1. The rhyton is an ancient horn- or cone-shaped drinking and pouring vessel, made of metal, clay or glass. They are often decorated with an animal (real or fictional, or sometimes human) head. While used for ordinary drinking, rhytons also served for libations during some religious ceremonies and rituals.

10. The most orientalised styles of the 7th century BC doubtless came from Eastern Greece, an area encompassing the Aegean islands and the cities of the Ionian coast. Here, we can spot many Oriental motifs such as animal friezes (big cats and deer), fantastic beasts (sirens, griffons and sphinxes) and patterns featuring rosettes, lotuses and palm fronds. Eastern Greece’s varied artistic output shared a common style in the second half of the 7th century BC: the “wild goat” style. This was often a decorative feature on oenochoes (triple-lipped wine-pouring vessels) and is characterised by layered vegetable and animal decorations; wild goats are heavily featured in such work, hence the name. The “Levy oenochoe” is a particularly refined example of this style. Monsters (griffon and sphinx) feature on its shoulders, while the body of the vessel is covered with five alternating layers depicting grazing goats and deer, leading towards the right. The whole object is covered with a profusion of small decorative motifs whose “carpeting” effect brings to mind the very embroidery through which all these decorative motifs were brought to Greece in the first place. 

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11.The bowl of the rhyton of Douris is decorated with two scenes, separated in the middle by a series of diamonds, strips, twists and crosses. Each image depicts a character linked to the banqueting universe in which the vase itself is destined to feature. Two naked comastes, each carrying a himation (an ancient Greek draping garment) in their arms and holding a stick, dance a few steps – probably under the influence of wine. One of them is holding a cup; in the next image, the vase is hanging from the wall by its handle, as was customary at banquets. 

* Participants in the komos were known as comastes. In archaeological and iconographic literature, the word generally refers to a noisy group of festive drinkers accompanied by musicians, characteristic of depictions of banquets and Dionysiac feasts. This procession may have its roots in a festival of nature, dedicated to Dionysius, and the subsequent harvest festival. Featuring regularly on Attic vases from the 6th century BC, it seems to have gradually lost its ritual significance and become a private entertainment. (Source: Musée du Louvre)

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12. The first quarter of the 5th century BC (500-475 BC) was the golden age of Attic red-figure pottery. The work of this time stood out thanks both to its artistic mastery and the variety of its thematic repertoire […] The krater [two-handled vase for mixing wine and water] shown here is a variant of the bell krater: it’s actually known as a lugged krater, due to the shape of its handles. The scene here depicts Ganymede (side A) pursued by Zeus (side B). Ganymede, one of the handsomest young men of Greek mythology, was courted by Zeus and finally kidnapped by him; disguised as an eagle, Zeus took Ganymede to Mount Olympus to serve as the gods’ cupbearer [...] Ganymede is naked, playing with a hoop (a symbol of youth) and holding a cockerel, a loving gift from Zeus. (Source: Musée du Louvre, Paris)