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Every picture on this site, with its author, licence and source. All are from Wikimedia Commons or another site whose licence allows reuse.

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Bibliography, a glossary of every term, work and name, licences, how to cite this site, what comes next, and the credits for every picture.

  • Red-figure vase painting: Alcaeus, bearded, holding a barbitos, faces Sappho, who also holds a barbitos.

    Alcaeus and Sappho, side A of an Attic red-figure kalathos by the Brygos Painter, c. 470 BC, from Akragas (Sicily). Munich, Staatliche Antikensammlungen 2416.

    Brygos Painter; photo: Bibi Saint-Pol · Public domain · via Wikimedia Commons

    File:Alkaios Sappho Staatliche Antikensammlungen 2416 n1.jpg

  • Red-figure vase painting: Alcaeus, bearded, holding a barbitos, faces Sappho, who also holds a barbitos.

    Alcaeus and Sappho, side A of an Attic red-figure kalathos by the Brygos Painter, c. 470 BC, from Akragas (Sicily). Munich, Staatliche Antikensammlungen 2416.

    Brygos Painter; photo: Bibi Saint-Pol · Public domain · via Wikimedia Commons

    File:Alkaios Sappho Staatliche Antikensammlungen 2416 n2.jpg

  • The whole red-figure kalathos, with Alcaeus and Sappho standing face to face, each holding a barbitos.

    Alcaeus and Sappho, side A of an Attic red-figure kalathos by the Brygos Painter, c. 470 BC, from Akragas (Sicily). Munich, Staatliche Antikensammlungen 2416.

    Brygos Painter; photo: Bibi Saint-Pol · Public domain · via Wikimedia Commons · background removed

    File:Alkaios Sappho Staatliche Antikensammlungen 2416 full.jpg

  • Painted terracotta relief: a seated figure holding a barbitos faces a standing figure.

    Man and woman conversing, perhaps Alcaeus and Sappho: Melian terracotta relief plaque, c. 460 BC, from a tomb on Melos. London, British Museum GR 1842.7-28.1132.

    Marie-Lan Nguyen (Jastrow) · CC BY 2.5 · via Wikimedia Commons · background removed

    File:Alkaios Sappho BM GR1842.7-28.1132.jpg

  • Papyrus fragments with lines of Greek text.

    Sappho's poem on old age (the 'Tithonus poem'), lines 9–20, on the Cologne papyrus P.Köln XI 429, 3rd century BC: a copy of the Cologne exhibit shown in the Altes Museum, Berlin.

    Masur · CC BY-SA 2.5 · via Wikimedia Commons · background removed

    File:P.Köln XI 429.jpg

  • Papyrus fragment with a few lines of Greek capitals and a sign in the margin.

    P.Oxy. X 1231 fr. 56, 2nd century AD: the end of the first book of Sappho's collected poems, with a coronis. Plate from Grenfell and Hunt, The Oxyrhynchus Papyri X (1914).

    Egypt Exploration Fund (B. P. Grenfell and A. S. Hunt, 1914) · Public domain · via Wikimedia Commons · background removed

    File:P.Oxy. X 1231 fr. 56.jpg

  • Several brown papyrus fragments with Greek text, mounted side by side.

    Papyrus Oxyrhynchus 1231 (Oxford, Bodleian Library, MS. Gr. class. c. 76(P)1/2), 2nd century AD: parts of Sappho frr. 15, 16, 17, 18 and 30 (Voigt), from Book I of the Alexandrian edition.

    Bodleian Libraries, Oxford (source of the photograph) · Public domain · via Wikimedia Commons · background removed

    File:P. Oxy. 1231.jpg

  • Papyrus fragment with a column of Greek text.

    P.Oxy. XVII 2076, 2nd century AD (Oxford, Sackler Library): Sappho, Book II, part of fr. 44 (Voigt).

    Oxyrhynchus Papyri online database, Oxford (source of the image) · Public domain · via Wikimedia Commons · background removed

    File:Sappho poem POxyXVII 2076.jpg

  • Tall papyrus fragment with a column of Greek text.

    Papyrus Oxyrhynchus 7 (British Library Papyrus 739), 3rd century AD, found at Oxyrhynchus in 1897: part of Sappho fr. 5 (Voigt).

    British Library (source of the photograph) · Public domain · via Wikimedia Commons · background removed

    File:British Library papyrus 739.jpg

  • Line drawing of a woman in a long robe holding a barbitos.

    Sappho holding a barbitos: drawing of a Six's-technique kalpis by the Sappho Painter, c. 510 BC (Warsaw, National Museum), the earliest surviving depiction of Sappho; from D. M. Robinson, Sappho and Her Influence (1924).

    D. M. Robinson (1924), after the Sappho Painter · Public domain · via Wikimedia Commons

    File:Warsaw sappho vase.png

  • White-ground painting of a seated woman in a red cloak holding a stringed instrument.

    Muse tuning two kitharai: interior of an Attic white-ground cup by the Hesiod Painter, c. 470–460 BC, from Eretria. Paris, Louvre CA 482.

    Hesiod Painter; photo: Jastrow · Public domain · via Wikimedia Commons

    File:Muse lyre Louvre CA482.jpg

  • Red-figure cup interior: a standing woman holding a lyre and auloi before a seated woman.

    Women with lyres and auloi: interior of an Attic red-figure kylix by the Painter of Louvre G 456, c. 450 BC, from Vulci. Bologna, Museo Civico Archeologico PU 271.

    Painter of Louvre G 456; photo: ArchaiOptix · CC BY-SA 4.0 · via Wikimedia Commons

    File:Painter of Louvre G 456 - ARV 825 19 - women with lyrai and auloi - Bologna MCA PU 271 - 01.jpg

  • Wall painting of men reclining on couches at a drinking party.

    Symposium: fresco from a side wall of the Tomb of the Diver, Paestum, 5th century BC. Paestum, Archaeological Museum.

    Carole Raddato · CC BY-SA 2.0 · via Wikimedia Commons

    File:Fresco painting from lateral walls of the Tomb of the Diver depicting a symposium scene, 5th century BC, Paestum Archaeological Museum.jpg

  • Mosaic panel with the head of a bearded man and a Greek name label.

    Imaginary portrait of the poet Alcman, from the border of a Roman floor mosaic at Gerasa (Jerash, Jordan), late 2nd–3rd century AD, which also showed other Greek authors, the Seasons and the Muses.

    ellenm1 (Flickr) · CC BY 2.0 · via Wikimedia Commons

    File:Mosaic Portrait of the Poet Alcman.jpg

  • Marble statue of a standing bearded man.

    Statue of Anacreon from Monte Calvo, 2nd century AD. Copenhagen, Ny Carlsberg Glyptotek IN 491.

    ChrisO · CC BY-SA 3.0 · via Wikimedia Commons · background removed

    File:Anacreon monte calvo.jpg

  • Red-figure cup interior: a reveller carrying a long-armed barbitos.

    Komast with a barbitos: Attic red-figure kylix by the Chairias Painter, c. 510–500 BC. Athens, Ancient Agora Museum P 24115.

    Chairias Painter; photo: Zde · CC BY-SA 4.0 · via Wikimedia Commons

    File:Red-figure kylix, Chairias Painter, Komast with barbiton, AGMA, 225321x.jpg

  • Marble relief: a man reclining on a couch and a woman seated beside him.

    Relief stele, c. 500 BC, showing the poet Archilochus on a couch with his seated wife, as the museum identifies it. Paros, Archaeological Museum A 758.

    Olaf Tausch · CC BY 3.0 · via Wikimedia Commons · background removed

    File:Parikia Archäologisches Museum Relief Archilochos 01.jpg

  • Papyrus column with Greek text in capitals.

    Herodas, Mimiamb 1.1–15, in choliambs, Hipponax's metre: column i of the London papyrus (P.Lit.Lond. 96 = British Museum Papyrus CXXXV), from E. Scott's facsimile (1892).

    E. Scott (facsimile, 1892) · Public domain · via Wikimedia Commons · background removed

    File:000 P.Lit.Lond. 96 col. i.jpg

  • Red-figure cup interior: a youth on a couch holding pipes, a girl standing before him.

    Symposium: a reclining youth holds one aulos and hands another to a female dancer; kalos inscription 'Philip is the most beautiful'. Tondo of an Attic red-figure kylix by the Brygos Painter, c. 490–480 BC, from Vulci. London, British Museum E 68.

    Brygos Painter; photo: Jastrow · Public domain · via Wikimedia Commons

    File:Symposium BM E68.jpg

  • Red-figure cup interior: two men reclining on a couch, one playing the auloi, the other with his head thrown back.

    Symposium: tondo of an Attic red-figure kylix by the Brygos Painter, from Vulci. Vatican, Museo Gregoriano Etrusco 16582.

    Brygos Painter; photo: Mark Landon · CC BY 4.0 · via Wikimedia Commons

    File:Vatican Mus 16582 Brygos Painter kylix symposium.jpg

  • Two long, dark wooden pipes in a museum case.

    Two auloi of sycamore wood, c. 500 BC, said to be from Athens. London, British Museum 1816,0610.502.

    Simon Speed · Public domain · via Wikimedia Commons

    File:2AuloiBritishMuseum.JPG

  • Red-figure cup: Heracles attacks the triple-bodied warrior Geryon, who carries several shields.

    Heracles fighting Geryon, the subject of Stesichorus' Geryoneis: side A of an Attic red-figure kylix painted by Euphronios (potter Kachrylion), 510–500 BC, from Vulci. Munich, Staatliche Antikensammlungen 2620.

    Euphronios (painter), Kachrylion (potter); photo: Bibi Saint-Pol · Public domain · via Wikimedia Commons

    File:Herakles Geryon Staatliche Antikensammlungen 2620.jpg

  • Many small papyrus fragments with Greek text, mounted together.

    P.Oxy. XXXII 2617: fragments of Stesichorus' Geryoneis.

    Oxyrhynchus Papyri online database, Oxford (source of the image) · Public domain · via Wikimedia Commons · background removed

    File:POxy XXXII 2617.jpg

  • Photograph of papyrus fragments with Greek text and a curved sign in the margin.

    P.Oxy. XV 1790 frr. 2+3, late 2nd or early 1st century BC: Ibycus, with a coronis that probably marks the end of a book. Plate from Grenfell and Hunt, The Oxyrhynchus Papyri XV (1922).

    Egypt Exploration Society (B. P. Grenfell and A. S. Hunt, 1922) · Public domain · via Wikimedia Commons

    File:P.Oxy. XV 1790 fr. 2+3 detail.jpg

  • A stone slab set in the ground, inscribed with two lines of Greek capitals.

    Memorial stone at Thermopylae inscribed with the epitaph for the Spartans, words of Simonides: Ὦ ξεῖν’, ἀγγέλλειν Λακεδαιμονίοις ὅτι τῇδε / κείμεθα, τοῖς κείνων ῥήμασι πειθόμενοι.

    Sofie Debognies (uploaded by Napoleon Vier, Dutch Wikipedia) · CC BY-SA 3.0 · via Wikimedia Commons

    File:InscriptieTherm.jpg

  • Marble bust of a bearded man with short hair.

    Bust of Pindar: marble, Roman copy after a Greek original of the 5th century BC. Rome, Musei Capitolini MC 586.

    photo: Jastrow · Public domain · via Wikimedia Commons

    File:Pindar Musei Capitolini MC586.jpg

  • Photograph of a papyrus strip with lines of Greek text and a curved sign in the margin.

    P.Oxy. IV 659 col. i: Pindar, Partheneion, with a coronis marking the end of a strophe. Plate from Grenfell and Hunt, The Oxyrhynchus Papyri IV (1904).

    Egypt Exploration Fund (B. P. Grenfell and A. S. Hunt, 1904) · Public domain · via Wikimedia Commons

    File:P.Oxy. IV 659 col. i detail.jpg

  • Black-figure amphora: two youths on a low platform, one playing pipes, and a draped man.

    Musical contest: on a platform a youth plays the auloi before a draped man (judge or trainer). Attic black-figure amphora by the Edinburgh Painter, c. 490 BC, from Nola. London, British Museum 1849,0620.9.

    Edinburgh Painter; photo: ArchaiOptix · CC BY-SA 4.0 · via Wikimedia Commons · background removed

    File:Edinburgh Painter - ABV 477 - youths playing auloi - London BM 1849-0620-9.jpg

  • Column of Greek capitals on papyrus, in short lines one beneath another.

    Bacchylides, Dithyramb XVIII lines 17–49, in London, British Library, Papyrus 733 (2nd century AD).

    British Library Papyrus 733 (reproduction) · Public domain · via Wikimedia Commons

    File:Bacchylides, Dithyrambs, Papyrus 733.jpg

  • Papyrus fragment with Greek text.

    P.Oxy. XI 1361 fr. 4: Bacchylides. Plate from Grenfell and Hunt, The Oxyrhynchus Papyri XI (1915).

    Egypt Exploration Society (B. P. Grenfell and A. S. Hunt, 1915) · Public domain · via Wikimedia Commons · background removed

    File:P.Oxy. XI 1361 fr. 4.jpg

  • Front and back views of a marble statuette of a draped woman; the base is inscribed ΚΟΡΙΝΝΑ.

    Statuette of Corinna, her name ΚΟΡΙΝΝΑ inscribed on the base (Museum of Compiègne): plate from Revue archéologique 32 (1898), pl. V.

    Phototypie Berthaud, Paris (Revue archéologique, 1898) · Public domain · via Wikimedia Commons · background removed

    File:Statue of Corinna (Revue archéologique 1898 32,V).jpg

  • Papyrus column with Greek text, damaged at the edges.

    P.Berol. 13284, col. iii, 1st or 2nd century AD, from Hermopolis: Corinna's 'Contest of Helicon and Cithaeron' and 'Daughters of Asopus' (PMG 654). Plate from W. Schubart, Papyri Graecae Berolinenses (1911), pl. 29a.

    W. Schubart (plate, 1911) · Public domain · via Wikimedia Commons

    File:P. Berol. 13284.png

  • Wide papyrus sheet with several columns of Greek text.

    Timotheus, Persians, lines 193–247: Berlin, Ägyptisches Museum, Papyrus 9875, 4th century BC.

    Berlin Papyrus 9875 (reproduction) · Public domain · via Wikimedia Commons

    File:Timotheus of Miletus, Persians, Papyrus 9875.jpg

  • A long strip of papyrus with columns of Greek writing.

    Papyrus Berlin 9875, with part of Timotheus' Persians: scan by the Staatliche Museen zu Berlin.

    Sandra Steiß (scan), Staatliche Museen zu Berlin · CC BY-SA 4.0 · via Wikimedia Commons

    File:Papyrus Berlin 9875.jpg

  • Detail of papyrus with Greek capitals and an ornate sign in the margin.

    Column v of the Berlin Timotheus papyrus (P.Berol. inv. 9875), with a coronis. Plate from W. Schubart, Papyri Graecae Berolinenses (1911).

    W. Schubart (plate, 1911) · Public domain · via Wikimedia Commons

    File:P.Berol. inv. 9875 col. v coronis.jpg

  • Red-figure amphora: a man in a long robe plays a large kithara before a seated man.

    A bearded kitharode stands between two columns before a seated man with a staff (judge or listener): Attic red-figure amphora by the Syleus Painter, c. 470 BC. Würzburg, Martin von Wagner Museum L 509.

    Syleus Painter; photo: ArchaiOptix · CC BY-SA 4.0 · via Wikimedia Commons

    File:Syleus Painter ARV 249 5 kitharode and man - trainer and jumper 01.jpg

  • Marble bust of an old bearded man with a headband and closed eyes.

    Marble bust of Homer: Roman copy of a lost Hellenistic original of the 2nd century BC, from Baiae. London, British Museum.

    JW1805 (English Wikipedia) · Public domain · via Wikimedia Commons

    File:Homer British Museum.jpg

  • Marble head of a bearded man with closed eyes.

    Head of Homer, 'Epimenides type': Roman copy after a Greek original of the 5th century BC. Munich, Glyptothek 273.

    Bibi Saint-Pol · Public domain · via Wikimedia Commons · background removed

    File:Homeros Glyptothek Munich 273.jpg

  • A long strip of papyrus with several columns of Greek text.

    The Bankes Homer, a papyrus roll of the 2nd century AD. London, British Library, Papyrus 114 (P.Lond.Lit. 28).

    British Library (digitised image) · Public domain · via Wikimedia Commons

    File:The Bankes Homer (Papyrus 114 = P. Lond. Lit. 28).jpg

  • Papyrus with columns of Greek text.

    Homer, Iliad 2.757–775: Oxford, Bodleian Library, Papyrus Hawara 24–28, 2nd century AD.

    Bodleian Library papyrus (reproduction) · Public domain · via Wikimedia Commons

    File:Homer, Iliad, Papyrus Hawara 24-28.jpg

  • Brown papyrus fragment with a column of Greek text.

    Papyrus Oxyrhynchus 551 (Princeton University Library, AM 4405), 2nd century AD: Homer, Iliad 14.227–253 and 256–263.

    Princeton University Library (source of the image) · Public domain · via Wikimedia Commons · background removed

    File:Papyrus Oxyrhynchus 551 - Princeton University Library, AM 4405 - Homer, Iliad XIV,227–253,256–263.jpg

  • Manuscript page: the text of the poem in the centre, surrounded by commentary.

    Folio 24 recto of the Venetus A (Venice, Biblioteca Marciana, Marcianus Graecus Z. 454 = 822), the Iliad with its scholia.

    Homer Multitext project (source of the image) · Public domain · via Wikimedia Commons

    File:VA024RN-0025.jpg

  • Marble relief in several tiers: figures on a mountain above, a seated figure receiving a procession below.

    The 'Apotheosis of Homer', relief signed by Archelaos of Priene, c. 225–205 BC, probably made in Alexandria: Homer enthroned at the bottom, with History, Poetry, Tragedy and Comedy approaching; Muses in the middle tiers, Zeus at the top. London, British Museum 2191.

    Archelaos of Priene (signed); photo: Marie-Lan Nguyen · Public domain · via Wikimedia Commons · background removed

    File:Apotheosis Homer BM 2191.jpg

  • Mosaic portrait of a bearded man with his name in Latin letters.

    Hesiod, labelled ESIODVS, on the Monnus mosaic from a Roman house in Trier, late 3rd century AD, with literary figures, Muses, theatre masks and the months. Trier, Rheinisches Landesmuseum, inv. 10703–10724.

    Carole Raddato · CC BY-SA 2.0 · via Wikimedia Commons

    File:Monnus Mosaic, detail of Hesiod (ESIO-DVS) from a Roman Domus in Augusta Treverorum (Trier), end of the 3rd century AD, Rheinisches Landesmuseum Trier, Germany (30038562895).jpg

  • White-ground oil flask: a seated woman plays a lyre; the rock beneath her is inscribed.

    A Muse playing the lyre, seated on a rock inscribed ΗΛΙΚΟΝ (Helicon): Attic white-ground lekythos by the Achilles Painter, 440–430 BC. Munich, Staatliche Antikensammlungen S 80.

    Achilles Painter; photo: Matthias Kabel · CC BY 2.5 · via Wikimedia Commons · background removed

    File:Mousai Helikon Staatliche Antikensammlungen Schoen80 full.jpg

  • Manuscript page: a few lines of the poem surrounded by dense commentary.

    Hesiod, Works and Days 209–224, with scholia by Manuel Moschopoulos: Venice, Biblioteca Marciana, gr. 464, fol. 26v (1316).

    Biblioteca Marciana manuscript (reproduction) · Public domain · via Wikimedia Commons

    File:Hesiod, Works and Days, Venice, Gr. 464.jpg

  • Papyrus fragment with Greek text.

    Hesiod, Works and Days 172–195 (detail): Papyrus Oxyrhynchus 3223.

    Monsieursven · CC0 · via Wikimedia Commons · background removed

    File:Oxy45.n3223.Détail.jpg

  • White-ground cup: a seated god in white and red robes holds a tortoise-shell lyre and pours from a bowl; a black bird stands before him.

    Apollo, wreathed, seated on a lion-footed stool, holds a lyre and pours a libation; a black bird faces him. Tondo of an Attic white-ground kylix attributed to the Pistoxenos Painter (or the Berlin Painter, or Onesimos), from a tomb at Delphi. Delphi, Archaeological Museum 8140.

    photo: Zde · CC BY-SA 4.0 · via Wikimedia Commons

    File:Kylix with Apollo, AM of Delphi 8140, 201390.jpg

  • Manuscript page with a single column of Greek minuscule.

    Homeric Hymn to Demeter 187–236: Leiden University Libraries, BPG 33 H, fol. 33r (15th-century manuscript).

    Leiden University Libraries · Public domain · via Wikimedia Commons

    File:Leiden BPG 33 H fol 33r - Homeric Hymn to Demeter 187-236.jpg

  • Marble herm bust of a bearded man.

    Herm of Aeschylus: Roman marble of about 30 BC after a Greek bronze of 340–320 BC. Naples, Museo Archeologico Nazionale (photographed at the exhibition 'Klassik', Berlin, 2002).

    Zde · CC BY-SA 4.0 · via Wikimedia Commons · background removed

    File:Herma of Aeschylus, Klas08.jpg

  • Stone tiers of seats rising around a circular orchestra.

    The ancient theatre of Epidaurus.

    Zde · CC BY-SA 4.0 · via Wikimedia Commons

    File:Theatre of Epidaurus, 091172.jpg

  • Marble head of a bearded man with curly hair.

    Bust of Sophocles, Roman copy after a Greek original of 270 BC (date as the file page gives it). Copenhagen, Ny Carlsberg Glyptotek IN 608.

    Wolfgang Sauber · CC BY-SA 3.0 · via Wikimedia Commons

    File:Ny Carlsberg Glyptothek - Sophokles.jpg

  • Marble statue of a bearded man standing wrapped in a cloak.

    Statue of Sophocles from Terracina: Roman marble of about 30 BC after a Greek bronze of 340–330 BC (photographed at the exhibition 'Klassik', Berlin, 2002).

    Zde · CC BY-SA 4.0 · via Wikimedia Commons

    File:Sophocles, Roman Age marble statue after Greek original, Klas07.jpg

  • Marble bust of a bearded man with long hair.

    Bust of Euripides: Roman copy after a Greek original of about 330 BC. Vatican, Museo Pio-Clementino (Hall of the Muses), inv. 302.

    Marie-Lan Nguyen · Public domain · via Wikimedia Commons

    File:Euripides Pio-Clementino Inv302.jpg

  • Marble statuette of a seated man; behind him a panel inscribed with columns of play titles.

    Seated statuette of Euripides, identified by an inscription on the base; on the panel behind are listed some of his plays. Marble, 2nd century AD, found on the Esquiline, Rome, in 1704; the head is restored after a bust in Naples. Paris, Louvre Ma 343.

    photo: Jastrow · Public domain · via Wikimedia Commons

    File:Seated Euripides Louvre Ma343.jpg

  • Manuscript page in Greek minuscule.

    Euripides, Cyclops, with its hypothesis: Florence, Biblioteca Medicea Laurenziana, Plut. 32.2, fol. 84r (14th century).

    Biblioteca Medicea Laurenziana (digitised image) · Public domain · via Wikimedia Commons

    File:Euripides - Cyclops - Biblioteca Medicea Laurenziana (Plut.32.2 (84r)).jpg

  • Small papyrus fragment with seven lines of Greek text and musical signs above them.

    Euripides, Orestes 338–344, from a choral song, with vocal and instrumental notation above the words: papyrus written around 200 BC at Hermopolis. Vienna, Austrian National Library.

    Austrian National Library, via the World Digital Library · Public domain · via Wikimedia Commons · background removed

    File:Orestes 338-44 WDL4309.png

  • Manuscript page: a few lines of the play surrounded by commentary.

    Euripides, Orestes 1–23 with scholia: Oxford, Bodleian Library, MS. Barocci 120, fol. 32r (early 14th century).

    Bodleian Library manuscript (reproduction) · Public domain · via Wikimedia Commons

    File:Euripides, Orestes, Oxford, MS. Barocci 120.jpg

  • Red-figure vase: an old woman with a bowl approaches a man seated on an altar holding a sword and a wineskin.

    Parody of Euripides' Telephos as in Aristophanes' Thesmophoriazusae, played as a phlyax farce: a man kneeling on an altar threatens a wineskin dressed as a baby; an old woman holds a cup. Apulian red-figure bell-krater by the Schiller Painter, c. 370 BC. Würzburg, Martin von Wagner Museum H 5697.

    Schiller Painter; photo: ArchaiOptix · CC BY-SA 4.0 · via Wikimedia Commons

    File:Schiller Painter - RVAp 4-4a - Thesmophoriazousai as phlyax play - youths - Würzburg MvWM H 5697 - 04.jpg

  • Manuscript page: the text of the play with commentary around it.

    Aristophanes, Frogs, with scholia: Vatican, Biblioteca Apostolica Vaticana, Vat. gr. 918, fol. 116v (1362).

    Biblioteca Apostolica Vaticana manuscript (reproduction) · Public domain · via Wikimedia Commons

    File:Aristophanes, The Frogs, Vaticanus graecus 918.jpg

  • Marble relief: a seated man holds up a mask; more masks lie on a table before him.

    Relief of a seated poet (Menander) with masks of New Comedy (youth, false maiden, old man): Roman, 1st century BC – early 1st century AD. Princeton University Art Museum y1951-1.

    Dave & Margie Hill / Kleerup · Public domain · via Wikimedia Commons

    File:Relief with Menander and New Comedy Masks - Princeton Art Museum.jpg

  • Marble portrait head of a clean-shaven man.

    Portrait of Menander, Roman copy of the early 2nd century AD. Vatican Museums, inv. 1453.

    Rabax63 · CC BY-SA 4.0 · via Wikimedia Commons · background removed

    File:Menander (Vatikanische Museen).jpg

  • Large red-figure volute-krater covered with figures of actors in costume, some holding masks.

    The Pronomos vase: the cast of a satyr play with Dionysos and Ariadne, actors holding their masks, and the aulos-player Pronomos seated playing. Attic red-figure volute-krater by the Pronomos Painter, c. 410–400/390 BC, from Ruvo. Naples, Museo Archeologico Nazionale 81673.

    Pronomos Painter; photo: ArchaiOptix · CC BY-SA 4.0 · via Wikimedia Commons · background removed

    File:Pronomos Painter - ARV 1336 1 - satyr play with Herakles - Dionysos and Ariadne with satyrs and maenads - Napoli MAN 81673 - 01.jpg

  • Red-figure krater with two friezes: gods above, a piper and dancers below.

    Attic red-figure calyx-krater by the Niobid Painter, c. 460–450 BC: the creation of Pandora above; below, an aulos-player and a dancing chorus. London, British Museum 1856,1213.1.

    Niobid Painter; photo: ArchaiOptix · CC BY-SA 4.0 · via Wikimedia Commons

    File:Niobid Painter ARV 601 23 creation of Pandora - chorus of women - Pans - satyrs and maenad (01).jpg

  • Black bucket-shaped vase painted with a small figure of a costumed comic actor.

    Gnathian situla with a comic actor, attributed to the workshop of the Konnakis Painter, 360–350 BC. Malibu, J. Paul Getty Museum 96.AE.118.

    Workshop of the Konnakis Painter; photo: Rémi Mathis · CC BY-SA 3.0 · via Wikimedia Commons · background removed

    File:Getty Villa - Comic with a comic actor - inv. 96.AE.118.jpg

  • Mosaic of two theatre masks, one tragic and one comic.

    Mosaic with masks of tragedy and comedy, Roman, 2nd century AD. Rome, Musei Capitolini.

    antmoose (photo; uploaded by Wetman) · Public domain · via Wikimedia Commons

    File:Tragic comic masks - roman mosaic.jpg

  • Ruins of a stone theatre seen from above, with rows of seats around the orchestra.

    The theatre of Dionysus on the south slope of the Acropolis, Athens.

    Jebulon · CC0 · via Wikimedia Commons

    File:Theatre of Dionysus Acropolis Athens Greece.jpg

  • White-ground oil flask with a black-figure woman playing double pipes.

    Maenad playing the aulos: Attic black-figure white-ground lekythos. Palermo, Museo archeologico regionale NI 1883.

    Marie-Lan Nguyen · Public domain · via Wikimedia Commons

    File:Maenad aulos MAR Palermo NI1883.jpg

  • Papyrus fragments with Greek text in a display case.

    Papyrus from Oxyrhynchus with Erinna's Distaff, c. AD 190: Florence, Biblioteca Medicea Laurenziana, PSI IX 1090.

    Sailko · CC BY 3.0 · via Wikimedia Commons

    File:Ossirinco, frammento di papiro con alakata (conocchia) di erinna, 190 dc ca. (psi IX 1090).jpg

  • Red-figure oil flask: a standing woman spinning thread.

    Woman spinning, with a wool basket (kalathos) on the ground: Attic red-figure lekythos by the Triptolemos Painter, 480–470 BC. Palermo, Museo archeologico regionale NI 2149.

    Triptolemos Painter; photo: Marie-Lan Nguyen (Jastrow) · CC BY 2.5 · via Wikimedia Commons

    File:Woman spinning MAR Palermo NI2149.jpg

  • Marble relief of a girl holding two doves.

    Grave stele of a little girl with doves, Greek, c. 450–440 BC. New York, Metropolitan Museum of Art 27.45.

    Metropolitan Museum of Art · CC0 · via Wikimedia Commons · background removed

    File:Marble grave stele of a little girl MET DT279.jpg

  • Manuscript page in Greek minuscule.

    Heidelberg, Universitätsbibliothek, Cod. Pal. graec. 23, fol. 5r: the Palatine Anthology, the Byzantine collection of Greek epigrams (2nd half of the 9th – 1st half of the 10th century) in which Moero's epigrams survive.

    Universitätsbibliothek Heidelberg (digitisation) · CC BY-SA 3.0 de · via Wikimedia Commons

    File:Cod. Pal. graec. 23, Anthologia Palatina, 5r.jpg

  • Terracotta relief plaque: a god and goddess seated side by side on a throne.

    Terracotta pinax with Hades and Persephone, from Locri (Mannella), first half of the 5th century BC. Reggio Calabria, Museo Archeologico Nazionale.

    Fabien Bièvre-Perrin · CC BY-SA 4.0 · via Wikimedia Commons · background removed

    File:Pinax con Ade e Persefone, da Locri - MARC.jpg

  • Marble statue of a woman in motion, her drapery swirling.

    Dancing female figure, thought to be a portrait of Praxilla of Sicyon, from the portico of the Triclinium of the Three Exedras at Hadrian's Villa, AD 117–138. Rome, Palazzo Massimo alle Terme.

    Carole Raddato · CC BY-SA 2.0 · via Wikimedia Commons · background removed

    File:Dancing female figure, thought to be a portrait of Praxilla of Sikyon (a Greek lyric poet), from the portico of the Triclinium of the Three Exedras at Hadrian's Villa, 117 - 138 AD, Palazzo Massimo alle Terme, Rome (22573628774).jpg

  • Marble relief: a standing woman, one arm raised, with a reclining female figure at her feet.

    Roma and Ge: relief from the Sebasteion at Aphrodisias, 1st century AD. Aphrodisias Museum.

    Dosseman · CC BY-SA 4.0 · via Wikimedia Commons · background removed

    File:Aphrodisias Museum Roma and Gea 4635.jpg

  • Close view of a colossal stone leg covered with lines of carved inscriptions.

    Greek inscriptions carved on the Colossi of Memnon at western Thebes (Luxor), the statues on which Balbilla's epigrams are inscribed. Scanned slide, August 1985.

    Bernard Dupont · CC BY-SA 2.0 · via Wikimedia Commons

    File:Ancient Greek Graffiti ... (36688175375).jpg

  • Engraving of a colossal stone leg and foot covered with copied inscriptions.

    The inscribed left leg of one of the two colossal statues of Amenhotep III (the Colossi of Memnon) at Luxor, with its inscriptions copied: from Richard Pococke, A Description of the East (London, 1743–1745).

    Richard Pococke · Public domain · via Wikimedia Commons

    File:Memnonis crus alterum - Pococke Richard - 1743.jpg

  • Papyrus fragment with Greek text.

    Callimachus, Coma Berenices: papyrus fragment, 1st century BC. Florence, Biblioteca Medicea Laurenziana, PSI 1092.

    Biblioteca Medicea Laurenziana papyrus (reproduction) · Public domain · via Wikimedia Commons

    File:Callimachus, Coma Berenices, papyrus.jpg

  • Manuscript page: lines of verse with commentary in the margins.

    Theocritus, Poems, with scholia by Manuel Moschopoulos: Ferrara, Biblioteca Comunale Ariostea, Cod. II 155, fol. 14r (1336/1337).

    Biblioteca Comunale Ariostea manuscript (reproduction) · Public domain · via Wikimedia Commons

    File:Theocritus, Ferrara, II,155.jpg

  • Manuscript page with a poem drawn as a panpipe of shrinking lines, and a small drawing of figures below.

    The Syrinx of Theocritus, a pattern poem written in lines of shrinking length like the pipes of a panpipe: Paris, Bibliothèque nationale de France, gr. 2832, fol. 46r (before 1500).

    Bibliothèque nationale de France (Gallica) · Public domain · via Wikimedia Commons

    File:Theocritus - Syrinx (Parisinus Graecus 2832).jpg

  • Long marble sarcophagus front carved with nine standing women.

    The 'Muses Sarcophagus', with the nine Muses and their attributes: marble, first half of the 2nd century AD, found by the Via Ostiense. Paris, Louvre MR 880.

    photo: Jastrow · Public domain · via Wikimedia Commons

    File:Muses sarcophagus Louvre MR880.jpg

  • Red-figure drinking cup with figures of teachers and pupils.

    School scenes on an Attic red-figure kylix by Douris, c. 480 BC, found at Cerveteri. Berlin, Antikensammlung (Altes Museum) F 2285.

    Douris; photo: Marcus Cyron · CC BY-SA 3.0 · via Wikimedia Commons · background removed

    File:School cup by Douris Antikensammlung Berlin.jpg

  • Red-figure vase painting: a bearded teacher and a boy, each seated with a lyre; more lyres hang on the wall.

    A lyre lesson: a bearded man and a boy, each with a lyre, on the outside of the school cup by Douris (potter Python), c. 485–480 BC, from Cerveteri. Berlin, Antikensammlung F 2285.

    Douris; photo: ArchaiOptix · CC BY-SA 4.0 · via Wikimedia Commons

    File:Douris ARV 431 48 athlete - school scenes (04).jpg

  • Red-figure detail: a seated man plays the double pipes while a boy stands before him.

    A lesson on the auloi: detail of the school cup by Douris (potter Python), c. 485–480 BC, whose outside shows lessons in reading and writing, singing, and playing the lyre and the auloi. Berlin, Altes Museum F 2285.

    Douris; photo: ArchaiOptix · CC BY-SA 4.0 · via Wikimedia Commons

    File:Douris ARV 431 48 athlete - school scenes (05).jpg

  • Black amphora with a single red figure of a young man in a long robe, head thrown back, playing a large kithara.

    Young man singing and playing the kithara: Attic red-figure amphora by the Berlin Painter, c. 490 BC. New York, Metropolitan Museum of Art 56.171.38.

    Berlin Painter; Metropolitan Museum of Art · CC0 · via Wikimedia Commons · background removed

    File:Terracotta amphora (jar) MET DT272.jpg

  • Red-figure cup interior: a figure playing the double pipes.

    Aulos player: tondo of an Attic red-figure kylix signed by Brygos as potter and painted by the Brygos Painter, c. 490 BC, from Vulci. Paris, Louvre G 313.

    Brygos Painter; photo: Bibi Saint-Pol · Public domain · via Wikimedia Commons · background removed

    File:Aulos player Louvre G313.jpg

  • Manuscript pages in Greek minuscule.

    Aristoxenus, Elements of Harmony: Vatican, Biblioteca Apostolica Vaticana, Vat. gr. 191, fol. 299r (1296).

    Biblioteca Apostolica Vaticana manuscript (reproduction) · Public domain · via Wikimedia Commons

    File:Aristoxenus, Elements of Harmony, Vaticanus graecus 191.jpg

  • A lyre with a tortoise-shell sound box and two curved arms.

    Replica of a chelys, the tortoise-shell lyre, built by Kostas Kotsanas: Museum of Ancient Greek Technology (shown at Heraklion, Crete, July 2022).

    Eunostos · CC BY-SA 4.0 · via Wikimedia Commons

    File:Chelys, ancient Greek lyra, Museum of ancient Greek technology 01.jpg

  • Inscribed stone blocks set into a museum wall, with faint lines of small Greek letters.

    Blocks from the south wall of the Athenian Treasury at Delphi, inscribed with the two hymns to Apollo by Athenaios and Limenios (128/127 BC) and their musical notation. Delphi, Archaeological Museum.

    Zde · CC BY-SA 4.0 · via Wikimedia Commons

    File:Delphic hymns to Apollo, 128 BC, inscription in AM of Delphi, 201386.jpg

  • A marble column inscribed with lines of Greek text.

    The Seikilos epitaph, a funerary column inscribed with a short song and its musical notation. Copenhagen, National Museum of Denmark.

    Artem.G · CC BY-SA 4.0 · via Wikimedia Commons · background removed

    File:Seikilos epitaph 04.jpg

  • A tall, narrow strip of papyrus with the beginnings of lines of Greek text.

    Papyrus Oxyrhynchus 2288, 2nd century AD: part of Sappho's Hymn to Aphrodite (fr. 1).

    Oxyrhynchus Papyri online database, Oxford (source of the image) · Public domain · via Wikimedia Commons · background removed

    File:P.Oxy.v0021.n2288.jpg

  • Several torn pieces of parchment with faded lines of Greek text, laid out side by side.

    P.Berol. 9722, a parchment of the 6th or 7th century AD preserving parts of several poems by Sappho (frr. 92–97 Voigt), among them frr. 94 and 96.

    Berliner Papyrusdatenbank, Staatliche Museen zu Berlin (source of the image) · Public domain · via Wikimedia Commons · background removed

    File:P. Berol. 9722 side1.jpg

  • A brown papyrus fragment with several lines of Greek text.

    Papyrus Oxyrhynchus 8, 2nd century AD: a fragment of a poem in hexameters ascribed to Alcman.

    Unknown (photograph of the papyrus) · Public domain · via Wikimedia Commons

    File:P. Oxy. 8.jpg

  • A manuscript page densely written in Greek minuscule.

    Dionysius of Halicarnassus, On the Arrangement of Words (De compositione verborum): Vatican, Biblioteca Apostolica Vaticana, Vat. gr. 64, fol. 231r (1269/1270).

    Biblioteca Apostolica Vaticana manuscript (reproduction) · Public domain · via Wikimedia Commons

    File:Dionysius of Halicarnassus, De compositione verborum, Vaticanus graecus 64.jpg

  • A damaged papyrus sheet with lines of Greek and Latin in a cursive hand.

    Babrius, with a Latin translation: papyrus of the 3rd or 4th century AD (P.Amherst II 26, Morgan Library). Plate from B. P. Grenfell and A. S. Hunt, The Amherst Papyri II (1901).

    B. P. Grenfell and A. S. Hunt (plate, 1901) · Public domain · via Wikimedia Commons · background removed

    File:PAmherst II 26.jpg

  • Red-figure vase painting: a seated youth and a seated bearded man, each holding a lyre, with a standing boy between them.

    A music lesson: the teacher (inscribed ΣΜΙΚΥΔΟΣ, right) and his pupil (ΕΥΔΥΜΙΔΕΣ, left), both with lyres; between them a boy (ΤΛΕΜΠΟΜΕΝΟΣ) recites a text. Attic red-figure hydria by Phintias, c. 510 BC, from Vulci. Munich, Staatliche Antikensammlungen SH 2421.

    Phintias; photo: Bibi Saint-Pol · Public domain · via Wikimedia Commons

    File:Music lesson Staatliche Antikensammlungen 2421.jpg

  • Black-figure amphora: four nude men running in a line, arms swinging.

    Foot-race with four runners: side B of a black-figure Panathenaic amphora attributed to the Euphiletos Painter, from southern Italy or Sicily. London, British Museum B 137 (1836,0224.177).

    Euphiletos Painter (attributed); photo: Jastrow · Public domain · via Wikimedia Commons · background removed

    File:Panathenaic amphora BM B137.jpg

  • Map of Greece, the Aegean and western Asia Minor, coloured by dialect group.

    The dialects of ancient Greek in the classical period (the western colonies are not shown): map by Future Perfect at Sunrise after R. D. Woodard (2008).

    Future Perfect at Sunrise (Wikimedia Commons) · Public domain · via Wikimedia Commons

    File:AncientGreekDialects (Woodard) en.svg

  • A king seated on a throne, an old man in a long robe approaching him, attendants around.

    Chryses tries to ransom his daughter Chryseis from Agamemnon: side A of an Apulian red-figure volute-krater by the Painter of Athens 1714, c. 360–350 BC, found at Taranto. Paris, Louvre K 1.

    Painter of Athens 1714; photo: Jastrow · Public domain · via Wikimedia Commons

    File:Chryses Agamemnon Louvre K1.jpg

  • A red-figure amphora: a young warrior fastening his armour between an old man with a staff and a woman.

    Hector arming for battle between his father Priam and his mother Hecabe, each named in an inscription; Attic red-figure amphora signed by Euthymides, c. 510–500 BC, from Vulci. Munich, Staatliche Antikensammlungen 2307.

    Euthymides (painter); photo: ArchaiOptix · CC BY-SA 4.0 · via Wikimedia Commons · background removed

    File:Euthymides ARV 26 1 Hector arming - komos (02).jpg

  • A detail of an early painted amphora: a man in white raising a long stake.

    The Polyphemus amphora (detail): Odysseus raising the stake to blind Polyphemus.

    Davide Mauro · CC BY 3.0 · via Wikimedia Commons

    File:Polyphemus amphora (detail).jpg

  • A bronze helmet covering the whole face, with eye openings and a nose guard.

    Bronze helmet of Corinthian type, Greek, early 6th century BC. New York, Metropolitan Museum of Art.

    Metropolitan Museum of Art (Open Access) · CC0 · via Wikimedia Commons · background removed

    File:Bronze helmet of Corinthian type MET DP105637.jpg

  • A damaged painted manuscript page crowded with warriors, horses and shields.

    Fighting scenes from the Ambrosian Iliad, an illustrated manuscript of the Iliad of about AD 500. Milan, Biblioteca Ambrosiana, Cod. F. 205 Inf.

    Unknown illustrator (c. AD 500) · Public domain · via Wikimedia Commons

    File:Ambrosian Iliad (Milan, Biblioteca Ambrosiana, Cod. F. 205 Inf.).jpg

  • A round painting inside a cup: one warrior binds the arm of another, who sits turning his head away.

    Achilles bandaging Patroclus, wounded by an arrow, both named by inscriptions: tondo of an Attic red-figure kylix signed by Sosias as potter, c. 500 BC, from Vulci. Berlin, Antikensammlung F 2278.

    Sosias (potter); Sosias Painter; photo: Bibi Saint-Pol · Public domain · via Wikimedia Commons

    File:Akhilleus Patroklos Antikensammlung Berlin F2278.jpg

  • A marble head of a bearded man in a pointed cap, looking up.

    Head of Odysseus from the marble group of the blinding of Polyphemus, probably 1st century AD, from the villa of Tiberius at Sperlonga. Sperlonga, Museo Archeologico Nazionale.

    Jastrow · Public domain · via Wikimedia Commons

    File:Head Odysseus MAR Sperlonga.jpg

  • Two walkers on a snowy mountainside under a blue sky.

    Ascent on Mount Helicon in Boeotia, in winter.

    Constantinos Gofas · CC BY 3.0 · via Wikimedia Commons

    File:Helikonmountainascent.JPG

  • A painting: a winged Muse embraces a young poet holding a lyre.

    Gustave Moreau, Hesiod and the Muse, 1891.

    Gustave Moreau · Public domain · via Wikimedia Commons

    File:Moreau, Gustave - Hésiode et la Muse - 1891.jpg

  • A marble relief of a seated man and a woman whose cloak billows over them, with a small winged figure.

    Aphrodite and Anchises: a relief from the Sebasteion at Aphrodisias. Aphrodisias Museum.

    Dosseman · CC BY-SA 4.0 · via Wikimedia Commons · background removed

    File:Aphrodisias Museum Anchises and Aphrodite 4649.jpg

  • A tall marble relief: two women facing each other with a boy between them.

    The Great Eleusinian Relief: Demeter and Persephone with the boy Triptolemus, 5th century BC. Athens, National Archaeological Museum 126.

    Yair Haklai · CC BY-SA 4.0 · via Wikimedia Commons

    File:Great Eleusinian relief (NAMA 126).jpg

  • A reddish potsherd covered with lines of faded Greek handwriting.

    PSI XIII 1300: an ostrakon (potsherd) of the 3rd–2nd century BC from Egypt, preserving four stanzas of Sappho fr. 2. Florence, Biblioteca Medicea Laurenziana.

    Sailko · CC BY 3.0 · via Wikimedia Commons · background removed

    File:Ostrakon PSI XIII 1300, II sec. ac, frammento di un'ode di saffo sul culto di afrodite.JPG

  • Two standing columns and the foundations of a large temple in green countryside.

    The temple of Artemis at Sardis (modern Sart, Turkey).

    simonjenkins (Flickr) · CC BY-SA 2.0 · via Wikimedia Commons

    File:Temple of Artemis Sardis Turkey.jpg

  • A round painting inside a cup: two figures recline on a couch, a cup in hand.

    A man and a woman reclining on a couch at a banquet: tondo of an Attic red-figure kylix signed by Hieron as potter, attributed to Makron, c. 490 BC. New York, Metropolitan Museum of Art 1979.11.8.

    Hieron (potter); Makron (painter); photo: Marie-Lan Nguyen · CC BY 2.5 · via Wikimedia Commons

    File:Banqueters Met 1979.11.8.jpg

  • Rows of stone foundations of a temple among trees.

    Remains of an ancient temple at Messa (Mesa), Lesbos.

    Tedmek · Public domain · via Wikimedia Commons

    File:Lesbos Messa01.JPG

  • A black-figure amphora: a horse and a youth beside it, with other figures.

    Castor and Pollux, the Dioscuri: Attic black-figure amphora by Exekias, c. 540–530 BC, from Vulci (the other side shows Achilles and Ajax playing a board game). Vatican, Museo Gregoriano Etrusco.

    Exekias; photo: Sailko · CC BY-SA 3.0 · via Wikimedia Commons

    File:Exekias, anfora con achille e aiace che giocano a dai, castore e polluce, da vulci, 540-30 ac ca. 05.JPG

  • A cobbled path beside old stone walls and a tower, with yellow flowers.

    The outer walls of the fortress of Mytilene, Lesbos.

    Katsiaryna Naliuka · CC BY-SA 3.0 · via Wikimedia Commons

    File:Fortress of Mytilini, Lesvos 1.jpg

  • A black-figure amphora: two wrestlers grappling between two onlookers.

    Wrestlers on a pseudo-Panathenaic amphora. Madrid, Museo Arqueológico Nacional 32647.

    Mark Landon · CC BY 4.0 · via Wikimedia Commons

    File:Pseudo-Panathenaic amphora - wrestlers (Madrid MAN 32647).jpg

  • A well-preserved Doric temple in a dry landscape.

    The 'Temple of Concordia' at Agrigento (ancient Acragas), Sicily.

    Berthold Werner · CC BY-SA 3.0 · via Wikimedia Commons

    File:Temple of Concordia, Agrigento BW 2012-10-07 13-09-13.jpg

  • A black-figure amphora: two naked fighters locked together, a judge with a rod beside them.

    Pankratiasts fighting under the eyes of a judge: side B of a Panathenaic prize amphora by the Kleophrades Painter, c. 500 BC. New York, Metropolitan Museum of Art 16.71.

    Kleophrades Painter; photo: Marie-Lan Nguyen · CC BY 2.5 · via Wikimedia Commons

    File:Pankration Met 16.71.jpg

  • Marble statues of standing men, the central one taller, in a museum gallery.

    The central figures of the east pediment of the temple of Zeus at Olympia: Zeus between Pelops and Oenomaus before their chariot race.

    Melissopetra · CC BY-SA 4.0 · via Wikimedia Commons

    File:Central figures of the east pediment of the Temple of Zeus at Olympia.jpg

  • Two volcanic cones with a plume of smoke under a blue sky.

    A weak Strombolian eruption of Etna, 12 April 2012.

    Walter Isack · CC BY-SA 3.0 at · via Wikimedia Commons

    File:Etna eruptions April 2012.JPG

  • A marble relief of three naked women embracing, the middle one seen from behind.

    The Three Graces (Charites): a relief from the Sebasteion at Aphrodisias, 1st century AD. Aphrodisias Museum.

    Dosseman · CC BY-SA 4.0 · via Wikimedia Commons

    File:Aphrodisias Museum Three Graces 4652.jpg

  • A painted cup interior: a seated king under an awning, workers weighing bales on a large balance.

    King Arkesilas of Cyrene watching the weighing and storing of goods (wool or silphium): tondo of a Laconian black-figure cup by the Arkesilas Painter, c. 565–560 BC, found at Vulci. Paris, Cabinet des Médailles 189.

    Arkesilas Painter; photo: Marie-Lan Nguyen (cropped, colours adjusted on Commons) · CC BY-SA 2.5 · via Wikimedia Commons

    File:Arkesilas Cup Cdm Paris DeRidder189 n2 cropped white balanced colors lightly enhanced.png

  • Stone seating rising along a long racetrack under pine trees.

    The stadium at Delphi.

    Bernard Gagnon · CC BY-SA 4.0 · via Wikimedia Commons

    File:Stadium of Delphi 02.jpg

  • A bronze racehorse at full gallop with a small boy rider.

    The Artemision jockey, bronze, recovered from the sea off Cape Artemision in Euboea. Athens, National Archaeological Museum.

    Marsyas · CC BY 2.5 · via Wikimedia Commons · background removed

    File:NAMA Jockey Artémision.jpg

  • A red-figure amphora: a king enthroned on a pyre pours a libation while a man lights the wood.

    Croesus on the pyre: side A of an Attic red-figure amphora by Myson, c. 500–490 BC, from Vulci. Paris, Louvre G 197.

    Myson; photo: Bibi Saint-Pol · Public domain · via Wikimedia Commons

    File:Kroisos stake Louvre G197.jpg

  • A round painting inside a cup: a youth stands before a seated goddess, Athena between them.

    Theseus and Amphitrite, with Athena looking on: interior of an Attic red-figure cup signed by Euphronios as potter, painted by Onesimos, 500–490 BC, from Cerveteri. Paris, Louvre G 104.

    Euphronios (potter); Onesimos (painter); photo: Bibi Saint-Pol · Public domain · via Wikimedia Commons

    File:Theseus Athena Amphitrite Louvre G104.jpg

  • A round cup painting: a young man bends down a pine tree and grips the arm of a bearded man.

    Theseus and Sinis: interior of an Attic red-figure cup by the Elpinikos Painter, c. 490 BC. Munich, Staatliche Antikensammlungen 8771.

    Elpinikos Painter; photo: ArchaiOptix · CC BY-SA 4.0 · via Wikimedia Commons

    File:Elpinikos Painter ARV 119 3extra Theseus and Sinis 07.jpg

  • A stone tunnel with a round arch opening on to a sunlit track.

    The vaulted entrance to the stadium at Olympia.

    Annatsach · CC BY-SA 4.0 · via Wikimedia Commons

    File:Olympia - Stadium - 1 (entrance).jpg

  • A black-figure vase: two boxers squaring up between two onlookers.

    Boxers: side B of an Attic black-figure amphora of Panathenaic shape by the Antimenes Painter, c. 520 BC. New York, Metropolitan Museum of Art 06.1021.51.

    Antimenes Painter; photo: Marie-Lan Nguyen · CC BY 2.5 · via Wikimedia Commons

    File:Boxers Panathenaic Met 06.1021.51.jpg

  • Two rows of standing Doric columns in a grassy field.

    The Tavole Palatine at Metapontum (Metaponto).

    Carole Mage · CC BY-SA 2.0 · via Wikimedia Commons

    File:Tavole Palatine (Metaponto).jpg

  • A black-figure amphora with a charioteer driving four galloping horses.

    A four-horse chariot race: Panathenaic prize amphora by the Kleophrades Painter, 490–480 BC. Los Angeles, J. Paul Getty Museum.

    Kleophrades Painter; image: J. Paul Getty Museum (Open Content) · CC0 · via Wikimedia Commons · background removed

    File:Getty Open Image kleophrades-painter-attic-panathenaic-amphora-greek-attic-490-480-bc depicting four horse chariot race 00871101.png

  • A large black-figure amphora neck: a hero grasps a centaur by the hair.

    Heracles killing the centaur Nessus, both named: neck of the Nessos amphora, Attic black-figure, c. 620–600 BC, from Athens. Athens, National Archaeological Museum 1002.

    Nessos Painter; photo: ArchaiOptix · CC BY-SA 4.0 · via Wikimedia Commons

    File:Nessos Painter - ABV 4 1 - Herakles and Nessos - the three Gorgons - Athens NM 1002 - 03.jpg

  • A line drawing from a vase: a god attacks a giant covered in eyes beside a heifer.

    Hermes kills Argus, the many-eyed guard of Io: drawing of an Athenian red-figure vase of the 5th century BC, from W. H. Roscher's Lexikon (1890).

    W. H. Roscher (1890) · Public domain · via Wikimedia Commons

    File:Hermes Io Argus.jpg

  • A Doric temple on a rise, its columns standing against a blue sky.

    The temple of Aphaia on Aegina.

    Paweł Szubert · CC BY-SA 3.0 · via Wikimedia Commons

    File:Aegina - Temple of Aphaia 01.jpg

  • A white hill town at dusk, its houses climbing a slope.

    Ioulis (Iulis) on the island of Kea (Ceos).

    Michael Paraskevas · CC BY-SA 3.0 · via Wikimedia Commons

    File:Ioulis at Kea (Tzia) Island - panoramio.jpg

  • A massive stone gateway with a relief of two lions above the lintel.

    The Lion Gate at Mycenae.

    Andreas Trepte · CC BY-SA 2.5 · via Wikimedia Commons

    File:Lions-Gate-Mycenae.jpg

  • A bronze statue of a bearded god, striding, with one arm stretched forward ready to throw.

    Bronze statue of Zeus (or Poseidon), c. 460 BC, found in the sea off Cape Artemision. Athens, National Archaeological Museum X 15161.

    Jebulon · CC0 · via Wikimedia Commons · background removed

    File:Bronze Zeus or Poseidon NAMA X 15161 Athens Greece.jpg

  • A Roman wall painting: two men carry a girl towards an altar; a veiled man turns away.

    The sacrifice of Iphigenia: Calchas watches, Agamemnon covers his head, Artemis appears with the hind. Roman wall painting, 1st century AD. Naples, Museo Archeologico Nazionale 9112.

    Unknown painter; photo: Jebulon · Public domain · via Wikimedia Commons

    File:MANNapoli 9112 Sacrifice Iphigenia painting.jpg

  • A faded wall painting: a warrior seizes a woman by a statue; other figures watch.

    Ajax drags Cassandra from the Palladium before the eyes of Priam: Roman wall painting.

    Unknown painter · Public domain · via Wikimedia Commons

    File:Ajax drags Cassandra from Palladium.jpg

  • A cup with a painting inside: a traveller seated before a sphinx on a column.

    Oedipus questioned by the Sphinx: Attic red-figure kylix by the Oedipus Painter, 470–460 BC. Vatican, Museo Gregoriano Etrusco 16541.

    Oedipus Painter; photo: Daderot · Public domain · via Wikimedia Commons

    File:Oedipus being questioned by the Sphinx, Attic red-figured kylix, by the Oedipus Painter, 470-460 BC, inv. 16541 - Museo Gregoriano Etrusco - Vatican Museums - DSC01041.jpg

  • Columns and foundations of a temple on a mountain slope, visitors on the path.

    The temple of Apollo at Delphi.

    Berthold Werner · CC BY-SA 3.0 · via Wikimedia Commons

    File:Delphi BW 2017-10-08 11-38-38.jpg

  • A red-figure vase: a young man sits on a rock, a bow beside him.

    Philoctetes on Lemnos: Attic red-figure squat lekythos, c. 420 BC. New York, Metropolitan Museum of Art 56.171.58.

    Photo: Marie-Lan Nguyen · CC BY 2.5 · via Wikimedia Commons

    File:Philoktetes Lemnos Met 56.171.58.jpg

  • A black-figure vase: a warrior crouches, planting a sword in the ground; his shield and helmet stand by.

    Ajax preparing his suicide: Attic black-figure amphora by Exekias, c. 530–525 BC. Boulogne-sur-Mer, Château-musée.

    Exekias; photo: Ptyx · CC BY-SA 3.0 · via Wikimedia Commons

    File:Exekias Suicide d Ajax 01.jpg

  • A small clay figure of a winged boy sitting on a rock.

    Seated Eros, terracotta, Greek, probably Attic, first half of the 4th century BC. New York, Metropolitan Museum of Art.

    Metropolitan Museum of Art (Open Access) · CC0 · via Wikimedia Commons · background removed

    File:Terracotta Eros MET DP339424.jpg

  • A black-figure amphora: a bearded god with a cup faces two women dancing arm in arm.

    Dionysus (named) and two maenads, one holding a hare: Attic black-figure amphora signed by Amasis as potter, c. 540 BC. Paris, Cabinet des Médailles 222.

    Amasis (potter); Amasis Painter; photo: Bibi Saint-Pol · Public domain · via Wikimedia Commons

    File:Dionysos Mainades Cdm Paris 222.jpg

  • A red-figure krater: a woman in a sun-ringed chariot drawn by snakes above figures and an altar.

    Medea escapes in a chariot drawn by serpents, her dead sons on the altar below and Jason looking on: red-figure calyx-krater attributed to near the Policoro Painter, c. 400 BC. Cleveland Museum of Art.

    Near the Policoro Painter; photo: Tim Evanson · CC BY-SA 2.0 · via Wikimedia Commons · background removed

    File:Calyx-Krater - Cleveland Museum of Art - 2014-11-26 (17743590402).jpg

  • A cup seen from above: in the centre a satyr plays pipes before Dionysus.

    Kylix by Makron, signed by Hieron as potter, c. 490–480 BC: inside, a satyr playing the auloi and Dionysus; outside, women dancing round the image of Dionysus. Berlin, Antikensammlung F 2290.

    Hieron (potter); Makron (painter); photo: ArchaiOptix · CC BY-SA 4.0 · via Wikimedia Commons

    File:Makron ARV 462 48 satyr and Dionysos - women or maenads at the Lenaia (01).jpg

  • A round lid painted with women pulling apart a man's body.

    Pentheus torn apart by Agave and Ino: lid of an Attic red-figure lekanis, c. 450–425 BC. Paris, Louvre G 445.

    Photo: Bibi Saint-Pol · Public domain · via Wikimedia Commons · background removed

    File:Death Pentheus Louvre G445 full.jpg

  • A wooded hill seen from above, with the city of Athens behind.

    The Pnyx, Athens, seen from the Acropolis.

    Peulle · CC BY-SA 4.0 · via Wikimedia Commons

    File:Pnyx seen from Acropolis in 2017 (2).jpg

  • A marble portrait head of a bearded, snub-nosed man.

    Portrait of Socrates, marble, Roman, 1st century AD, perhaps a copy of a bronze by Lysippus. Paris, Louvre.

    Photo: Eric Gaba (Sting) · CC BY-SA 2.5 · via Wikimedia Commons

    File:Socrates Louvre.jpg

  • A black-figure jug: a piper and two dancers in bird costume.

    A bearded man playing the auloi and two performers dressed as birds: Attic black-figure oinochoe by the Gela Painter, c. 510–480 BC. London, British Museum B 509.

    Gela Painter; photo: ArchaiOptix · CC BY-SA 4.0 · via Wikimedia Commons · background removed

    File:Gela Painter - ABV 473 - theatrical chorus of birds - London BM 1842-0728-787 - 01.jpg

  • A fine mosaic of masked musicians with a tambourine, cymbals and double pipe.

    Street musicians in theatrical masks, a scene from a comedy: mosaic signed by Dioskourides of Samos, 1st century BC, from the 'Villa of Cicero' at Pompeii. Naples, Museo Archeologico Nazionale.

    Dioskourides of Samos; photo: Carole Raddato · CC BY-SA 2.0 · via Wikimedia Commons

    File:Mosaic depicting street musicians, signed by Dioskourides of Samos, it was found in the so-called Villa of Cicero near the ancient city of Pompeii, 1st century BC, Naples National Archaeological Museum.jpg

  • A floor mosaic with three figures in a panel with a Greek inscription.

    Mosaics from the House of Menander at Mytilene. Mytilene, Archaeological Museum.

    Tomisti · CC BY-SA 4.0 · via Wikimedia Commons

    File:Archaeological Museum of Mytilene - House of Menander 03.jpg

  • A long wooden warship with banks of oar ports and a raised stern, moored in a marina.

    The Olympias, a reconstruction of an ancient Athenian trireme. Flisvos marina, Palaio Faliro.

    George E. Koronaios · CC BY-SA 4.0 · via Wikimedia Commons

    File:The trireme Olympias on 23 February 2019.jpg

  • A single reconstructed column among ruins, a mosque and a castle on the hill behind.

    The site of the temple of Artemis at Ephesus (Selçuk); behind, the İsa Bey mosque and the citadel of Ayasuluk.

    Roy Egloff · CC BY-SA 4.0 · via Wikimedia Commons

    File:TR.IZ.Selcuk Ephesus 2011-10-04 Temple-of-Artemis 07 3x2-R 5K.jpg

  • Stone walls on a dry hillside.

    Hellenistic fortifications of Minoa, Katapola, Amorgos.

    Phso2 · CC BY 3.0 · via Wikimedia Commons

    File:Ruins of Minoa (Amorgos).JPG

  • A marble bust of a bearded man.

    The so-called 'Solon': Roman marble bust, from the Farnese collection. Naples, Museo Archeologico Nazionale.

    Photo: Sailko · CC BY-SA 3.0 · via Wikimedia Commons · background removed

    File:Ignoto, c.d. solone, replica del 90 dc ca da orig. greco del 110 ac. ca, 6143.JPG

  • A painted frieze of armoured soldiers with round shields advancing, a piper among them.

    Hoplites go into battle to the music of the auloi: detail of the Chigi vase, 7th century BC.

    Chigi Painter · Public domain · via Wikimedia Commons

    File:Detail from the Chigi-vase.jpg

  • A red-figure detail: a bent, shrivelled old man leaning on a stick.

    Geras, Old Age personified, son of Night: detail of an Attic red-figure pelike by the Geras Painter, c. 480–470 BC. Paris, Louvre G 234.

    Geras Painter; photo: Jastrow · Public domain · via Wikimedia Commons

    File:Pelike Geras Louvre G234.jpg

  • A black amphora with a single red figure of an athlete holding a discus.

    A discus-thrower: amphora of Panathenaic shape by the Berlin Painter, c. 500–490 BC, from Vulci. Munich, Staatliche Antikensammlungen 2310.

    Berlin Painter; photo: ArchaiOptix · CC BY-SA 4.0 · via Wikimedia Commons

    File:Berlin Painter ARV 197 6 discus thrower - jumper (01).jpg

  • A red-figure vase: a young man with a lyre seated between a woman and a winged boy.

    Aphrodite and Adonis: Attic red-figure squat lekythos by Aison, c. 410 BC. Paris, Louvre MNB 2109.

    Aison; photo: Jastrow · Public domain · via Wikimedia Commons

    File:Aphrodite Adonis Louvre MNB2109.jpg

  • Two marble statues of striding men, one raising his arm to strike.

    The Tyrannicides, Harmodius and Aristogeiton: Roman copy of a group of about 475 BC, from Hadrian's villa at Tivoli. Naples, Museo Archeologico Nazionale.

    Ismoon · CC BY-SA 4.0 · via Wikimedia Commons

    File:Harmodius and Aristogeiton group (Naples).jpg

  • Grassy slopes of an excavated theatre in the countryside.

    The ancient theatre of Sicyon, as excavated.

    George E. Koronaios · CC0 · via Wikimedia Commons

    File:The Theatre of Sicyon on April 8, 2019.jpg

  • Scattered foundation blocks of a temple in a field, a village church behind.

    The site of the temple of Athena Alea at Tegea.

    Gregor Hagedorn · CC BY-SA 4.0 · via Wikimedia Commons

    File:Archaeological site of the Temple of Athena Alea at Tegea (2017, image 1).jpg

  • Low stone foundations of a temple among dry grass and trees.

    The Ionic temple at Marasà, Locri Epizephyrii, first half of the 5th century BC.

    Jacopo Werther · CC BY-SA 4.0 · via Wikimedia Commons

    File:Tempio Ionico di Marasà (Locri Epizefiri) - Locri (Reggio Calabria) - 6 June 2009.jpg

  • A manuscript page of small Greek handwriting.

    The Palatine Anthology: Codex Palatinus graecus 23, folio 5 recto, 9th–10th century. Heidelberg, Universitätsbibliothek.

    Byzantine copyist; digitisation: Universitätsbibliothek Heidelberg · CC BY-SA 3.0 de · via Wikimedia Commons

    File:Cod. Pal. graec. 23, Anthologia Palatina, 5r.jpg

  • A clay relief: a goddess and two men building a ship.

    The building of the Argo: Athena adjusts the sail, Tiphys holds the yard, Argus works on the stern. Roman terracotta relief, probably 1st century AD. London, British Museum.

    Photo: Jastrow · CC BY 2.5 · via Wikimedia Commons

    File:Building Argo BM TerrD603.jpg

  • A marble statue of a kneeling man carrying a large globe on his shoulders.

    The Farnese Atlas: Roman copy, 2nd century AD, of a Hellenistic original. Naples, Museo Archeologico Nazionale.

    Gabriel Seah · CC BY-SA 3.0 · via Wikimedia Commons

    File:Atlas (Farnese Globe).jpg

  • A painted manuscript page: Orion the hunter with a club and cloak, studded with stars.

    Orion, from the Leiden Aratea, a Carolingian manuscript of the Latin version of Aratus (after 825), folio 58v. Leiden, Universiteitsbibliotheek, Voss. lat. Q 79.

    Carolingian illuminator; scan: David Stapleton · Public domain · via Wikimedia Commons

    File:LeidenArateaFOlio48vOrion.jpg

  • A marble base with a relief of a woman offering a wrapped object to a seated figure.

    Base with reliefs of the birth of Zeus. Rome, Musei Capitolini 1944.

    Mark Landon · CC BY 4.0 · via Wikimedia Commons

    File:Base with reliefs of the birth of Zeus (Rome Mus Cap 1944) 03.jpg

  • A stone relief of a woman riding a bull over the sea.

    Europa on the bull, with two dolphins for the sea beneath: metope from Selinunte, Sicily, 6th–7th century BC. Palermo, Museo Archeologico.

    Bjs · CC0 · via Wikimedia Commons · background removed

    File:Europa on the bull, Palermo Museo Archeologico.jpg

  • A manuscript page in two columns of Greek minuscule.

    Nonnus, Dionysiaca, in the manuscript Florence, Biblioteca Medicea Laurenziana, Plut. 32.16, fol. 92r (1280).

    Biblioteca Medicea Laurenziana (scan) · Public domain · via Wikimedia Commons

    File:Nonnus, Dionysiaca, Florence, Plut. 32,16.jpg

  • A painted ceramic jar inscribed THERIAC.

    Albarello (drug jar) for theriac, Italy, 1641. Wellcome Collection.

    Wellcome Collection · CC BY 4.0 · via Wikimedia Commons · background removed

    File:Albarello vase for theriac, Italy, 1641 Wellcome L0057175.jpg

  • An engraved portrait of a bearded man.

    Galen: line engraving. Wellcome Collection.

    Wellcome Collection · CC BY 4.0 · via Wikimedia Commons

    File:Galen. Line engraving. Wellcome L0012587.jpg

  • Two huge seated stone statues in a dusty plain.

    The Colossi of Memnon at Thebes (Luxor), Egypt.

    Marc Ryckaert · CC BY 3.0 · via Wikimedia Commons

    File:Colossi of Memnon R02.jpg

  • Foundations of a temple in the plain, seen from a hill.

    Himera, Sicily: the Temple of Victory seen from the Antiquarium.

    Clemensfranz · CC BY 2.5 · via Wikimedia Commons

    File:Himera Viktoriatempel.jpg

  • Low ruined walls in a grassy field, mountains behind.

    The remains of the temple of Artemis Orthia at Sparta.

    George E. Koronaios · CC0 · via Wikimedia Commons

    File:The remains of the Temple of Artemis Orthia in Sparta on 15 May 2019.jpg

  • The stone seats of a small theatre among olive trees.

    The ancient theatre of Teos.

    Isabeau · CC BY-SA 4.0 · via Wikimedia Commons

    File:Teos theatre.jpg

  • A stone block inscribed with lines of archaic Greek letters.

    A fragment of the Gortyn law code inscription. Paris, Louvre.

    Caeciliusinhorto · CC BY-SA 4.0 · via Wikimedia Commons

    File:Gortyn Code fragment.jpg

  • A marble slab inscribed with neat rows of Greek capitals.

    Marble stele with a decree of the Athenian Council (boulē), c. 440–425 BC (IG I³ 156). Athens, Epigraphic Museum.

    Future Perfect at Sunrise · Public domain · via Wikimedia Commons

    File:Athenian decree.jpg

  • A printed title page with a list of play titles in Greek and Latin.

    Title page of the Aldine Aristophanes (Venice, 1498), the first edition of nine of the comedies, edited by Marcus Musurus and Aldus Manutius.

    Aldus Manutius (printer) · Public domain · via Wikimedia Commons

    File:Title page of one of the first editions of Aristophanes (1498). Aldine Aristophanes.jpg

  • A painted profile portrait of a bearded cardinal in a red hat.

    Cardinal Bessarion: portrait by Cristofano dell'Altissimo, 1556.

    Cristofano dell'Altissimo · Public domain · via Wikimedia Commons

    File:Ritratto-di-Basilio-Bessarione.jpg

  • A lithograph portrait of an elderly man in a high collar, seated.

    Gottfried Hermann (1772–1848), lithograph by Weinhold, 1844.

    Weinhold; photo: Peter Geymayer · Public domain · via Wikimedia Commons

    File:Gottfried Hermann Litho.jpg

  • A painted frieze of women in coloured cloaks dancing hand in hand.

    Dancing women from the Tomb of the Dancers at Ruvo di Puglia, end of the 5th or 4th century BC.

    Unknown painter · Public domain · via Wikimedia Commons

    File:Femmes peucètes dansant, fresque.jpg

  • A small marble shrine with two seated goddesses.

    Marble relief of Cybele. Athens, National Archaeological Museum.

    Gary Todd · CC0 · via Wikimedia Commons

    File:Ancient Greece Marble Cybele Relief (27879063034).jpg

  • A marble Ionic capital with large volutes, on a pedestal in a museum.

    Ionic capital from the grave of Archilochus. Paros, Archaeological Museum.

    Parapher · CC BY-SA 4.0 · via Wikimedia Commons

    File:ArchilochusCapital.jpg

  • A round cup painting: a hero with club and bow sits in a huge bowl floating on the sea.

    Heracles sailing in the cup (of the Sun): Attic red-figure kylix in the manner of Douris, c. 480 BC. Vatican, Museo Gregoriano Etrusco 16563.

    Manner of Douris; photo: Daderot · Public domain · via Wikimedia Commons

    File:Herakles sailing in a cup, Attic red-figured kylix, in the manner of Douris, c. 480 BC, inv. 16563 - Museo Gregoriano Etrusco - Vatican Museums - DSC01035.jpg

  • A painted clay statuette of a cloaked woman wearing a pointed sun hat.

    Terracotta 'Tanagra' figurine of a woman with a sun hat and fan, from Tanagra, Boeotia, 325–300 BC. Berlin, Altes Museum.

    Gary Todd · CC0 · via Wikimedia Commons · background removed

    File:Ancient Greek Terracotta "Tanagra" Figurine of Woman with sun hat and fan, Tanagra, Boeotia, 325-300 BC (28706275576).jpg

  • A marble grave relief: a seated woman takes jewellery from a box held by a standing girl.

    The funerary stele of Hegeso. Athens, National Archaeological Museum.

    Photo: Marsyas · CC BY 2.5 · via Wikimedia Commons

    File:NAMA Stèle d'Hègèsô.jpg

  • A close view of a papyrus with lines of Greek handwriting.

    A Greek magical papyrus of the 3rd century AD: British Library Papyrus 121 (PGM VII).

    British Library (reproduction) · Public domain · via Wikimedia Commons

    File:Papyri Graecae Magicae 121.jpg

  • A tall papyrus page densely written in Greek.

    The Great Magical Papyrus of Paris (PGM IV), a page of the codex. Paris, Bibliothèque nationale de France, Supplément grec 574.

    Bibliothèque nationale de France (digitisation) · Public domain · via Wikimedia Commons

    File:Grand papyrus magique (PGM IV) - btv1b525030475 (05 of 73).jpg

  • A parchment page written in four narrow columns of Greek capital letters without word-division.

    Codex Sinaiticus, a Greek uncial manuscript of the fourth century: a page with Matthew 6:4–32. London, British Library.

    Unknown scribe; reproduction via Wikimedia Commons · Public domain · via Wikimedia Commons

    File:Codex Sinaiticus Matthew 6,4-32.JPG

  • A manuscript page in small, joined Greek minuscule letters.

    The Uspensky Gospels (Gregory-Aland minuscule 461), dated 835: a page of the codex in minuscule script.

    Unknown scribe; reproduction via Wikimedia Commons · Public domain · via Wikimedia Commons

    File:Uspensky gospels.jpg

  • A printed table of Greek letter-forms, one column for each dated manuscript, from capitals to minuscule.

    Greek literary alphabets: the forms of the letters in dated manuscripts, a table from E. M. Thompson, An Introduction to Greek and Latin Palaeography (Oxford, 1912), p. 144.

    Edward Maunde Thompson · Public domain · via Wikimedia Commons

    File:Greek Literary Alphabets 1.png

  • Wall painting on a yellow ground: a seated woman reads an unrolled papyrus roll; a cylindrical box of rolls stands beside her.

    Clio seated, reading an unrolled papyrus roll, with a cylindrical case of rolls beside her: wall painting from the Praedia of Julia Felix at Pompeii, c. AD 62–79. Paris, Musée du Louvre ED 2752 (P 5).

    ArchaiOptix · CC BY-SA 4.0 · via Wikimedia Commons

    File:Wall painting - Klio reading papyrus roll - Pompeii - villa di Iulia Felix - Paris Louvre ED 2752.jpg

  • Three photographs of blackened, charred papyrus rolls and a fragment.

    Charred papyrus rolls from Herculaneum, PHerc. 1103 and PHerc. 110: photographs from Stabile et al. 2021, Scientific Reports (contrast enhanced by the authors).

    Sara Stabile, Francesca Palermo, Inna Bukreeva, Daniela Mele, Vincenzo Formoso, Roberto Bartolino and Alessia Cedola · CC BY 4.0 · via Wikimedia Commons

    File:Herculaneum papyri.jpg

  • A papyrus leaf with a single column of Greek text in capitals, its edges torn.

    A leaf of a papyrus codex of the third century AD: Chester Beatty III (Papyrus 47), fol. 7r, Revelation 13:16–14:4. Dublin, Chester Beatty Library.

    Unknown scribe; reproduction via Wikimedia Commons · Public domain · via Wikimedia Commons

    File:Dublin, Chester Beatty Ms Chester Beatty III Papyrus 47 fol. 7r Rev 13,16-14.jpg

  • Half-length portrait of Erasmus in a black cap and fur-trimmed coat, his hands resting on a book, a pilaster behind him.

    Desiderius Erasmus of Rotterdam, by Hans Holbein the Younger, 1523. London, National Gallery.

    Hans Holbein the Younger · Public domain · via Wikimedia Commons

    File:Holbein, Hans (II) - Erasmus - National Gallery.jpg

  • Red-figure cup interior: a helmeted man in a short cloak strides along blowing a long straight trumpet.

    A salpinx player: tondo of an Attic terracotta kylix, c. 500 BC. New York, Metropolitan Museum of Art.

    Unknown Greek painter; photo: Metropolitan Museum of Art (Open Access) · CC0 · via Wikimedia Commons

    File:Salpinx player, on Terracotta kylix (drinking cup) MET DT5482, cropped.jpg

  • Marble group: the goat-legged Pan sits beside the young Daphnis and guides his hands on a panpipe.

    Pan teaching the shepherd Daphnis to play the syrinx: Roman marble copy of an original by Heliodorus of Rhodes, c. 100 BC. Rome, Palazzo Altemps, Boncompagni Ludovisi collection (inv. 8571).

    MumblerJamie (Flickr) · CC BY-SA 2.0 · via Wikimedia Commons

    File:Statue of Pan and Daphnis 01.jpg

  • A small marble figure seated on a chair, head tilted back, holding a frame harp on its knee.

    Seated harp player, Cycladic marble statuette, 2800–2700 BC. New York, Metropolitan Museum of Art 47.100.1.

    Metropolitan Museum of Art (Open Access) · CC0 · via Wikimedia Commons

    File:Marble seated harp player MET DT252.jpg

  • Red-figure jug: a maenad dances holding a round frame drum.

    Dancing maenad with a tympanon: Apulian red-figure oinochoe attributed to the Felton Painter, 4th century BC. Taranto, Museo Archeologico Nazionale 4661.

    Felton Painter; photo: Mark Landon · CC BY 4.0 · via Wikimedia Commons

    File:Apulian red-figure oinochoe - dancing maenad (Taranto, MARTA 4661).jpg

  • A small round bronze cymbal with a raised boss, green with age, seen from above.

    Pair of bronze cymbals, Greek (Peloponnesian), 5th–4th century BC. New York, Metropolitan Museum of Art.

    Metropolitan Museum of Art (Open Access) · CC0 · via Wikimedia Commons

    File:Pair of bronze cymbals MET DP20973.jpg

  • Red-figure cup interior: a woman dances with a pair of clappers in each hand.

    Woman dancing with krotala: tondo of an Attic red-figure kylix by the Euergides Painter. Cambridge, Mass., Harvard Art Museums (Arthur M. Sackler Museum) 1977.216.2388.

    Euergides Painter; photo: Mark Landon · CC BY 4.0 · via Wikimedia Commons

    File:Red-figure kylix tondo woman with krotala (Harvard, Sackler Mus 1977.216.2388).jpg

  • An open parchment codex lying in a glass display case, its two pages written in four columns each.

    Codex Sinaiticus open in its display case in the British Library, London.

    PotatoCow25 · CC0 · via Wikimedia Commons

    File:Codex Sinaiticus.jpg

  • A small Doric marble building with two columns between the side walls, standing on a terrace among ruins and cypresses.

    The Treasury of the Athenians at Delphi, Greece.

    Bernard Gagnon · CC BY-SA 4.0 · via Wikimedia Commons

    File:Treasury of the Athenians at Delphi.jpg

  • A worn marble block covered with small lines of Greek letters, with smaller letters set above the lines of text.

    A block from the southern wall of the Treasury of the Athenians at Delphi, incised with the hymns to Apollo composed by Athenaios and Limenios and carved in 128 BC. Archaeological Museum of Delphi.

    Zde · CC BY-SA 4.0 · via Wikimedia Commons

    File:Delphic hymns to Apollo, 128 BC, inscription in AM of Delphi, 201388.jpg

  • A strip of mosaic: musicians in tunics play a water organ, a large curved horn and a long straight trumpet.

    Musicians from the Zliten mosaic, c. AD 200: players of the water organ (hydraulis) and the horn.

    Unknown Roman mosaicist · Public domain · via Wikimedia Commons

    File:Musicians from Zliten mosaic.JPG

  • Remains of an ancient organ shown in a glass case: a row of bronze pipes of graded length above a base.

    The water organ (hydraulos) from Dion, perhaps the oldest preserved organ. Archaeological Museum of Dion.

    Zde · CC BY-SA 4.0 · via Wikimedia Commons

    File:Hydraulos, 2nd century AD, AM Dion, Diom435.jpg

  • A woodcut in four panels: smiths with hammers; Pythagoras striking bells and glasses; Pythagoras at a stringed instrument with weights; Pythagoras and Philolaus with pipes.

    Woodcut showing Pythagoras with bells, glasses, a monochord and pipes in Pythagorean tuning. From Theorica musicae by Franchino Gaffurio, 1492.

    Franchino Gaffurio (publisher); woodcut by an unknown artist · Public domain · via Wikimedia Commons

    File:Gaffurio Pythagoras.png

  • Marble portrait head of a bearded man with a lined forehead and thick wavy hair.

    Plato: Roman copy of the portrait made by Silanion c. 370 BC for the Academy in Athens. Rome, Musei Capitolini MC 1377.

    Marie-Lan Nguyen · CC BY 2.5 · via Wikimedia Commons · background removed

    File:Plato Silanion Musei Capitolini MC1377.jpg

  • A marble statue of a dancing satyr, one foot on a hinged clapper-shoe, arms raised with cymbals.

    Roman statue of a satyr with the kroupezion (foot-clapper), c. AD 1–100, after an original of the second century BC. Florence, Uffizi, Tribuna.

    Francesco Bini (Sailko) · CC BY-SA 4.0 · via Wikimedia Commons

    File:Arte romana, Satiro col kroupèzion, 1-100 circa da un originale del II sec. a.C. 01.jpg

  • Faded wall painting: a seated bearded satyr teaches a youth standing before him.

    The musical education of Olympus by Marsyas: fresco from the Augusteum at Herculaneum. Naples, Museo Archeologico Nazionale.

    Yair Haklai · CC BY-SA 4.0 · via Wikimedia Commons

    File:Fresco of the musical education of Olympus by Marsyas from Herculaneum Augusteum.jpg

  • Engraving of a vase painting: a seated piper in an embroidered robe plays the double pipes; a naked youth with a lyre stands before him.

    Pronomos playing the aulos, with a young man: detail of the Pronomos vase, engraving from Furtwängler, Griechische Vasenmalerei (1932).

    A. Furtwängler (engraving) · CC BY-SA 4.0 · via Wikimedia Commons

    File:Pronomos vase aulos.jpg

  • A papyrus fragment with two columns of Greek in a small upright hand, with holes and losses.

    Papyrus Oxyrhynchus 9, third century AD: a fragment of a copy of Aristoxenus, Elements of Rhythm (Rhythmica stoicheia).

    Unknown scribe; reproduction via Wikimedia Commons · Public domain · via Wikimedia Commons

    File:P. Oxy. 9.jpg

  • A printed page in two columns: Greek lines of text with musical letter-signs printed above them.

    The page of Vincenzo Galilei’s Dialogo della musica antica e della moderna (1581) that prints the three hymns of Mesomedes with their notation.

    Vincenzo Galilei (book); scan via Google Books · Public domain · via Wikimedia Commons

    File:Mesomede's Hymns.jpg

  • A slender round marble monument with Corinthian columns on a tall square base, crowned by a carved finial, among trees in Athens.

    The choragic monument of Lysicrates, Athens.

    Jebulon · CC0 · via Wikimedia Commons

    File:Choragic Monument to Lysicrates, Athens, Greece.jpg

  • Red-figure amphora: a bearded man in a cloak stands on a low platform, one arm stretched out, words issuing from his mouth.

    A rhapsode reciting, standing on a bema: Attic red-figure neck-amphora by the Kleophrades Painter, late archaic. London, British Museum 1843,1103.34.

    Kleophrades Painter; photo: ArchaiOptix · CC BY-SA 4.0 · via Wikimedia Commons

    File:Kleophrades Painter ARV 183 15 flute-player and rhapsode (02).jpg

  • Red-figure amphora: a young kithara-player in a long embroidered robe stands before a bearded man holding a staff.

    A young kitharode in rich dress before a bearded judge with a staff: Attic red-figure amphora of Panathenaic shape by the Aegisthus Painter, c. 470–460 BC. London, British Museum 1998,0121.1.

    Aegisthus Painter; photo: ArchaiOptix · CC BY-SA 4.0 · via Wikimedia Commons · background removed

    File:Aegisthus Painter ARV 506 25extra - kitharode and judge - two bearded men (01).jpg

  • Anatomical drawing of the head cut through the middle: nose, mouth, tongue, palate, pharynx and larynx, with labels.

    Sagittal section of nose, mouth, pharynx and larynx: figure from Gray’s Anatomy, drawn by Henry Vandyke Carter (before 1858).

    Henry Vandyke Carter (Gray’s Anatomy) · Public domain · via Wikimedia Commons

    File:Gray994.png

  • Engraving of the larynx seen from above: the vocal cords stretched between the cartilages, with labels.

    Interior of the larynx seen from above (enlarged): plate 333 of Gray’s Anatomy (1858), after Robert Willis, “On the mechanism of the larynx” (1833).

    Robert Willis; Henry Gray, Anatomy (1858) · Public domain · via Wikimedia Commons

    File:Larynx Willis Gray 1858 681.png

  • Pen drawing of a bearded old man in a tall cap, seen in profile, holding a book.

    Manuel Chrysoloras (1355–1415), professor of Greek in Italy, holding a book: drawing by Paolo Uccello, fifteenth century. Paris, Louvre Inv. 9849.

    Paolo Uccello · Public domain · via Wikimedia Commons

    File:Manuel-chrysoloras-paolo-uccello-louvre-15th.jpg

  • Engraved portrait in profile of a man in a soft cap and fur-collared gown, lettered ALDO MANUZIO.

    Portrait of Aldus Manutius: engraving by Moses Haughton the younger.

    Moses Haughton the younger · Public domain · via Wikimedia Commons

    File:Aldus Manutius 2.jpg

  • Painted portrait of a red-bearded man in a black cap and fur-trimmed gown, seated with a book.

    Sir John Cheke (1514–1557): portrait by the circle of Gerlach Flicke, c. 1545–1550.

    Circle of Gerlach Flicke · Public domain · via Wikimedia Commons

    File:Circle of Gerlach Flicke portrait of Sir John Cheke.jpg

  • Dark painted portrait of a bearded man in black with a long inscription at the upper left.

    Sir Thomas Smith (1513–1577): copy after Hans Holbein the Younger, 1554. Eton College.

    After Hans Holbein the Younger · Public domain · via Wikimedia Commons

    File:Hans Holbein the younger (c.1497-1543) (copy of) - Sir Thomas Smith (1513–1577) - FDA-P.4-2010 - Eton College.jpg

  • A printed Latin title page: DE POEMATUM CANTU ET VIRIBUS RYTHMI, OXONII, E THEATRO SHELDONIANO, 1673.

    Title page of Isaac Vossius, De poematum cantu et viribus rythmi (Oxford, Sheldonian Theatre, 1673), from a microfilm copy.

    Isaac Vossius (author); microfilm scan · Public domain · via Wikimedia Commons

    File:De poematum cantu. Oxonii, e theatro Sheldoniano ... 1673 (IA bim early-english-books-1641-1700 de-poematum-cantu-oxoni voss-isaac 1673).pdf

  • Engraving of a classical bust on a pedestal in an arched niche, with Latin and English verses below.

    Lucian, the satirist: an imagined portrait, engraving by William Faithorne. Washington, Library of Congress, Prints and Photographs Division, LC-USZ6-71.

    William Faithorne · Public domain · via Wikimedia Commons

    File:Lucian of Samosata.png

  • A black-glazed two-handled drinking cup with a line of incised Greek letters around its body.

    Black-glaze Boeotian cup with a drinking inscription in the Boeotian alphabet, fifth century BC(?), from Cynos (Livanatas, Locris). Paris, Louvre MNC 671.

    Unknown Boeotian potter · Public domain · via Wikimedia Commons · background removed

    File:Boeotian cup Louvre MNC671.jpg

  • A round black-glazed potsherd scratched with Greek capitals: THEMISTHOKLES NEOKLEOS.

    Ostracon with the name of Themistocles, son of Neocles. Athens, Ancient Agora Museum.

    Marsyas · CC BY 4.0 · via Wikimedia Commons · background removed

    File:Ostracon with the name of Themistocles.jpg

  • A parchment page with a gold and blue ornamental headpiece and a title in gold, above lines of Greek minuscule.

    Byzantine Gospel Book (minuscule 106), 11th or 12th century. Dublin, Chester Beatty Library W 135, f. 10r.

    Unknown Byzantine scribe · Public domain · via Wikimedia Commons

    File:Byzantine Gospel Book (Minuscule 106) (CBL W 135, f.10r).jpg

  • The Acropolis of Athens with the Parthenon on its rock, seen across trees from a hill to the south-west.

    View of the Acropolis from Philopappos Hill, Athens.

    Jakub Hałun · CC BY 4.0 · via Wikimedia Commons

    File:View of the Acropolis from Philopappos Hill, Athens, 20240601 1137 0117.jpg

  • A brown parchment page: the first lines of the Iliad in a central block, surrounded by dense marginal commentary.

    The Townley Homer (London, British Library, MS Burney 86), dated 1059, fol. 1r: the beginning of the Iliad with its commentary.

    Unknown Byzantine scribe · Public domain · via Wikimedia Commons

    File:Townley Homer f 1r.png

  • Fresco: Achilles, naked but for a cloak, draws his sword while Athena, behind him, holds him back by the hair.

    Achilles drawing his sword against Agamemnon and restrained by Athena: wall painting of the fourth Pompeian style from the House of the Dioscuri, Pompeii VI 9, 6–7. Naples, Museo Archeologico Nazionale 9104.

    Unknown Roman painter; photo: ArchaiOptix · CC BY-SA 4.0 · via Wikimedia Commons

    File:Wall painting - Achilles restrained by Athena - Pompeii (VI 9 6-7) - Napoli MAN 9104.jpg

  • Marble portrait bust of a bearded, balding man; the draped shoulders are of veined yellow alabaster.

    Bust of Aristotle: Roman marble copy after a bronze original by Lysippos of c. 330 BC; the alabaster mantle is a modern addition. Rome, Palazzo Altemps Inv. 8575.

    After Lysippos; photo: Jastrow (2006) · Public domain · via Wikimedia Commons

    File:Aristotle Altemps Inv8575.jpg

  • Marble statue of naked Apollo resting his raised arm on his head, a kithara at his side and a griffin at his feet.

    Apollo Citharoedus with the griffin. Rome, Musei Capitolini, Palazzo Nuovo.

    Yair Haklai · CC BY-SA 4.0 · via Wikimedia Commons · background removed

    File:Apollo Citharoedus with the Griffin.jpg

  • Fresco: a priestess in white with attendants steps out of a temple porch towards the viewer.

    Iphigenia as priestess of Artemis in Tauris sets out to greet the prisoners, among them her brother Orestes and his friend Pylades: Pompeian wall painting, 1st century AD. Naples, Museo Archeologico Nazionale Inv. 111439.

    Unknown Roman painter; photo: Marie-Lan Nguyen · Public domain · via Wikimedia Commons

    File:Iphigenia in Tauris MAN Napoli Inv111439.jpg

  • Black-figure oil flask: a bride and groom ride in a mule cart, with attendants walking beside it.

    Attic black-figure lekythos attributed to the Amasis Painter, depicting a wedding procession, mid-6th century BC. New York, Metropolitan Museum of Art 56.11.1.

    Amasis Painter; photo: E. S. V. Leigh · CC BY-SA 3.0 · via Wikimedia Commons

    File:Amasis Ptr cat 47 lekythos MMA 56.11.1 wedding procession 2.JPG

  • Marble relief: the sun god with a crown of rays drives four rearing horses.

    Helios in his chariot: metope from the temple of Athena at Troy. Berlin, Altes Museum LV 21.1.

    Unknown Hellenistic sculptor; photo: Mark Landon · Public domain · via Wikimedia Commons

    File:Helios metope from Temple of Athena at Troy (Berlin Altes Museum LV 21.1).jpg

  • Marble statue of a goddess in triple form, three draped figures back to back, crowned.

    Triple-formed representation of Hecate: Roman marble copy after a Hellenistic original. Vatican, Museo Chiaramonti Inv. 1922.

    Unknown Roman sculptor; photo: Jastrow (2006) · Public domain · via Wikimedia Commons · background removed

    File:Hecate Chiaramonti Inv1922.jpg

  • Black-and-white photograph of a small papyrus scrap with seven lines of large Greek capitals.

    P.Oxy. VI 854: Archilochus. Plate from Grenfell and Hunt, The Oxyrhynchus Papyri VI (1908).

    The Egypt Exploration Fund (B. P. Grenfell and A. S. Hunt) · Public domain · via Wikimedia Commons

    File:P.Oxy. VI 854.jpg

  • A page of a French manuscript in two columns; a small painting shows a king and armoured horsemen crossing a bridge.

    Xerxes, king of the Persians, crosses a bridge with his army: Boucicaut Master or workshop, Paris, about 1413–1415. Los Angeles, J. Paul Getty Museum.

    Boucicaut Master or workshop · CC0 · via Wikimedia Commons

    File:Xerxes, King of the Persians, Crosses a Bridge with His Army. Paris, about 1413–1415.jpg

  • A tall brown papyrus fragment with a column of Greek capitals, its edges eaten away.

    A papyrus of the second century AD with Callimachus’ Aetia (fr. 178): P.Oxy. XI 1362.

    The Egypt Exploration Society (B. P. Grenfell and A. S. Hunt) · Public domain · via Wikimedia Commons

    File:P.Oxy. XI 1362.jpg

  • Grey wash drawing: a tall ghostly figure rises above kneeling figures before a woman who raises her hands.

    The Ghost of Darius appearing to Atossa (Aeschylus, Persians): drawing by George Romney. Liverpool, Walker Art Gallery.

    George Romney · Public domain · via Wikimedia Commons

    File:Dariuslarge.jpg

  • A narrow limestone gravestone with a pointed top, carved with large archaic Greek letters in short lines.

    Tombstone inscribed with the name of Archio: limestone, Melos, around 500 BC; the forms of gamma and sigma are a peculiarity of archaic Melian inscriptions. Berlin, Altes Museum Sk 1161.

    Zde · CC BY-SA 4.0 · via Wikimedia Commons

    File:Stele with Melian inscription, 500 BC, Berlin, Sk 1161, 141624.jpg

  • Close view of a weathered marble block inscribed with lines of archaic Greek letters.

    Sacred calendar from the sanctuary of Apollo Delphinios at Miletus (detail). Berlin, Antikensammlung (IvM 31a).

    Mark Landon · CC BY 4.0 · via Wikimedia Commons

    File:Sacred calendar from the sanctuary of Apollo Delphinios at Miletos (IvM 31a, Berlin Antikensammlung) detail.jpg

  • A marble statue of a naked young man standing with one foot forward, arms at his sides, long hair down his back.

    Kouros from Anavyssos, Attica, which stood on the grave of Kroisos, as the epigram on its base says. Athens, National Archaeological Museum.

    George E. Koronaios · CC BY-SA 4.0 · via Wikimedia Commons

    File:Kouros statue of Kroisos (National Archaeological Museum of Athens, 1-31-2023).jpg

  • Close view of dark stone densely inscribed with small Greek capitals.

    The Greek script of the Rosetta Stone. London, British Museum.

    Gary Todd · CC0 · via Wikimedia Commons

    File:Greek Script from Rosetta Stone (36140196440).jpg

  • A Geometric wine jug with bands of painted decoration; a line of letters is scratched round its shoulder.

    The Dipylon oinochoe, c. 740 BC, one of the four oldest known examples of the Greek alphabet: “… who now of all the dancers dances most gracefully …”. Athens, National Archaeological Museum.

    Durutomo · CC BY-SA 4.0 · via Wikimedia Commons

    File:Dipylon Inscription.JPG

  • Red-figure cup: a seated youth reads from an open papyrus roll; another youth, leaning on a stick, listens.

    A seated youth reading from a papyrus roll, with youths listening: Attic red-figure kyathos by Onesimos (early work), late archaic.

    Onesimos; photo: ArchaiOptix · CC BY-SA 4.0 · via Wikimedia Commons

    File:Onesimos ARV 329 134 youth reading and youths (02).jpg

  • Wall painting: a woman in a yellow mantle stands holding a sword, while two boys play at dice beside an old man.

    Medea contemplates killing her children as they play at knucklebones, watched by their tutor: wall painting from the House of the Dioscuri, Pompeii, AD 62–79. Naples, Museo Archeologico Nazionale 8977.

    Unknown Roman painter; photo: Olivierw · Public domain · via Wikimedia Commons

    File:Medea - Casa dei Dioscuri.JPG

  • A shallow two-handled cup seen from above, the Greek alphabet painted in black letters round its rim.

    Kylix with the Greek alphabet painted round it. Athens, National Archaeological Museum.

    Logg Tandy · CC BY 4.0 · via Wikimedia Commons · background removed

    File:NAMA greek alphabet kylix (accurate colours) - National Archaeological Museum Athens - February 2025.webp

  • A Roman marble herm of a woman with curled hair, inscribed below ΣΑΠΦΩ ΕΡΕΣΙΑ.

    Roman bust of a woman, inscribed ΣΑΠΦΩ ΕΡΕΣΙΑ (“Sappho of Eresos”). Rome, Musei Capitolini MC 1164.

    Marie-Lan Nguyen · Public domain · via Wikimedia Commons · background removed

    File:Bust Sappho Musei Capitolini MC1164.jpg

  • Engraved half-length portrait of a man with a high forehead in an eighteenth-century coat and cravat.

    Richard Porson (1759–1808): engraving by B. Holl after a painting by Hoppner.

    B. Holl, after John Hoppner · Public domain · via Wikimedia Commons

    File:Richard Porson 2.jpg

  • Engraved portrait of a bearded old man in a skull-cap, in an oval frame lettered with his name.

    Piero Vettori of Florence: engraving in Jean Jacques Boissard, Bibliotheca sive Thesaurus virtutis (Frankfurt, 1627). Trento, Biblioteca comunale.

    Unknown engraver (Boissard, 1627); scan: Biblioteca comunale di Trento · CC0 · via Wikimedia Commons

    File:Piero Vettori florentinus.jpg

  • A facsimile page of a manuscript in large Greek capitals arranged in short lines.

    A page of the Codex Claromontanus with the Greek text of Colossians 1:28–2:3, from a facsimile published in 1854.

    Edward H. Hansell (facsimile, 1854) · Public domain · via Wikimedia Commons

    File:Claromontanus 2 greek.jpg

  • Photographic portrait of a man with a moustache in a dark suit and tie.

    Arthur Surridge Hunt (1871–1934): photograph by James Russell and Sons, 1919.

    James Russell and Sons · Public domain · via Wikimedia Commons

    File:Arthur Surridge Hunt (cropped).jpg

  • An opened manuscript: two pages of dense small Greek script with a decorated headpiece.

    Eustathius of Thessalonica, Commentary on Homer’s Odyssey, in the autograph manuscript, late 12th century: Venice, Biblioteca Marciana, gr. 460, fol. 1r.

    Eustathius of Thessalonica · Public domain · via Wikimedia Commons

    File:Eustathius of Thessalonica, Commentary on the Odyssey.jpg

  • A printed page of Greek verse, the speakers’ names at the left, with a block of small-type critical notes at the foot.

    A page of Gilbert Murray’s Oxford text of Euripides, Euripidis Fabulae I (Oxford, 1902), with the apparatus criticus below the text.

    Gilbert Murray (editor); scan: Internet Archive · Public domain · via Wikimedia Commons

    File:Evripidis Fabvlae - recognovit breviqve adnotatione critica instrvxit (IA evripidisfabvlae01euri).pdf

  • A silver coin: two eagles stand over a dead hare, one with wings spread.

    Silver tetradrachm of Akragas, c. 410–406 BC: a pair of eagles with a hare (the other side shows Nike driving a quadriga). Berlin, Münzkabinett 18226973.

    Mint of Akragas; photo: ArchaiOptix · CC BY-SA 4.0 · via Wikimedia Commons · background removed

    File:Akragas - 410-406 BC - silver tetradrachm - Nike driving quadriga - pair of eagles with hare - Berlin MK AM 18226973.jpg

  • Interior of a black-figure cup: Dionysus reclines in a ship whose mast sprouts vines, dolphins leaping round it.

    Dionysus in a ship, sailing among dolphins: Attic black-figure kylix by Exekias, c. 530 BC, from Vulci. Munich, Staatliche Antikensammlungen 2044.

    Exekias; photo: Matthias Kabel · CC BY 2.5 · via Wikimedia Commons · background removed

    File:Exekias Dionysos Staatliche Antikensammlungen 2044.jpg

  • Bronze statuette of a girl in a short tunic, running, one hand lifting her skirt.

    Bronze figure of a running girl, Spartan, 520–500 BC; her short chiton matches the dress Pausanias describes for runners at the Heraean games. London, British Museum 1876,0510.1.

    Caeciliusinhorto · CC BY-SA 4.0 · via Wikimedia Commons

    File:Spartan running girl (cropped).jpg

  • A red-figure cup seen from above: inside, a winged Eros flies holding a dish, a ball and a plant.

    Eros flying with a phiale, a ball and a plant: interior of an Apulian red-figure kylix of the Group of the Trieste Askoi, c. 340–320 BC. Frankfurt, Archäologisches Museum β 139.

    Group of the Trieste Askoi; photo: ArchaiOptix · CC BY-SA 4.0 · via Wikimedia Commons · background removed

    File:Group of the Trieste Askoi - RVAp 26-35 - Eros - female head - Eros - Frankfurt AM β 139 - 01.jpg

  • Red-figure wine-cooler: Zeus stands between Apollo with his bow and Idas, who holds Marpessa.

    Apollo (with Artemis) and Idas (with Marpessa) separated by Zeus: Attic red-figure psykter by the Pan Painter, c. 480 BC, from Agrigento. Munich, Staatliche Antikensammlungen 2417.

    Pan Painter; photo: Bibi Saint-Pol · Public domain · via Wikimedia Commons

    File:Rape Marpessa Staatliche Antikensammlungen 2417.jpg

  • Red-figure lidless box: Zeus, sceptre in hand, pursues a fleeing woman.

    Attic red-figure pyxis, c. 470–460 BC: Zeus carries off Aegina, one of the daughters of Asopus; the other side shows Asopus and his other daughters. Cambridge, Fitzwilliam Museum GR.10.1934.

    Caeciliusinhorto · CC BY-SA 4.0 · via Wikimedia Commons

    File:Pyxis of Zeus and Aigina.jpg

  • Stone basin of an ancient fountain among grass and flowers on a rocky hillside.

    A fountain in the ruins of the temple of Apollo Ptoos, above the village of Akraifno, Boeotia.

    Jebulon · CC0 · via Wikimedia Commons

    File:Temple of Apollo Ptoon, a fountain, and nothing else, Boeotia, central Greece.jpg

  • An engraved landscape: a long mountain ridge rising beyond a plain with ruins.

    Mount Cithaeron from the tombs of Plataea: engraving after Hugh William Williams, Select Views in Greece, vol. II (1829).

    Hugh William Williams · Public domain · via Wikimedia Commons

    File:Mount Cithaeron From the tombs of Platea - Williams Hugh William - 1829.jpg

  • Black-figure oil flask in a case: women spin, weigh and weave wool round its body.

    Attic black-figure lekythos attributed to the Amasis Painter, depicting women working wool, mid-6th century BC. New York, Metropolitan Museum of Art 31.11.10.

    Amasis Painter; photo: E. S. V. Leigh · CC BY-SA 3.0 · via Wikimedia Commons

    File:Amasis Ptr cat 48 lekythos MMA 31.11.10 weaving.JPG

  • Botanical plate: a flowering quince branch with leaves and a yellow fruit, with cut sections.

    Quince (Cydonia oblonga): flowering branch and fruit, from Köhler’s Medizinal-Pflanzen (1897).

    Franz Eugen Köhler (Medizinal-Pflanzen) · Public domain · via Wikimedia Commons

    File:Cydonia oblonga - Köhler–s Medizinal-Pflanzen-049.jpg

  • Red-figure mixing bowl: a young woman rises from the ground while Hermes and Hecate with torches lead her up.

    Attic red-figure bell-krater by the Persephone Painter, c. 440 BC: the ascent of Persephone from the underworld. New York, Metropolitan Museum of Art.

    Persephone Painter; Metropolitan Museum of Art (Open Access) · CC0 · via Wikimedia Commons · background removed

    File:Terracotta bell-krater (bowl for mixing wine and water) MET DP118845.jpg

  • A round stone well-head set in an ancient paved area among ruins.

    The Kallichoron well, Eleusis.

    Furius · CC0 · via Wikimedia Commons

    File:Kallichoron well, Eleusis.jpg

  • Marble relief: a goddess rises from the water, lifted by two women who hold a cloth before her.

    The so-called Ludovisi Throne, main panel: Aphrodite attended by two handmaidens as she rises out of the surf; Thasian marble, c. 460 BC (authenticity disputed). Rome, Palazzo Altemps Inv. 8570.

    Unknown Greek sculptor; photo: Marie-Lan Nguyen · Public domain · via Wikimedia Commons

    File:Ludovisi throne Altemps Inv8570.jpg

  • The Erechtheum on the Acropolis rock in evening light, the moon above.

    The Acropolis (Erechtheum) of Athens from the west, in evening light, with the moon.

    Jebulon · CC0 · via Wikimedia Commons

    File:Erechtheum Acropolis Athens evening moon.jpg

  • Marble relief: two small boys carry a casket and a robe, among taller draped figures.

    The children of Jason and Medea bring the poisoned wedding gifts to Creusa: detail of the front of a Greek marble sarcophagus, mid-2nd century AD. Berlin, Staatliche Museen Sk 843 b.

    Unknown sculptor; photo: Sergey Sosnovskiy · CC BY-SA 2.0 · via Wikimedia Commons

    File:Children of Jason and Medea bring poisoned wedding gifts to Creusa. Detail of front panel of sarcophagus. Berlin, State Museums. (39591798645).jpg

  • A drinking horn shaped as a fawn’s head; on its neck a satyr and a maenad hold a thyrsus.

    Attic red-figure plastic rhyton in the shape of a fawn’s head, with a satyr and a maenad holding a thyrsus; workshop of the Penthesilea Painter, c. 440–420 BC. Athens, National Archaeological Museum 2055.

    Workshop of the Penthesilea Painter; photo: ArchaiOptix · CC BY-SA 4.0 · via Wikimedia Commons

    File:Classical Attic plastic rhyton - ARV extra - fawn´s head - satyr and maenad - Αθήνα EAM 2055 - 01.jpg

  • Oil painting: a veiled woman stands at dusk over the naked body of a dead young man on stony ground.

    Nikiforos Lytras, Antigone before the dead Polynices, 1865. Athens, National Gallery of Greece.

    Nikiforos Lytras; photo: Francesco Bini · CC BY-SA 4.0 · via Wikimedia Commons

    File:Nikephoros lytras, antigone e polynice, 1865.jpg

  • A worn upright marble post inscribed near its top with Greek letters, standing in the ground.

    Horos (boundary stone) of the Athenian Agora (I 7039), in situ in 1991 near the south-west corner of the square; it has since been replaced by a copy.

    Mark Landon · CC BY 4.0 · via Wikimedia Commons

    File:Athens Agora horos I 7039 in situ.jpg

  • A single Doric column standing on a headland by the sea, the last of a temple.

    Capo Colonna (Crotone, Calabria): the column remaining from the temple of Hera Lacinia.

    Benjamin Smith · CC BY-SA 4.0 · via Wikimedia Commons

    File:Capo Colonna - Colonna.jpg

  • Marble portrait head of a bearded man with thick wavy hair, set on a herm.

    Bust of Aristophanes: head on a herm, 1st century AD. Florence, Uffizi, Inv. 1914 no. 372.

    Alexander Mayatsky · CC BY-SA 4.0 · via Wikimedia Commons

    File:Bust of Aristophanes (cropped).jpg

  • Foundations and column stumps of an ancient market square among trees, a wooded hill beyond.

    The ancient agora of Thasos (Limenas).

    DocWoKav · CC BY-SA 4.0 · via Wikimedia Commons

    File:Ancient Agora, Thasos-Limenas.jpg

  • A large bronze cauldron on three legs, with two ring handles, in a museum case.

    Large bronze tripod cauldron, the oldest preserved at Olympia, around 800 BC. Archaeological Museum of Olympia.

    Zde · CC BY-SA 4.0 · via Wikimedia Commons

    File:Tripod cauldron, bronze, 800 BC, AM Olympia, Olym03.jpg

  • Marble statuette of a draped young woman standing, one arm extended.

    Statuette of the goddess Panacea, one of the children of Asclepius, 2nd century AD. Archaeological Museum of Dion.

    Carole Raddato · CC BY-SA 2.0 · via Wikimedia Commons · background removed

    File:The children of Asklepios, Panakeia, 2nd c. AD, Archaeological Museum, Dion (7076604419) cropped detail.jpg

  • Botanical plate: a branch of laurel with glossy leaves and small flowers, with details.

    Laurel (Laurus nobilis): plate from Köhler’s Medizinal-Pflanzen (1897), drawn by Walther Otto Müller.

    Walther Otto Müller (Köhler’s Medizinal-Pflanzen) · Public domain · via Wikimedia Commons

    File:Laurus nobilis - Köhler–s Medizinal-Pflanzen-086.jpg

  • Botanical plate: a grape vine with leaves, a tendril and a bunch of green grapes, with details of flower and fruit.

    The grape vine (Vitis vinifera): plate 51 of Köhler’s Medizinal-Pflanzen (1887). Biodiversity Heritage Library.

    F. E. Köhler and others; scan: Biodiversity Heritage Library · Public domain · via Wikimedia Commons

    File:Köhler's Medizinal-Pflanzen in naturgetreuen Abbildungen mit kurz erläuterndem Texte (Plate 51) (7118324671).jpg

  • Marble figure of a naked warrior lying fallen on his side, from a temple pediment.

    Fallen Greek warrior, figure W-XIV of the west pediment of the temple of Aphaia on Aegina, c. 505–500 BC. Munich, Glyptothek.

    Unknown sculptor; photo: Bibi Saint-Pol · Public domain · via Wikimedia Commons · background removed

    File:Aphaia pediment warrior W-XIV Glyptothek Munich.jpg

  • A stone slab carved with lines of Greek, set in a paved area among plants.

    The memorial epitaph of the Spartans who died at Thermopylae: “Go tell the Spartans, stranger passing by, that here obedient to their laws we lie.”

    Rafal Slubowski, N. Pantelis · CC BY-SA 3.0 · via Wikimedia Commons

    File:Thermopiles memorial epitaph.jpg

  • Line drawing of a cicada seen from above, its wings spread.

    Cicada orni: figure from Richard Hertwig, A Manual of Zoology (1909), after Schmarda.

    Richard Hertwig (after Schmarda) · Public domain · via Wikimedia Commons

    File:Cicada orni illustration.png

  • Red-figure krater: Menelaus, sword dropping, faces Helen, as Eros flies between them and Aphrodite watches.

    Menelaus means to strike Helen but, struck by her beauty, drops his sword; Eros and Aphrodite watch: Attic red-figure krater by the Menelaus Painter, c. 450–440 BC, from Gnathia. Paris, Louvre G 424.

    Menelaus Painter; photo: Jastrow (2006) · Public domain · via Wikimedia Commons

    File:Helen Menelaus Louvre G424.jpg

  • Red evening clouds above the dark outline of a mountain.

    Clouds above Mount Parnitha (Parnes) after sunset.

    Lia Greece · CC0 · via Wikimedia Commons

    File:20251026 Parnitha.jpg

  • Marble portrait herm of a bearded man with thick curly hair.

    Herm of Pittacus (Campana collection). Paris, Louvre Ma 2340.

    Marie-Lan Nguyen · Public domain · via Wikimedia Commons

    File:Pittacos Campana Louvre Ma2340.jpg

  • A single tall column, reassembled from drums, standing among ruins under a blue sky.

    The Heraion of Samos: the only column still standing, about ten metres high, of the temple of Hera.

    Kramer96 · CC BY 3.0 · via Wikimedia Commons

    File:HeraionSamos.jpg

  • A manuscript page in two columns of small Greek script with marginal notes.

    Euripides’ Cyclops with its hypothesis: Florence, Biblioteca Medicea Laurenziana, Plut. 32.2, fol. 84r, fourteenth century.

    Unknown Byzantine scribe; scan: Biblioteca Medicea Laurenziana · Public domain · via Wikimedia Commons

    File:Euripides - Cyclops - Biblioteca Medicea Laurenziana (Plut.32.2 (84r)).jpg

  • Black-and-white photograph of a large papyrus fragment with three columns of Greek script, much broken.

    Papyrus Oxyrhynchus VI 852, fragment I, 2nd–3rd century AD: Euripides’ Hypsipyle.

    Euripides (text); photograph: Oxyrhynchus Papyri project · Public domain · via Wikimedia Commons · background removed

    File:P.Oxy. VI 852 (i).jpg

  • The great curved stone wall and arched entrance of an ancient theatre in a grassy field.

    Left entrance of the ancient Greek theatre at Miletus, Turkey.

    Bernard Gagnon · CC BY-SA 3.0 · via Wikimedia Commons

    File:Miletus - Ancient Greek theatre 02.jpg

  • An engraved plan of a coastal plain with the town of Megara, its port Nisaea and the island of Minoa.

    Plan of the neighbourhood of Megara, with Nisaea and Minoa: from William Smith’s Dictionary of Greek and Roman Geography (1854).

    William Smith (Dictionary of Greek and Roman Geography) · Public domain · via Wikimedia Commons

    File:Plan of the Neighbourhood of Megara.jpg

  • A low grassy mound among olive and eucalyptus trees on a plain.

    The tumulus (tomb) of the Athenians on the plain of Marathon, Attica.

    George E. Koronaios · CC0 · via Wikimedia Commons

    File:The tumulus (tomb) of the Athenians at Marathon.jpg

  • Excavated stone foundations beside a modern wall in the town of Thebes.

    The Cadmea, the citadel of ancient Thebes.

    Mirjanamimi · CC BY-SA 4.0 · via Wikimedia Commons

    File:Cadmea, Thebes 1.jpg

  • A colossal stone head in a tall peaked cap lying on a mountain terrace among fallen blocks.

    Head of Antiochus I Theos of Commagene on the western terrace of Nemrut Dağı, Turkey.

    Bernard Gagnon · CC BY-SA 3.0 · via Wikimedia Commons

    File:Nemrut Dağı 07.jpg

  • A printed page of German text with a musical staff, under which run two rows of Greek vocal and instrumental note-signs.

    A page of Friedrich Bellermann, Die Tonleitern und Musiknoten der Griechen (Berlin, 1847): the Greek note-signs set against modern notes.

    Friedrich Bellermann; scan: Internet Archive · Public domain · via Wikimedia Commons

    File:Die Tonleitern und Musiknoten der Griechen (IA dietonleiternund00bell).pdf

  • An open-air enclosure of ancient stone blocks and a standing statue among palms under a blue sky.

    The open-air museum of Akhmim, Sohag governorate, Egypt.

    Roland Unger · CC BY-SA 3.0 · via Wikimedia Commons

    File:AkhmimOpenAirMuseum.jpg

  • A marble sarcophagus carved all round with a crowded procession of figures, elephants and panthers.

    Roman marble sarcophagus with the triumph of Bacchus returning from India, 2nd century AD. Baltimore, Walters Art Museum.

    Unknown Roman sculptor; photo: Kenneth Mayer · Public domain · via Wikimedia Commons · background removed

    File:WaltersBacchusTriumphSarcoph.JPG

  • Engraving of a horned viper coiled among grass, its zigzag pattern clear.

    Vipera ammodytes, the horned viper: illustration in Otto’s Encyclopedia (Ottův slovník naučný, 1908).

    Unknown illustrator (Ottův slovník naučný) · Public domain · via Wikimedia Commons

    File:Vipera ammodytes, Otto's Encyclopedia.jpg

  • A marble panel with a seated goddess in a helmet, resting on a pile of weapons, partly restored in outline.

    The goddess Roma on the Ara Pacis, Rome: a reconstruction based on a few fragments and on similar depictions.

    Amphipolis · CC BY-SA 2.0 · via Wikimedia Commons

    File:Ara Pacis — Roma (14564315448).jpg

  • Painting: blind old Oedipus, in a red cloak, shields his daughter Antigone, who lies collapsed against him, under a stormy sky.

    Fulchran-Jean Harriet, Oedipus at Colonus, 1798. Cleveland Museum of Art 2002.3.

    Fulchran-Jean Harriet; Cleveland Museum of Art (Open Access) · CC0 · via Wikimedia Commons

    File:Clevelandart 2002.3.jpg

  • Marble portrait head of a young man with short curly hair, its nose damaged.

    Marble head of Ptolemy II Philadelphus, from Egypt, 3rd century BC. Paris, Louvre.

    Gary Todd · CC0 · via Wikimedia Commons · background removed

    File:Marble Head of Ptolemy II "Philadelphus" from Egypt, c. 3rd C. BC (28018875720).jpg

  • Anatomical drawing of the open mouth, the cheeks slit and the tongue pulled forward, showing palate, uvula and tonsils.

    The mouth cavity, the cheeks slit transversely and the tongue pulled forward: figure from Gray’s Anatomy, drawn by Henry Vandyke Carter.

    Henry Vandyke Carter (Gray’s Anatomy) · Public domain · via Wikimedia Commons

    File:Gray1014.png

  • Painted wooden panel: women and boys walk in procession to an altar, one playing a double pipe and one a lyre, a boy leading a lamb; Greek names are painted above them.

    A procession to a sacrifice, with a double pipe (aulos) and a lyre: painted wooden panel (pinax) from the Pitsa cave near Sicyon, Corinthian, 540–530 BC. Athens, National Archaeological Museum 16464.

    Schuppi (photo) · CC BY-SA 4.0 · via Wikimedia Commons

    File:Pitsa panel NAMA 16464 1.jpg

  • An engraved title page: a frame of columns, garlands and allegorical figures around the words Dialogo di Vincentio Galilei nobile fiorentino della musica antica et della moderna, and below, In Fiorenza M.D.LXXXI.

    Title page of Vincenzo Galilei, Dialogo della musica antica, et della moderna (Florence: Giorgio Marescotti, 1581). BEIC digital library.

    Vincenzo Galilei (book); scan: BEIC · Public domain · via Wikimedia Commons

    File:Galilei - Della musica antica et della moderna, 1581 - 1499450.jpg

  • A printed title page in Greek and Latin: Anonymi scriptio de musica, Bacchii senioris Introductio artis musicae, edited by Fridericus Bellermann, Berlin 1841.

    Title page of Friedrich Bellermann’s edition, Anonymi scriptio de musica; Bacchii senioris Introductio artis musicae (Berlin: Albert Foerstner, 1841). Scanned by Google from the Harvard copy (Internet Archive).

    Friedrich Bellermann (book); scan: Google / Internet Archive · Public domain · via Wikimedia Commons

    File:Anonymi scritio de musica - Bacchii senioris Introductio artis musicae (IA anonymiscritiod00bellgoog).pdf

  • A printed page: rows of Greek instrumental note-signs, each row beside a short line of music in the bass clef, with Latin notes at the right.

    Page 96 of Friedrich Bellermann’s edition, Anonymi scriptio de musica (Berlin, 1841): the four-time and eighteen-time pieces, the signs of the manuscripts with Bellermann’s own transcription.

    Friedrich Bellermann (book); scan: Google / Internet Archive · Public domain · via Wikimedia Commons

    File:Anonymi scritio de musica - Bacchii senioris Introductio artis musicae (IA anonymiscritiod00bellgoog).pdf

  • A ragged sheet of papyrus covered with lines of Greek writing, with small signs written above some of the lines.

    Papyrus Berlin 6870 with P 14097, verso (“Aus dem Handbuch der Musik”), second century AD. Berlin, Ägyptisches Museum und Papyrussammlung.

    Staatliche Museen zu Berlin, Ägyptisches Museum und Papyrussammlung / Sandra Steiß (photo) · CC BY-SA 4.0 · via Wikimedia Commons · background removed; the scale bar cropped

    File:Papyrus Berlin 6870 + 14097 (verso).jpg

  • A long narrow strip of papyrus with five lines of Greek capitals, small signs written above them.

    Papyrus Oxyrhynchus 1786, late third century.

    Unknown author (photograph from the Oxyrhynchus papyri online database) · Public domain · via Wikimedia Commons

    File:POxy 1786.jpg

  • Clay tablet covered in cuneiform writing, an Old Assyrian letter.

    Old Assyrian private letter, c. 20th–19th century BC. Metropolitan Museum of Art 66.245.1.

    Zeray Peter / The Metropolitan Museum of Art · CC0 · via Wikimedia Commons

    File:Cuneiform tablet- private letter MET DP-13441-003.jpg

Picture credits on this page
  1. Behind the title: Codex Sinaiticus open in its display case in the British Library, London. PotatoCow25 · CC0 · via Wikimedia Commons