Collections of Greek vases, and their reproductions in the form of luxury publications and vessels displayed atop bookshelves in libraries, were the domain of male elites in eighteenth- and nineteenth-century Britain. Less well explored is the consumption of creative reproductions of Greek vases by elite and ‘middling’ women, and the participation of women across the social spectrum in the production of ceramics inspired by Greek vases. This article uses the Wedgwood archive to tell such stories. The subjects range from aristocratic designers through paintresses to women doing the hard labour of wedging. It argues for the importance of recognizing these engagements with Greek vases as part of the history of the reception of Greek vases in Britain. It explores the way that gender and class constrained the kind of contact women had with these materials, and it puts forward an interpretation of these engagements as independent embodied knowledge of Greek vases.
{"title":"Pottery workers, ‘the Ladies’, and ‘the Middling Class of people’: production and marketing of ‘Etruscan and Grecian vases’ at Wedgwood c.1760–1820*","authors":"Alexia Petsalis-Diomidis","doi":"10.1093/bics/qbaa006","DOIUrl":"https://doi.org/10.1093/bics/qbaa006","url":null,"abstract":"\u0000 Collections of Greek vases, and their reproductions in the form of luxury publications and vessels displayed atop bookshelves in libraries, were the domain of male elites in eighteenth- and nineteenth-century Britain. Less well explored is the consumption of creative reproductions of Greek vases by elite and ‘middling’ women, and the participation of women across the social spectrum in the production of ceramics inspired by Greek vases. This article uses the Wedgwood archive to tell such stories. The subjects range from aristocratic designers through paintresses to women doing the hard labour of wedging. It argues for the importance of recognizing these engagements with Greek vases as part of the history of the reception of Greek vases in Britain. It explores the way that gender and class constrained the kind of contact women had with these materials, and it puts forward an interpretation of these engagements as independent embodied knowledge of Greek vases.","PeriodicalId":43661,"journal":{"name":"BULLETIN OF THE INSTITUTE OF CLASSICAL STUDIES","volume":"33 1","pages":"34-53"},"PeriodicalIF":0.1,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79005176","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Classics transformed? Ancient figured vases as a test-case for the preoccupations of Classical Reception Studies","authors":"Katherine Harloe","doi":"10.1093/bics/qbaa012","DOIUrl":"https://doi.org/10.1093/bics/qbaa012","url":null,"abstract":"","PeriodicalId":43661,"journal":{"name":"BULLETIN OF THE INSTITUTE OF CLASSICAL STUDIES","volume":"7 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82928540","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
During the 1790s, Emma Hamilton, wife of collector and diplomat Sir William Hamilton, developed an innovative form of performance art, tableaux vivants known as the ‘(Grecian) Attitudes’. Notoriously transgressive both sexually and socially, Emma also transgressed materially, transposing the scenes depicted on Sir William’s vases into a kinaesthetic medium. That performance remains a subaltern or illegitimate mode of relating to ancient material culture (as opposed to visual display) is a cultural bias rooted in economic relations. Outside the context of the Attitudes, contemporaries were anxious to (re)place Emma in terms of class, describing her as promiscuous, ‘common’, and ‘vulgar’. Modern scholarship has proved similarly anxious to limit her agency through the repeated assertion of a ‘Pygmalion’ paradigm in which responsibility for developing the Attitudes is assigned to Sir William. I argue that, on the contrary, Emma should be credited with a mode of embodied reception alternative to that of the collector and connoisseur.
{"title":"Pots in performance: Emma Hamilton’s Attitudes","authors":"H. Slaney","doi":"10.1093/bics/qbaa010","DOIUrl":"https://doi.org/10.1093/bics/qbaa010","url":null,"abstract":"\u0000 During the 1790s, Emma Hamilton, wife of collector and diplomat Sir William Hamilton, developed an innovative form of performance art, tableaux vivants known as the ‘(Grecian) Attitudes’. Notoriously transgressive both sexually and socially, Emma also transgressed materially, transposing the scenes depicted on Sir William’s vases into a kinaesthetic medium. That performance remains a subaltern or illegitimate mode of relating to ancient material culture (as opposed to visual display) is a cultural bias rooted in economic relations. Outside the context of the Attitudes, contemporaries were anxious to (re)place Emma in terms of class, describing her as promiscuous, ‘common’, and ‘vulgar’. Modern scholarship has proved similarly anxious to limit her agency through the repeated assertion of a ‘Pygmalion’ paradigm in which responsibility for developing the Attitudes is assigned to Sir William. I argue that, on the contrary, Emma should be credited with a mode of embodied reception alternative to that of the collector and connoisseur.","PeriodicalId":43661,"journal":{"name":"BULLETIN OF THE INSTITUTE OF CLASSICAL STUDIES","volume":"67 4","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/bics/qbaa010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72413297","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"List of Figures","authors":"","doi":"10.1093/bics/qbaa003","DOIUrl":"https://doi.org/10.1093/bics/qbaa003","url":null,"abstract":"","PeriodicalId":43661,"journal":{"name":"BULLETIN OF THE INSTITUTE OF CLASSICAL STUDIES","volume":"63 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78444635","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Between 1847 and 1850, the Cambrian Pottery in Swansea made ‘Dillwyn’s Etruscan Ware’, a range of vases copying the designs of red-figure vases found in south Italian and Sicilian tombs. The vases were made for sale to ‘humble homesteads’, but they did not attract buyers and were discontinued. This article explores the economic and commercial milieu in which the Swansea ‘Etruscan’ ware vases were designed and made. It examines relationships between manufacturers’ design choices and their perceptions of the social, cultural, and political aspirations of intended buyers. It establishes the identity of the Cambrian Pottery’s intended customers and shows how practical issues, such as space, display, and utility, could influence buyers’ choices as well as design. Finally, it explores the influence of social, cultural, and religious ideals on domestic decoration in working-class households, and it offers an explanation of why ‘Dillwyn’s Etruscan Ware’ failed.
{"title":"A Greek tragedy? Why ‘Dillwyn’s Etruscan Ware’ failed*","authors":"J. Morgan","doi":"10.1093/bics/qbaa007","DOIUrl":"https://doi.org/10.1093/bics/qbaa007","url":null,"abstract":"\u0000 Between 1847 and 1850, the Cambrian Pottery in Swansea made ‘Dillwyn’s Etruscan Ware’, a range of vases copying the designs of red-figure vases found in south Italian and Sicilian tombs. The vases were made for sale to ‘humble homesteads’, but they did not attract buyers and were discontinued. This article explores the economic and commercial milieu in which the Swansea ‘Etruscan’ ware vases were designed and made. It examines relationships between manufacturers’ design choices and their perceptions of the social, cultural, and political aspirations of intended buyers. It establishes the identity of the Cambrian Pottery’s intended customers and shows how practical issues, such as space, display, and utility, could influence buyers’ choices as well as design. Finally, it explores the influence of social, cultural, and religious ideals on domestic decoration in working-class households, and it offers an explanation of why ‘Dillwyn’s Etruscan Ware’ failed.","PeriodicalId":43661,"journal":{"name":"BULLETIN OF THE INSTITUTE OF CLASSICAL STUDIES","volume":"30 1","pages":"54-71"},"PeriodicalIF":0.1,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74308594","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This contribution explores the changing sensory priorities underpinning the display of Greek painted pottery in European collections. The focus is on the introduction of glass-fronted cabinets in the purpose-designed public museums of art and archaeology of the mid-nineteenth century. Contrary to expectations, the contemporaneous debates surrounding the use of gallery furniture show that the museum stakeholders were less worried about the safety of the objects than the prospect of middle- and working-class visitors being exposed to the sexualized imagery on Athenian pottery. A survey of the different traditions of display in Britain and continental Europe highlights the shift from the multisensory engagements in early modern elite collections with vases as evidence of ancient custom to the selective viewing of the objects’ painted decoration as works of art whose proper interpretation called for classical education.
{"title":"Ancient vases in modern vitrines: the sensory dynamics and social implications of museum display","authors":"Caspar Meyer","doi":"10.1093/bics/qbaa009","DOIUrl":"https://doi.org/10.1093/bics/qbaa009","url":null,"abstract":"\u0000 This contribution explores the changing sensory priorities underpinning the display of Greek painted pottery in European collections. The focus is on the introduction of glass-fronted cabinets in the purpose-designed public museums of art and archaeology of the mid-nineteenth century. Contrary to expectations, the contemporaneous debates surrounding the use of gallery furniture show that the museum stakeholders were less worried about the safety of the objects than the prospect of middle- and working-class visitors being exposed to the sexualized imagery on Athenian pottery. A survey of the different traditions of display in Britain and continental Europe highlights the shift from the multisensory engagements in early modern elite collections with vases as evidence of ancient custom to the selective viewing of the objects’ painted decoration as works of art whose proper interpretation called for classical education.","PeriodicalId":43661,"journal":{"name":"BULLETIN OF THE INSTITUTE OF CLASSICAL STUDIES","volume":"28 1","pages":"91-109"},"PeriodicalIF":0.1,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88047910","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"INTRODUCTION: AESCHYLUS AT PLAY","authors":"LYNDSAY COO, ANNA UHLIG","doi":"10.1111/2041-5370.12103","DOIUrl":"10.1111/2041-5370.12103","url":null,"abstract":"","PeriodicalId":43661,"journal":{"name":"BULLETIN OF THE INSTITUTE OF CLASSICAL STUDIES","volume":"62 2","pages":"1-9"},"PeriodicalIF":0.1,"publicationDate":"2019-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/2041-5370.12103","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80777564","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"ABBREVIATIONS","authors":"","doi":"10.1111/2041-5370.12110","DOIUrl":"10.1111/2041-5370.12110","url":null,"abstract":"","PeriodicalId":43661,"journal":{"name":"BULLETIN OF THE INSTITUTE OF CLASSICAL STUDIES","volume":"62 2","pages":"119"},"PeriodicalIF":0.1,"publicationDate":"2019-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/2041-5370.12110","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83059223","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"TOC & Issue Information","authors":"","doi":"10.1111/2041-5370.12076","DOIUrl":"10.1111/2041-5370.12076","url":null,"abstract":"","PeriodicalId":43661,"journal":{"name":"BULLETIN OF THE INSTITUTE OF CLASSICAL STUDIES","volume":"62 2","pages":"i-viii"},"PeriodicalIF":0.1,"publicationDate":"2019-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/2041-5370.12076","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73277580","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article argues in favour of the view that in Theoroi (a.k.a. Isthmiastai) the satyrs had absconded from Dionysus’ choral training, and dedicate a set of votive masks on Poseidon’s Isthmian temple. I propose that at the end of fr. 78c Dionysus offers them javelins and suggests that they dance a pyrrhikhe. This plot rests on a blurring of the distinctions between satyr, human character, and human performer. I interpret how Aeschylus managed plot, scenery, masks, costume, and language in order to transform this blurring to elicit from the audience humorous reflection on the nature of dramatic innovation and of drama as a representational medium.
{"title":"REPRESENTATION AND NOVELTY IN AESCHYLUS’ THEOROI∗","authors":"OLIVER THOMAS","doi":"10.1111/2041-5370.12107","DOIUrl":"10.1111/2041-5370.12107","url":null,"abstract":"<p>This article argues in favour of the view that in <i>Theoroi</i> (a.k.a. <i>Isthmiastai</i>) the satyrs had absconded from Dionysus’ choral training, and dedicate a set of votive masks on Poseidon’s Isthmian temple. I propose that at the end of fr. 78c Dionysus offers them javelins and suggests that they dance a <i>pyrrhikhe</i>. This plot rests on a blurring of the distinctions between satyr, human character, and human performer. I interpret how Aeschylus managed plot, scenery, masks, costume, and language in order to transform this blurring to elicit from the audience humorous reflection on the nature of dramatic innovation and of drama as a representational medium.</p>","PeriodicalId":43661,"journal":{"name":"BULLETIN OF THE INSTITUTE OF CLASSICAL STUDIES","volume":"62 2","pages":"67-79"},"PeriodicalIF":0.1,"publicationDate":"2019-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/2041-5370.12107","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80834428","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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