The Diniacopoulos Collection itself is extremely important and interesting, not only because of the exciting biographies of the owners Vincent and Olga Diniacopoulos; but because of the variety of its contents and the enormity of the collection that now resides all over the world.
The primary focus of this examination is a ceramic now residing in the Queen's University Collection that was originally a piece from the Diniacopoulos Collection. This vase, specifically a fragmentary loutrophoros, was a special vessel produced for use in two very important Athenian ceremonies, mainly the wedding and funeral. The vase is an extremely interesting, impractically elongated ritual vessel that functioned as a nuptial bathwater carrier for maidens and bachelors before their wedding ceremonies. The vessel also functioned as a grave marker, that commemorated the graves of young females and males who died before marriage. Thus, theloutrophoros had a fascinating involvement in Athenian family rituals, and it also seems to have had a particular association with women. Evidently women were the most dominant characters in these two rituals, as reflected not only in literature but in vase paintings, especially those rendered on loutrophoroi, depicting women in various aspects of wedding and funerary rites.
After an exploration of these two significant Athenian rituals of weddings and funerals, follows an examination of other loutrophoroi with ritual scenes, and a detailed description of thisloutrophoros in the Queen's University Collection. The loutrophoros is certainly Athenian and dates approximately to the high Classical period, ca. 430-420 BCE. While there is a main scene depicting women in a wedding procession on the vase, there are physical characteristics that indicate its practical function as a funerary marker, rather than a nuptial bathwater carrier. A wedding scene on a grave marker seems an odd juxtaposition of content and form, which make this a particularly appealing loutrophoros.
Fundamentally this examination of comparable material evidence, such as other loutrophoroi, pottery fragments and ritual scenes on painted pottery, is useful in discerning not only the function of this loutrophoros, but also the importance of this piece in Greek vase painting. Essentially, due to stylistic and compositional similarities, it is possible to attribute a painted scene of this type to the renowned Washing Painter, a vase painter extremely practiced in the portrayal of Classical wedding scenes on ritual vases such as loutrophoroi.
This thesis studies the life, career and coinage of Sextus Pompeius before the establishment of the Triumvirate in November 43 BC. Sextus Pompeius was one of the most mysterious figures in Roman history, a man whose true role in the civil wars that ended the Roman Republic remains elusive. His reception by later generations has been largely shaped and determined through his portrayal by his enemies, most notably the emperor Augustus, the last man standing after the civil wars finally ended. As a leader in the opposition to Caesar, and Caesar's successors, the triumvirs, Sextus Pompeius held out longer, and posed a greater threat, than any of his fellow opposition leaders. History does not, however, remember him for his pietas and his military successes, but, beginning with the propaganda of Augustus himself, for his alleged role as a pirate king and leader of slaves. This thesis will seek to better our understanding of this unique figure in Roman history by studying the earlier life, career and coinage of Sextus Pompeius before the establishment of the Triumvirate and his occupation of Sicily from 42 BC to 36 BC. By concentrating on the period of his rise to power, which has been largely neglected and ignored by previous scholars, it is hoped that our knowledge of his development into the leading opposition figure will remove some of the mystery that surrounds Sextus Pompeius.
The skyphos, a drinking cup, is painted in the Attic black-figure style, which dates its construction to the period between the mid-sixth century BC and the mid-fifth century BC. Indeed, the vessel has also been unofficially connected with the CHC Group of Attic black-figure artists. The primary focus of this thesis will be to test the artistic attribution of the skyphos which will by extension considerably narrow the date range for the vessel's construction.
The initial stages of this thesis examine the known history and features of this skyphos, and the conservation process employed after its arrival at Queen's. The main body of the work, in keeping with the investigation's primary focus, compares the vessel to other contemporary works in order to assess its place amongst the known corpus of Attic black-figure pottery.