http://collections.mfa.org/collections/64715/objects/rdfAuloi Iconographyhttp://collections.mfa.org/internal/media/dispatcher/961536/resize%3Aformat%3Dfullhttp://collections.mfa.org/internal/media/dispatcher/1218797/resize%3Aformat%3DfullAs with bust of DomitianA.D. 88BronzeObverse: Laureate bust of Domitian to right.IMPCAESDOMITAVGGERM PMTRPVIIICENSPERPPReverse: Emperor sacrificing in front of temple accompanied by flute-player and lyre-player.COSXIIII LVDSAECFEC in ex.: SChttp://collections.mfa.org/objects/99501/rdfhttp://collections.mfa.org/internal/media/dispatcher/602783/resize%3Aformat%3DfullBell krater400–380 B.C.The Chequer GroupCeramic, Red FigureSide A: Symposium scene: youth wearing long scarf reclining on a couch with a striped cushion behind him. In front of him sits a woman, her head thrown back, a bracelet around her right arm. At left, Eros stands playing double flute. On table below, eggs and fruit. Side B: Seated satyr at left, thyrsus in right hand wineskin in left. In center, bearded Dionysos moves to right, thyrsus in left hand, pursuing maenad at right, who holds thyrsus in her left hand.http://collections.mfa.org/objects/154202/rdfhttp://collections.mfa.org/internal/media/dispatcher/1114806/resize%3Aformat%3DfullBowl (dinos) depicting athletes trainingabout 430–420 B.C.Manner of the Dinos PainterCeramic, Red FigureNude youths practice the javelin, boxing, long jump, and the discus throw. Two trainers wearing mantles and holding sticks observe them. A musician, playing a double-pipe (aulos) and wearing a sleeveless patterned tunic over a long-sleeved, similarly-patterned tunic, provides a rhythm for a javelin thrower. A cheek-strap (phorbeia) supports his instrument. Behind the musician, a starting post is painted white, probably to indicate stone.[Label text]:A group of eleven youths train for athletic activities on the side of this dinos, while another youth plays the double-flute.http://collections.mfa.org/objects/153889/rdfhttp://collections.mfa.org/internal/media/dispatcher/835226/resize%3Aformat%3DfullCovered drinking cup (kylix) depciting athletes and judgesabout 500 B.C.Ceramic, Black FigureThe top is covered except for an opening from which one can drink. The stem is hollow and continues upward inside to the level of the rim. The cup could be filled through the stem, and, once filled, could be emptied only through the mouthpiece. The vessel was lowered, right side up, into a krater of wine until the stem was covered. The hollow stem filled up with wine, which then flowed into the inner compartment. When the cup was held in a horizontal position ready for drinking, the wine could not flow out through the foot because the top of the hollow stem was high above the level of the wine.On top are seven nude, athletes moving counterclockwise. A long-bearded, balding judge with a himation over his shoulder to the left of the spout places a ribbon in added white over the first of the athletes. Another white ribbon flutters from the athlete's arm, a red fillet is tied around his right thigh, and he holds a red aryballos in his left hand. Behind him, a beardless youth with a himation over his shoulder plays the double flute. The following athletes originally had fillets in either added red or added white around their heads. The white is missing on the fifth and seventh athletes . The third, fifth, and seventh athletes are beardless; the first, second, and fourth are bearded.Between the figures are the inscriptions "the boy/(is) beautiful/the girl/(is) beautiful/the boy/ (is) beautiful/the girl/(is) beautiful/indeed": In the center a bearded mask (Silenos?) is surrounded by a dotted band with three outer and three inner bounding circles.The lower part of the cup is undecorated.The foot has been broken from the stem and reattached.http://collections.mfa.org/objects/153464/rdfhttp://collections.mfa.org/internal/media/dispatcher/1246194/resize%3Aformat%3DfullDrinking cup (kylix) depicting a symposiumabout 510–500 B.C.the Proto-Panaitian GroupCeramic, Red FigureCup interior tondo composition: Two nude male figures seated on a couch. The one on the right plays double flutes. He has distinctive features: a receding hairline, sideburns, and a small mustache and goatee. The one on the left is younger: his beard is just coming in. He is leaning over on the couch (kline), and vomiting. A flute case hangs on the wall and boots are placed under the couch.Greek inscription in the field: "Epidromos is handsome" (EPIDROMOS KALOS).Exterior: Undecorated.http://collections.mfa.org/objects/153698/rdfhttp://collections.mfa.org/internal/media/dispatcher/1295688/resize%3Aformat%3DfullDrinking cup (kylix) with drunken revelers490–480 B.C.OnesimosCeramic, Red FigureOn this large cup the interior tondo composition has two men dancing; one plays the double pipe. The other dances with his walking stick. A flute case hangs on the wall on the right. Inside the surrounding circle the inscription "Euphronios made [it]" (EUPHRONIOSEPIESEN) (in retrograde) and "The boy is pretty" (KALOSHOPAIS).Exterior: Procession (komos) of eleven men intoxicated, dancing and staggering. On both sides above the figures is the inscription "Panaitios is pretty" (PANAITIOS KALOS) (on side A the inscription is in retrograde).Side A: The man in the middle holds a large wine cup (kylix), the second from the left plays the double pipes with a small dog sniffing at his feet, and the one on the far right holds a deep cup (skyphos).Side B: The men dance, holding walking sticks and are either nude or wearing cloaks across their shoulders. The one third from the right is nude and holds a lyre (barbiton), and a deep cup (skyphos). Under one handle is a small dog, under the other handle is a wine storage vessel (amphora), which has been tipped over on its side. Inscribed on the vessel is '[hop]ais.'http://collections.mfa.org/objects/153673/rdfhttp://collections.mfa.org/internal/media/dispatcher/961536/resize%3Aformat%3DfullDrinking cup (skyphos) depicting chorus scenesabout 520–510 B.C.the Heron GroupCeramic, Black FigureThe vase has a frieze in the later black figure style, apparently with chorus scenes from early Attic comedies. Side A: Six warriors riding on dolphins, to right, towards a man playing a flute.Side B: Six youths riding upon ostriches, to right, towards a man playing a flute. In front of him, facing the others, is a bearded Pygmy. Repaired and painted over.The presence of a flute-player in each scene suggests that the dolphin and ostrich-riders are chorusmen in theatrical comedies, which often featured choruses of men dressed in outlandish costumes, such as wasps or frogs. Dolphin-riders appear elsewhere in Greek art, especially on the coinage of Taras, in southern Italy.http://collections.mfa.org/objects/153547/rdfhttp://collections.mfa.org/internal/media/dispatcher/788630/resize%3Aformat%3DfullFigurine of ErosBronzeHe wears only a thick, plain fillet around his head. He is seated, playing the double-flute. The wings were broken off at the base of attachment and are missing. Crusty green patina.http://collections.mfa.org/objects/152709/rdfhttp://collections.mfa.org/internal/media/dispatcher/799196/resize%3Aformat%3DfullJar (stamnos) with Herakles striking Linosabout 480 B.C.the Tyszkiewicz PainterCeramic, Red FigureSide A: Linos sinks into chair, holding lyre with left hand and with right tries to fend off Herakles who is about to strike him again with footstool. A music case hangs in background. Dilute glaze for musculature and added red for lyre details, case and Linos' wounded head.Side B. Komos scene. One youth plays the double flute while the other leans on a gnarled stick and carries a full wineskin.Broken and repaired.http://collections.mfa.org/objects/153887/rdfhttp://collections.mfa.org/internal/media/dispatcher/799235/resize%3Aformat%3DfullJar (stamnos) with satyrs and maenadsmid 5th century B.C.the Danae PainterCeramic, Red FigureSide A: Satyr dancing, followed by maenad with thyrsos, and a second satyr playing double flute.Side B: Three maidens; one holds a torch, the second dances, the third starts away. Surface entirely painted over. Repainting removed 1916.http://collections.mfa.org/objects/153878/rdfhttp://collections.mfa.org/internal/media/dispatcher/739059/resize%3Aformat%3DfullLibation bowl (phiale mesomphalos) depicting men being entertainedabout 430 B.C.the Phiale Painter (also known as the Boston Phiale Painter)Ceramic, Red Figure"School of Music" The boss is surrounded by a series of eight figures, men being entertained by hetaerae and musicians. On the omphalos is a figure of Nike walking to left, carrying a basket and an oinochoe. Name-vase of the Boston Phiale Painter[Label text]:On this libation bowl, professional female entertainers amuse a group of men. On the raised omphalos ("navel") is a depiction of Nike, the personification of victory, holding a basket and a pitcher.http://collections.mfa.org/objects/153850/rdfhttp://collections.mfa.org/internal/media/dispatcher/964932/resize%3Aformat%3DfullLibation bowl (phiale) with women dancing at an altarabout 450 B.C.The Painter of London D12Ceramic, White GroundThe interior of this libation bowl, used for liquid sacrifices, depicts what appears to be a religious ritual, in which girls dance around an altar. The girls are identically dressed in flowing dresses (chitones) and pink mantles (himatia) and are barefoot, and all but one wears her hair up.. Seven of them grasp each other by the wrist, but do not join at the ends, so it is unclear whether or not they are simply meant to be in a row, or a circle. One other girl faces the altar, playing the double pipes to facilitate the dance. Upon the altar is a burnt offering, evidenced by the high flames. To the right of the altar is a wool basket (kalathos) and a ribbon hanging above. These are either priestesses or initiates.http://collections.mfa.org/objects/154010/rdfhttp://collections.mfa.org/internal/media/dispatcher/1447537/resize%3Aformat%3DfullMixing bowl (bell krater)about 370–360 B.C.The Painter of Boston 00.348Ceramic, Red FigureSide A: Athena playing the double flutes, in the center of a group. A youth holds a mirror in front of her. Two satyrs, a maenad, and a reclining god.Side B: Three satyrs and a maenad.Repaired with some restorations, not affecting the pictures.VASE-PAINTING in ITALY, # 18 (00.348)Bell-KraterThe name-vase of the Painter of Boston 00.348about 370-360 B.C.A: Athena is seated in the center of the scene, using her aegis as a cushion. She is playing the auloi next to a small tree with yellow leaves. The goddess wears a chiton and bordered himation, which has fallen around her waist. She has sandals and a necklace. A youth with a cloak over his left arm and leaning on a staff holds a white mirror in front of Athena, so that she can see how her playing distorts her appearance, a fact emphasized by the lines radiating rom her mouth. Her reflection in the mirror is rendered with yellow lines. Zeus reclines above and behind her, his scepter in his left hand; his bordered himation has fallen around his waist. Below him, the booted Pappasilenos, his hair and beard in orange-yellow slip, chases a red-orange "Maltese"dog to the right. At the far left, a maenad in chiton, necklace, and belted leopard skin approaches with a thyrsos in her left hand. At the exptreme right, the ill-fated Marsyas approaches the scene on tiptoes, his right hand extended, as though already anticipating the retrieval of the flutes, which Athena will discard when she sees how playing them distorts her face. The arrangement of the figures at various levels, without groundlines so that they seem to float in a black void, is characteristic of the painter. The presence of old Pappasilenos suggests the inspiration of a satyr play. Because of his central location, we might suppose he is Marsyas, but the darker-haired and apparently younger satyr near the handle assumes a posture not unlike that of the so-called Lateran Marsyas, a Roman statue thought to be based on a fifth-century work by Myron. Myron's statue showed Marsyas's surprised reaction to finding the flutes. His reaction here is thus premature, and his legs are not in the same position, but the upraised arm and the backwards lean of the body are clearly similar. The youth with the mirror is not identified by any attribute, but if the tree is a laurel, he may be Apollo. If so, his presence alludes to the outcome of the story, when he defeated the overweening Marsyas in a musical contest and had him flayed alive. For Marsyas, see A. Weis, LIMC, VI, 1, pp. 366-378; VI, 2, pls. 183-193. For Myron's sculpture, see G. Daltrop, "Il Gruppo mironiano di Athena e Marsia nei Musei Vaticani (Vatican City, 1980); and A. Weis, "The Hanging Marsyas Statue" (Ph.D. dissertation, Bryn Mawr College, 1976). B: A satyr is running to the left, a torch with a cream-colored flame in his left hand. He looks back at a nude youth with a staff in his right hand, a cream-colored fillet on his head, and a draped cloak over his right arm and pulled out by his left hand.To judge by his company, the youth should be Dionysos, but he lacks any identifying attribute. He looks back toward a maenad, with a thyrsos in her left hand, who moves left; she wears a chiton and necklace and has her hair tied in a chignon. At the far right, a satyr with white fillet and a thyrsos in his right hand has turned aside to relieve himself. A wreath of laurel encircles the vase under the lip. Rays circle the handle-roots, and there are palmettes below each handle. A band consisting of groups of four stopt maeanders to left alternating with cross-and saltire-squares circles the lower body. The painter of Boston 00.348 was an associate of the more prolific Judgement Painter and, like him, worked in the Plain-style tradition. A bell-krater in a Virginia private collection with a scene of Iphigenia at Tauris has recently been attributed to the artist by Trendall (RVAp, Suppl. II, p. 63, no. 10/48a; L. Kahil and N. Icard, LIMC, V, 1, p. 715; V, 2, pl. 469, Iphigeneia 21).http://collections.mfa.org/objects/154073/rdfhttp://collections.mfa.org/internal/media/dispatcher/598021/resize%3Aformat%3DfullMusician playing double flutesabout 525 B.C.LimestoneThe figure's nose has been broken away, and there are gashes in the right cheek and on the back of the head. All the surfaces are covered with a crusty brown patina. The break through the waist has been evened off for mounting in modern times. The half figure, from a small statue, wears an Egyptian headcloth and a long tunic with short sleeves. The musician was doubtless playing at a banquet or at funeral rites, or in the precinct of a temple.http://collections.mfa.org/objects/151415/rdfhttp://collections.mfa.org/internal/media/dispatcher/834104/resize%3Aformat%3DfullOil flask (lekythos) with Eros playing double flute470–460 B.C.the Providence PainterCeramic, Red FigureEros, a winged youth, flying, profile to right, playing the double flutes.http://collections.mfa.org/objects/153777/rdfhttp://collections.mfa.org/internal/media/dispatcher/1002732/resize%3Aformat%3DfullPlaqueabout 470 B.C.TerracottaOne of two painted Etruscan plaques (pinakes in Greek) at the MFA used to cover the walls of a tomb; this one depicts a male double-pipe player, wreathed in chiton, heavy himation walks to right, on the broad band; he is holding up and playing on the pipes. Thin reed-like plant at right.Painted and fired. Above: fillet and ovolo, wave (left to right) bands; below broad band broken by a maeander in the form of crennelation. No. II at bottom left. Colors: red, blue-black, brown and (surface) green on white ground.http://collections.mfa.org/objects/267785/rdfhttp://collections.mfa.org/internal/media/dispatcher/813816/resize%3Aformat%3DfullRelief2nd–1st century B.C.TerracottaCornice has a fillet and alternate pillars and scrolls surmounted by honey-suckle ornament. Main field: two satyrs facing one another, treading grapes; at the right one brings a basket of fruit; at the left a satyr plays the tibia and dances.http://collections.mfa.org/objects/182794/rdfhttp://collections.mfa.org/internal/media/dispatcher/1398547/resize%3Aformat%3DfullRelief with the sacrifice of a ram4th–3rd century B.C.TerracottaSacrificant (? Artemis) stands at the right; her right hand holds a patera on the head of a ram (?). At the left a draped figure playing the double flute. An altar and a tree with large round fruits occupy the center. The back is unworked. Round vent hole near center. grayish clay. Said to be from Cerveteri.http://collections.mfa.org/objects/182785/rdfhttp://collections.mfa.org/internal/media/dispatcher/1068348/resize%3Aformat%3DfullRing with Eros playing a double fluteabout 360–330 B.C.SilverIntaglio. Eros playing a very thin set of double flutes, while taking a step toward the left with his left foot. He has short hair, pulled back into a small bun and long wings, whose inner feathers are indicated by round dots. Motif situated on a small ground line.http://collections.mfa.org/objects/180733/rdfhttp://collections.mfa.org/internal/media/dispatcher/1108919/resize%3Aformat%3DfullTwo-handled storage jar (pelike) depicting young athletes jumpingabout 520–515 B.C.Circle of EuthymidesCeramic, Red FigureSide A: Two nude youths jumping together together accompanied by flute music; leapers at center, flautist at right, facing them, wearing a cloak (himation).Above the figures is the name "Kalipides", and between the jumpers and the piper is the name "Aineas" (Aeneas). Below is the inscription "Leagros is handsome" (LEAGROS KALOS)Side B: A piper (named "Smikythion") accompanies two nude jumpers, the same two youths depicted on the front of the vase, seen from rear. They are probably athletes in training. Inscriptions in between the piper and the jumpers read: "Smikythion"; "Leagros is handsome, yes indeed!" (LEAGROS KALOS NAI XI)The action may represent a Greek competitive dance exercise called bibasis, a Laconian dance for both boys and girls.http://collections.mfa.org/objects/153847/rdf