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Pre-Historic Section
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Epigraphical Section
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Minor islands Section
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Classical Section
  indice Ground Floor
  indice Middle Floor
    -   Theatrical Masks Section
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Paleontology of the Quaternary Section
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Foto Gallery
Classical Section
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Visit to Museum - Classical Section - Middle Floor - -

The Middle Floor (Rooms: XXI - XXV) offers a wide selection of grave goods coming from the great necropolis of contrada Diana. That is, a valid and rich documentation where it is possible to FIG. 12 - Calyx-krater of the Maron Painter depicting an episode of Homer’s Odyssey (l’Odissea di Omero). Ulysses receives from Maron, priest of Apollo, the wineskin containing the wine which is to inebriate Polifemoreconstruct the entire pottery production process and the art of Greek, Sicilian and FIG. 13 - Calyx-krater of the Adrastos Painter depicting the prelude to the tragedy Le Trachinie of Sophocles. Herakles crowned by Nike, Deianira and attendant, Acheloos, Oineus.Italian vases painting frm the VI century B.C. until 252/251 B.C.
The variegated production is represented both by the more demanding works: the large craters, often depicting mythological scenes (Fig. 12) or from theatrical derivations (Fig.13), as well as from those that are more FIG. 14 - Lekythoicommon: the lekythoi (Fig.14), the kylikes (Fig.15), the skyphoi (Fig.16), and the lekanai (Fig.17).FIG. 19 - Black figured skyphos and lekythos
It begins with the equipment of VI century B.C.. (Room: XXI), in which the presence of Attic pottery prevails over Corinthian pottery (Fig.18) and of Ionic imitation. There is a prevalence of of tableware made of black-figured pottery on a red clay background (Fig.19) or, in some cases, on a white background of an Attic or Sicilian production.FIG. 20 - Red figured column-krater of the painter Pig Painter
Even in the grave-goods of V century B.C.. continues the copious presence of Attic pottery, however there is also copious pottery of local production or from general greek-Sicily production.
type.  There prevail red-figured pottery, mostly craters (Fig.20); lekythoi, also FIG. 23 - Statuettes: woman about to bathe a boy; group with an important person banqueting and woman sittingon white background (Fig.21); ); little animals-shaped figurines (Fig.22), as well as a small group of statuettes depicting “scenes” of domestic life (Fig.23) and some objects in bronze: mirrors (Fig.24), strigils (Fig.25), a hydria decorated with a female bust on the boarder (Fig.26).
The grave-goods of the first half of IV century B.C.. are evidence of the intense activity of thFIG. 28 - Red-figured calyx-krater of the circle of the Painter of Siracusa. Alkmena on the stake (side A); Giasone and Medea (side B)e local workshops, not only of pottery but also of coroplastics.  Preference is given to the large vases, craters, used as cinerary urns for burials, illustrated differently with scenes that go back the cult of Dionysus (Fig.27), of mythical scenes (Fig.28) or with specific theatrical scenes (Fig.29).
FIG. 30 - Red-figured LekanaiIn room XXII is displayed the equipment that can be FIG. 31 - Skyphoid pyxisdated from to the second twentyfive years of the IV century B.C.. to the end of the century. In these now prevails the production of local or at least Sicilian pottery. Abundant are the red-figured pottery with a predilection for the lekane (Fig.30) and the pisside skyphoide (Fig.31).
Also widely documented is the display of pottery with decorations painted by overlaying from the so-called “Gnathia Style” (from the name of an Apulian city where there flourished the production of this class of pottery), characterised by ornamental motifs achieved with the use of additional colours (white, yellow, red) and subjected to a second firing. (Fig.32). 
FIG. 33 - The production of the Lipari PainterAn entire room, room XXIV, is dedicated to the grave goods of first half of III century B.C., that is, to the ‘Ceramica Figurata Policroma’ of the Aeolian workshops of the so-called “Painter of Lipari(Fig.33) and of his students and followers. That is, the "Pittore della FIG. 34 - The production of the Painter of the white sphendoneSphendone Bianca" (Painter of the White Sphendone) (Fig.34), the "Pittore delle Tre Nikai" (Painter of the Three Nikai) (Fig.35), the "Pittore della Colomba" (Painter of the Dove) (Fig.36), the "Pittore di Falcone" (Painter of the Falcon) (Fig.37). Here we have a FIG. 37 - The production of the Falcone Painterparticular painting technique that unites, with the traditional one “using red figures”, a bright gamma of colours, white, yellow, red, blue, mostly applied using a tempera technique after the firing process. The subjects represented are for the most part features of the female and religious world; the most frequent pot forms are the lekanai, the lebetes gamikoi, the pissidi skiphoidi. 
The necropolis of Lipari has also returned an exceptional corpus of characters in terracottas of local production, amply and suggestively documented in Room XXIII dedicated to the theatrical terrecottas.
It features terracottas of the “Tragedia” (Tragedy), of the “Dramma Satiresco” (Satirical Drama) and of the “Commedia Antica” (Ancient Comedy); of statuettes of the “Commedia di Mezzo” (Comedy of the Middle); masks of the “Commedia Nuova” (New Commedy), chronologically distributed through the beginnings of the IV and the first half of the III century B.C. To these are added some sacred terracottas, coming from the Sanctuary outside the town of the ex major property in contrada Diana: statuettes, pinakes, busts, flowers.
FIG. 38 - Reconstruction of a stretch of the Greek necropolis of contrada DianaThe visit to the Middle Floor concludes with room XXV, dedicated to the reconstruction of a sector of the Greek necropolis of contrada Diana
(Fig.38), with tombs of various typologies: chest-shaped clay sarcophagi, chests in uncooked bricks, lithic sarcophagi, tomb “a cappuccina”, chronologically placed between VI and IV century B.C.

 

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