincoln, Steven Mitchell, Sarah Morris, Anne Monius, Margaret Miller, William Paden, Nehemia Polen, P. Oktor Skjaervo, and Michael Witzel. For their insightful reflections on the larger theoretical question of religious gods, thanks to scholars John Carman, Jamsheed Choksy, Sarah Coakley, Diana Eck, Marc Hirschman, Wolfhart Heinrichs, Holland Hendrix, Larry Lyke, Margaret Miles, Eric Mortensen, Gregory Nagy, Michael Padgett, my sister Laurie Patton, Elizabeth Pritchard, Benjamin Ray, Ronald Thiemann, and Irene Winter. Thanks to superbly attentive graduate readers Tracy Thorpe, Mark Kurtz, and Elizabeth Lee-Hood. Heartfelt gratitude at the eleventh hour goes to my research assistant, Narelle Bouthillier, and to Professor Michael Puett, who promised me miraculous passage across the plains of Mordor. To my husband Bruce Beck, my daughters Christina and Rosemary, my parents Anthony and Christine Patton, my brother Geoffrey Patton and my sister-in-law Karen Kent, my cousin Heidi Patton, and my dear friends Linda Barnes, Robert Bosnak, Gay Schoene, Erika Schluntz, Carla Pryne, Cecily Johnston, Alexandra Kubler-Merrill, Helen Pinsky, Rachel Fell McDermott, Gretchen Hermes, Courtney Bickel Lamberth, and Andrew Rasanen, thank you for your steadfast love during this odyssey home—even longer than the original from the flames of Troy to the shores of Ithaka. September 30, 2007 800th birthday of Jalāluddı̄n Rūmi Contents List of Illustrations, xiii Introduction. The Problem of Sacrificing Gods, 3 I. Ancient Greek Gods in Ritual Performance 1. Is Libation Sacrifice?, 27 2. Iconographic Evidence, 57 3. “Terribly Strange and Paradoxical”: Literary Evidence, 101 4. “Divine Libation”: A Century of Debate, 121 5. The Problem Defined and a Proposed Solution: Divine Reflexivity in Ritual Representation, 161 II. The Wider Indo-European World: Polytheism Introduction: Ritualizing Gods in Indo-European Religious Traditions, 183 6. Zoroastrian Heresy: Zurvān’s Thousand-Year Sacrifice, 189 7. “Myself to Myself ”: The Norse Odin and Divine Autosacrifice, 213 xii contents III. The Peoples of the Book: Monotheism and Divine Ritual Introduction: The Special Interpretive Challenge of Divine Ritual in Monotheism, 239 8. The Observant God of the Talmud, 249 9. “God and His Angels Pray for the Prophet”: A Qur›ānic Paradigm, 283 Conclusion. “Religion of the Gods”, 307 Catalogue, 000 Notes, 317 Bibliography, 457 Index, 483 List of Illustrations 1. Chart of vase shapes. Drawing by Catherine A. Alexander, after Gisela Richter, A Handbook of Greek Art, fig. 437, with additions and changes. 2. Attic red-figure kalpis-hydria. A: Apollo at an altar making a libation from a phiale, between Nike or Iris, with oinochoe, on left; Artemis and Leto on right. The Berlin Painter, c. 485 b.c.e. Formally Boston, Museum of Fine Arts 1978.45. Transferred September 28, 2006, to the Italian Ministry of Culture. Photograph © 2004 Museum of Fine Arts, Boston. 3. Attic red-figure kalpis-hydria. B: Athena and Hermes. The Berlin Painter, c. 485 b.c.e. Formally Boston, Museum of Fine Arts 1978.45. Transferred September 28, 2006, to the Italian Ministry of Culture. Photograph © 2004 Museum of Fine Arts, Boston. 4. Archaic pinax. Canonical scene of animal sacrifice. Sixth century b.c.e. Found in Saphtouli cave at Pitsá. Athens National Museum 16464. By permission of the Athens National Museum. 5. Attic black-figure belly-amphora. Athena Promachos with shield and spear receives animal sacrifice at a stone altar. A priestess brandishes branches while three men approach with a bull. Black-figure belly-amphora, c. 540 b.c.e. Berlin, West, Antikenmuseum 1686. Photo credit: Bildarchiv Pruessischer Kulturbesitz/ Art Resource, N.Y. 2 4 5 5 6 xiv list of illustrations 6. Attic white-ground kylix. Apollo, seated, with tortoise-shell lyre, extends phiale to pour a libation. Raven watches from the rim of the tondo. Onesimos?, c. 480 B.C.E. Delphi Museum 8140. By permission of the Delphi Museum. 7. Attic red-figure column-krater. Zeus, standing, with name inscribed, holding phiale with cascading wine. Athena, standing, with helmet, holds oinochoe. The Diogenes Painter, late archaic. St. Petersburg, the State Hermitage Museum Π.1899.75. By permission of the State Hermitage Museum, St. Petersberg. 8. Attic red-figure bell-krater. Apollo, with lyre, pours from phiale onto omphalos decorated with fillets. Artemis and Hermes; Leto, crowned, with phiale. Manner of the Dinos Painter, 420–400 B.C.E. British Museum E 502. © Copyright The British Museum. 9. Attic black-figure vase fragment. Athena receives a libation poured onto her altar, inscribed AΘENAIAΣ, “belonging to Athena.” Late archaic. Athens National Museum Fr. 1220. By permission of the Athens National Museum. 10. Attic red-figure amphora. Warrior in armor leaving home, extending his phiale to his wife, who raises her veil and pours from an oinochoe. The Kleophrades Painter, late archaic period. Munich, Staatliche Antikensammlungen und Glyptothek 2305. From Vulci. By permission of the Staatliche Antikensammlungen und Glyptothek München. 11. Attic red-figure krater. Libation scene at a warrior’s departure; Nike pours from an oinochoe as he extends a phiale. A woman (his wife?) holds his helmet and shield. The Niobid Painter, c. 460 B.C.E. Ferrara, Museo Archeologico Nazionale T 740. Drawing by Catherine Alexander. 12. Attic red-figure amphora. A man and a woman make a libation offering at a bloodstained altar, over which a boukranion is suspended. A woman extends an oinochoe, with wine visible as it flows into the phiale of a man who holds it over the flames. The Phiale Painter (also known as the Boston Phiale Painter), c. 430 B.C.E. Boston, Museum of Fine Arts 01.16. Gift of Mrs. Henry P. Kidder. Photograph © 2004 Museum of Fine Arts, Boston. 13. Attic red-figure kylix. Symposion of deities with phialai. I: Plouton, on couch with phiale and Persephone. The Kodros Painter, classical period. British Museum E82. © Copyright The British Museum. 14. Attic red-figure kylix. Symposion of deities with phialai. A: From left: Poseidon, on couch with trident, and Amphitrite; Zeus on couch with phiale, and Hera (both with scepters), Ganymede. 7 8 16 29 35 35 36 38 list of illustrations The Kodros Painter, classical period. British Museum E 82. © Copyright The British Museum. xv 38 15. Attic red-figure kylix. Symposion of deities with phialai. B: From left: Ares, on couch with spear, and Aphrodite; Dionysos, on couch with thyrsos, and Ariadne. The Kodros Painter, classical period. British Museum E 82. © Copyright The British Museum. 39 16. Athenian terracotta phiale by the potter-painter Sotades. Mid-fifth century B.C.E. British Museum D 8. © Copyright The British Museum. 40 17. Stone wall relief from the palace at Nineveh. The Assyrian king, standing before an offering-table, pours a wine libation from a phiale over dead lions. 645–635 B.C.E. British Museum 124886. © Copyright The British Museum. 41 18. Attic black-figure olpe. Athena with helmet, shield, and aegis, holding two spits with her left hand, roasting the entrails of a sacrificed animal. With her right hand, she pours a libation from a phiale onto the fire. 480–470 B.C.E. Ferrara, Museo Nazionale 14939. From Spina, Valle Pega. Drawing by Catherine Alexander. 45 19. Attic red-figure stamnos. Dionysos, in ecstasy, tearing a hind in half (sparagmos). The Hephaisteion Painter, 480–460 B.C.E. British Museum E 439. © Copyright The British Museum. 46 20. Poster at Kaiser Wilhelm Cathedral, Berlin. God’s Spirit represented as a pitcher pouring itself out onto humanity. “Gottes Geist weckt Freude und Hoffnung” (God’s Spirit Awakens Joy and Hope). Contemporary. Photo by author. 51 21. Attic red-figure stamnos. Libation scene on Olympus (compare to Figs. 2 and 3). A: Iris; Apollo with lyre and tipped phiale; Artemis with oinochoe; Zeus, with scepter and phiale. The Berlin Painter, c. 480 B.C.E. British Museum E 444. © Copyright The British Museum. 60 22. Attic red-figure stamnos. Libation scene on Olympus. B: Hermes; Demeter with torches; Dionysos with kantharos and thyrsos. The Berlin Painter, middle to late, c. 480 B.C.E. British Museum E 444. © Copyright The British Museum. 61 23. Chryselephantine statue from Delphi. Seated Apollo, reconstructed, holding a gold phiale. Sixth century B.C.E. Delphi Museum. Photo by author, by permission of the Delphi Museum. 62 24. Attic red-figure cup. Divine and mortal libations on same vase. I: Apollo alone, sitting by altar with staff and phiale. Followers of Makron: the Painter of London E 80, 470–460 B.C.E. British Museum E 80. © Copyright The British Museum. 62 xvi list of illustrations 25. Attic red-figure cup. Divine and mortal libations on same vase. A: Mortal libation scenes: man with scepter and phiale; interior column; woman with oinochoe; man with wreath-crown and staff extending phiale. Followers of Makron: the Painter of London E 80, 470–460 B.C.E. British Museum E 80. © Copyright The British Museum. 26. Attic white-ground lekythos. Artemis running, making a libation, accompanied by small bull, bearing flaming torch and overflowing phiale. Manner of the Bowdoin Painter, early classical period. Musée du Louvre CA599. LOUVRE, Dist RMN/ © Les frères Chuzeville. 27. Attic red figure trefoil oinochoe. Apollo, crowned with laurel and holding branch, pours libation (in added red) from large embossed phiale onto flaming altar; Artemis with oinochoe. Attributed to the Richmond Painter, c. 440 B.C.E. Malibu, Cal., the J. Paul Getty Museum Villa Collection 86.AE.236. © The J. Paul Getty Museum. 28. One of two archaic bronze statuettes of Athena from Sparta, one of which extends a phiale with a central boss downward. Sparta Museum 2020. Photo by the author, by permission of the Sparta Museum. 29. Libating archaic Athena statuette from Sparta. Sparta Museum 2020. Drawing by Catherine Alexander. 30. Attic red-figure pelike. Zeus, with eagle-bearing thunderbolt scepter, extends phiale to be filled by Ganymede, who pours from an oinochoe. The Geras Painter. Late archaic period. Musée du Louvre G224. LOUVRE, Dist RMN/ © Les frères Chuzeville. 31. Attic red-figure pelike fragment. Zeus with phiale extended to Iris or Nike, with caduceus, who lifts a metal oinochoe. Poseidon with phiale extended to right. All names inscribed: ZEYΣ ΠOΣEI∆ON (reversed); IPIΣ or NIKE (ambiguous partial inscription). The Argos Painter, late archaic period. Berlin, West, Antikenmuseum 2166. Photo credit: Bildarchiv Preussischer Kulturbesitz/Art Resource, N.Y. 32. Attic red-figure krater. Underworld deities hold phialai, libations visible in added white. Cybele and Sabazios? Dionysos and Semele or Ariadne? Hades and Persephone? Altar; priestess; votary playing the double-flute. Celebrant with tympanon. The Group of Polygnotos, c. 440 B.C.E. Ferrara, Museo Archeologico Nazionale T 128. From Valle Trebia. Photo credit: Scala/Art Resource, N.Y. 33. Attic red-figure cup. Entry of Herakles into Olympus, welcomed by the libations of the Olympian deities. A: top, left: Zeus and 63 63 65 66 66 67 68 69 list of illustrations xvii Hera, with scepter, both with phialai extended, on leopard-skin thrones, are attended by the winged Iris (?—identified as “Hebe” by Schefold); Poseidon and Amphitrite, also on thrones, the latter clutching a fish, both holding out phialai; not shown: Aphrodite (scene abraded, but arm visibly extended) and Ares; Ariadne and Dionysos on thrones (arm of the latter extended as if to pour). The Sosias Painter, 500 B.C.E. Berlin, West, Antikenmuseum 2278. From Vulci. Photo credit: Bildarchiv Preussischer Kulturbesitz/Art Resource, N.Y. 70 34. Attic red-figure cup. Entry of Herakles into Olympus, welcomed by the libations of the Olympian deities. B: bottom, left (following Dionysos on A): the three goddesses of the seasons, standing, with fruited boughs; enthroned, Hestia (with head-veil) and an unidentified goddess, both with phialai; Hermes, Apollo, Herakles (with inscription in the vocative ZE⌼ ⌽I⌳E, “Beloved Zeus”), and Athena. Is Hermes’s ram for sacrifice? The Sosias Painter, 500 B.C.E. Berlin, West, Antikenmuseum 2278. From Vulci. Photo Credit: Bildarchiv Preussischer Kulturbesitz/ Art Resource, N.Y. 70 35. Attic red-figure kantharos. Dionysos pouring from kantharos onto altar, flanked by dancing maenads; maenad with hands extended over altar, beneath wine and toward flames. The Nikosthenes Painter, c. 520–510 B.C.E. From Tarquinia. Boston, Museum of Fine Arts 00.334. Henry Lillie Pierce Fund. Photograph © 2004 Museum of Fine Arts, Boston. 72 36. Attic red-figure kylix. Dionysos extends his kantharos over an altar. Signed by Douris as painter, c. 480 B.C.E. From Orvieto. Boston, Museum of Fine Arts, 00.499. Gift of Mrs. S. T. Morse. Photograph © 2004 Museum of Fine Arts, Boston. 73 37. Attic red-figure pelike. Dionysos, tearing bleeding animal victim (hind) at a flaming altar. Maenad dancing. Satyr playing pipes. Earlier mannerists, undetermined, early classical period. British Museum E 362. © Copyright The British Museum. 73 38. Attic red-figure oinochoe. Nike flying, frontal view, with thymiaterion and phiale emptying onto altar. The Berlin Painter, 490–480 B.C.E. British Museum E 513. © Copyright The British Museum. 75 39. Attic red-figure stamnos. A: Athena pours from an oinochoe for Zeus and Hera, who extend their phialai. The Berlin Painter, c. 490 B.C.E. The Metropolitan Museum of Art, Gift of Christos G. Bastis, in honor of Dietrich von Bothmer, 1988 (1988.40). Photograph, all rights reserved, the Metropolitan Museum of Art. 76 40. B: Libation at the departure of a warrior, made by a woman with oinochoe and phiale. Seated elder (father?). The Berlin xviii 41. 42. 43. 44. 45. 46. 47. 48. list of illustrations Painter, c. 490 B.C.E. The Metropolitan Museum of Art, Gift of Christos G. Bastis, in honor of Dietrich von Bothmer, 1988 (1988.40). Photograph, all rights reserved, the Metropolitan Museum of Art. Attic red-figure pelike. Triptolemus, on his winged throne, extending phiale. Demeter, with polos, pours from oinochoe; wine visible. The Geras Painter, late archaic period. Berlin, 2171. Photo credit: Bildarchiv Preussischer Kulturbesitz/Art Resource, N.Y. Attic red-figure hydria. Zeus, enthroned with scepter, extends a phiale while the miniature Athena is born from his head. Hephaistos looks on with his axe, recently swung. Painter of Tarquinia 707, c. 470–460 B.C.E. Bibliothèque Nationale de France, Cabinet des Medailles 444. By permission of the Bibliothèque Nationale de France. Attic red-figure stamnos. Zeus, extending phiale to Nike who fills it with an oinochoe; Apollo and Hera. The Providence Painter, early classical period. Musée du Louvre G370. LOUVRE, Dist RMN/ © Les frères Chuzeville. Attic red-figure kalpis. A winged goddess (Nike? Iris? Eos?) stands holding an oinochoe between Zeus and Hera, who extend phialai. A newly discovered work by the Niobid Painter, 470–460 B.C.E. By permission of Antiquarium, Ltd., New York. Photo by Justin Kerr. Attic red-figure oinochoe. Apollo and Artemis at an altar. The Altamura Painter, c. 465 B.C.E. From Sounion? Boston, Museum of Fine Arts 97.370. Catherine Page Perkins Fund. Photograph © 2004 Museum of Fine Arts, Boston. Attic red-figure bell-krater. Divine and mortal libation scenes. A: Apollo with kithara and phiale standing between Leto on left with phiale; Artemis with oinochoe. No altar. Inscribed: LETΩ AΠOΛΛON APTEMIΣ. The Villa Giulia Painter, c. 460–450 B.C.E. The Metropolitan Museum of Art, Fletcher Fund, 1924 (24.99.96). Photograph, all rights reserved, the Metropolitan Museum of Art. Attic red-figure bell-krater. Divine and mortal libation scenes. B: Woman running; old man with scepter; woman with oinochoe and phiale. The Villa Giulia Painter, c. 460–450 B.C.E. The Metropolitan Museum of Art, Fletcher Fund, 1924 (24.99.96). Photograph, all rights reserved, the Metropolitan Museum of Art. Attic white-ground pyxis. Judgment of Paris. Aphrodite, holding phiale, with Eros; Athena with helmet and spear; Hera with veil and staff; Hermes with winged boots and caduceus; Paris; man 76 77 80 80 81 82 83 83 list of illustrations with staff. The Penthesileia Painter, 465–460 B.C.E. From Cumae. The Metropolitan Museum of Art, Rogers Fund, 1907 (07.286.36). Photograph, all rights reserved, the Metropolitan Museum of Art. xix 84 49. Attic red-figure neck-amphora. Mirror scenes of divine and human libation. A: Dionysos offering wine from kantharos onto altar; maenad attends with bough and oinochoe. The Niobid Painter, c. 460 B.C.E. The Metropolitan Museum of Art, Purchase by subscription, 1899 (99.13.2). Photograph, all rights reserved, the Metropolitan Museum of Art. 85 50. Attic red-figure neck-amphora. Mirror scenes of divine and human libation. B: Mortal (Beazley: “King”) in libation scene; woman attends with bough and oinochoe. The Niobid Painter, c. 460 B.C.E. The Metropolitan Museum of Art, Purchase by subscription, 1899 (99.13.2). Photograph, all rights reserved, the Metropolitan Museum of Art. 86 51. Red-figure Nolan amphora. Athena spills wine from her phiale, whose lobes are painted with added white, onto the ground; a female figure pours from an oinochoe. The Achilles Painter, 460–450 B.C.E. The Metropolitan Museum of Art, Rogers Fund, 1912 (12.236.1). Photograph, all rights reserved, the Metropolitan Museum of Art. 87 52. Attic red-figure neck-amphora. Apollo with laurel wreath and tortoise-shell lyre extends a phiale over an altar, in a sanctuary? Artemis to left with oinochoe; Leto to right with phiale. The Niobid Painter, c. 450 B.C.E. Würzburg, Martin von WagnerMuseum H 4533. By permission of the Martin von WagnerMuseum der Universität Würzburg. Photo K. Oehrlein. 88 53. Attic red-figure hydria. Departure of Triptolemos, on winged chariot with overflowing phiale extended; Kore with torch; Demeter with crown and scepter, pouring from oinochoe. Name-inscriptions: TPIΠTOLEMOΣ DEMHTHP. The Painter of London 183, classical period. British Museum E 183. From Nola. © Copyright The British Museum. 90 54. Attic red-figure calyx-krater. The divine inhabitants of the Erechtheion on the Acropolis: Athena and aging king Kekrops, with snake tail, both with phialai, bring liquid offerings at the birth of Erichthonios. Nike hovers above them with oinochoe. Basket of Erichthonios stands closed, covered with a cult rug, next to sacred olive tree of Acropolis. The Kekrops Painter, late fifth century B.C.E. Eichenzell/Fulda, Museum Schloss Fasanerie, Hessiche Hausstiftung, FAS AV 77. By permission of the Museum Schloss Fasanerie. 92