Sculpture Fragment

This fragment (consisting of two joined pieces) belongs to a group of thirty nine other non joining pieces of a large relief monument that depicted a male figure wearing a long tunic, leaning on a wineskin and reclining on a kline (couch) padded with a thick cushion and pillow (see [81.AA.193](http://www.getty.edu/art/collection/objects/9853/unknown-maker-fragment-of-a-relief-greek-525-500-bc/); [81.AA.194.2-27](https://www.getty.edu/art/collection/search/?pg=1&view=grid&query=YTozOntzOjg6Il9udW1iZXJzIjtzOjk6IjgxLkFBLjE5NCI7czo0MToiKGlkZW50aWZpZXIucHJpbWFyeXxpZGVudGlmaWVyLmFsdGVybmF0ZSkiO3M6OToiODEuQUEuMTk0IjtzOjQ6InNvcnQiO3M6MTE6InNvcnQubnVtYmVyIjt9); [82.AA.123.1-4](http://www.getty.edu/art/collection/search/?view=grid&query=YTozOntzOjg6Il9udW1iZXJzIjtzOjk6IjgyLkFBLjEyMyI7czo0MToiKGlkZW50aWZpZXIucHJpbWFyeXxpZGVudGlmaWVyLmFsdGVybmF0ZSkiO3M6OToiODIuQUEuMTIzIjtzOjQ6InNvcnQiO3M6NjoiLXNjb3JlIjt9); [85.AA.419.1-5](http://www.getty.edu/art/collection/search/?view=grid&query=YTozOntzOjg6Il9udW1iZXJzIjtzOjk6Ijg1LkFBLjQxOSI7czo0MToiKGlkZW50aWZpZXIucHJpbWFyeXxpZGVudGlmaWVyLmFsdGVybmF0ZSkiO3M6OToiODUuQUEuNDE5IjtzOjQ6InNvcnQiO3M6NjoiLXNjb3JlIjt9); [86.AA.545.1-3](http://www.getty.edu/art/collection/search/?view=grid&query=YTozOntzOjg6Il9udW1iZXJzIjtzOjk6Ijg2LkFBLjU0NSI7czo0MToiKGlkZW50aWZpZXIucHJpbWFyeXxpZGVudGlmaWVyLmFsdGVybmF0ZSkiO3M6OToiODYuQUEuNTQ1IjtzOjQ6InNvcnQiO3M6NjoiLXNjb3JlIjt9)) This particular fragment forms the lower leg of the man, with thin fabric highlighting the anatomy beneath. Well developed calf muscles of the leg are discernible, as is the front of the tibia. The folds of the garment are in low relief and arranged in a symmetrically spaced diagonal pattern. The carving of the relief fragments is of high quality with a refined degree of finish on the frontal surfaces; the back surface is finished with the fine pointed chisel and both sides are carefully finished with a claw chisel. The late sixth-century B.C. date of the relief is based on the quality of the sculpting and the style of the drapery.

Images of men reclining on klinai are usually participants in a symposium or banquet. To dine and drink in a reclining posture was a sign of high status, and such occasions were redolent of privilege, pleasure, and luxury. Banqueting scenes appear painted on vessels used at actual symposia, and carved on stone reliefs that adorned architectural, religious and funerary monuments.