Red-figure pottery in the context of "Golden Fleece"

In Ancient Greece, the symposium (Ancient Greek: συμπόσιον, sympósion, from συμπίνειν, sympínein, 'to drink together') was the part of a banquet that took place after the meal, when drinking for pleasure was accompanied by music, dancing, recitals, or conversation. Literary works that describe or take place at a symposium include two Socratic dialogues, Plato's Symposium and Xenophon's Symposium, as well as a number of Greek poems, such as the elegies of Theognis of Megara. Symposia are depicted in Greek and Etruscan art that shows similar scenes.

In modern usage, it has come to mean an academic conference or meeting, such as a scientific conference. The Latin equivalent of a Greek symposium in Roman society is convivium.

Ancient Greek medicine was a compilation of theories and practices that were constantly expanding through new ideologies and trials. The Greek term for medicine was iatrikē (Ancient Greek: ἰατρική). Many components were considered in ancient Greek medicine, intertwining the spiritual with the physical. Specifically, the ancient Greeks believed health was affected by the humors, geographic location, social class, diet, trauma, beliefs, and mindset. Early on the ancient Greeks believed that illnesses were "divine punishments" and that healing was a "gift from the Gods". As trials continued wherein theories were tested against symptoms and results, the pure spiritual beliefs regarding "punishments" and "gifts" were replaced with a foundation based in the physical, i.e., cause and effect.

In Greek mythology, Orestes or Orestis (/ɒˈrɛstiːz/; Ancient Greek: Ὀρέστης [oréstɛːs]) was the son of Agamemnon and Clytemnestra, and the brother of Electra and Iphigenia. He was also known by the patronymic Agamemnonides (Ἀγαμεμνονίδης), meaning "son of Agamemnon." He is the subject of several Ancient Greek plays and of various myths connected with his madness, revenge, and purification, which retain obscure threads of much older works. In particular Orestes plays a main role in Aeschylus' Oresteia.

The Triptolemos Painter was an ancient Greek vase painter, belonging to the Attic red-figure style. He was active in Athens between 490 and 470 BC. His real name is not known. He started working in the workshop of Euphronios, where he was probably taught by Douris. Later, he also worked for the potters Brygos, Hieron and Python. Initially, his style was strongly influenced by Archaic art. His later works are mediocre in quality. Nonetheless, his repertoire is broad, reaching from the Apaturia procession via erotic scenes and Theban scenes to the departure of Triptolemos (his name vase).

A pyxis (Greek: πυξίς; pl.: pyxides) is a shape of vessel from the classical world, usually a cylindrical box with a separate lid and no handles. They were used to hold cosmetics, trinkets or jewellery, but were also used for dispensing incense and by physicians to contain medicine. Surviving pyxides are mostly Greek pottery, but could also be made from a range of other materials: wood, bronze, ivory, marble, terracotta, silver, or stone. The name derived from Corinthian boxes made of wood from the tree puksos ("boxwood"). During the Classical period, the Attic word "kylichnis" was also used to refer to the same shape. The shape of the vessel can be traced in pottery back to the Protogeometric period in Athens, however the Athenian pyxis has various shapes itself.

Wedding Painter is the conventional name for an ancient Greek vase painter active in Athens from circa 480 to 460 BC. He painted in the red-figure technique. His name vase is a pyxis in the Louvre depicting the wedding of Thetis and Peleus.

Black-figure pottery painting (also known as black-figure style or black-figure ceramic; Ancient Greek: μελανόμορφα, romanized: melanómorpha) is one of the styles of painting on antique Greek vases. It was especially common between the 7th and 5th centuries BC, although there are specimens dating in the 2nd century BC. Stylistically it can be distinguished from the preceding orientalizing period and the subsequent red-figure pottery style.

Figures and ornaments were painted on the body of the vessel using shapes and colors reminiscent of silhouettes. Delicate contours were incised into the paint before firing, and details could be reinforced and highlighted with opaque colors, usually white and red. The principal centers for this style were initially the commercial hub Corinth, and later Athens. Other important production sites are known to have been in Laconia, Boeotia, eastern Greece, and Italy. Particularly in Italy individual styles developed which were at least in part intended for the Etruscan market. Greek black-figure vases were very popular with the Etruscans, as is evident from frequent imports. Greek artists created customized goods for the Etruscan market which differed in form and decor from their normal products. The Etruscans also developed their own black-figure ceramic industry oriented on Greek models.

The Symposium (Ancient Greek: Συμπόσιον) is a Socratic dialogue written by Xenophon in the late 360s B.C. In it, Socrates and a few of his companions attend a symposium (a dinner party at which Greek aristocrats could enjoy entertainment and discussion) hosted by Kallias for the young man Autolykos. Xenophon claims that he was present at the symposium, although this is disputed because he would have been too young to attend. The dramatic date for the Symposium is 422 B.C.

Entertainment at the dinner is provided by the Syracusan and his three performers. Their feats of skill thrill the attendants and serve as points of conversation throughout the dialogue. Much of the discussion centers on what each guest is most proud of. All their answers are playful or paradoxical: Socrates, for one, prides himself on his knowledge of the art of match-making.