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Start Over Donor Phoebe Apperson Hearst Person depicted Artemis (Greek deity)
Hearst Museum object titled Kylix (eye cup), accession number 8-40, described as Attic black-figure eye-cup; some repainting of gorgoneion over break in bowl, otherwise intact; I, gorgoneion; between eyes, A, four-winged Artemis (Latin: Diana) with her deer, followed by a youth (perhaps not Apollo, according to Smith); B, four-winged Artemis; beneath each handle, inverted lotus. Once in Brussels in the Somzée Collection.
Hearst Museum object titled Skyphos, accession number 8-997, described as Huge red-figure skyphos (cup); A, Apollo, sitting, approached by Artemis (Latin: Diana), behind Apollo is a young girl. B, Dionysos and maenad, a hasty composition much the same as in other Faliscan vases (see ref.). Repaired from fragments, the surface in bad condition.
Hearst Museum object titled Statue (reproduction), accession number 21-52, described as Cast of Winged Artemis (Latin: Diana), described by Pausanias as the earliest winged Victory executed by any Greek sculptor, and credited to Archermos, son on MIkkiades of Chios. The statue lacks right arm, most of its left arm except fingers, right foot, left leg from knee, most of wings. Bulletin de Correspondance hellenique 1879, plate 6. Half life size. Found 1877. Height 0-.9 meters. Described TAUpTá 21. The goddess has wings on her shoulders and feet. She wears a tight belted tunic with flat bands once elaborately painted. The statue rested on a stem, leaving both feet free. Another one, by Archermos, is in the Akropolis Museum. Location: Delos, Cyclades. National Museum.
Hearst Museum object titled Statuette (reproduction), accession number 21-208, described as Cast of a goddess, probably Artemis (Latin: Diana). From a bronze found at Olympia. The goddess wears a diadem. Her hair is knotted. Her left arm and the attribute her right hand held are missing. A nearly engraved meander pattern follows the hem of her tunic’s swallow-tail overlap. The tunic itself clings to her person, adding to the gracefulness of her figure. Her face wears an archaic smile of a less rigidly conventional character than usual. This statuette illustrates an advanced stage of primitive Greek art corresponding to the paintings we see on some of the best early red-figured vases. Compare Olympia IV Plate 7, and Friederichs-Wolters 358. Late 6th and 5th Century B.C.

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