Attic Red-Figured and White Ground Pottery (Athenian Agora 30)

THE

ATHENIAN AGORA RESULTS OF EXCAVATIONS CONDUCTED BY

THE AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS

VOLUMEXXX

ATTIC

RED-FIGURED AND

WHITE-GROUND POTTERY BY

MARYB. MOORE

THE AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS PRINCETON, NEW JERSEY 1997

Data Library of Congress Cataloging-in-Publication Moore, Mary B. Attic red-figuredand white-groundpottery / by Mary B. Moore. p. cm. - (AthenianAgora ; v. 30) Includes bibliographicalreferencesand index. ISBN 0-87661-230-3 (alk. paper) 1. Vases, Red-figured--Greece-Athens. 2. Slipware-Greece-Athens. 3. Vases, Greek-Expertising--Greece-Athens. 4. Agora (Athens, Greece) I. Titlde. II. Series. NK4649.M66 1997 738'82'09385-dc21 96-52922 CIP

) American School of Classical Studies at Athens 1997 TYPOGRAPHY BY THE AMERICAN SCHOOL OF CLASSICAL STUDIES PUBLICATIONS OFFICE

6-8 CHARLTON STREET, PRINCETON, NEW JERSEY PLATES BY THE LITHOPRINT COMPANY, AUSTIN, TEXAS PRINTED IN THE UNITED STATES OF AMERICA BY PRINCETON ACADEMIC PRESS, LAWRENCEVILLE, NEW JERSEY

CONTENTS LIST OF ILLUSTRATIONS...................................................................................

xi

ABBREVIATIONS .......................................................................................

xiii

FoREwoRD............................................................................................

xvii

INTRODUCTION...........................................................................................

1

SHAPESTUDIES ..........................................................................................

5

ONE-PIECE AMPHORAE 1-17

Pis. 1-7 .............................................................

Pictures framed 1 Pictures not framed 2-8 Not known if pictures framed or unframed NECK-AMPHORAE 18, 19

9-17

Pis. 7-8 .................................................... Pis. 7-10 .......................................................

PANATHENAICAMPHORAE 20-23

Pictures unframed 20-22 Not known if pictures framed or unframed AMPHORAE:TYPEUNCERTAIN 24-28

PI. 10 ................................................

Pis. 10-14 ................................................... Pictures framed 29, 30 Pictures unframed 31-65 Not known if pictures framed or unframed 66-68

LOUTROPHOROI77-110

7 9

23

PELIKAI 29-68

AMPHORAEORPELIKAI 69-76

5

Pis. 14-15 ........................................................

Pis. 15-18 .............................................................

12

12

13 14

Hydriai 77-84 Amphorae 85-92 Type uncertain 93-110 STAMNOIANDSTAMNOIDS 111-118

Pls. 18-21 ...................................................

16

Stamnoi 111-116 Stamnoids 117, 118 LEBETESGAMIKOI 119-163

Pls. 21-24 ..........................................................18

Type 1 119-150 Type 2 151-154 Type uncertain 155-163 COLUMN-KRATERS 164-233

Pis. 25-31

............................................

Pictures framed 164-186 Picturesunframed 187-197 Not known if pictures framed or unframed VOLUTE-KRATERS 234-247 CALYX-KRATERS 248-288

198-233

Pis. 32-33 ........................................... Pis. 34-39 ...........................................

Single register 248-285 Double register 286-288

20

23 26

vi

CONTENTS BELL-KRATERS289-568

Pls. 40-58

............................................................

Type 1 289-292 Type 2 293-545 Type Uncertain 546-566 Special Type: Neck not set off from body CALYX-KRATERSORBELL-KRATERS 569-583 LOUTERION

584

Pis. 59-60

H YDRIAI

592-608

Pis. 58-59 ...........................................

34 34

Pis. 61-62 ......................................................

35

Pis. 62-64

.

36

Pis. 64-65

................................................................

589-591

PSYKTERS

567, 568

...................................................................

STANDSAND SUPPORTS585-588

31

.............................................................

37

Picture on the shoulder 592, 593 Picture on the body 594-608 Pis. 65-84 .............................................................. 609 2 Shape Shape 3 610-791 Full size 610-683 Small 684-772 Miniature 773-790 Uncertain if full size, small, or miniature 791 Shape 4 792, 793 Akin to Shape 4 793 Shape 8 794-808 Type A 794-799 Type C 800-802 Type uncertain 803-808 Special 809-826 Type uncertain 827, 828

O INOCHOAI 609-828

Pls. 85-90 ................................................................

LEKYTHOI 829-898

40

45

Standard 829-863 Decoration in red figure 829-839 Decoration on white ground 840-863 Secondary 864-897 Decoration in red figure 864-887 Decoration on white ground 888-897 Class DL 898 SQUAT LEKYTHOI

Pls. 90-95 ..........................................................

899-982

47

Decoration in red figure 899-981 Decoration on white ground 982 ALABASTRA

PI. 95 ...................................................................

983-985

48

Decoration in red figure 983 Decoration on white ground 984, 985 ARYBALLOI

P . 96 ...................................................................

986, 987

PYXIDES 988-1062

Type A Type B Type C Type D

Pls. 96-101

...............................................................

988-1021 1022-1038 1039-1054 1055-1062

LEKANIDES 1063-1142

Pls. 101-109 ..........................................................54

50 51

vii

CONTENTS LIDS 1143-1148

Pl. 109 .....................................................................

ASKOI 1149-1186 Pls. 109-112 ............................................................... Shallow 1149-1182 Deep 1183, 1184 Strainer 1185, 1186

55 55

PLATES 1187-1222 Pis. 112-115 ..............................................................57 A 1187-1195 Type Type B 1196-1213 Fish plates 1214-1220 Type uncertain 1221, 1222 KALATHOIDS KANTHAROI

Pls. 115-116 .........................................................59

1223, 1224

Pis. 116-117

1225-1236

.........................................................59

Type A 1225, 1226 Type B 1227, 1228 Type D (Sotadean) 1229 Saint-Valentin 1230-1236 SKYPHOI 1237-1339 Pis. 117-125 ............................................................62 Type A 1237-1308 Type B 1309-1322 Glaukes 1312-1322 Corinthian 1323-1332 Type uncertain 1333-1339 CUP-SKYPHOI

STEMLESS CUPS

PI. 125 .............................................................66

1340-1346 1347-1399

Pls. 125-129 .......................................................66

CuPS 1400-1633 Pls. 129-153 ............................................................... Type A 1400 Type B 1401-1553 Type C 1554-1598 Type uncertain 1599-1633 BowLs 1634, 1635

PI. 153 ....................................................................73

BOBBINS 1636-1641

Pis. 153-154 ............................................................

EPINETRA1642-1649

OPEN: SHAPEUNCERTAIN 1667-1672

P1. 155 .................................................76 P1. 156 ...................................................76

FRAGMENTS:UNCERTAIN IF CLOSED OR OPEN SHAPE M ISCELLANEOUS 1680, 1681

PLAQUES 1683, 1684

74

PI. 154 .................................................................74

CLOSED:SHAPEUNCERTAIN 1650-1666

ASTRAGALOS 1682

67

1673-1679

Pis. 156-157 ........................76

P1. 157 ...........................................................77

PI. 157 ....................................................................

PI. 157 .................................................................

77

77

viii

CONTENTS

POTTERS, PAINTERS, GROUPS,ANDCLASSES....................

79

.............................................

EARLYRED-FIGUREPOTPAINTERS.................................................................

81

The Andokides Painter and the EarliestRed Figure THEm PIONEER GROUP............................................................................. Euphronios, Phintias, Euthymides,and Others

85

EARLYRED-FIGURECUP PAINTERS.................................................................

87

Oltos, Epiktetos,and Skythes The Euergides Painter and Others The Coarser Wing: The Nikosthenes Painter,the Pithos Painter,the Heraion Painter,and Others Other Early Red-Figure Cup Painters LATEARCHAICPOTPAINTERS.....................................................................

92

The Kleophrades Painter The Berlin Painter The Nikoxenos Painter and the EucharidesPainter Myson and Other Paintersof Column-Kraters Other Late Archaic Paintersof Large Vases LATEARCHAICCUP PAINTERS.....................................................................

97

Onesimos, the Antiphon Painter,and the Colmar Painter The Brygos Painter and His Circle Douris Makron Other Late Archaic Cup Painters EARLYCLASSICAL PAINTERS OFLARGEPOTS .......................................................

103

Hermonax Other Early Classical Paintersof Large Pots The Pan Painter EarlierMannerists The Niobid Painter and His Group The Villa Giulia Painter and His Group EARLYCLASSICAL PAINTERS OFSMALLER POTS .....................................................

110

EARLYCLASSICAL PAINTERS OFCUPSANDSKYPHOI.................................................

112

Followersof Douris; Other Cup Painters The Pistoxenos Painter and His Group The PenthesileaPainter and His Workshop Paintersof Skyphoi CLASSICAL POTPAINTERS........................................................................

115

The Achilles Painter and the Phiale Painter Polygnotosand His Group The Kleophon Painter and the Dinos Painter Other Classical Pot Painters PAINTERS OFSMALLER POTS ............................................................ CLASSICAL

123

LATE-FIF TH-CENTURY POTPAINTERS..............................................................

126

The Meidias Painter and His Circle Other Late-Fifth-CenturyPot Painters Late-Fifth-CenturyPaintersof Small Pots PAINTERS .................................................................... FOURTH-CENTURY

129

CONTENTS

ix

CATALOGUE ...........................................................................................

133

DEPOSITSUMMARIES ...................................................................................

359

CONCORDANCE ........................................................................................

369

INDEX I: POTTERS, PAINTERS, GROUPS, AND CLASSES .......................................................

383

INDEXII: SUBJECTS....................................................................................

389

INDEX III: GENERAL ...................................................................................

393

INDEX IV: SHAPEAND ORNAMENT.......................................................................

394

INDEX V: COLLECTIONS.................................................................................

401

INDEXVI: INSCRIBED NAMES............................................................................

419

PLATES

ILLUSTRATIONS FIGURESIN TEXT

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49

134 One-piece Amphora 2 (P 389 and P 24017)....................................... 17 ..........................................137 (P 27777) One-piece Amphora 141 Pelike 43 (P 23203)............................................................. .............144 Pelike 67 (P 18411 a).................................... 146 Loutrophoros85 (P 27322)........................................................ 149 ........... 108 5222 (P d).............................................. Loutrophoros 158 Column-krater169 (P 23173 c, d)..................................... 160 ................ ..................... Column-krater173 (P 7251 b + d, c) 162 Column-krater183 (P 19150) ............................................... 164 ............................... .................. ..... Column-krater198 (P 3299)..... 168 Column-krater227 (P 19577) ...................................... 168 Column-krater230 (P 15962) ...................................... 170 .............. ...... ...... Volute-krater236 (P 17462 b) ........... 171 ......... ...................... Volute-krater237 (P 8533 a)...... 172 .... ................... Volute-krater238 (P 14729 a, b)........ ..... 176 .................................... Calyx-krater256 (P 19582 j, P 6103, P 18278 d) 178 Calyx-krater259 (P 25296)......................................................... 180 .............. ....................... Calyx-krater275 (P 22811).. 183 ..................... .............. Calyx-krater288 (P 44)... 187 Bell-krater303 (P 21352 b, h, e)................................................... 193 Bell-krater342 (P 134 and P 5110 b)......... ............................ 199 Bell-krater389 (P 18849) ...................................... 200 Bell-krater390 (P 10960)..................................... 201 Bel-krater 393 (P 24657)...................................... 201 ................................. Bell-krater394 (P 18949)...... ....203 Bell-krater405 (P 23801) .......................................... Bell-krater442 (P 3035)...................................... 207 219 Bell-krater558 (P 6193)........................................ or bell-krater 580 221 (P 24744)....................................... Calyx-krater Louterion 584 (P 12641)....................................... 222 222 Louterion 584 (P 12641)............................... Stand 585 (P 4683 and P 4744)...................................... 224 589 ...................................... 226 (P 7240) Psykter Oinochoe 611 (P 25965) ..................................................... 231 240 ............................. Oinochoe 689 (P 18538)........ 241 Oinochoe 691 (P 15370).................................................. Oinochoe 794 (P 15918)....................................... 252 267 Squat Lekythos 934 (P 16882) ...................................... 270 982 ...................................... (P 10508)................. Squat Lekythos 277 Pyxis 1038 (P 22824)............................................................................. 056 279 (P 777)....................................... Pyxis 279 Pyxis 1057 (P 23301)..................................... 1059 . 279 (P 23549).................................................. Pyxis Lekanis 1074 (P 11159).........2....................... 281 Kalathoid 1223 (P 18007/P 18414) ............................................ . 296-297 ...................303 Skyphos 1279 (P 20092) .................................... 304 ...................................... Skyphos 1288 (P 22467) ................. Stemless Cup 1380 (P 22356).................................... .....................313 Stemless up 1389 (P 25325).................................... 314

xii

50 51 52 53 54 55 56 57 58 59 60 61

ILLUSTRATIONS

Stemless Cup 1391 (P 18955).......................... .................... Cup 1409 (P 905 2) .................................................. Cup 1442 (P 10206): interior...................................... ......... ........ Cup 1442 (P 10206): exterior ..................... Cup 1517 (P 647)....................... Cup 1530 (P 12776).............................................................................. Cup 1534 (P 3692)............................................................................... Cup 1560 (P 2765) .......................... .................................. Cup 1590 (P 11026).............. Cup 1610 (P 14942)......... Cup 1628 (P 6574)............. Fragment,Uncertain if Closed Shape or Open Shape 1675 (P 4791).

........ ......

315 318 .. 324 .. 324 . 334 336 337 340 345 347 349 355

PLATES 1-7 7-8 7-10 10 10-14 14-15 15-18 18-21 21-24 25-31 32-33 34-39 40-58 58-59 59-60 61-62 62-64 64-65 65-84 85-90 90-95 95

One-piece Amphorae Neck-amphorae PanathenaicAmphorae Amphorae, Type Uncertain Pelikai Amphorae or Pelikai Loutrophoroi Stamnoi and Stamnoids Lebetes Gamikoi Column-kraters Volute-kraters Calyx-kraters Bell-kraters Calyx-kratersor Bell-kraters Louterion Stands and Supports Psykters Hydriai Oinochoai Lekythoi Squat Lekythoi Alabastra

96 96-101 101-109 109

109-112 112-115 115-116 116-117 117-125 125 125-129 129-153 153 153-154 154 155 156 156-157 157 157 157

PLAN: THE ATHENIANAGORA SHOWINGTHE LOCATIONOF THE DEPOSITS

Aryballoi Pyxides Lekanides Lids Askoi Plates Kalathoids Kantharoi Skyphoi Cup-skyphoi Stemless Cups Cups Bowls Bobbins Epinetra Closed Vases: Shape Uncertain Open Vases: Shape Uncertain Fragments: Uncertain if Closed Shape or Open Shape Miscellaneous Astragalos Plaques

ABBREVIATIONS AA AAA ABFV ABV Addenda AddendaandCorrigenda AgesofHomer Agora XII XXI XXIII XXV XXVII AGRPAmsterdam AGRPCopenhagen

AJA AK Alfieri, Spina AM AnnNap ArchCl ArchReports ARFV.Archaic ARV' ARV2 ARVF:Classical AV 'APX'Ec BCH Beazley, Vasesin America Beck, Album Becker,Formenattischer Peliken Berard,Anodoi BICS BJb Bloesch, FAS Brommer,Heldensage3 Brommer,Hephaistos

= Archdologischer Anzeiger = AthensAnnalsofArchaeology BlackFiure Vases,London 1974 =J. Boardman, Athenian = J. D. Beazley,AtticBlack-Figure Oxford 1956 Vase-Painters, = T. H. Carpenter, BeazleyAddenda: to ABV, ARV2 and Paralipomena, AdditionalReferences Oxford 1989 AddendaandCorrigenda Vase-Painters: =J. D. Beazley,AtticRed-Figured = TheAgesof Homer:A Tributeto Emily TownsendVermeule, J. B. Carter and S. P. Morris, eds., Austin 1995 = TheAthenian Schoolof ClassicalStudies Conducted bytheAmerican Agora:ResultsofExcavations atAthens = B. Sparkes and L. Talcott, BlackandPlainPotteryof the 6th, 5th, and 4th Centuries B.C., Princeton 1970 = M. Lang, Graffiti andDipinti,Princeton 1978 = M. B. Moore and M. Z. P. Philippides,AtticBlack-Figured Pottery,Princeton 1986 = M. Lang, Ostraka,Princeton 1990 = R. Townsend, TheEast Sideof theAgora:TheRemainsbeneath theStoaofAttalos,Princeton 1995 = AncientGreekandRelatedPottery.Proceedings of the International Vase Symposium in Amsterdam 12-15, April 1984 [AllardPierson Series 5], Amsterdam 1984 = AncientGreekandRelatedPottery.Proceedings of the Third Symposium, Copenhagen August 31-September 4, 1987, Copenhagen 1988 = American JournalofArchaeology = AntikeKunst

= N. Alfieri, Spina:Museoarcheologico nazionaledi Ferrara1, Bologna 1979 = Mitteilungen Athenische desDeutschen Instituts, Archdologischen Abteilung = AnnalidelSeminario di StudidelMondoClassico = Archeologia Classica = Archaeological Reports =J. Boardman,Athenian Red-FigureVases:TheArchaicPeriod,London 1975 D. Attic 1st ed., Oxford 1942 Vase-Painters, =J. Beazley, Red-Figure D. Attic 2d Vase-Painters, ed., Oxford 1963 Beazley, Red-Figure =J. Athenian Vases:The ClassicalPeriod,London 1989 Red-Figure =J. Boardman, desrotfigurigen Stils,Tubingen 1925 =J. D. Beazley,AttischeVasenmaler = 'ApxaLtoXoYLXT 'Eipzept

= Bulletindecorrespondance hellenique = J. D. Beazley,AtticRed-Figured VasesinAmerican Museums,Cambridge 1918 = F A. G. Beck, Albumof Greek at Schoolandat Play, Sidney 1975 Education,TheGreeks = R.-M. Becker,Formenattischer PelikenvonderPionier-Gruppe biszumBeginnderFriihklassik, Tubingen 1977 = C. B6rard, Anodoi:Essai sur l'imagerie despassageschthoniens [Bibliotheca Helvetia Romana XIII], Rome 1974 = Bulletinof theInstituteof ClassicalStudies = Bonner Jahrbicher = H. Bloesch, Formenattischer SchalenvonExekiasbiszumEndedesStrengen Stils,Bern 1940 = F Brommer, Vasenlisten 3d ed., Marburg 1973 zurgriechischen Heldensage, = F Brommer,Hephaistos: DerSchmiedegott in derantikenKunst,Mainz 1978

xiv

BSA Buitron-Oliver,Douris Burn, MeidiasPainter Callipolitis-Feytmans, Lesplatsattiques CB

ABBREVIATIONS = TheAnnualof theBritishSchoolatAthens = D. Buitron-Oliver,Douris:A Master-Painter of AthenianRed-FigureVases[Kerameus 9], Mainz 1995 = L. Burn, TheMeidiasPainter,Oxford 1987 = D. Callipolitis-Feytmans,Lesplatsattiquesafiguresnoires,Paris 1974

= L. D. Caskey and J. D. Beazley, Attic VasePaintingsin theMuseumof FineArts,Boston, Oxford, vol. 1, 1931; vol. 2, 1954; vol. 3, 1963 = G. van Hoorn, ChoesandAnthesteria, ChoesandAnthesteria Leyden 1951 = F.Jacopi, ClaraRhodosVII, 1932-1933 ClaraRhodos Cohen, AtticBilingualVases = B. Cohen, AtticBilingualVasesandTheirPainters,New York 1978 = CorpusVasorum CVA Antiquorum = 'ApXatoXoytxov AeXrcov

Denoyelle, ... Louvre Chefs-d'oeuvre Development EAA Esposito and de Tommaso, Vasiattici Euphronios

= M. Denoyelle, Chefs-d'oeuvre dela ceramique danslescollections duLouvre,Paris 1994 grecque

3d ed., Berkeley 1986 ofAtticBlack-Figure, =J. D. Beazley, TheDevelopment = Enciclopedia e dell'arte classica orientale antica, = A. Esposito and G. de Tommaso, Vasiattici:MuseoArcheologico Nazionaledi FirenzeAntiFlorence 1993 quarium, = Euphronios derMaler (Catalogue of the exhibition held in Berlin, March 20-May 5, 1991), Milan 1991 = Fastiarchaeologici Fasti = A.-B. Follmann, Der Pan-Maler[Abhandlungen zur Kunst-, Musik- und LiteraturFollmann,Pan-Maler wissenschaft52], Bonn 1968 = A. Furtwangler,K. Reichhold, E Hauser, E. Buschor, C. Watzinger, and R. Zahn, FR Griechische Munich 1904-1932 Vasenmalerei, vonGefdssform Eine Untersuchung und zumZusammenspiel Frank,AttischeKelchkratere= S. Frank,AttischeKelchkratere: vol. Reihe Hochschulschriften, XXXVIII, 24], Bemalung[Europaische Archaologie, Frankfurt1990 = H. Froning,Dithyrambos undVasenmalerei inAthen,Wurzburg 1971 Froning,Dithyrambos = R. le baindansl'antiquitd Paris 1962 Balaneutiki: Recherches sur Balaneutike Ginouves, Ginouves, grecque, H. A. D. B. Goddess andPolis W. and S. andPolis: Barber, Ridgway, Goddess Shapiro, Kyle, E.J. =J. Neils, ThePanathenaic Princeton Festivalin AncientAthens, 1992 = H. A. Thompson, TheAthenian andMuseum,Athens 1962 Guide(1962) Agora:A Guideto theExcavation = H. A. Thompson, TheAthenianAgora:A Guideto theExcavationand Museum,rev. ed., Guide(1976) Athens 1976 = HeftedesArchdologischen Bern Seminars derUniversitdt HASB = C. H. E. Haspels, AtticBlack-Figured Paris 1936 Lekythoi, Haspels,ABL und Wandeldes Triptolemosbildes: und typologische Religionshistorische Hayashi, Triptolemosbildes= T. Hayashi, Bedeutung Untersuchungen [Beitragezur Archaologie 20], Wurzburg 1992 = L. Talcott, B. Philippaki,G. Roger Edwards,V. R. Grace, SmallObjects fromthePnyx:II HesperiaSuppl. X 1956 [HesperiaSupplement X], Princeton = S. I. Rotroff and J. H. Oakley, Debrisfroma PublicDiningPlace in theAthenianAgora HesperiaSuppl. XXV [HesperiaSupplement XXV], Princeton 1992 = to GreekVasePainting Sexual and H. Hoffmannn, SexualandAsexualPursuit:A Structuralist Approach Hoffinann, of Britan and Institute Great AsexualPursuit Ireland, Occasional Paper [Royal Anthropological no. 34], London 1977 = J. Sweeny,T. Curry,Y. Tzedakis, eds., TheHumanFigurein EarlyGreek HumanFigure Art,Washington 1988 = Illustrated London News ILN = H. Immerwahr,AtticScript:A Survey,Oxford 1990 Immerwahr,AtticScript = Jahrbuch derBerliner Museen JahrBerlMus = JahrbuchdesDeutschen Instituts Archdologischen JdI = Journalof HellenicStudies JHS = Jahreshefte desOsterreichischen Institutes in Wien JOAI Archdologischen = Die Liebe in der attischen v. Chr. S. der Kunstdes5. Jahrhunderts Gotter Kaempf-Dimitriadou, Kaempf-Dimitriadou, LiebederG'tter Bern 1979 Beiheft Kunst, 11], [Antike

ABBREVIATIONS Krieger, Kampfzwischen PeleusundThetis Kron, Phylenheroen

xv

= X. Krieger, Der KampfzwischenPeleusund Thetisin dergriechischen Eine Vasenmalerei: 1975 Munster Untersuchung. Inaug. diss., typologische = U. Kron, Die zehnattischen Berlin Geschichte, Mythos,KultundDarstellungen, Phylenheroen: 1976 = K. Vierneisel, B. Kaeser, et al. KunstderSchale,KulturdesTrinkens, Munich 1990 = D. C. Kurtz, AthenianWhiteLekythoi: PatternsandPainters,Oxford 1975

KunstderSchale Kurtz, AthenianWhite Lekythoi = B. Graefand E. Langlotz, Die antikenVasenvonderAkropolis zuAthen,Berlin 1925-1933 Langlotz = E. Langridge, "The Eucharides Painter and His Place in the Athenian Potters' Langridge, "Eucharides Painter" Quarter"(diss.Princeton University, 1993) Werke undWeggefdhrten Lezzi-Hafter,Eretria-Maler= A. Lezzi-Hafter,DerEretria-Maler: [Kerameus 6], Mainz 1988 = A. Lezzi-Hafter,DerSchuwalow-Maler: EineKannenwerkstatt derParthenonzeit Lezzi-Hafter, [Kerameus2], Mainz 1976 Schuwalow-Maler = LexikonIconographicum LIMC Classicae,Zurich, I, 1981; II, 1984; III, 1986; IV, Mythologiae 1988; V, 1990; VI, 1992; VII, 1994 = I. McPhee and A. D. Trendall, Greek Fish-Plates[AntikeKunst,Beiheft 14], McPhee and Trendall, Red-Figured Basel 1987 Fish-Plates = Marburger Kunstwissenschaft jahrbuchfiir Marbjb di Spina,Milan 1978 dellenecropoli Massei, Gliaskoi... Spina = L. Massei, Gliaskoiafigurerosseneicorredifiunerari = S. B. Matheson, Polygnotos and VasePaintingin ClassicalAthens,Madison, Wisc. 1995 Matheson, Polygnotos Its Development on ShapesOtherThan Lekythoi,New =J. R. Mertens, Attic White-Ground: Mertens, Attic White-Ground York/London 1977 = Metropolitan MuseumJournal MetMusJ = Metropolitan MetMusSt MuseumStudies = H. Paris 1965 Recherches surl'imagerie athinienne, Metzger, Recherches Metzger, = H. Les dans la Metzger, representations Metzger, Repre'sentations attiqueduIVe siecle,Paris 1951 ceramique = Athens 1989 inAncientGreece, MindandBody 0. Tzachou-Alexandri,ed., MindandBody:AthleticContests = Antichi MonAnt Monumenti = Fondation desInscriptions etBelles-Lettres E. Piot. Monuments etmemoires MonPiot publiespar l'Academie = MinchnerJahrbuchderbildenden Kunst Mujb = N. Nakayama, Untersuchung derauf weissgrundigen Grabmirler. dargestellten Inaug. Lekythen Nakayama, Lekythen diss., Freiburg1982 = VederGreco:Le necropoli di Agrigento.Mostrainternazionale ... Agrigento Agrigento,2. maggio-31luglio, Necropoli 1988, Rome 1988 = D. Buitron-Oliver,ed., New Perspectives in EarlyGreek Art [Studies in the Visual Arts 32], New Perspectives Hanover, N.H./London 1991 of PaintedAtticPottery,New York 1965 Noble, Techniques =J. V. Noble, The Techniques = Numismatica Ticinesi e AntichithClassiche,Quaderni NumAntClass Oakley,PhialePainter =J. H. Oakley, ThePhialePainter[Kerameus8], Mainz 1990 inAncientAthens,Madison, Wisc., 1993 Oakley and Sinos, =J. H. Oakley and R. H. Sinos, The Wedding ... Athens Wedding = R. Olmos, Vasos CondesdeLagunillas.MuseoNacionalPalaciodeBellas Olmos, Vasosgriegos... griegosdela Colecci6n Artes,La Habana,Cuba,Zurich 1990 Lagunillas = Occasional OPA PapersonAntiquities [TheJ. Paul Getty Museum], Malibu, California andtoAtticRed-Figure toAtticBlack-Figure Vase-Painters Additions =J. D. Beazley,Paralipomena: Paralip. 1971 Oxford Vase-Painters, einerattischen undseinKreis:ZurIkonologie Schalenwerkstatt Paul-Zinserling,Jena-Maler= V Paul-Zinserling,Derjena-Maler um400. v. Chr.,Mainz 1994 = A. Peredolskaya,Krasnofigurnye atticheskie Peredolskaya vasyv Ermitage,Leningrad 1967 = B. Philippaki, TheAtticStamnos,Oxford 1967 Philippaki,Stamnos = M. Prange, Der NYwbidenmaler und seine Werkstatt: zu einerVasenwerkstatt Untersuchungen Prange, Niobidenmaler Zeit [EuropaischeHochschulschriften,Reihe XXXVIII, Archaologie, frihklassischer vol. 25], Frankfurt1989 = RevueArchlologique RA = G. Wissowa, Paulysreal-encyclopddie derclassischen RE Stuttgart 1884altertumswissenschaft, 1978 = E. Reeder, Pandora:Women Baltimore 1995 in ClassicalGreece, Reeder, Pandora

xvi Richter and Milne, Shapes andNames RM Roberts, Pyxis Robertson,AVP Robertson, HGA V Robinson, Olynthus

ABBREVIATIONS = G. M. A. Richter and M.J. Milne, ShapesandNamesofAthenianVases,New York 1935

= Mitteilungen Instituts: desDeutschen Romische Archdologischen Abteilungen = S. R. Roberts, TheAtticPyxis,Chicago 1978 = M. Robertson, TheArtof Vase-painting in ClassicalAthens,Cambridge 1992 = M. Robertson,A Historyof Greek Art,Cambridge 1975 = D. M. Robinson, Excavations at Olynthus, Baltimore andLampsofOlynthus, V,Mosaics,Vases, 1933 = D. M. Robinson, Excavations at Olynthus, XIII XIII, VasesFoundin 1934 and1938, Baltimore Robinson, Olynthus 1950 derattischenKeramik Ein Beitragzur Formgeschichte des Rudolph, Bauchlekythos = W. W. Rudolph, Die Bauchleythos: v. Chr.,Bloomington 1971 5. jahrhunderts = H. Riihfel, KInderleben im klassischen Athen:BilderaufklassischenVasen[Kulturgeschichte Rtiihfel,Kinderleben der antikenWelt, Band 19], Mainz 1984 = K. Schefold, Die Gdttersage undhellenistischen in derklassischen Kunst,Munich 1981 Schefold, Gottersage = K. Schefold, Gotter-undHeldensagen derGriechen in derspitarchaischen Kunst,Munich 1978 Schefold, Heldensagen = K. Schefold, Untersuchungen Vasen,Berlin 1934 Schefold, U. zu denKertscher = H. E. Schleiffenbaum, Der griechischeVolutenkrater: Form,Funktionund Sinngehalteines Schleiffenbaum, Volutenkrater antikenPrunkgefdsses [EuropaischeHochschulschriften,Reihe XXXVIII, Archaologie, vol. 36], Frankfurt1991 = G. Schwarz, Triptolemos: einerAgrar-undMysteriengottheit Schwarz, Triptolemos [Grazer Beitrage: Ikonographie Zeitschriftfar die klassischeAltertumswissenschaftSupplementbandII], Graz 1987 undMalereiattischerSchalen,Berlin vonGefdssform zum Verhiltnis ... Schalen = T. Seki, Untersuchungen Seki, Gefdssform 1985 = E. Simon, FestivalsofAttica:AnArchaeological Madison, Wisc., 1983 Commentary, Simon, Festivals = E. Simon, Die GotterderGriechen, Munich 1969 Simon, Gotter = Etl5Xr: To'6oq etq av#gtrvNtxoXkouKovTokXovToq, Athens 1980 = E T. Straten, HieraKald:ImagesofAnimalSacrifices in Archaicand ClassicalGreece, Leiden Straten, HieraKald 1995 = P.Themelis, TheAgora:Guideto theSiteandtheMuseum,Athens 1977 Themelis, Agora:Guide = M. Tiverios, IIeptX,eta HIavaxOfvaLagva; xpPaTcpa; Zjyp&cpou Txo5 Mov6Xov 2335, Tiverios, IIeplxXeta Thessaloniki 1989 = A. andSicily,Oxford 1967 D. Trendall, TheRed-Figured VasesofLucania,Campania LCS Trendall, = I. Keramik: Attisch Attisch Maltechniken, Werkstdtten, Formen,Verwendung weissgrundige Wehgartner, Wehgartner, fur Kommission antike Keramik: Akademie der wissenschaften Keramik [Heidelberger weissgrundige Keramikforschungen5], Mainz 1983

FOREWORD T

HIS VOLUME presents the Attic red-figuredand white-groundpottery found in the Agora excavations between 1931 and 1967, during the successive directorshipsof T. Leslie Shear and Homer A. Thompson.' Many of these vases have been published in the excavation reports, in the Agora Picture Books, and in various special studies, but this is the first time that all the inventoriedAttic red-figuredand white-groundpottery has appearedtogether, and thus it provides a full accounting of this richly varied material. This pottery was originally assigned to the late Peter E. Corbett, Professor Emeritus of London University, but when ill health prevented him from completing the project as planned, I was invited to take it on and to work it up abinitio.I am particularlyindebted to Homer A. Thompson for entrusting me with another large volume of figured pottery from the Agora. Preparing this material for publication has been an enormous pleasure, and I have profited greatly from this special opportunity. I have many individuals to thank for their help and encouragement during the several years of work on this assignment. First and foremost is Joan R. Mertens, good friend and generous colleague, with whom I had many fruitful discussions about this material and whose many thoughtful suggestions and kind acts have contributed significantly to this volume. My debt to her is very great. To Dietrich von Bothmer I also owe much thanks, for he not only allowed me free access to his photograph archive but also for three years he gave me a place to work in his department at the Metropolitan Museum of Art where I wrote all of the catalogue and much of the text. I also wish to thank William B. Walker,Head Librarianof the Watson Library of the Metropolitan Museum of Art, for allowing me the use of a carrel with its accompanying stackprivileges. This quiet environmentallowed me to finish the book sooner than I had thought possible. Other Watson employees who deserve thanks for helping me with various things are PatrickComan, Mark Chalfant, Ronald Fein, Benita Lehmann, and Albert Torres. In other areas, I wish to thank the two outside readers of the manuscript, who made helpful suggestions for improvement as well as corrections of various kinds that saved me from mistakes and errors. For their editorial expertise, two people deserve special thanks. First is Nancy Moore, former editor of monographs for the American School of Classical Studies, who took on the task of editing this unwieldy manuscript and did a superbjob. I shall always be grateful to her. Her successor, Kathleen A. Cox, cheerfully and patiently answered all queries and deftly solved the various problems that arose during the process of transforming my manuscript into the book. I greatly appreciate her enthusiasm and supportfor this project. I have many people in Athens also to thank. First is the staff of the American School of Classical Studies, especially Robert Bridges, for making my annual visits to Athens as pleasant as possible. At the Agora, I wish to thank T. Leslie Shear Jr., Director of the Excavations, and John McK. Camp, Resident/Assistant Field Director,and also Margot Camp, who was Secretary of the Agora when I began this project, and especially her successor,Jan Jordan, who coped so cheerfully with my numerous requests. For the plan of the Agora showing the deposits and grid references, I am indebted to William B. Dinsmoor Jr., and his successor,Richard C. Anderson. For photography, I wish to thank Alison Frantz, James Heyle, and Craig Mauzy; for prints, 1 There is one exception. P 28759, a fragmentof a volutekrater,was found duringthe directorshipofT. LeslieShearJr. It belongsto the samevesselas P 25978, andwithhis kindpermission

it is includedin the presentstudy(234). By whiteground,I mean that decoratedin outline technique. For black figure on white groundfromthe Agora,see AgoraXXIII, passim.

xviii

FOREWORD

Nikolas Restakis and KyniakeMoustaki. Conservation was carried out by Alice Peterakisand Olympia Theophanopoulou. Finally,other friends and colleagues who were supportiveand helpful in various ways: Louise Berge, Peter H. von Blanckenhagen,Diana Breitfeld,Beth Cohen, Brian E Cook, jasper Gaunt, Evelyn B. Harrison, Caroline M. Houser,John Oakley, Carlos Pico6n,Martin Robertson, Susan Venit. Rotroff, Margot Schmidt, Evelyn L. Smithson, Eugene Vanderpool, and Marj'orile I in of NEH and was the an this 1987 helped greatly getting a head grant, During recipient start on the project. A Scholar Incentive Award from Hunter College freed me from teaching in Spring 1992 and enabled me to write the chapter on potters and painters. New York June 1996

MBM

Al'I"IC RED-FIGURED AND WHITE-GROUND POTTERY

INTI1RODUCTION HE ORGANIZATION of this book follows that of AgoraXXIII, the volume of Attic blackfigured pottery, for there are significant parallels between the two with regard to quantity and quality as well as to variety of shape, ornament, and painters. Like the Attic black-figured pottery found in the Agora, the red-figuredmaterial is as rich as one could hope for, and it has the same general character as the black figure. Since this important pottery in both techniques is associated with a civic center and not with a prominent sanctuary or a rich cemetery, it tends toward the practical and the artisticallyless ambitious. The range of production of the Attic red figure from the Agora is wide, although quite fragmentary,and I have tried to be particularly aware that working with fragmentsand trying to make some sense out of them are often risky. Nearly every shape known in Attic red figurehas been found in the Agora. Notable exceptions among the pots are the amphora Type A, which was usually exported, and the dinos. Among the medium-sized or small vases, there are no kyathoi or Nolan amphorae, no doubt because these too are export shapes. Also, not many stamnoi appear in the Agora material. Of the large vessels, the bell-kraterleads in number, followed by the column-krater;of the small shapes, the ones for drinkingprevail, namely, cups and skyphoi. There is also a large number of oinochoai, especially the chous, and many of these, as one would expect, seem to relate to the Anthesteria. Important for this shape is the deposit of oinochoai of a special type that date from the late 5th century B.C. and may have been made for an occasion honoring the city goddess.' Significant quantities of other small shapes appear: lekythoi, squat-lekythoi,pyxides, lekanides, askoi, and plates. A modest number of amphorae, pelikai, loutrophoroi, lebetes gamikoi, volute-kraters, calyx-kraters,and hydriai have also been recovered. In addition, there are examples of rather rare shapes, in particular the louterion, which is better known in much earlier times, psykters, aryballoi, and alabastra,as well as bobbins and epinetra. Our consideration of shapes concludes with fragments that cannot be assigned with certainty to their respective shape category, a ring vase surmounted by three skyphoi decorated in red figure, a fragment of an astragalos, and two plaques. Quite a few of the Agora vases could be mended until nearly whole; most, however, are mere scraps. The sequence of shapes follows, with only minor deviations, the arrangement given in ARV2 for Athenian collections. For each shape, and the variant within it (when applicable), there is a brief description of the shape and how it develops with regard to the articulation of its parts and the systems of decoration, as well as reference to the painters who specialized in it (where relevant)and how the Agora material fits into this general development. Comparanda are given to illustratethe various possibilitiesif these are not preservedin the Agora material. After shape studies comes the chapter on potters and painters.2 This is not intended to chronicle in detail the history of Attic red figure but instead to provide a simple account that charts its development, notes innovations, and tries to show how the attributed material from the Agora fits into this framework. Forattributionsto a painter,group, or class suggested by me, I have used the term addedhereto indicate the new attribution. During this part of the work, it has been informative to learn which painters figureprominently,some just a little, and others not T

1 SeeJ. R. Green,"ANew OinochoeSeriesfromthe Acropolis North Slope:Classof AgoraP 15840,"Hesperia 31, 1962, pp. 8294. 2 For one of the artiststhere has been a significantchange.

This is Syriskos,knownuntilrecentlyonly as a potter,but a calyxkrateracquiredby theJ. PaulGettyMuseumbearshis signatureas painter(see p. 96, note 33 below). Thus, in the text below,he is referredto as Syriskos.

2

INTRODUCTION

at all. For instance, there is nothing certain from the hand of the Andokides Painter,Euphronios, or the Berlin Painter;Onesimos, the BrygosPainter,Makronand Douris, and the Achilles Painter are hardlypresent;Sotades is absent. Some fine cups by Epiktetoshave been recovered,but nearly nothing by Oltos or Psiax;most of the late-6th- and early-5th-centuryattributedcups in the Agora red-figuredmaterial are by lesser hands, for example, the Epeleios Painter,the Pithos Painter,the Heraion Painter,and some of their colleagues whose work is often somewhat coarse and rough. On the other hand, from this time there is a good group of kratersby the Kleophrades Painter, quite a few by Myson and the mannerists,but very little workby the Pan Painter;from the middle decades of the 5th century the Penthesileansare well representedbut not the Pistoxenos Painter;a few vases by the Altamura Painter and his colleague the Niobid Painter,as well as several by the Kleophon Painterand his pupil the Dinos Painter,appear,but virtuallynothing by Polygnotosand very little from his immediate group. In the late 5th century,the Meidias Workshopis prominent in the Agora material, and a few fragmentsare by the Talos Painter. Most of the attributedAgora vases from the 4th century are by painters whose work is modest at best and truly abysmal at worst. An exception is the lid of a lekanis that may be by the Eleusinion Painter. Occasionally, some of the red-figuredvases from the Agora are namepieces and these are noted. In the catalogue, the material is grouped by shape and variant within shape. In each section, the pieces are arranged chronologically. For every entry in the catalogue the general character of the piece is set forth, the basic measurements are given in meters, the state of preservation is described, and, if it has been published before, the bibliographicalreferencesare cited. Where relevant, I have included referencesto LIMCas well as to special studies where an Agora piece is included in the catalogue, even if it is not illustrated. Then each entry is described briefly as to what remains of the figures and ornament. Some of the Agora red-figuredpieces have black palmettes, and these are specified as drawn in black glaze; otherwise, the reader may assume the palmettes are in reserve. Technical details such as preliminarysketch, relief contour or accessory color, and added clay that often indicates gilding are noted. Facsimiles of inscriptions are also included here; tracingsof graffitiand dipinti are given only if they do not appear in AgoraXXI. For the ostrakathe readeris referredto AgoraXXV Where desirable,comparandaare added tojustify an attributionor to explain a composition. With only a few exceptions, these references are to material in the public domain. In special cases, I offer a reconstructiondrawing for clarification; all of these are by me except for 584, which is by Marian Welker and was first published in Hesperia31, 1962, opposite page 335. Many of the Agora red-figuredvases were attributedby Beazley and appear in the pages of the unpublished Some were included in Addendaand Corrigenda, ARV1,ARV2, and Paralipomena. does not when of these and one became that ARV2,3 appear in the latter, Agora pieces manuscript the referenceto the former is given. Furthermore,Beazley'sremarksentered on the Agora record cards are often included in the entry,particularlyif the piece is not attributed,for his observations are important for the history of the piece, and often they enabled me to locate comparative material and, on occasion, to offer an attribution. In three instances, an attribution listed in ARV2has been changed, and it is perhaps significantthat Beazley himself had some doubts about the hand of each (they are 904, 1407, and 1419). In addition, many visitors to the Agora left helpful information and observations on the record cards, and I have acknowledged this where relevant. For quite a few fragmentsI have suggested my own attribution,sometimes quite firmly, more often rathertentatively,owing to the incompletenessof the material. In each case, pertinent comparanda are cited.

3 Copies of this manuscriptare to be found at the Aerican Schoolof ClassicalStudiesin Athens,the AshmoleanMuseumin

Oxford, and the MetropolitanMuseum of Art in New York. A partialcopy existsin the Louvre.

INTRODUCTION

3

Most of the Agora red-figuredmaterial comes from fills associated with houses, shops, and civic buildings; unlike some of the black-figuredvases, practically none of it is associated with graves.4 The dating of these fills, or deposits, rests for the most part on the red figure found in them. At least two deposits reflectclean-up operationsfollowing the PersianSack in 480-479 B.C. One is G 6:3, the Rectangular Rock-Cut Shaft, and the other is Q 12:3, the Stoa Gutter Well. Each has been fully published.5 Most of the decorated material in these two deposits is black figure, yet each yielded red figure, some of it significant,and all of it is presented in the catalogue below. Three other important deposits were previously published, one from the middle of the 5th century B.C., two from the end of it.6 The plan of the Agora following the Plates shows the state of the site around 300 B.C., and I have retained the following symbolsused for both AgoraXII and AgoraXXIII to indicate wells and cisterns: (D Wells in use between 525 and 480 B.C. Wells dated between 480 and 400 B.C. * ?() ?@ Wells and cisterns of the 4th century B.C. On pp. 359-367 there is a Summary of Deposits that includes all those represented on the plan and many more as well. Most of these deposits have been described in previous Agoravolumes, and that information is not repeated here (the reader is referred to the appropriatevolume). If a deposit has not appeared elsewhere, a brief summary of its general character is given. For each deposit there is a list of the pertinent entries in the catalogue, and in each catalogue entry the deposit reference is given so that the user of the volume will have a handy cross-reference. The exceptions are the strayfinds, for which the term Nogridused in AgoraXXIII is retained. The date of only one deposit, D 7:2, has been altered slightly from that suggested in the Agora Deposit Lists. The text concludes with the various indices. The plates present the material by shape and catalogue sequence. This means that quite often a whole pot or a large fragment will appear on a plate together with small pieces, all at different scales. Thus, the reader will have to rely on the measurements given in the catalogue to gauge the relative sizes. It has not been possible to figure every vase and fragment, but in response to the general criticism of the black figure volume that there were not enough plates, I have illustrated a much higher percentage of the red-figuredmaterial, more than 80 percent. For entries with multiple fragments,only the most important are figured. One further note: Since there are constant references to the CVA,I have used the same formula that was employed in AgoraXXIII: CVA,Boston 1 [USA 14], pl. 12 [624]:1 = CVA,Boston, fascicule 1 [USA fascicule 14], pl. 12 [USA plate 624], fig. I.7 4 R 10:3is a dog'sgraveof the thirdquarterof the 4th century B.C.

5 The RectangularRock-Cut Shaft: E. Vanderpool,Hesperia 7, 1938, pp. 363-411 and, relevantfor this volume because it presentsthe upper fill, Hesperia15, 1946, pp. 265-336. The Stoa Gutter Well: S. R. Roberts, Hesperia55, 1986, pp. 1-74. All of the inventoriedblack-figuredmaterialfrom these two deposits appears in AgoraXXIII. All the deposits that reflect the Persiandestructionhave been newly studiedand fullypublished by T. L. ShearJr., "The PersianDestructionof Athens:Evidence

fromAgoraDeposits,"Hesperia 62, 1993, pp. 383-482. 6 C. Boulter,"Potteryof the Mid-Fifth Centuryfrom a Well in the AthenianAgora,"Hesperia22, 1953, pp. 59-115; L. Talcott, "AtticBlack-GlazedStampedWareand OtherPotteryfroma FifthCenturyWell,"Hesperia 4, 1935, pp. 477-523; and P.E. Corbett, '"AtticPotteryof the LaterFifth Centuryfrom the Athenian 18, 1949,pp. 298-351. Agora,"Hesperia 7 The exceptionis CVA,Japan1, whichpresentsvasesin eight Japanesepublic and privatecollectionsin variouslocations;thus thereis no city designation.

SHAPE STUDIES ONE-PIECE AMPHORAE 1-17 (Pls. 1-7) ONE-PIECE AMPHORA is so called because it has an uninterruptedprofile between THE the mouth and the foot, in contrast to the neck-amphora,which has the shoulder distinctly offset from the neck. When Beazley published the New York amphora Type C by the Berlin Paintermore than seventy years ago, he distinguishedthree types of one-piece amphorae in Attic vase painting.1 Type B, the earliest, has a flaring mouth, cylindrical handles, and an echinus foot. Type A is recognized by its flanged handles, which are usually decorated with ivy, and by its foot in two degrees, a base-fillet above a torus, a feature it shares with the calyx-kraterand with the loutrophoros and the volute-kraterof the late 6th and early 5th centuries B.C. Type C is like Type B except that it has a torus mouth. The last is the rarestof the three in figuredware, and in the Agora it is known for certain only in black glaze.2 Type A, the largest and most decorative of the one-piece amphorae, was probably intended chiefly for export.3 It is introduced in the third quarter of the 6th century B.C. in the workshop of Exekias,who signed the earliest canonical example both as potter and as painter.4 In Attic red figure,it is most popular in the last decades of the 6th century and the firstdecade of the 5th, for its broad panels and ample proportions provide a prime format for painters eager to explore and develop the possibilities of the newly invented red-figuretechnique; this type of amphora seems to disappear by about 460 B.C., the latest attributed examples being one each by the Syracuse Painter and the Agrigento Painter and two by the Painter of the Berlin Hydria,5 a follower of the Niobid Painter. In the Agora, only one certain amphora Type A has been found.6 It is preserved down through the zone of ornament in black glaze above the figures, but it retains nothing of a reservedbackgroundto indicate a black-figuredpanel or anything of the side frames that would signal decoration in red figure. The ornament preserved on this vase is the double lotus-palmettechain with narrow,closely spaced units, a pattern favoredby both black-figureand red-figurepainters for this shape; thus the figures could have been in either technique, but since the vase appeared in the volume of Attic black-figuredpottery from the Agora excavations, it is not included here. The amphora Type B, the one that has the longest history in Attic vase painting, begins in the workshop of the Nettos Painter,7 and it is particularlypopular in the second and third I

JHS 42, 1922 [pp. 70-98], pp. 70-71. 2 AgoraXXIII, p. 4. ForType C, see CB, iii, pp. 16-17; also Becker,Formenattischer Peliken,pp. 93-97. For the terminology of the foot of Type A, see J. D. Beazley,AK 4, 1961 [pp. 4967], p. 50. For the one-piece amphorain Attic blackfigure,see AgoraXXIII, pp. 4-7 with earlierbibliography;also, I. Scheibler, "Bildund Gefass:Zurikonographischenund funktionalenBedeuJdI 102, 1987,pp. 57-118. tungder attischenBildfeldamphoren," 3 For Greek findspotsof attributed black-figuredamphorae Type A, see AgoraXXIII, p. 4, note 3. In red figure,none seems to be from Greece itself,althougha fragmentof one comes from Naukratis:OxfordG 138.23(unattributed,butcontemporarywith the Pioneers: ARV2 35, -, 4 Vatican344

3).

(ABV145, 13; Paralip.60, 13;Addenda 40). For

the workshopexamples,see AgoraXXIII, p. 4, note 2. 5 SyracusePainter:New York,M.M.A. 06.1021.151 (ARV2 519, 16);AgrigentoPainter:Rome, Torlonia91 (ARV2577, 64); Painterof the BerlinHydria:Vatican,no no. (ARV2616, 9) and London Market (ARV2616, 10).

6 P 15970 (Agora XXIII, p. 325, cat. no. 1934, pl. 123). 7 See Aigina565 (ABV3, 1; Paralip.1, 1;Addenda 1);London, B.M. GR 1874.4-10.1 = A 1531 (ABV 3, 2; Paralip.2, 2; Addenda1);EleusisZ 21 (ABV679, 2 bis;Paralip.2, 3);AgoraP 1247 2); Kerameikosinv.658 (ABV3; (ABV5, 2; Paralip.2, 4; Addenda Paralip.1; K. Ktibler,Kerameikos VI, ii, pp. 506-507, cat. no. 116, pls. 89-91; Addenda 1; for the attribution,see AgoraXXIII, p. 74, note 11). Contemporarywith these are the Siren amphora, Athens,N.M. 221 (ABV6; Paralip. XXIII, 6), AgoraP 17393(Agora

SHAPESTUDIES

6

quarters of the 6th century B.C. In red figure, it lasts until the end of the 5th century B.C.,8but there are not very many examples, and no red-figurepainter specialized in the shape. All of the one-piece red-figuredamphorae from the Agora excavationsare very likely of Type B, mainly because Type C is so rare and Type A was for export. The Agora amphorae are generally quite fragmentary,and they give us only a partial picture of the shape and its systems of decoration. Archaic red-figured examples of the one-piece amphora Type B parallel in shape their contemporary counterparts in black figure. The earliest attributed example seems to be the late-6th-century piece in Brussels that recalls the very early work of the Kleophrades Painter.9 Other well-preservedexamples that give a good idea of the shape in the Late Archaic period are one by the EucharidesPainterand two by the Diogenes Painter.10 By the beginning of the second quarter of the 5th century the mouth of the one-piece amphora often becomes broader, a good example being by the Syleus Painter,1 and by the middle of the 5th century the mouth is often so broad that the amphora has a top-heavy appearance. In the Agora, 4 (P1.2) by the Boreas Painter and 7 (Pls. 3, 4) by the Peleus Painter are well-preservedexamples, and 6 (PI. 3) was probably similar.12 An oddity by the Nausicaa Painter has a flaring mouth with a pronounced concave profile and ridged handles.13 Normally there is an echinus foot; occasionally, as on 8 (PI. 5), it may be a torus.14 The scheme of decoration shows the pictures either with side frames or without. The most common framing ornament is the net pattern, and it may simply be because of poor preservation that none of the one-piece amphorae from the Agora has this ornament. 1 (P1. 1), the only Agora amphora with part of the side frames remaining, has a chevron pattern on Side A and a reserved line on Side B, neither of which seems to have good parallels among other one-piece amphorae.15 The ornament above the figuresvaries considerably,the most common being the double lotus-palmette chain or a row of inverted lotus buds, usually with dots in the interstices. These ornaments are in black glaze. Examplesof reservedornament include diagonallyaddorsed palmettes,16a chain of upright lotuses and palmettes or palmettes only,17and ivy with berries.18 p. 100,cat. no. 7, pl. 2), andBerlin1961.7(CVA,Berlin5 [Deutschland 45], pls. 1 [2146]:1, 2 [2147]). The last is probablynot by the Nettos Painteras Mommsen suggests(CVA,pp. 11-12); the drawingseems too coarse and stiff to be by the painterhimself; it is probablyin his manner. 8 See R. Lullies,AK 7, 1964 [pp. 82-90], pp. 85-86, note 39, who mentionsan amphoraType B datingabout400 B.C.thatwas found in 1930 in a grave on the islandof Kos (K. Schauenburg, RM 93, 1986, pl. 40; I. Scheibler,JdI 102, 1987, p. 117, fig. 39; p. 163, cat. no. 137, pl. 7). In her Hayashi, Triptolemosbildes, importantstudy of large amphoraeType B (ca.0.55-.60 m. in height),Scheiblersuggeststhat some of these may have servedas measures(JdI 102, 1987 [pp. 57-118], pp. 60-75, esp.p. 73). For measures,see p. 7, note 21 below. 9 BrusselsA 3581 (ARV233, 7 bis: "Recallsthe Kleophrades Painterin his earliestperiod"). 10 EucharidesPainter:New York,M.M.A. 07.286.78 (ARV2 199). Diogenes Painter:London, 227, 9; Paralip.347, 9; Addenda B.M. E 261 (ARV2248, 2; Addenda 202) and Vaticanno no. (ARV2 248, 3). 11 12

Athens, N.M. 18543 (ARV2249, 4).

Other good examples:Louvre CA 1852 near the Boreas Painter(ARV2540, 4; Addenda 256); London, B.M. E 257 by the Niobid Painter (ARV2604, 50; Addenda 267; Prange,Nobidenmaler,p. 194, cat. no. N 65, pl. 24; Matheson,Polygnotos, pl. 3); LouvreG 534 from the Group of Polygnotos(ARV21059, 130; Addenda 323; Matheson,p. 476, cat. no. PGU 152);the one in Kos (note8 above). See also K. Schauenburg,RM 93, 1986 [pp. 143156], p. 146, note 18, who gives other examples of amphorae Type B with broadmouths,including4 and 7. 13 London, B.M. E 284 (ARV21107, 7; Paralip.452, 7;

Addenda 330). 14 So too for the following:LouvreCA 1852 near the Boreas Painterand London, B.M. E 257 by the Niobid Painter(both note 12 above). 15 Fora doublereservedline forside frames,see Akropolis602, probablyTypeB (Langlotz,pl. 45), fromthe late 6th century;New York,M.M.A. 46.129.3 (A, satyrwith pelta and thyrsos;B, satyr with pelta and wineskin),fromthe early5th century. 16 See, e.g., London, B.M. 95.10-31.1, the namepieceof the Painterof London 95 (ARV2583, 1), and London, B.M. E 257 by the Niobid Painter,side B (note 12 above). 17 See AdriaB 248 by the LeningradPainter (ARV2571, 71), an amphoraby the Painterof London 95 once in the Lucerne Market,then the London Market,later the New YorkMarket, 1984(ARV2583, 2; Paralip.392, -, 2);Trachones,Geroulanosby the Dinos Painter(ARV21154, 38 bis;JdI 102, 1987, p. 69, fig.5; Matheson,Polygnotos, p. 389, cat. no. D 43), chain of palmettes only. On side B of the last, there is a representationof a similar amphora,which standson a low rest; in the presenceof Athena a man poursoil into it. J. Fink(Gymnasium 70, 1963, pp. 133-136) suggeststhat the scene representsthe bringingof the oil for the PanathenaicFestival. I. Scheibler(JdI 102, 1987 [pp. 57-118], p. 67) thinksthatthe amphorareceivingthe oil is too smallto be a storagevesselbutmorelikelyis a measureand mightrepresentthe annualfractionof the harvestgivento Athena. 18 London,B.M.E 263 by the AltamuraPainter(ARV2594, 54; p. 170, cat. no. A 68, pl. 24) and London, Prange,NJVobidenmar, B.M.E 284 by the NausicaaPainter(ARV21107, 7; Paralip. 452, 7; Addnda330).

NECK-AMPHORAE

7

The ground line for the figures may be only a line of glaze above a narrow reserved band, or it may be an ornament, usually a key or a maeander (1).19 The handle roots are plain or decorated with tongues. Usually, amphorae Type B with side frames have rays above the foot.20 One-piece amphorae with unframed pictures are fewer in number than those with frames, and the namepiece of the Achilles Painter is surely the most famous example.21 Amphorae with unframed pictures sometimes have no ornamental band above the figures, like 4 (PI. 2), or there may be a reserved ornament like some of those with side frames. Only two appear on the Agora red-figured amphorae with unframed pictures: a laurel wreath (3: PI. 1 and 6: PI. 3); chain of upright lotuses and palmettes (7: Pls. 3, 4). In addition, 7, as well as 12 (P1.6), which may or may not have had frames, shows an ivy wreath on the side of the mouth, an area that is almost always black.22 The treatment of the ground line is the same for amphorae with side frames. Handle roots may be plain or decorated with ornament, usually tongues, as on 3 and 4 (P1.2) or 7 (Pls. 3, 4), occasionally a palmette, as on 6 (PI.3), similarto the amphora Type A.23Normally, there are no rays above the foot.24

NECK-AMPHORAE 18, 19

(Pls. 7-8)

The neck-amphorahas a slightlyconcave neck that is sharplyoffsetfrom the ovoid body; this is the feature that gives the vase its name and distinguishesit from the one-piece amphora throughout the history of the shape.l In Attic red figure, the earliest preserved neck-amphora seems to be the small piece in Boston that in shape and ornament recalls somewhat the black-figuredneckamphorae from the Three-line Group and is datableabout 525 B.C.2Except for its red figures,this vase is decorated like contemporaryblack-figuredneck-amphorae;for example, there are tongues on the shoulder at the junction with the neck, a lotus-palmette configurationat the handles, and below the figures a frieze of upright lotuses above a zone of rays. A decade or so later come the neck-amphorae by painters of the Pioneer Group; their vases exhibit considerable variety with regard to choice and placement of ornament.3 The first red-figurepainters to decorate a good 19 For the egg pattern, see the amphora the Painter of by London95 once in the New YorkMarket,side B (note 17 above) or London,B.M. E 284 by the NausicaaPainter(note 18 above). 20 For an exception, see London, B.M. E 257 by the Niobid Painter(note 12 above). 21 Vatican 16571 (ARV2987, 1; Paralip.437, 1; Addenda 311). A red-figuredamphoraType B in the HashimotoCollectionin Kyotois unusualfor havingno patterneddecoration,just a single figure on each side: an owl (CVA,Japan 1, pl. 1 [1]:1). In this respect its system of decoration has more in common with the amphoraType C and the red-figuredamphoraof Panathenaic shape. This amphorain Kyoto recalls the black-figuredone in Munich,inv.no. 9406 (B. Kaeser,Miijb.38, 1987, pp. 228-231), which is inscribedAEMOEIOS on the obversebehind the owl and thus servedas a measure,althoughit holds about four liters less than a cJ.tpe'rig(= 39.312 liters;see AgoraX, p. 58). Kaeser (1987, pp. 228, 230) suggeststhat becausethe Munich amphora is undersized,it may have been rejectedas an officialmeasure, which would explain its good state of preservation(only a slight amountof abrasion),or else its smallsize may have been a result of the temporaryreductionof the standardmeasuresin Athensin the late 6th centuryB.c. Foramphoraeas measures,see M. Lang, AgoraX, pp. 58-61. 22 Fortwo with a laurelwreathon the side of the mouth, see LouvreG 534 fromthe Groupof Polygnotos(note 12 above);also

Athens,N.M. 1166, near Polygnotos(ARV21059, 129;Matheson, p. 476, cat. no. PGU 151). These have unframed Polygnotos, pictures. 23 Fora palmetteat eachhandleroot, see alsothe amphorawith unframedpicturesby the EucharidesPainter:LouvreCp 10839 (ARV2227, 10). 24 An exceptionis LouvreG 534 fromthe Groupof Polygnotos, which also has laurelon the side of the mouth (note 12 above). 1 For a brief discussionof the varietiesof Attic red-figured neck-amphorae,see Richter and Milne, ShapesandNames,p. 4; A. Greifenhagen,JahrBerlMus 9, 1967 [pp. 5-25], pp. 11-12; for black-figured,see AgoraXXIII, pp. 7-12; for blackglaze, see AgoraXII, pp. 47-48. 2 Boston,M.E.A. 03.790, placedby Beazleywith SundryVery EarlyRed-figurePotsbyVariousPainters(ARV211, 2; Paralip. 321, 2; Addenda 151). The mouth, neck, handles,and part of the body are missing. For the Three-line Group, see ABV 320-321 and 693-694; Paralip.140-141; Addenda 86. 3 Euphronios:LouvreG 30 2 cat.no. 20; (ARV 15, 9; Euphronios, Denoyelle, Chefs-d'oeuvre... Louvre,pp. 106-107, cat. no. 48); Louvre Cp 11071 (ARV2 15, 10; Addenda153; Euphronios, cat. no. 22); manner:Louvre G 107 (ARV218, 1; Addenda153; cat. no. 19); St. Petersburg610 (ARV218, 2; ParaEuphronios, cat. no. 17);LouvreG 106 (ARV2 153;Euphronios, lip.509;Addenda

8

SHAPE STUDIES

number of neck-amphoraeare the KleophradesPainter,the Berlin Painter,and one of their lesser contemporaries,the Harrow Painter;4it is the BerlinPainterin particularwho explores and develops the possibilitiesof the shape. The seriesof Attic red-figuredneck-amphoraecontinueswithout interruptionuntil the early 4th century,two by the Meleager Painter being among the latest.5 In the Attic black-figuredpottery found in the Agora excavations, there is a very good, although fragmentary,series of neck-amphorae.6In the red-figuredmaterial, however,there are only two vases that may be identifiedfor certain as neck-amphorae(18, 19), and both date about 470 B.C. Thus they do not illustrateat all well the decorativepossibilitiesfor this shape. In Attic red figure, the body of the neck-amphoragrows taller in proportion to its diameter; the mouth may be a simple echinus or in two degrees; the handles are twisted, triple, or ridged; and the foot may be only a torus or more often one in two degrees, a base-fillet above a torus. 18 (P1.7) is somewhat odd for it has a torus mouth, only slightly ridged handles, and a rather broad, somewhat heavy,appearance incongruent with contemporaryneck-amphorae.7The foot is lost, and one would like to know if it too was a torus. 19 (Pls. 7-8) is even odder, for, from what remains, it was quite fat and squat. The scheme of decoration for neck-amphoraevaries considerably.The neck may be black, as 18 (P1.7), or ornamented;8occasionallythere are tongues on the shoulderat thejunction with the neck. On the body, especially before 470 B.C., the figuresmay be limited to only one or two, with the area below the handles black;9after470 they usuallyspread acrossthe body,with those on the obverse separated from the ones on the reverse by a palmette configuration below the handle similar to the pelike. Rarely are the figures placed in framed panels.l? The ground line may be a narrowreservedband or a frieze of ornament that either is limited to only the area below the figures or else continues around the vase without interruption. On the two from the Agora, it is

cat. no. 18). Smikros: may be by the TyszkiewiczPainter(CVA,Parma1 [Italia45], pl. 1 153;Euphronios, 322, 3;Addenda 18, 3; Paralip. 154;Euphronios, [2021] and p. 3 of sectionIII, I for the attribution). Berlin 1966.19, signed(Paralip. 323, 3 bis,Addenda 8 Occasionally,thereis a figure.See LouvreG 30 by Euphrocat. no. 61). Euthymides:Syracuse49305 (ARV227, 6); Louvre nios 324, (note 3 above)and Parma C.3, perhapsby the Tyszkiewicz Cp 11072(ARV227, 7);Warsaw142332(ARV227, 8; Paralip. Painter(note 7 above). 8; Addenda 156);Malibu, the J. Paul Getty Museum84.AE.63.2, 9 Foran exceptionwherethe figurescontinuearoundthe vase attributedby Frel:A, athletewith discus;B, athletewithjavelin. withoutinterruption,see Basel, Antikenmuseumund Sammlung Except for LouvreG 30, which has a single figureon each Ludwig BS 453 by the Berlin Painter(ARV21634, 30 bis;Adside of the neck with the body left black, each of these neckdenda without a of the side each has on figure 191). single body amphorae 10 These are the examples known to me. Two by the Eua ground line. But for Warsaw 142332, which has a youth 199) charidesPainter:London,B.M. E 279 (ARV2226, 1;Addenda pouringwine on one side and a satyr on the other, the themes and London, B.M. E 278 (ARV2226, 2; Paralip.347, 2; Adare iconographicallyrelatedfront to back. The neck on side A denda199). Four by the Painter of Bologna 228, which I of St. Petersburg610 is decoratedwith a configurationof reserved know only from the ARV2list: Bologna 156 (ARV2513, 17); palmettes; on side B, there is the double lotus-palmettechain Bologna 157 (ARV2513, 18);Bologna 155 (ARV2513, 19);and in black glaze, standardon contemporaryblack-figuredneckFerrara('T.224?')(ARV2513, 20). Five by the OrchardPainter amphorae;and on the side of the mouth there is a net pattern. Paul the area. in this (I have seen only the one fromMykonos):Vatican,no no. (ARV2 has Louvre G 30 Getty Malibu, J. ivy 525, 40); Dresden 307 (ARV2525, 41); Bologna 160 (ARV2525, Museum84.AE.63.2exhibitsa keypatternat the top of the neck. 44); Mykonos,no no. (ARV2525, 45); and Naples 3170 (ARV2 Warsaw142332 is void of patternsexcept for the tongueson the 526, 46). One by the AlkimachosPainter:London, B.M. E 283 shoulderat thejunction with the neck. 4 The Kleophrades Painter: ARV2 183-184, nos. 11-20; (ARV2531, 28). The Painter of London E 489: Padula T.vii blackand Painter For the 187. (ARV2548, 45; Paralip.386, 45; Addenda256). Four by the Addenda Kleophrades 340; Paralip. DerKleophrades-MalerPig Painter:CambridgeGR 22.1937 = 37.22 (ARV2565, 36; figuredneck-amphorae,see E. Kunze-GOtte, Addenda260); New York, M.M.A. 56.171.40 (ARV2565, 37); Mainz Eine Werkstattstudie, unterMalernschwarzfigurger Amphorae: 1992. The Berlin Painter:ARV2 198-204, nos. 20-107; Para- Magdeburg,no no. (ARV2565, 38); and Palermo,no no. (ARV2 565, 39). ParmaC.3, which may be by the TyszkiewiczPainter 191-193. The HarrowPainter:ARV2272-273, lip.342; Addenda (note 7 above). Unattributed:Minneapolis,Univ.: A, Dionysos; 206-207. nos. 1-24; Paralip. 353;Addenda 5 Athens,N.M. 15113 (ARV21411, 39;Addenda ParkeBernet26 September, 1972, no. 264: B, maenad (Cat.Sotheby 374);Toronto side B ill.). 919.5.35 = 388 (ARV21411, 40; Addenda 374). 6 See Agora XXIII, pp. 7-12. 7 It bears some resemblancein shape to Parma C.3, which

PANATHENAIC AMPHORAE

9

omitted altogether. Normally the area between the figures and the foot is black;II seldom are there rays.12 PANATHENAICAMPHORAE 20-23

(Pls. 7-10)

In Attic red figure, the shape of the Panathenaic amphora reflects contemporary black-figured prize vases but with significant differences.l The red-figuredPanathenaic amphora is smaller in size, because its use was not an official one; thus its capacity is less than that of the prize vase, which held 38-39 liters. It does not have the standard decoration: side A, Athena striding to left between columns surmounted by cocks, the prize inscriptionwritten vertically beside the left column; side B, the contest for which the amphora was awarded. The Panathenaic amphora has an echinus or a flaring mouth that is flat on top, round handles,2 a ring on the shoulder at the junction with the neck, and a body that tapers sharply to an echinus or a disk foot. The diameter of the foot is about equal to that of the mouth; sometimes, as on 22 (PI.9), it is slightly smaller. Often the result is a vase that looks as if it might easily tip over and ought to be set into a stand; thus in some ways it resembles the pointed amphora.3 No painter may be said to have specialized in the shape, but since the Berlin Painterpainted prize vases,4 it is perhaps not surprisingthat he has left nearly twenty red-figuredexamples. More than any other painter he realized how successfully the simplicity of the shape could be enhanced by the placement of a single figure on each side.5 In Attic black figure, the Agora excavations have produced a full series of Panathenaic amphorae beginning with the first appearance of the shape (ca. 560 B.C.) until the very late Roman era.6 In red figure, there are few examples and, except for 22 (P1.9), a well-preserved one near the Talos Painter, they do not illustrate very well the shape and its decorative schemes. Two systems of decoration for Panathenaic amphorae prevail:one with framed pictures and one without, the latter being by far the more common. In the Agora, no Panathenaicwith framed 11 Here are a few well-publishedexamplesthat illustratethe variousdecorativecombinationsfor this shape. The Kleophrades Painter:Munich 2316 (ARV2183, 12; Addenda187); perhaps near: Vienna 3723 (ARV2193, -; Addenda189). The Berlin Painter:Munich2319 (ARV2198, 22;Addenda 191);LeydenPC 74 (ARV2198, 25; Addenda191). The LeningradPainter:Munich 2323 (ARV2571, 72; Addenda 261). The Niobid Painter:Munich 2324 (ARV2604, 55; Prange,Nobidenmaler, p. 196, cat. no. N 71, pl. 28);LeydenPC 78 (ARV2605, 58; Addenda 267; Prange,p. 196, cat. no. N 74, pl. 29); LeydenPC 76 (ARV2605, 59; Addenda 267; Prange,p. 197, cat. no. N 75). The Villa GiuliaPainter:Munich 2320 (ARV2621, 45; Addenda 270). Polygnotos:London, B.M. E 281 (ARV21030, 36: Addenda 317; Matheson,Polygnotos, p. 355, cat. no. P 41, pl. 31). The NausicaaPainter:Munich2322 (ARV2 1107, 2; Paralip. 452, 2; Addenda 329). 12 For rays, see the four by the Pig Painter and Parma C.3 that have the figuresset in framedpanels(notes 10 and 7, respectively,above);also Munich2323 by his companion,the Leningrad Painter(ARV2571, 72; Addenda 261). 1 For black-figuredPanathenaic amphorae,see AgoraXXIII, pp. 12-17, with bibliography;also, Robertson,AVP,pp. 64-65, 197-198, 259-261, and 275-295. For red-figuredexamples,see the brief remarksbyJ. D. Beazley,BSA 19, 1912-1913 [pp. 229247], pp. 239-241. Technically,these vases should be called "neck-amphoraeof Panathenaicshape" since they are not in black figure and they were not awardedas prizes in the games

honoringAthena. This title is rathercumbersome,however,and followingBeazleyinARV2,I haveoptedforthe shorterdesignation "Panathenaicamphora." 2 Fortwistedhandles,similarto thoseon many neck-amphorae, see: LouvreG 221 by the EucharidesPainter(ARV2227, 8; Addenda199);Ferrara1087 = T.603by theTyszkiewiczPainter(ARV2 292, 34; Paralip. 356, 34;Addenda 210);Bologna 154 by the Painter of the Florence Stamnoi (ARV2509, 5); and the namepiece of the Group of Naples 3235, renumbered81401 (ARV21316, 1; Addenda 362). 3 For two red-figuredpointed amphoraeset into stands,see the Proto-Panaitianone in Brussels,A 723 (ARV2317, 15; Addenda214), and New York,Levy and White, by the Copenhagen Painter(Glories theShelbyWhiteandLeonLevy ofthePast:Ancient Artfrom D. von Bothmer,ed., NewYork1990,p. 168, cat.no. 121; Collection, . . Athens,figs. 110-111; Reeder,PanOakleyand Sinos, Wedding. dora,pp. 347-349, cat. no. 109). 4 ABV 408, 1-11; Paralip.177; Addenda106; Development, pp. 87-88. 5 ARV2197-198, 5-19; 190-191. Add: Paralip.342; Addenda New York,M.M.A. 1985.11.5(Recent A Selection, 1985Acquisitions, Museum 1986, Bulletin oftheMetropolitan ofArt43 [1985-1986], New York1986,p. 9). 6 Forthe black-figured examplesof the Archaicand Classical periods,see note 1 above;forthe HellenisticandRomanexamples, see G. R. Edwards,Hesperia 26, 1957,pp. 320-349.

10

SHAPESTUDIES

pictures has been identified for certain. 23 (P1.10), by the Achilles Painter,has a tongue pattern above the figured decoration, and this might argue for the presence of frames were it not that a few Panathenaics with unframed pictures also have a tongue pattern above the figures.7 The frames may simply be a plain reserved band like the two by the Pythokles Painter,8or the net pattern like those by the Nikoxenos Painter and the Tyszkiewicz Painter.9 Panathenaics with frames often have an ornament on the neck, usually a lotus-palmette chain.10 Normally, the area below the handle is plain; occasionally, there is a palmette, as on one each by the Berlin Painter and the Tyszkiewicz Painter.11 The ground line may be a single line of glaze above a narrow reserved line, as on the two by the Pythokles Painter,which are good examples;12more often it is a band of ornament, a zone of upright lotus buds with dots in the interstices, as on those by the Nikoxenos Painter,13a key,or a maeander pattern.14Above the foot are rays. Panathenaic amphorae with unframed pictures have less ornament than those with frames. Occasionally,on the neck, there is a lotus-palmettechain in black glaze or a zone of palmettes in either black or reservedornament, and these also have tongues above the figuresand a maeander below,15but more often the neck and the areajust above the figuresare undecorated. The leaves of laurel or olive on the neck of 21 and the olive sprig on the mouth of 22 (P1.9) seem to be unparalleledon Attic Panathenaics.16Rarely is there an ornament at the handle root, as there is on 21 (P1.8), which has an inverted palmette with spiral tendrils,17and on 22, which has two addorsedpalmettes. Normally there are no rays above the foot.18 Nearly all those with unframed pictures have an ornament below the figures that serves as a ground line. Four by the Berlin Painter are exceptional for having no ornament at all.19 7 Here are some examples:once ParisArt Marketby the EucharidesPainter (ARV2226, 7); New York,M.M.A. 20.244 by the Syleus Painter(ARV2249, 9; Addenda 203); Munich 2315 by the Painterof Palermo 1108 (ARV2299, 2); once London Market by the AegisthusPainter(ARV2506, 25); St. Petersburg2227 by the Niobid Painter(ARV2604, 52; Paralip.513, 52; Prange, jVwobidenmaler, p. 195, cat. no. N 68); Boulogne 196 by the ProvidencePainter(ARV2638, 51;Addenda 273);Newcastle-upon-Tyne, Univ. no no. from the Groupof Polygnotos(Paralip. 445, 128 bisr, Matheson,Polygnotos, p. 476, cat. no. PGU 150);Vienna 939 by the Naples Painter(ARV21099, 50); Boston, M.FA. 96.719 by the NausicaaPainter(ARV21107, 6; Paralip. 452, 6; Addenda 330); Darmstadt478 by the Kleophon Painter(ARV21146, 48; Para335; Matheson,p. 416, cat. no. KL 54); and lip.456, 48; Addenda two unattributed:LouvreCA 2584 (CVA,Louvre8 [France12], derAntike. 40, Kunstwerke pl. 38 [518]:6);once BaselMarket(Auktion 13 Dezember 1969, pl. 39, no. 95). 8 Athens,N.M. 1689 (ARV236, 1; Addenda 158)and Athens, N.M. 1688 (ARV236, 2). 9 Nikoxenos Painter:Boston, M.F.A. 95.19 (ARV2220, 5); 198); University,Mississippi,Univ.of Miss.(ARV2221, 6; Addenda Berlin 2161 (ARV2221, 7; Addenda198); Munich inv. 8728.1-8 (ARV2221, 8; Addenda198; AA 1987, pp. 638-639, figs. 9, 10) and Zurich, private collection (ARV2 221, 8 bis). Tyszkiewicz

Painter:Ferrara1087 = T.603 (note 2 above);Birmingham(Ala.), Museumof Art57.263 (ARV2292, 35; Addenda 211). Unparalleled for a framingornamenton this shape seems to be the maeander used by the BerlinPainteron one of his red-figuredPanathenaics in the Vatican,17907 (ARV2197, 5; Addenda 190). 10 Exceptions:hanginglotus buds on London,B.M. E 259 by the FlyingAngel Painter(ARV2280, 12);uprightpalmettes:one of the Panathenaicsin the Vaticanby the BerlinPainter,17907 (note9 above),and on the namepieceof the Groupof Naples3235 (note2 above). 1 BerlinPainter,Vatican17907(note9 above)andTyszkiewicz Painter,Ferrara1087= T.603(note2 above).Forhandlepalmettes

on Panathenaicswithoutframes,see note 17 below. 12 Note 8 above. 13 Note 9 above. 14 Key:Ferrara1087= T.603by the TyszkiewiczPainter,sideA (note 2 above). Maeander:Ferrara1087 = T.603, side B; Bologna 154bythe Painterofthe FlorenceStamnoi(bothnote 2 above). 15 Some examples:Munich 2315 by the Painterof Palermo 1108; once London Marketby the AegisthusPainter;Boulogne 196 by the ProvidencePainter;Newcastle-upon-Tyne,Univ. no no. fromthe Groupof Polygnotos;Boston,M.EA. 96.719 by the NausicaaPainter;and Darmstadt478 by the Kleophon Painter (all note 7 above). An oddity among the unframedtype seemsto be Berlin 2162 by the HarrowPainter,which has up-and-down palmettesin blackglazeon the neck,a simplereservedline forthe ground,and raysabovethe foot (ARV2273, 25;Addenda 207). The scheme of decorationon this Panathenaicamphorahas more in commonwith those with framedpicturesthanwith unframed. 16 Cf., however,the LucanianPanathenaicattributedto the BrooklynGroup,LouvreCA 308 (Trendall,LCS,p. 110, no. 572, pl. 56:5, 6):on the neck, a laurelwreathto rightabovetongues. 17 For others, see Louvre G 221 by the EucharidesPainter Univ.no no. fromthe Group (note2 above);Newcastle-upon-Tyne, of Polygnotosand Darmstadt478 by the KleophonPainter(both note 7 above). For a tongue pattern, also rare, see the one in St. Petersburgby the Niobid Painter,2227, and Boston, M.F.A. 96.719 by the NausicaaPainter(bothnote 7 above). 18 Thesearethe Panathenaicsknownto me thathaveunframed pictures and rays above the foot: three by the Syleus Painter: 203), Rome, Conservatori Wtirzburg501 (ARV2249, 7; Addenda 27 (ARV2249, 8; Paralip.350, 8), and New York,M.M.A. 20.244 (note7 above);Berlin2162 by the HarrowPainter(note 15 above); and one once in the BaselMarket(note 7 above). 19 Wturzburg500 (ARV2197, 8; Paralip.342, 8; Addenda 190); Munich 2311 (ARV2197, 9; Addenda190); Montpellier 139 = S.A. 130 (ARV2197, 10; Addenda 190);and Munich 2312 (ARV2 197, 11; Paralip.342, 11; Addenda190). To these may be added

PANATHENAIC AMPHORAE

11

The general impression of the red-figured Panathenaic amphora is rather severe and restrained, especially those with unframed pictures, which often have just a single figure on each side, and these images are linked thematically.20Those with framed pictures and with ornament entirely in black glaze often look like translationsfrom black figure into red figure, particularly when Athena appears striding to left between two columns, as she does on the black-figured examples beginning ca. 540 B.C. and on two red-figuredexamples by the Nikoxenos Painter,one in Boston, the other a fragmentaryone in Munich.21 On both, however,the painter has added a frieze of upright lotus buds below the panel instead of leaving this area without ornament, as it would be in black figure; he has changed the order of the columns from Doric to Ionic; and on the Munich example he has painted a palmette above the capital instead of a cock. The Nikoxenos Painter is the only red-figureartist who includes columns on his Panathenaics,22but he is one of severalwho paints an image of Athena on this shape. Most often she stands before an altar, as she does on the two by the Pythokles Painter23and on four others by the Nikoxenos Painter.24 On the obverse of each of his two in the Louvre, she bends over an altar, a wreath or a flower in one hand, while on the reverse the priest or priestess stands before a flaming altar. Twice, Hermes appears on the reverse,25and on the Munich Panathenaic by the Triptolemos Painter,26the goddess records a victory on a tablet for the youthful winner who is figured on the other side. On another Panathenaic, Athena appears on the obverse, a youth on the reverse; on yet another, a youthful warrior stands before her, and once she appears on the obverse with a kithara-playerwho steps up to the platform.27 Other subjects are equally subdued. Twice, Nike is shown along with a thymiaterion.28Other Panathenaicamphorae depict youthful athletes about to perform.29 22 (P1.9) shows a solemn procession of youths, and one by the Aegisthus Painter, which was destroyed in World War II, depicted on the obverse a youthful aulos player before his trainer,a Panathenaic on the ground between them.30 On the other side are two more youths. While it is tempting to see in these and similar scenes references to the Panathenaic Festival,as one does with the inscribedblack-figuredprize vase, which illustrateson its reversethe contest for which the amphora was awarded, it is surely hazardous, if not wrong, to do so for these red-figuredPanathenaics. Still, for the most part there is a distinct absence of mythological representations,31and the scenes preservedare often solemn and ceremonial. one by the Nikoxenos Painter, Louvre G 61 (ARV2221, 10; Addenda198). Another by him, Louvre G 60 (ARV2221, 9; Paralip.346, 9; Addenda198), has only reservedpalmetteson the neck and no other ornament. 20 22 (PI.9) is most unusualforhavinghad fourfigureson each side, giving the effect of the subject continuingaroundwithout interruption. 21 Boston,M.F.A.95.19 and Munichinv.8728.1-8 (bothnote 9 above). 22 See those mentionedin note 9 above. An unattributed fragment from a privatecollection that appearsfrom its photograph (JdI 94, 1979, p. 70, fig. 19)to be froma red-figuredPanathenaic amphorais of interest. It preservesthe top of an Ionic column surmountedby an owl, which leans to left as it peers out at the viewer. Above is a tongue pattern and at the right, a bit of the side frame that looks like a net, both in black glaze. The neck has a chain of doublelotusesand palmettesin reserve.The piece probablybelongsto the veryearly5th centuryand mayevenbe by the NikoxenosPainter,but so little is preservedit is difficultto be certain. 23 Note 8 above. Also the remarks by Beazley,BSA19, 19121913,p. 240: "Thesetwovases,then, standin a verydirectrelation to the bf. prize amphoraand its bf. imitation." 24 These have both framedand unframed pictures. Framed: University,Mississippi,Univ.of Miss.,and Berlin2161 (bothnote 9 above).Unframed:LouvreG 60 and LouvreG 61 (bothnote 19

above).

25 On one of the VaticanPanathenaics the BerlinPainter, by 17907 (note 9 above), and Wurzburg501 by the Syleus Painter (note 18 above). 26 Munich2314 364, 14;Addenda (ARV2362, 14; Paralip. 222). 27 Witha youth:Conservatori27 by the SyleusPainter(note 18 above);with a warrior:St. Petersburg2227 by the Niobid Painter (note 7 above);with a kithara-player:Boston, M.F.A.96.719 by the NausicaaPainter(note 7 above). 28 Philadelphia31.16.11 by the BerlinPainter(ARV2198, 15; Paralip.342, 15; Addenda191) and London, B.M. E 287 in his manner(ARV2214, 1). 29 These by the Berlin Painter:Munich 2310 (ARV2197, 6; Addenda 191);Vatican, 190);Munich2313 (ARV2198, 12;Addenda no no. (ARV2198, 13; Addenda 191). One unattributed:Conservatori218 (CVA,Musei Capitolini2 [Italia39], pl. 21 [1753]). 30 Once LondonMarket (note 7 above). 31 The most famousexceptionsare threeby the BerlinPainter: Wiirzburg500, which shows the Struggle for the Tripod; Munich 2311, with its rathercivilized musical satyrs;and Munich 2312, where a GorgonpursuesPerseus(all note 19 above). Two other Panathenaicsillustratemyths: Florence 3982 and Louvre Cp 12160 by Myson: the Struggle for the Tripod (ARV2238, 2; Paralip.349, 2; Addenda201); Ferrara1087 = T.603 by the TyszkiewiczPainter:Heraklesand Nereus(note 2 above).

12

SHAPE STUDIES

AMPHORAE: TYPE UNCERTAIN 24-28

(PI. 10)

Four fragments come from amphorae, but not enough remains to be certain which type. Most interesting is 24 (PI. 10), which recalls the Andokides Painter and shows Herakles in combat. The scale of Herakles is comparable to the figure of him on the painter's amphora Type A in New York,1but the thinnessof the wall suggestsa vessel of smallerproportions. 26 (P1.10) and 28 (P1.10), the latter in the manner of the Niobid Painter,may come from either an amphora Type B or a Panathenaic, and 27 (P1.10) is a handle fragmentwith two grooves and an upright palmette.

PELIKAI 29-68

(Pls. 10-14)

The pelike, like the stamnos, the psykter, the bell-krater,and the calyx-krater,comes into the repertory of Attic shapes after the invention of the red-figure technique, and it was probably developed by a potter in the Pioneer workshops.1 The earliest examples seem to be the two neck-pelikaiby Euphronios and the ones of standardshape by Phintias and Euthymides. These take with them two very early worksby the Berlin Painter.2Like the one-piece amphora and the neck-amphora, the pelike was used for storage of wine and oil, although from about the middle of the 5th century B.C. onward, it often contained the ashes of the dead, and these funerarypelikai are often larger and more impressive than those used for storage.3 The pelike is essentially a red-figuredshape that attains its greatest popularity in the last decades of the 5th century and continues down through the third quarterof the 4th, the period when this study ends.4 Generally,the pelike, with the continuous curve of its profile and the torus mouth, resembles the amphora Type C; the greatestdiameter,however,occursjust above the foot instead of midway between mouth and foot. Before 450 B.C.the torus mouth is rather narrow in diameter (e.g., 32: PI. 11), but graduallyit becomes wider until its diameter is about equal to that of the foot.5 In the 4th century the mouth sometimes becomes even wider than the foot and often has an overhang, 64 and 65 (P1. 14) by the Amazon Painter being good examples from the Agora. The handles are usually segmental; the foot is most often a torus, sometimes a double torus. The general overall appearance of the pelike is rather heavy,sturdy,and practical. 1 New York,M.M.A. 63.11.6 (ARV21617, 2 bis;Paralip.320, 2 bis;Addenda 149). 1 Forthe shapedownto about470-460 B.C., see Becker,Formen attischer Peliken,which should be consultedalong with Bothmer's review(AJA83, 1979, pp. 361-362). 2 Euphronios:Villa Giulia(ARV215, 11;Addenda 153;Euphronios,cat. no. 29) and Villa Giuliaand Chicago 1967.115.1(ARV2 cat. no. 28). Phintias:Louvre 16, 12; Addenda153; Euphronios, Cp 10784 (ARV223, 3). Euthymides:LouvreG 31 (ARV227, 9). 342, 109; The BerlinPainter:Vienna3725 (ARV2204, 109;ParaliO. Addenda 193). 193);and Florence 3985 (ARV2204, 110; Addenda Also early are these: St. Petersburg616 and LouvreG 65, both formerlyattributedto Smikros(ARV221, 4-5) but withdrawn(Paralip.323, 4-5); St. Petersburg615, once attributedby Beazleyto Euphronios(ARV'17, 9), but omittedfromhis list of the painter's workin ARV2(there,it only appearson p. 1594, no. 48 in the list of vases that praiseLeagrosand "mightbe countedas belonging to the Pioneer Group")and in Paralip.509 considered"not by

Euphronios";and Boston, M.FA. 73.88, attributedby Robertson to Euthymides(Burlington Magazine119, 1977, pp. 78-88; Addenda396, re:Leagroskalos). Bothmer(JHS 71, 1951 [pp. 40-47], p. 47) quite plausibly suggeststhat the ratherrareneck-pelikemight have been an immediateprecursorof the truepelike,a viewacceptedby Robertson in his articleon the earlypelikein Bostonwith thejumpers(op.cit., attischer pp. 78-88, esp. p. 82) but questionedby Becker(Formen Peiken,p. 87), who would rathersee the neck-pelikeas only one of the manyexperimentalpossibilitiesleadingto the truepelike. 3 See S. Karouzou,BCH 95, 1971 [pp. 109-145], pp. 138145. 4 In Attic black figure, the pelike is not very common, and none seems to be earlierthan the earliestred-figuredexamples. Forblack-figured Black-Figured pelikai,see D. von Bothmer,'"Attic Pelikai,"JHS 71, 1951, pp. 40-47; also AgoraXXIII, p. 20; for black,includingneck-pelikai,see AgoraXII, pp. 49-51. 5 For a good example, see Leyden Ro II 60 by the Cassel Painter(ARV21084, 16;Addenda 327).

AMPHORAE or PELIKAI

13

The system of decoration for the pelike is fairly straightforward, and in many ways it parallels that of the one-piece amphora.6 Down through the Late Archaic period, the figures are usually framed, most often by a dot band as on 29 (PI. 10). The ornament above the figures varies considerably and is often drawn in black glaze. The ground line may be simply a reservedband, as on 30 (P1.10), or it may be an ornament. Since 29 and 30, both fragmentary, are the only red-figured pelikai with framed pictures from the Agora excavations, they do not illustrate very well the variety of ornaments. More often, especially after 480 B.C., the figures on pelikai are unframed, and this is the way most of the Agora examples are decorated (31-65: Pls. 10-14).7 The figured decoration may be limited to only one or two figures on each side of the vase, as on 32 (P1. 11), which is probably by the Geras Painter. Or they may extend to the handles, obverse often separated from reverse by a palmette configuration at the root of each handle.8 36 (PI. 11) by Hermonax was decorated in this manner but without palmettes at the handle. Three late examples (59, 64, 65: Pis. 13-14) also have figures extending to the handles. The area above the figures may be plain, as on 31 (P1. 10), 32 (P1. 11), 34 (P1.11), and 37 (P1. 12), which often results in a dark, somber-lookingvase. More often, however, there is an ornament that varies considerably,just as it does on pelikai with framed figures. Only two ornaments appear on the unframed pelikai from the Agora: laurel wreath (36; 45: P1. 12) and egg pattern (46; 49: P1. 13; 57; 59: P1.13;60; 64 and 65: P1. 14). The ground line may be only a narrow reserved band or a frieze of ornament, most often a maeander pattern or an egg pattern (64 and 65: P1. 14). Three pelikai fragments (66-68) may have had framed or unframed pictures, since they may be dated before the middle of the 5th century B.C. The most interestingone, 67 (PI. 14), by one of the Earlier Mannerists, shows Athena and Hephaistos, possibly at the Wedding of Peleus and Thetis.

AMPHORAE or PELIKAI 69-76

(Pls. 14-15)

A small number of fragmentsranging in date from ca. 470 to 430 B.C. come from either one-piece amphorae or pelikai. Nearly all are shoulder fragments with part of the return. The size of each fragment does not present evidence in favor of one shape over the other, and thus it is best to keep these few pieces in a separate section. Three are attributed:69 (PI. 14) to the Pan Painter; 70 (P1. 14) to the Mykonos Painter; and 72 (P1. 15) to the manner of the Altamura Painter. Iconographically, three are of interest. Two, 69 (PI. 14) and 71 (PI. 14), represent pursuits,probably Boreas on the latter and either Boreas or Eos on the former. 73 (PI. 15) depicts either Demeter or Persephone.

6 Scheibler (JdI 102, 1987 [pp. 57-118], p. 115) suggests that

the late-6th-centurypelikeseems to take over the iconographyof the one-pieceamphoraType B. 7 Here are a few examples of pelikai with framed figures that may be dated after 450 B.C.: Florence 4012 by the Ariana Painter(ARV21101, 9); Syracuse18426by the HephaistosPainter (ARV21116, 38); unattributed:Copenhageninv.VIII 295 (CVA, Copenhague3 [Danemark3], pl. 131 [133]:2),Laon,no no. (CVA, Laon 1 [France20], pl. 32 [904]:1-3), and Basel,Antikenmuseum und SammlungLudwig,BS 450 (CVA,Basel 2 [Schweiz6], pl. 54

[310]:1, 2). 8 LouvreG 373, in the mannerofthe LeningradPainter(ARV2

573, 9; Addenda 262), has the figurescontinuingaround:on handle B/A, the human torso and head of Chiron reachesup onto the handle;handle A/B carriesa palmettedown to its root and the handleoverlapsone of the fleeingNereids. The subjectis Peleus and Thetis. Mention may also be made of Syracuse22177 by the Villa GiuliaPainter,which has a largepalmetteconfiguration (ARV2622, 48; Addenda 270). Forotherinstancesof figurespainted on the backof a handle,see p. 26 below.

14

SHAPE STUDIES

LOUTROPHOROI 77-110

(Pls. 15-18)

The loutrophoros is a tall, slender vase associated with weddings and funerals. It has an ovoid body supportedby a foot in two degrees, a vertical member above a torus, or one that is ogival in shape. It has a long, narrow neck with a wide, flaring mouth often in several degrees and flat on top.1 Sometimes there is a hole in the bottom.2 There are two types of loutrophoros, the amphora and the hydria, each characterizedby the position of its handles. The amphora has a straphandle on each side of the neck that forms a loop below the mouth, then curvesdownwardto the shoulder. Often there is a clay strutbetween the handle and the neck, an old device reaching back to the late 8th century B.C.3 A good example of the amphora type is the one in the Louvre by the Kleophrades Painter.4 The hydria type has an upright loop handle on each side of the shoulder and a vertical strap handle in back that is shaped like the handles of the amphora type. A well-preservedexample is Athens, N.M. 1170 by the Painter of Bologna 228.5 In the Agora, both types of loutrophoros have been found, but all, even the miniatures (82: PI. 15; 83), are so fragmentary that they do not illustrate the shape very well. The best pieces are fragments that are difficultto identify as belonging to either the amphora or the hydria type. The loutrophoros has a long history in Attic figured pottery, for the earliest examples date from the late 8th century B.C.6 In Attic black figure, it appears in the work of the first generation of painters7 and continues throughout the production of this technique. In Attic red figure, the earliest attributedexample seems to be the fragmentaryone from the Akropolisthat is related to Phintiasand may even be a late workby him.8 This is followed by the well-preservedloutrophoros in the Louvre by the Kleophrades Painter and the fragmentary one in Erlangen by the Berlin Painter,as well as the two in his manner.9 In the second quarter of the 5th century, the largest number of attributedloutrophoroi are by Hermonax (including 77: P1. 15) and by the Syracuse Painter,10but for the most part Attic red-figuredloutrophoroi,including all those from the Agora first half of the 4th. the and (except for 77), belong to the second half of the 5th century The known provenancesfor loutrophoroi,black-figuredor red-figured,are almost exclusively Athens and its environs,namely,cemeteriesand sacredprecincts,especiallythe Shrine of Nymphe

1 See Richterand Milne, Shapes andNames,pp. 5-6; Ginouves, Balaneutike, pp. 257-276 for its significanceand uses, as well as bibliographysince ShapesandNames;L. Ghali-Kahil,Gestaltund KarlSchefold Geschichte: zu seinem sechzigsten Geburtstag [AK, Festschrifi und Beiheft4, 1967], pp. 146-151; R. Stupperich,Staatsbegribnis im klassischen Athen,Miinster 1977, pp. 155-162. Privatgrabmal For black-figuredexamples, see AgoraXXIII, pp. 18-20, with bibliography. 2 See C. WeiB,AGRPCopenhagen [pp. 652-664], p. 661 and note 32. 3 See two by the AnalatosPainter:the namepiece,a hydriain Munich 1976, Vasen, Athens,N.M. 313 (E. Simon, Diegriechischen fig. 14) and an amphorain the Louvre,CA 2985 (Simon,pl. III; Louvre, pp. 22-23, cat. no. 6). Denoyelle,Chefs-d'oeuvre... 4 LouvreCA 453 340, 22;Addenda 187). (ARV2184,22;Paralip. Fora good paintedrepresentationdown even to the handle supports, see the one on an unattributedfragmentin Sarajevo418 (CVA,Sarajevo1 [Yougoslavie4], pl. 31 [158]:1, 2). 5 ARV2512, 13;Paralip. 252. A good painted 382, 13;Addenda

illustrationof this type occurs on the epinetronby the Eretria Painter,Athens, N.M. 1629 (ARV21250, 34; Paralip.469, 34; Addenda354; Lezzi-Hafter,Eretria-Maler, p. 347, cat. no. 257, pls. 168:aand 169:e,h). 6 See E. Karydi,AthMitt78, 1963 [pp. 90-103], p. 90. 7 See AgoraXXIII, p. 19. 8 Akropolis 636 (ARV225, -,

1).

9 KleophradesPainter:LouvreCA 453 (note 4 above). The BerlinPainter:Erlangen526 (ARV2204, 108);manner:Ttlbingen S./10 1580 = E 101 (ARV2215, 8; Addenda197) and Akropolis no no. (ARV2215, 9).

10 Hermonax:Tubingen S./10 1608 = E 99 (ARV2488, 80; Addenda 248); Tubingen S./10 1624 = E 90 (ARV2488, 81; Addenda 248);Athens,Vlasto(ARV2488, 82);Akropolisno nos.(ARV2 488-489, 84-100). The SyracusePainter:Copenhageninv.9195 383, 21;Addenda 253);Athens,N.M. 17420 (ARV2519, 21; Paralip. (ARV2519, 22; Addenda 253); Akropolisno nos. (ARV2519-520, 23-31; Paralip. 383);Athens,N.M. 17456 (ARV2520, 31 bis).

LOUTROPHOROI

15

on the South Slope of the Akropolis.1 In blackfigure,the subjectsare for the most part funerary,12 in keeping with use of the vase,13 and this remains the case down to about the middle of the 5th century B.C. At some point fairly early on in the 5th century, a new subject, a battle (95: P1. 17), is introduced on the body in the main figuredzone, and below that there is a narrowfrieze of figures, often a procession.14 Later, the battle theme is alluded to by showing the departure of a warrior (90: P1. 16 and 109: P1. 18) or by figures mourning at the tomb of the deceased, although occasionally the departure for battle or the battle itself and the tomb are combined,15 very likely as an allusion to the demise of the deceased.16 A few show the Amazonomachy in the main zone.17 Concurrentwith the battle theme from the second half of the 5th century on and by far the most common are subjects that have to do with the marriage ceremony. Nearly all the Agora examples belong to this category, 106 (P1. 18) being a particularlybeautiful though fragmentaryone. The system of decoration is the same for both the amphora and the hydria variety. On loutrophoroi dated before the middle of the 5th century B.C., the side of the mouth as well as each handle is often decorated with a wavy white line that recalls the plastic snakes appearing on Late Geometric and EarlyProtoatticvases.18 Later,when the mouth becomes much wider and flatter,it and the handles are normally left plain. 105 (PI. 17), a rim fragment, with its ornaments of an egg pattern, a wreath, and a third that looks like a wave pattern, is an exception.19 The neck of the loutrophoros typically has figures, divided between obverse and reverse on the amphora type, continuing around on the hydria. Above the figuresthere is sometimes an ornament, such as the egg pattern on 103 (P1. 17).20 Below the figures there is usually a zone of ornament, such as the maeander pattern on 87 (PI. 16), the frieze of uprightpalmettes on the obverse of 88 (PI. 16)

11 Discoveredin 1955, thisshrineyieldedan outstandingnumber of Attic black-figuredand red-figuredloutrophoroi,some of whichhavededicatoryinscriptions.See J. Travlos,Pictorial DictionAthens,London 1971, pp. 361-363 with bibliography aryofAncient and fig. 466. The black-figuredexamplesare being preparedfor the red-figured publicationby C. Kanellopoulou-Papadopoulou; by M. Kyrkou. When published,this rich find will surelycontributemuch valuable informationto our understandingof the shape. For a loutrophoroswith a known provenence,not found in Athens, see the namepieceof the Painterof LouvreMN 558, which comes fromBenghazi(ARV21320, -, 3). 12 For mythologicalexceptions,see AgoraXXIII, p. 19, note 9. 13 See the bibliographyin note 1 above. 14 The subject was first examined by J. D. Beazley,"BattleJournal23, 1932, pp. 5-22; laterby StupLoutrophoroi,"Museum perich (note 1 above)and by C. Clairmont,PatriosNomos:Public BurialinAthens theFifthandFourth during Centuries B.C.,Oxford1983, pp. 76-81. See also the brief remarksand bibliographygiven by E. Bohr,CVA,Ttibingen4 [Deutschland52], p. 25. Beazley'slist (p. 15, note 15) was limited to non-mythologicalbattles,and his earliestis the fragmentin Ttibingenby Hermonax, S./10 1624 = E 90 (note 10 above). Stupperichand Clairmontincludemythological scenes, and thus their seriesbegins with the fragmentsin Erlangenby the BerlinPainterthat show a fight, very likelybetweenAchillesand Memnon(note9 above).B. van den Driessche (Rev.d.Arch.etHist.d'ArtdeLouvain 6, 1973 [pp. 19-37], pp. 36-37) suggeststhat Amazonomachieson loutrophoroimay be modeled on the metopesof the AthenianTreasuryand on Mikon'spainting in the Stoa Poikile. 15 See Ghali-Kahil(note 1 above), pp. 149-150; Stupperich

(note 1 above),pp. 156-158. 16 Clairmont (note 14 above),p. 79, and p. 282, endnote 39, suggeststhat 90 and 109 may representa visit to the Demosion Sema, the Athenianstate cemeteryfor those who died in battle and receiveda publicfuneral. 17 Thesearegoodexamples:Louvainby the EucharidesPainter (ARV2230, 49); New York, M.M.A. 38.11.4 from the Group of Polygnotos(ARV21059, 128; Matheson, Polygnotos, p. 475, cat. no. PGU 149);and Athens,N.M. 13032by the NaplesPainter (ARV21099, 47). 18 See E. Karydi,AM 78, 1963 [pp. 90-103], p. 91. An exception is the scalepatternon the side of the mouthof Akropolis636, relatedto Phintias(note8 above). 19 Anotherpossibleexceptionis the handle fragmentP 5442, which was publishedwith the black-figuredmaterial (see Agora XXIII, p. 325, cat. no. 1935, pl. 123: this has a wavy white line). Fortwo well-preservedexamples,one decorated,the other plain, see Louvre CA 453 by the KleophradesPainter (note 4 above);and Vienna2027 by the WashingPainter(ARV21127, 11; Addenda 332). 20 A fewexamplesof otherornaments.Dot band:Athens,N.M. 1249 by the BoreasPainter(ARV2539, 40) and Prague22.44 = E 131 by the SabouroffPainter (ARV2841, 77; Addenda296). Maeander:Amsterdaminv.3495 by the SabouroffPainter(ARV2 841, 76);two unattributed:Sarajevo419 + 422 (CVA,Sarajevo1 [Yougoslavie4], pl. 29 [156]) and Sarajevo418 (note 4 above). Borderof esses:once LondonMarketby the NaplesPainter(ARV2 1099, 46 bis).Wreath:Athens,N.M. 1453 by the WashingPainter (ARV21127, 18;Paralip. 453, 18;Addenda 332). Chevron:Sarajevo 420 (CVA,pl. 30 [157]:3,4).

16

SHAPE STUDIES

combined with inverted rays on the reverse, or the encircled palmettes on 89 (PI. 16).21 On the shoulderat thejunction with the neck there are tongues that may appear alone as on 87 (PI. 16)or be combined with another ornament such as the egg pattern (105: P1. 17) or the egg pattern above a wreath (107: PI. 18).22 On the body, the figures continue around without interruption. Below them there is usually an ornament such as the maeander (97: P1. 17) or egg (102: P1. 17), and below this there may be a zone of black or, rarely,more bands of pattern, the latter resulting in a colorfuleffect reminiscentof the treatmentof this area on the body of the standardblack-figured neck-amphoraof the late 6th century.23As mentioned above (p. 15), on battle loutrophoroithere is a narrowfrieze of figuresbelow the main zone. Above the foot are rays.

STAMNOI and STAMNOIDS 111-118

(Pls. 18-21)

STAMNOI111-116

The stamnos is a lidded storage jar that, like the pelike, the psykter, the calyx-krater,and the bell-krater,does not appear in its canonical form before the invention of red figure,1although there are predecessors that are "stamnoid"in character but not true stamnoi.2 Unlike other lidded shapes, such as the amphora, the stamnos is glazed on the inside. Often this glaze is dull and matte like that of the column-krater,which can sometimes make it difficult to tell the two apart from mere fragments.3 The stamnos has a wide, plain, or molded rim that often has a slight overhang,a short stout neck, and a ratherstraight-sidedbody that tapers to a ring base or to a foot that varies in shape, most often a disk or an ogee. Its two horizontal handles are attached to the body at its point of maximum diameter.4The visual effect of the stamnos is a handsome one. 21 Examplesof other ornament. Encircledpalmettesin black glaze:LouvreCA 453 by the KleophradesPainter(note4 above) andBaselMarket,ex Arlesheim,Schweizerby Syriskos(ARV2261, 27;Addenda 205). Zigzag:Houston37.10 by the PanPainter(ARV2 554, 79;Addenda 258) and LouvreCA 1685 by the NaplesPainter (ARV21099,46). Invertedraysabovezigzag:once LondonMarket by the Naples Painter(ARV21099, 46 bis).Wreath:Sarajevo420 (note 20 above). Dot rosettesseparatedby wavy lines: Brussels A 3049, reverse(CVA,Bruxelles3 [Belgique3], pl. 17 [132]:l1:c). 22 Otherornaments. Keypattern:LouvreCA 453 by the KleophradesPainter(note4 above).Chainof uprightpalmettesabove an egg pattern:TubingenS./10 1649 = E 168 (CVA,Tiibingen4 [Deutschland52], pl. 7 [2524]:5)attributedby B6hr(CVA,p. 28)to near the Talos Painter. Diagonallyaddorsedpalmettes:Toronto 929.22.3 = 635 by Polygnotos,which also has a tongue pattern 317; around the root of each handle (ARV21031, 51; Addenda Matheson,Polygnotos, p. 358, cat. no. P 56, pl. 56). For another with the same decorationat the handle root, see Tubingen5646 (CVA,Tlbingen 4 [Deutschland52], pl. 6 [2523]:6),attributedby B6hr(CVA,p. 25) to the WashingPainter. 23 See the fragmentaryloutrophorosin Amsterdamby the Diogenes Painter,inv. 301 (ARV2248, 4). The ornamentsare: key to right;uprightlotus buds with dots in the interstices;net. Occasionally,the ornamentbelow the figureson the body is the same as that below the figureson the neck. E.g., zigzag:Houston 37.10 by the Pan Painter(note 21 above).Maeander:Amsterdam inv.3495 by the SabouroffPainter(note20 above). 1 The mostcomprehensivestudyis Philippaki,Stamnos, which shouldbe consultedalongwiththereviewbyBothmerin Gnomon 39, Lugano 1967, pp. 813-819. See also C. Isler-Kerenyi,Stamnoi,

1977, the catalogueof an exhibitionof stamnoiin Swissprivate collections,sponsoredby the CornerBank,Ltd., Lugano. 2 See Bothmer,Gnomon 39, 1967, p. 815, who makesthe point thatthe mid-6thcentury"stamnoid"in the NiarchosCollectionin Paris(Philippaki,Stamnos, pl. 1; L. Marangouet al., AncientGreek S. Xarchos,Athens 1995, pp. 106ArtfromtheCollection of Stavros 108) differsso markedlyboth in shape and in the positionof its handles (uprightinstead of horizontal)from the next stamnos, the one in London signed by Pamphaiosand painted by Oltos 163), that it ought to (London,B.M. E 437: ARV254, 5; Addenda be kept separatefrom true stamnoi. For a "stamnoid-amphora" of the Geometricperiod,see Philippaki,Stamnos, p. xxi (thetermis p. 2). Beazley's:Development, 3 For dilute glaze on the insides of stamnoi, see Philippaki, Stamnos, p. 12, note 2. 4 Forstamnoiwithouthandles,see Philippaki,Stamnos, pp. 2770, 28. To these add the one once in the Basel Market(Auktion derAntike. 14 November Kunstwerke 1986, no. 206; Isler-Kerenyi, Stamnoi,pp. 29-35). Two discussedby Philippaki,one once in the Geneva Market, now Malibu, the J. Paul Getty Museum 5 83.AE.324 (J. Grossman,GreekVasesin theJ. PaulGettyMuseum [OPA7] [pp. 13-26], pp. 14-15), the otherin the ItalianMarket, are decoratedin Six'stechnique.The other two are 117 and 118 (Philippaki,pp. 147-148). 117 is clearly without handles; not enoughof 118 remainsto be absolutelysure. Philippakiquestions that these are true stamnoibecause each is supportedby a ring base, a very low one in the case of 117, insteadof an ogee foot common to stamnoiafter 450 B.C. Beazley(ARV2 1190, 32) calls 117 a stamnoidand by association118 also. Thus theyareplaced in a subsectionof stamnoi(see below).

STAMNOI andSTAMNOIDS

17

Stamnoi were mostly exported to Etruria;5hence not many were found in the Agora, and these are so fragmentarythat they do not illustratethe character and the decorative possibilities of the shape very well. The earliest stamnos still seems to be the one in London signed by Pamphaios;6the latest date around 420 B.C.7 In the Agora, the earliest stamnos is 111 (P1. 18), an unattributed fragment of ca. 470; the latest are the two stamnoids, 117 (P1. 19) and 118 (Pls. 20, 21). Throughout the history of the shape, there is a great deal of variation in the scheme of decoration. The figures may be separated obverse from reverse by the handles alone or by ornament above and below the handles, a palmette-and-tendril configuration that sometimes includes lotuses. 112 (P1. 18) and 114 (P1. 19) had such ornament. Occasionally, the figures are set in framed panels, well-preserved examples being the pair by the Siren Painter, as well as several by the Tyszkiewicz Painter.8 On other stamnoi, the figures may continue around the vase without interruption, the figures overlapped by the handles,9 an unfortunate device that seems to go at least as far back as the FranSoisVase by Kleitias, where the viewer is supposed to believe that the figures of Ares and Aphrodite as well as those of Poseidon and Amphitrite were once painted before the handle was clapped over them.10 Several stamnoi by Hermonax are decorated according to this scheme.1 Rarely is the decoration in two rows.12The area above the figures on the shoulder at the junction with the neck may be plain, as on 111 (P1. 18), or decorated with an ornament such as tongues, as on 115 (P1. 19). The overhang of the mouth normally has an egg pattern, and the same ornament occasionally appears around the root of each handle, a conceit that begins with the Berlin Painter.13 Directly below the figuresthere may simply be a reservedline14or a band of ornament, usually a maeander pattern, as on 112 (PI. 18). Stamnoi of the late 6th century have raysabove the foot; on 5th-centurystamnoi this area is black. STAMNOIDS117, 118

A few vases resemble the stamnos in many features but deviate just enough from the true stamnos to justify the term stamnoid.The most famous one, perhaps, is the one in the Niarchos Collection in Paris.15 This "stamnoid"has two upright handles attached to the body just above the point of greatest diameter, a feature that links it with the lebes gamikos.16 There are two fragmentaryvases in the Agora that have been designated stamnoids,17and these are the latest pieces in this section, dating ca. 425-420 B.C. 117 (P1. 19), near the Pothos Painter, has a very low ring base, is without handles, and has a configuration of encircled palmettes with lotuses placed opposite the figures of Apollo and Marsyas. 118 (Pls. 20, 21), which somewhat recalls the Dinos Painter,has a ring base instead of the ogee foot common to stamnoi of the Classicalperiod. Fromwhat remains of the body, it is not as taperingas those of contemporarystamnoi, there is less space between the bottom of the figured decoration and the foot, and an egg pattern with dots, not the maeander, forms the lower border for the figures.

5

Philippaki,Stamnos, p. xxi. Note 2 above. 7 Philippaki,Stamnos, xxi. p. 8 These are discussed by Philippaki,Stamnos, pp. 95-97. 9 See Philippaki,Stamnos, pp. 36-46. 10 See Development, p. 27. Forthevase, seeABV76, 1;Paralip. 29, Addenda allastoriadelvaso 1; 21; M. Cristofani,Materiali perservire d'Arte,Serie Speciale 1], Rome 1980: for this Franfois[Bollettino detail,see figs. 78 and 79. 1 For these, see Philippaki,Stamnos, pp. 46-47. 12 These are the two known to me: Berkeley8.983 from the 6

Group of Polygnotos(ARV21052, 24; Addenda 321; Matheson, p. 451, cat. no. PGU 28) and Boston, M.F.A.03.842 Polygnotos, by the Painterof the CarlsruheParis(ARV21315, 2; Paralip. 477, 2; Addenda 362; Burn,MeidiasPainter, pl. 47:a). 13 Philippaki,Stamnos, pp. 80-81. 14 A good exampleis LouvreG 186by the BerlinPainter(ARV2 207, 140;Addenda 194). 15 Note 2 above. 16 As pointed out by Bothmerin Gnomon 39, 1967 [pp. 813819], p. 815. 17 Note 4 above.

18

SHAPE STUDIES

LEBETES GAMIKOI 119-163

(Pls. 21-24)

The lebes gamikos is a vase associatedwith weddings, a connection that seems sound because the scenes painted on them for the most part have to do with marriage,and when the lebes gamikosis included in painted representations,the subjects of these scenes are always nuptial.1 The vase may have been used to hold the water for the bridal bath, but this is not certain.2 The lebes gamikos has a broad ovoid body, a rather short neck, two upright double-loop handles on the shoulder, and a rilled rim that is fitted to receive a lid. There are two types of lebes gamikos.3 ForType 1, by far the more common, the handles usuallyrise to the underside of the rim, and the lid is conical with a pomegranate finial.4 The body is joined to a support that may be conical in shape and decorated with figures or narrow and almost straight-sided,somewhat like that of a dinos, and either left plain or ornamented with one or two bands of pattern. Each type of support has a sharply outturned molding at the top that strengthensthe join with the bowl, 130 (P1.22) being the best example from the Agora. The conical support has a torus foot (e.g., 130, 137), the other seems to vary;5 often the conical support has bands of black glaze on the inside (e.g., 119, 124, 128);6 it may also be pierced twice near the top at a point directly below each handle, with the hole shaped like an invertedpear. 127 (P1.22) is the only example of a pierced supportfrom the Agora.7 The Type 2 lebes gamikosdoes not seem to appear before the middle of the 5th century B.C. Its handles rise well above the rim, even to the height of the knob of the 1

For the shape, see Richter and Milne, ShapesandNames, p. 11;D. M. Robinson,A7A40, 1936,pp. 507-519; J. Boardman, BSA 47, 1952 [pp. 1-48], pp. 31-32 and BSA 53-54, 1958-1959 [pp. 152-181], pp. 161-162; F. Harl-Schaller, "Zur Entstehung und Bedeutung des attischen Lebes gamikos," JOAI Beiblatt 50,

1972-1975, cols. 151-170. For black figure, see AgoraXXIII, pp. 27-29. Fortwo good examplesof the lebesgamikosillustrated in a marriagecontext, see the epinetronby the EretriaPainter, 354; 469, 34;Addenda Athens,N.M. 1629 (ARV21250, 34; Paralip. Lezzi-Hafter,Eretria-Maler, p. 347, cat. no. 257, pls. 168:a and 169:e; Oakley and Sinos, Wedding...Athens,fig. 129) and London,

B.M. GR 1920.12-21.1, a pyxis by the Marlay Painter(ARV2 357; Oakley and Sinos, fig. 75). For other 1277, 23; Addenda p. 277; Harlrepresentations,see the list by Ginouves,Balaneutike, Schaller,col. 154, note 10 and the partial list by Lezzi-Hafter, Eretria-Maler, pp. 259-260, note 467. For two lebetes gamikoi made as a pair,see the two fromthe Kerameikosby the Washing Painter(Paralip. 332). 454, 3 bisand 3 ter,Addenda 2 Boardman,BSA53-54 (note 1 above),pp. 161-162; in more pp. 276-282, who concludes(p. 282) detail,Ginouves,Balaneutitk, that the problem is all but unsolvable. A. Briuckner(AM 32, 1907 [pp. 79-122], pp. 98-99) suggestedthatthe vesselcontained a warm meal for the newlyweds,an idea based on the Eretria Painter'spyxis in the BritishMuseum, E 774 (ARV21250, 32; p. 346, 354; Lezzi-Hafter,Eretria-Maler, Paralip.469, 32; Addenda cat. no. 253, pls. 163:aand 164),wheretwo lebetesgamikoistand beforethe door of a house (pl. 164:a).H. Kenner(JOAI29, 1935 [pp. 109-154], p. 152)remarkson the specificbridalconnection but does not discuss use. Harl-Schaller(note 1 above) argues against its use for the bridal bath or for the heating of water because, with its short neck and high pedestal, the lebes is not suitablefor the transportof waterand becausethe presenceof the lid would suggestthat it containedsomethingthat needed to be protected. She then suggeststhat it might have playeda role in the weddingbanquet(cols. 168-169) or had a directfuneraryuse (cols. 169-170). 3 For a contrast of the two types, see Harl-Schaller,JOAI

Beiblatt 50 (note 1 above), cols. 157-158. 4 Normally, the lid has ornament only, in particularlong,

narrowrays at the base of the finial and solid rosettes,dots, or blobs on the brim, all in blackglaze. Good examplesare: Basel, Antikenmuseumund SammlungLudwig,BS 410 by the Painterof London 1923 (ARV21103, 6; Paralip. 451, 6; Addenda 329);Ferrara 2721 = T.1166 VT from the Sundry Group of Paintersin the Mannerof the MeidiasPainter(ARV21322, 18; Paralip.478, 18; Addenda 363; Burn,MeidiasPainter, p. 107, cat. no. MM 28, pl. 48, a-c); and Mykonos, no no. (D6losXXI, pl. 47:99). For the lid of a lebes gamikoswith figureddecoration,see 122 (PI.21) and the one from Delos attributedto Syriskos,which has a frieze of animalsin redfigurebelowthe rays,Mykonos970 (ARV2261, 19; Addenda 204). 5 These arethe two well-preservedones knownto me: Copen382, hageninv.9165 by the MykonosPainter(ARV2514, 2; Paralip. 2), whichhas a foot in two degrees,a base-filletabovea torus,like the amphoraType A, the earlyform of the volute-krater,and the calyx-krater,and Athens, N.M. 1254 by the Painterof London E 489 (ARV2548, 43), whichhas an echinusabovea torus. 6 132 may be unusual for being completelyglazed on the inside. 7 For

well-publishedexamples,see these two fromDelos that are now in Mykonos:one by Syriskos,Mykonos970 (note4 above) and one akin to the WashingPainter,no no. (ARV21135, -, 1). Boardman'sexplanationof the holes (BSA53-54 [note 1 above], p. 161), namely,that they allow air and gases to escape duringfiringin the kiln,seemspreferableto the idea thatthe holes allowedsmoketo escapeif the lebes was being used to heat water, particularlybecausethereare no tracesof burningon the insides of the stands as there surelywould be if used as a brazier. In Boardman'swords,it "couldneverhave stood over a fire." Some paintedexamplesshow the holes, e.g., thoseon the Londonpyxis, B.M. E 774 (note 2 above)and on the Athens epinetron,N.M. 1629, by the EretriaPainter(note 1 above);also on a pyxisby the MarlayPainter,London,B.M. GR 1920.12-21.1 (note 1 above).

LEBETES GAMIKOI

19

lid; the lid itself is flat instead of conical and slips over the rim instead of fitting into it. A ring base or a foot that is sometimes molded supports the vessel. 151 (P1.24) and 152 (P1. 24) are the best-preservedexamples from the Agora.8 The lebes gamikos of Type 1 has a long history in Attic vase painting, reaching back as far as the early 6th century B.C., the one by Sophilos that is now in Izmir being the earliest preserved example.9 Most of the black-figuredexamples date from the last two decades of the 6th century.10 In Attic red figure, the earliest attributedexample seems to be the one from the Rheneia deposit by Syriskos,which dates between 480 and 470 B.C.I" 119 (PI. 21), a fragmentary unattributed stand, is contemporary, and 120 (PI. 21) by the Providence Painter is also close in time, as are the two by the Mykonos Painter and the two by the Pan Painter;nearer the middle of the century are the five by the Sabouroff Painter,who decorated each type of lebes gamikos.12 Most of the known examples of the lebes gamikos, including the ones from the Agora, come from the second half of the 5th century or the beginning of the 4th. While it does not seem that any painter or workshop specialized in the shape, the largest number of examples are by the Naples Painter,by the Washing Painter,and in the manner of the Meidias Painter,although none so far is attributed to the Meidias Painter himself.13 130 (PI. 22) is by the Naples Painter, and two others, 132 (Pls. 22, 23) and 136 (PI. 23), seem closest to the manner of the Meidias Painter. 137 (PI. 23) and 153 (P1.24) belong with the vases that continue the tradition of Athens, N.M. 1681 in the manner of the Meidias Painter but are no longer Meidian.14 As with the black-figuredlebetes gamikoi, nearly all the red-figuredones with known provenances come from Greece, although not necessarily from Attica.15 An exception is the well-known lebes gamikos in the manner of the Meidias Painter that was excavated at Spina.16 8 Fora few others,see GenevaH 239 the Painterof London by E 489 (ARV2548, 44; Paralip.386, 44); three in the manner of the MeidiasPainter,Sundry:Athens,N.M. 1659 (ARV21322, 11; Addenda 363; Burn,MeidiasPainter, p. 106,cat. no. MM 18;Reeder, p. 173, cat. no. 28), Berkeley8.48 (ARV21322, 13;Burn, Pandora, p. 106, cat. no. MM 21), and Rhodes6640 (ARV21322, 14;Burn, p. 106, cat. no. MM 22); Hannover1966, 166 (CVA,Hannover1 [Deutschland34], pl. 41 [1673]),whichis probablyby the Painter of Wiirzburg537 (Follmannin CVA,p. 52); St. Petersburginv. 15592 by the MarsyasPainter (ARV21475, 1; Paralip.495, 1; Addenda . . Athens,figs. 124-127); 381; Oakleyand Sinos, Wedding. and an unattributedone in Copenhagen,inv. 13113, which has a lid with a knobin the shapeof an alabastron(CVA,Copenhague8 [Danemark8], pl. 345 [348]:I). 160, 162, and 163 (all PI. 24) comparefavorablywith Type 2 fromKerch,butwithouta specific featurethatwouldwithoutdoubtprovethe type,it is best to leave these fragmentsin the Type Uncertaincategory. 9 Izmir3332 (ABV40, 20; Addenda 11). 10 See AgoraXXIII, pp. 27-29. 11 Mykonos970 (note 4 above). 12 MykonosPainter:Mykonos(ARV2514, 1); Copenhageninv. 9165 (note 5 above). Pan Painter:Ttbingen S./10 1594 = E 103 (ARV2552, 26; Addenda 257); Providence28.020 (ARV2552, 27). SabouroffPainter: Berlin2404 (ARV2841, 70;Addenda 296);Berlin 2405 (ARV2841,71);Heidelberg137(ARV2841,72);ParisMarket (ARV2841, 73);BrusselsA 1380 (ARV2841, 74: Type 2). 13 Naples Painter:Athens, N.M. 1252 (ARV21098, 34); New York,M.M.A. 06.1021.298 (ARV21098, 35; Addenda 328); Trachones, Geroulanos,no no. (ARV21098, 35 bis and ter);Karlsruhe B 3078, ii (ARV21098, 36); Mykonos, two (ARV21098, 38, 39). WashingPainter:New York,M.M.A. 07.286.35 (ARV2 1126, 1; Paralip.453, 1; Addenda 332; Reeder,Pandora, pp. 224226, cat. no. 55); New York,M.M.A. 23.160.99 (ARV21126, 2);

Munichinv. 7578 (ARV21126, 3; Addenda 332); Kerameikos,two (note 1 above);Athens,N.M. 14790 (ARV21126,4);Athens,N.M. 14791 (ARV21126, 5); New York,M.M.A. 16.73 (ARV21126, 6; Addenda 332); Munich inv. 8926 (ARV21127, 6 bis;Addenda 332); Athens,N.M. 1614 (ARV21127, 7);Akinto the WashingPainter: Mykonos,no no. (note 7 above). Mannerof the MeidiasPainter, Sundry:Athens,N.M. 1659(note8 above);MunichMarket(ARV2 1322, 12;Burn,MeidiasPainter, p. 106, cat. no. MM 19);Berkeley 8.48 (note8 above);Rhodes6640 (note8 above);HeidelbergK 37 (ARV21322, 15;Burn,p. 106,cat. no. MM 24);Athens,Poulopoulos (ARV21322, 15 bis, Burn, p. 106, cat. no. MM 25); Athens, N.M. 1681(ARV21322,16;Burn,p. 106,cat. no. MM 27);Athens, N.M. 2845 (ARV21322,17;Burn,p. 106, cat. no. MM 27);Ferrara 2721, ex T.1166 VT (note4 above). 14 See ARV21322, 16 and 1332. 15 See the list compiledby F. Harl-Schaller,JOAI Beiblatt50 (note 1 above),col. 165, note 52. To these add severalfrom the Rheneiadeposit(it is unclearto me why Harl-Schallersaysthese "mtlssenhier ausgenommenwerden"):one by Syriskos,Mykonos 970 (note4 above);the namepieceof the MykonosPainter(note 12 above);two in Mykonosby the Naples Painter(note 13 above); one akinto the WashingPainter(note 7 above);two unattributed (DelosXXI, pls. 39:95 and 40:96);also one from Nauplia by the Painterof the NaplesHydriskai,4701 (ARV21267, 12);one in the Meidian traditionfrom Kerch, St. Petersburg,St. 1811 = 1837, 4 (ARV21332, 1; Addenda 365); three small ones in Salonikaby the Painterof Olynthos5.156, from Olynthos:Salonikainv.680 (ARV21507, 1);Salonikainv.8.101 (ARV21507, 2); Salonikainv. 38.525 (ARV21507, 3). 16 Ferrara2721 = T.1166 VT (note4 above).An unattributed lebesgamikosin Copenhagenis saidto come fromBari:inv.13113 (note 8 above and CVA,p. 266 for the provenance-K. Friis Johansen).

20

SHAPE STUDIES

The scheme of decoration is the same for both types of lebes gamikos. The mouth, neck, and handles are black.17 On the shoulder at the junction with the neck there are tongues, as on 145, 151 (P1.24), and 152 (P1.24); on 132 (P1.23) they continue between the handles. Often there is a second ornament below the tongues, the egg pattern, as on 153, 160 (P1.24), and 163 (P1.24), which has a double row, being the most common.18 On one in the manner of the Meidias Painter, the addition of the egg pattern distinguishes obverse from reverse.19 The figures

continue around the lebes without interruption. Their ground line is usually a narrow reserved band, as on 151 (PI. 24) and 153, but on some of the more elaborate examples there may be a frieze of ornament, although this featureis not preservedon any lebes from the Agora, probably because of their fragmentarystate of preservation.20At the bottom of the lebes, above the foot or molding, there are always rays. As mentioned above, the narrow supportwith rather straightwalls is either plain or sparsely ornamented at mid-height by a pattern. There is no example of this kind of stand from the Agora.21 Conical supports are always decorated with figures. Between the figures and the top of the support there is ornament that may vary considerably as to type. Most common seems to be the egg pattern, as on 123 (PI. 21), 126 (P1.21), 140 (PI.23), 146 (PI. 24), and 149 (PI. 24), followed by solid rosettes, as on 120 (P1.21), 130 (P1.22), and 131 (P1.22). Other ornaments and the that appear on the Agora supports are the laurel wreath (127: PI. 22 and 128: 22) Pl. is with the chain laurel A decorative PI. maeander (132: lotus-palmette sequence 22). particularly wreath above and egg pattern below, as on 127 (PI. 22), a rich combination of ornaments that recalls the lebes gamikos akin to the Washing Painter.22 127 (P1.22) takes with it 128 (P1.22), which shows a chain of upright lotuses and palmettes above a wreath, and has its closest stylistic affinitieswith the Kleophon Painter. Above the torus foot there is a zone of inverted rays, for example, 130 (P1. 22), 132, 133 (P1. 23), 134 (P1. 22), and 137. The figures may appear directly

above the rays (130: P1.22, 132), or they may be separatedby an egg pattern (133: PI. 23; 137) or by a maeander (134: P1.22).

COLUMN-KRATERS 164-233

(Pls. 25-31)

The column-krateris a sturdy,practical vessel characterizedby its ovoid body supported by an ogee foot, by a rim that is flat or slightly convex on top with a vertical overhang, and by a flat handle plate that extends beyond the rim at each side and is supported by two columns that give the krater its name. The column-krateris the second oldest of the various kraters, preceded

17

An exception is the lebes from Delos akin to the Washing Painter,which has palmettescombined with an egg pattern at each handle(note 7 above). 18 Examplesof otherpatterns:diagonallyaddorsedpalmettes: Mykonos970 by Syriskos(note4 above);maeander:thenamepiece of the MykonosPainter(note 12 above);leaf:Athens,N.M. 14790 by the WashingPainter(note 13 above);leaf combinedwith egg pattern:two by the WashingPainter,Athens, N.M. 14791 and New York,M.M.A. 16.73 (bothnote 13 above). 19 Berkeley8.48 (note8 above). 20 Most common is the egg pattern:e.g., five by the Washing Painter:New York,M.M.A. 07.286.35, Munich inv. 7578, and Athens,N.M. 14790 (all note 13 above)and two from the Kerameikos(note 1 above);threein the mannerof the MeidiasPainter, Sundry:Athens,N.M. 1659andBerkeley8.48 (bothnote 8 above),

and Athens,N.M. 1681 (note 13 above). For the maeanderpattern, see, e.g., BrusselsA 1380 by the SabouroffPainter(note 12 above);two by the WashingPainter:Athens,N.M. 14791andNew York,M.M.A. 16.73 (both note 13 above);and one in Mykonos akinto him (note 7 above).Two otherornaments:the keypattern on the lebes by Syriskos,Mykonos970 (note 4 above), and the laurelwreathon the namepieceof the MykonosPainter(note 12 above). 21 Here are four well-preservedexamples that illustratethe type:Copenhageninv.9165 by the MykonosPainter(maeander) (note5 above);Athens,N.M. 1254by the Painterof LondonE 489 (plain)(ARV2548, 43); New York,M.M.A. 06.1021.298 by the Naples Painter(laurelwreath)(note 13 above);and Athens,N.M. 14903,unattributed(fillet). 22 Mykonos,no no. (note 7 above).

COLUMN-KRATERS

21

only by the skyphos-krater.l The earliest column-kraterdates in the late 7th century B.C. and possibly even earlier.2In Attic black figure, it attains its greatest popularity in the second quarter of the 6th century B.C.,chiefly in the workshopof Lydos and his companion, the Painterof Louvre F 6.3 During the third quarter of the 6th century, there are not very many column-kraters,but production increases significantlyin the last two decades. In Attic red figure, the earliest column-kratersare contemporary with the first generation of red-figurepainters, although not attributedto any of them; thus they are classed by Beazley under the heading: Sundry Very Early Red-figurePots by Various Painters. One is the bilingual in the Faina Collection,4 the other is 164 (P1.25), a small one decorated in red-figure on both sides. The red-figuredparts of these two column-kratersexhibit considerable use of black-figure conventions, in particularincision for contours of human heads and liberal use of added red, not only for manes and tails of horses but also for the stripesof the himation worn by the woman who stands at the head of the team on the Orvieto krater.5 After this first occurrence of red-figured column-kraters,about three decades pass before they appear again in any number. There are four, including one fragment, attributedto the Berlin Painter.6 They belong to his early period and are datable about the time of the Battle of Marathon. Cardon has suggested that the Berlin Painter, together with two contemporaries, the Goettingen Painter and Myson, was somewhat responsible for reintroducingthe column-kraterinto the Attic repertory.7The last two painters, in particular,favor the shape, and they pass along this preference to their pupils, the group of paintersworkingin the second quarterof the 5th centurywho are designatedby Beazley as Earlier Mannerists, especially the Leningrad Painter and the Pig Painter,also the Agrigento Painter.8 As might be expected, in the Agora the largest number of attributedcolumn-kratersbelong to the mannerist painters, especially to Myson: 170-172 (PI. 26), 189-194 (Pls. 27-28), and 209-212 (Pls. 29-30). 200 (PI. 29) is by the Goettingen Painter; 168 (PI. 25) is in his manner; 201 (P1.29) and 202 recall him. From the second quarterof the 5th century,there are two in the manner of the Pig Painter (177: PI. 26; 223: PI. 31) and two by the LeningradPainter (178: PI. 27 and 224: P1. 31). The only attributedcolumn-kratersof the second quarter of the century from the Agora not by mannerist painters are 183 (P1.27), probably by the Boreas Painter, and 226 (P1.31), in the manner of the Niobid Painter. All but four of the Agora red-figuredcolumn-kraters may be dated before 450 B.C. 231 (P1.31) is by one of the Later Mannerist painters; the other three, 186, 232 (P1.31), and 233 (P1.31), are unattributed.These four belong in the thirdquarter of the 5th century B.C. The scheme of decoration of the column-kraterin Attic red figure and the choice of ornament are rather simple. The top side of the rim may be black, as on 190 by Myson and 195, a slightly later example that may be by the Harrow Painter,or it may be decorated with ornament, most often a chain of lotus buds, as on 164 (PI. 25), the earliest red-figuredcolumn-kraterfrom the Agora.

Unusual is the laurel wreath with berries on the top side of 233 (PI. 31), a pattern more

' The skyphos-krater goes backto the LateGeometricperiod,

Cohen, AtticBilingualVases, pp. 508-509. 6 Brunswick544 (ARV2 206, 133); St. Petersburg635 = See AgoraXXIII, pp. 22-23. St. 1528 (ARV2207, 134; Paralip.510; Addenda 194); Villa Giu2 Forthe earliest lia 50510 (ARV2207, 135; Addenda column-kraters,see AgoraXXIII, p. 23; also 194);and Basel, AntikenmuK. Schauenburg,IdI 88, 1973 [pp. 1-26], pp. 20-21. seum und SammlungLudwig, Ka 422 (ARV2207, 136; Paralip. 3 See AgoraXXIII, p. 24. 343, 136;Addenda 194). 4 7 C. M. Orvieto,Faina61 (ARV211, 5; Addenda 151). Slightlylateris Cardon, "The BerlinPainterand His School"(diss. the unattributedone once in the New YorkMarket(ex Lugano, New YorkUniversityInstitute of Fine Arts, 1977), p. 72. To these shouldprobablybe added those by the EucharidesPainter, private)that is decorated on one side of the neck in red figure, the other side having a chain of uprightlotuses and palmettes, including198 (ARV2228, 22-29; Paralip.347; Addenda 199). 8 the body a checkerboardpattern(Auktion derAntike. ARV2562-588; Paralip.389-393; Addenda 70, Kunstwerke 260-264. 14 November 1986, no. 207). Forthis system,see below (note 18). 5 Forthe black-figuredelementson the Orvietokrater,see esp. but it does not last much past the first quarter ofthe 6th century B.C.

22

SHAPE STUDIES

often found on the rims of bell-kraters.9If the top side of the rim is black, so is the handle plate; otherwiseit has an ornament, usuallya palmette, as on 233 (P1.31).1 The top side of the rim may also be decorated with figuresin black silhouette, although no rim of a red-figuredcolumn-krater from the Agora seems for certain to be decorated in this manner.11 On the overhang of the rim, there is normally ivy in black glaze; 233 (PI. 31) shows a zone of diagonally addorsed palmettes, an ornament more common on the rims of volute-kratersand calyx-kraters,12and 165 has a frieze of encircled black palmettes to right. The other two preservedrim fragments of the Agora red-figurecolumn-kraters,190 and 195, are black, indicating that the figures on the body were probably unframed.13Besides the ivy pattern, a frieze of animals in silhouette technique occurs often on the rim overhang of red-figuredcolumn-kraters,especially of the Classical period.14 Each side of the neck of the column-kratermay be black, as on 164 (P1.25). More often, although not always,it is decoratedon the obversewith a frieze of hanging lotus buds to distinguish it from the reverse, which most often is black.15 190 (Pl. 28) and 195 are good examples of this 9 Forivywithberries,see Canberra,Univ.64.01 by the Painter of the LouvreCentauromachy(Paralip.449, 33 bis;Addenda 328) alsofromthe third andVienna640, an unattributedcolumn-krater quarterof the 5th century(CVA,Vienna 2 [Osterreich2], pl. 93 [93]:5). 10 Also, if the figureson the body are unframed,the top side of the rim and the handleplate are usuallyblack. Foran exception, see the column-kraterby the Flying Angel Painter,Amsterdam 11068 (Paralip.354, 394; Addenda 208): on the rim, a frieze of lotuses;on each handleplate,an encircledpalmette. 11 Two column-kraterrimfragmentswithanimalsin silhouette techniquethatwere includedin AgoraXXIII (p. 161, cat. no. 476 and esp. p. 163, cat. no. 490) may be from red-figuredcolumnkraters,butwithoutmoreto go on, it seemedpreferableat the time to publishthemwith the black-figuredmaterial.Forhandleplates decoratedin red figure,see Brunswick544 by the BerlinPainter, on the rim, encircledpalmettesin which showsa lion (foreparts); reserve(note6 above);an unattributedfragmentof thelate6th centuryin a privatecollectiondepictsa satyranda symposiast(JdI 88, 1973, p. 13, fig. 11). On the side of this handleplate is a reclining satyrwitha drinkinghorn(ibid.,p. 13,fig.12). See alsothepsyktercolumn-kraterby the Troilos Painter, New York 1986.11.12: sideA, Heraklesin Olympos;sideB, Dionysoswelcomedto Olympos;on the top sideof the rim, Eros(fourtimes)betweenpalmettes 16, 1986, pp. 38-39). Fordecorationon the top (Cat.Christie'sJuly side of the rim of a column-krater,as well as on the rimsof other shapes,see K. Schauenburg,JdI 88, 1973 [pp. 1-26], pp. 14-20. 12 For laterally addorsed palmettes in reserve, see Harvard 60.339 by the HarrowPainter,side A only; on side B, ivy (ARV2 274, 39; Addenda 207). Forup-and-downblackpalmettes,see two by the ClevelandPainter:side A of the namepiece(ARV2516, 1; Addenda 253). 253) and Rhodes 13301 (ARV2516, 2;Addenda 13 For ivy on the rim overhangwith the picturesunframed,see a column-krateronce in the LucerneMarketby the Chairippos Painter(ARV2236, 7). This column-krateralso has a frieze of blacksilhouettefigureson the neck of side A, and the figureson the body of this side are framed;the neck of side B is black,and the figureson the body are unframed. Add also: St. Petersburg n 1899.75 by the Diogenes Painter(ARV2248, 1; Paralip.350, 1; Addenda 202). 14 These are some examples:Bologna 247, in the manner of the AegisthusPainter(ARV2508, 1);fiveby the Painterof Syracuse 23510:the namepiece(ARV2510,1),Madrid11043(ARV2510,2), Baltimore48.69 (ARV2510, 3; CVA,Baltimore1 [USA 28], pl. 15 21 Nov., [1427]:1, 2), and a pair in the art market(Cat.Sotheby's 1985, no. 53);the namepieceof the Painterof Bologna228 (ARV2 511, 3; Addenda 252); two by the BoreasPainter:Adolphseck75 255); (ARV2537, 19) and Gela N 103 (ARV2537, 23; Addenda

the namepiece of the Florence Painter (ARV2541, 1; Paralip. 256; Espositoand de Tommaso, Vasiattici,p. 63, 385, 1; Addenda cat. no. 96);Vienna 770 by the AgrigentoPainter(ARV2576, 33; Addenda 262); Ferrara2790 = T.350 by the Villa Giulia Painter (ARV2620, 28; Addenda 270); Villa Giulia 3589 by the Chicago Painter(ARV2628, 3); three by the EupolisPainter:Villa Giulia 3582 (ARV21073,12),Vienna725 (ARV21073,13),Tarquinia,no no. (ARV21073, 14;Addenda 326);anotherthatis probablyby him, SouthHadley,Mass.,Mt. HolyokeCollege(ARV21074,-, 1);six by the Painterof the LouvreCentauromachy: TarquiniaRC 1960 (ARV21088, 2; Paralip. 449, 2), Louvre G 405 (ARV21088, 12; Necropoli...Agrigento, pp. 168-169, cat. no. 44), Agrigento (ARV21089, 23), Canberra,Univ. 64.01 (note 9 above),Warsaw 147955 (ARV21683, 34 bis),Paris, Cab. Med. 413 (ARV21090, 39; Necropoli...Agrigento, pp. 182-183, cat. no. 51); and one near him, Bologna 246 bis (ARV21095, 3); S. Agata de'Goti by the OrpheusPainter(ARV21104, 10);six by the Painterof Munich 2335:FerraraT.545(ARV21166, 87; Paralip.458, 87), Vienna681 (ARV21166, 89), Vienna 823 (ARV21166, 95), Warsaw198925 (ARV2 1685, 97 bis), once Havana, Conde Lagunillas (ARV2 1166,

. . Lagunillas, 338; Olmos, Vasos 98; Paralip.458, 98; Addenda griegos. cat. no. 43), Ferrara,sequestroMilano 24.7.1954 (ARV21166, 99; Paralip.458, 99); one that may be by him, Baltimore48.68 (CVA,Baltimore 1 [USA 28], pl. 18 [1430]:1, 2); FrankfurtVF P 395 by the Camucia Painter (ARV21683, 2; Addenda329); Vatican,no no. by the Painterof Bologna 322 (ARV21170, 7); New York,M.M.A. 07.286.65 by the MarlayPainter(ARV21277, 12);threeunattributed:Laon 37.1035 (CVA,Laon 1 [France20], pls. 36 [908]:2 and 37 [909]:2),Altenburg276 (CVA,Altenburg2 [Deutschland18], pl. 56 [841]:1),and Altenburg296 (ibid.,pl. 56 [841]:2).Most unusual,if not unique,is a column-kraterwith the overhangof the rim decoratedin red figure:see the fragmentin a privatecollection (JdI 88, 1973, p. 13, fig. 12). This is from the kratermentionedin note 11 abovethat has decorationin red figureon the handleplate. 15 Forexceptions,see those mentionedin note 17 below. Examplesof other patterns. Chain of encircledpalmettes:Taranto 20319 by the Goettingen Painter (ARV2234, 5; Addenda 200). Horizontalpalmettes:Bari4979 in the mannerof the Goettingen Painter(ARV2236, 4). Diagonallyaddorsedpalmettes:Villa Giulia50391 bythe OrchardPainter(ARV2523, 12;Addenda 254). Uprightchainof lotusesandpalmettes:New York,M.M.A.07.286.74 254). Ivy with by the OrchardPainter(ARV2523, 1; Addenda berries:Aleria,inv.1968/24 by the PanPainter(MonPiot 58, 1972, pl. 4); Ferrara2790 = T.350 by the Villa Giulia Painter(note 14 above);two unattributedexamples:LouvreG 484 (CVA,Louvre4 [France5], pl. 29 [229]:7) and Altenburg276 (note 14 above). The egg patternon 233 does not seem to have a parallel.

VOLUTE-KRATERS

23

scheme from the Agora. Occasionally there is ornament on both sides.16 177 probably had hanging lotus buds on each side of the neck, for it is unlikely that both fragments c and d, which preserve the pattern, belong to the same side as fragment a. The necks of other column-kraters from these excavations are black, indicatingperhaps that they come from the reverse,particularly if the figures on the body are framed: 176 (P1.26), 178, and 182.17 Occasionally there may be figured decoration in black-silhouette technique on the neck as well as red figure on the body, although no column-kraterfrom the Agora has this system of decoration.18 The figured decoration on the body of the column-kratermay be set in panels, as 164-186, or it may be unframed, as on 187-197, which is less common. Panels are most often framed by ivy at the sides and by a tongue pattern on the shoulder at the junction with the neck, for example, 166, 169 (Pls. 25, 26) by the Goettingen Painter or in his manner, 170 (PI. 26) by Myson, or 178 by the Leningrad Painter,all fragmentsthat preservepart of each pattern.19 The figures always share a common ground line; there is no use of multiple ground lines, and rarely is there a double-decker arrangement such as one sees on other large shapes, for example, the volute-krater,the calyx-krater,or the hydria.20 Occasionally, parts of figures may extend into the frame, as on 173 (P1.26), or they may be cut off by it, a particularlygood example being the column-kraterin Florence by the Florence Painterthat shows the Centauromachyat the Wedding of Perithoos,21a big composition that may be related to wall painting. Below the figures there is a zone of black, and normally above the foot there are rays. Column-kraterswith unframed figures are usually rather dark vases, often with just one figure, sometimes two, on each side, and with noticeably less ornament on the rim and neck than those with frames. 190 (P1.28) is a well-preservedexample.

VOLUTE-KRATERS 234-247

(Pls. 32-33)

The volute-krater,the largest and grandest of the kraters,reaches its canonical form in the late 6th century B.C.1 Black-figuredand early red-figuredexamples share the same details of shape. 16 Someexamples:twoby the FlyingAngelPainter,VillaGiulia 985 (ARV21642, 39 ter)and LondonMarket(Cat.Sotheby's 2-3 Dec., 1982, no. 131);Tiibingen67.5806 by one of the EarlierMannerists 263); South Hadley, (ARV2585, 27; Paralip. 393, 27; Addenda Mass.,Mt. HolyokeCollege,probablyby the EupolisPainterand TarquiniaRC 1960 by the Painterof the LouvreCentauromachy (bothnote 14 above);and one in the LondonMarket(Cat.Christie's Nov.28, 1979, no. 52, pl. 19). The last three have silhouette animalson the overhangof the rim (note 14 above). 17 This is not an absolute criterion for separatingobverse from reverse,because contemporarywith these three are several column-kratersthat have both sides of the neck in black glaze and the figureson the body framed:Toronto,Borowski(NumAntClass11, 1982, p. 27, figs.27-29); Harvard60.339 by the Harrow Painter(note 12 above);Ferrara1685 = T.308 by the Painterof Bologna 228 (ARV2511, 5; Paralip. 382, 5; Addenda 252); the namepieceof the ClevelandPainter(note 12 above);and Louvre G 355 by the Pig Painter(ARV2563, 10;Addenda 260). 18 These are some examples: Harvard 1925.30.126 by the GoettingenPainter(ARV2234, 11);New York,M.M.A. 91.1.462 in his manner,the neck figureson white ground (ARV2234, -, 1;Addenda 200); once LucerneMarketby the ChairipposPainter (note 13 above);the namepieceof the WaltersPainter,Baltimore 48.70 (ARV2278, 1; Addenda 207; CVA,Baltimore 1 [USA 28], pl. 13 [1245]:1); once FreiburgMarket (KunstderAntike:Galerie

Giinter Puhze1, 1977, no. 131). An oddity is Louvre F 313, attributedby Bothmer to the manner of the Goettingen Painter, which has a lion on one side, a bull on the other, between upand-down palmettes, and the body decorated with a checkerboard pattern. For this system of decoration, see K. Schauenburg, "Zu einem spatarchaischenKolonettenkraterin Lugano," NumAntClass 11, 1982, pp. 9-31, esp. p. 16 for other columnkraters(these are in black figure). This column-krateronce in Lugano(seealsonote 4 above),the focusfor Schauenburg'sarticle and datedby him ca.520-515, has red-figureddecorationon the neck of side A (p. 11, pl. 1:1)and a chain of uprightlotusesand palmetteson side B (p. 15, pl. 3:4). 19 For palmettes as side frames, see Taranto 20319 by the Goettingen Painter,side A only (note 15 above); three by the ClevelandPainter:the namepiece,sideA only,and Rhodes 13301 (bothnote 12 above),Harrow50 (ARV2516, -, 5; Paralip.382, 5; Addenda 253);Toronto,Borowski(note 17 above). 20 For this arrangement on a column-krater,see Louvre Cp 10823 by the Syleus Painter (ARV2253, 54; Addenda 203). To this are now joined Laval RS 464 and New York,M.M.A. 1976.244.2. 21 Florence81268 = 3997 (note 14 above). l See CB ii, p. 80; S. Karouzou,BCH 79, 1955 [pp. 177-204], undEntwickpp. 200-201. The study by F. Hitzl (Die Entstehung

24

SHAPE STUDIES

The rim is flaring and flat on top; the neck is in two degrees, with the upper part offset slightly from the lower. On each side of the shoulder there is an upright cylindricalloop, which supports the flanged handle that rises above the rim and terminatesin a tight spiralafter it is attached to the top side of the rim. The body is shaped much like that of a column-krater,and the foot is in two degrees, a base-fillet above a torus, similar to the foot of the amphora Type A, the loutrophoros, and the calyx-krater,which is not surprisingbecause all three shapes are large and quite elaborate. By the second quarter of the 5th century, the base-fillet of the foot often is diminished considerably,resultingin a less pleasing, less stable-lookingform than before.2 During the second quarter of the 5th century, the shape of the mouth, neck, and foot of many volute-kratersis modified so that the mouth and neck become elaborately molded and the shape of the foot is a double ogee. Good examples were produced by the potters for whom the Boreas Painter and the Altamura Painter worked.3 These two artists,together with the Niobid Painter,the younger contemporary of the Altamura Painter,decorated more volute-kratersthan any other red-figure artists. In addition, at least three volute-kraters,two by the Altamura Painter and one by the Niobid Painter, seem to be conflations of the old and new types, suggesting that the workshop of these paintersinitiated the modifications. On Bologna 272 by the AltamuraPainterand Naples 2421 by the Niobid Painter,the vase has the double-ogee foot, although the earlier,rather simple flaring neck and rim are retained,4 while on the volute-kraterin the Vatican by the Altamura Painter,just the opposite prevails:the neck and mouth are molded, but the foot is the standard one in two degrees.5 Both the old and the new types exist side by side during the second quarter of the 5th century B.C., but after 450 the newer type becomes the norm. The volute-kratersfrom the Agora are particularlyfragmentary,and to judge by the dates that may be assigned to them, most seem to be examples of the earlier type. 238 (Pls. 32, 33), the splendid fragments by the Altamura Painter, may come from the later type, although the presence of an ornamental configuration below the handle may argue against this (see below). The scheme of decoration, the choice of ornament, and the placement of the figures vary greatly, especially on the earlier type, and it would seem that the artists enjoyed considerable freedom in decorating this shape. Some follow the system canonical for the black-figuredvolutekraters:key pattern on the side of the mouth; ivy on the flanges of each handle; upper zone of neck with ornament, lower one figured; and body black except for a tongue pattern on the shoulder at the junction with the neck and for base rays directly above the foot. A well-preserved vondenfriihesten biszurAuspragung des lungdes Volutenkraters Anfdngen Frankfurtkanonischen Stilsin derattischschwarzfiguigen Vasenmaleri, am-Main 1982 [ArchaologischeStudien6]), which gives a good account of the shape in Attic black figure,should be consulted 57, 1985, pp. 66along with the review by Bothmerin Gnomon 71; also, K. Schauenburg,NumAntClass 11, 1982 [pp. 9-31], pp. 20-26. The most recent comprehensivestudy is SchleiffenForthe use of whitegroundon volute-kraters, baum, Volutenkrater. see Mertens,AtticWhite-Ground, pp. 124-125; Wehgartner,Attisch Keramik, weissgrundige p. 42. For a satyr dipping into a volutekrater,see GottingenH 1 = J. 29 in the mannerof the Epeleios Painter(ARV2151, 58; Addenda 180). Fora discussionof representationsof volute-kraterson vases,see Schleiffenbaum,pp. 68-73. 2 Compare,e.g., London, B.M. E 468 by the BerlinPainter (ARV2206, 132; Paralip.343, 132; Addenda194) with Palermo G 1283 by the Niobid Painter (ARV2599, 2; Paralip.394, 2; Addenda 266; Prange,Nobidenmaler, p. 180, cat. no. N 2 [on loan to Agrigento,8952]). 3 E.g.,Ferrara2739 = T.749by the BoreasPainter(ARV2536,

1; Paralip.384, 1; Addenda 255), which retainsthe earlierform of the foot, or London,B.M. E 469 by the AltamuraPainter(ARV2 264; Prange,Niobidenmaler, 589, 1; Addenda p. 157, cat. no. A 1; pls. 51, 52). 4 Bologna 272 (ARV2590, 8; Prange,Niobidenmaler, p. 159, cat. no. A 14). Naples 2421 (ARV2600, 13; Paralip.395, 13; Addenda 266; Prange,p. 183, cat. no. N 14):this has a molding decoratedwith a lesbiancymationseparatingthe two zonesof the neck. See also Ferrara2739 = T.749 by the BoreasPainter,which is of the earliertype throughoutexcept for the projectingridge separatingthe two zones of the neck (note 3 above);so too for the fragmentaryone in Izmir,inv.3361 by the Niobid Painter(ARV2 599, 7; Addenda 266; Prange,p. 181, cat. no. N 8): here, the foot is missing.Forthe shapein thisworkshop,see the briefremarksby Prange,pp. 33-34. 5 Vatican 17886 (ARV2590, 5; Prange,JViobidenmaler, p. 159, cat. no. A 11, pl. 23).

VOLUTE-KRATERS

25

example of this arrangement is the volute-kraterin London by the Berlin Painter;another is the one in New York by the Karkinos Painter.6 234 (PI. 32), with its figures in the upper zone of the neck and palmettes in black glaze in the lower zone, was probably a variant of this system of decoration. More frequently,however, there are figures on the body as well as on the neck, the earliest-known examples being the Arezzo krater by Euphronios and the fragmentary one by Phintias in Berlin and the Villa Giulia.7 In this arrangement there may be just one or two figures on each side of the body, the rest black; there may be large compositions separated by a floral configurationbelow the handles, as on 238 (P1.33); or else the figuresmay continue around the body without interruption,the latter not known so far before the Early Classicalperiod.8 234 (P1.32), the two neck fragments not far from the Nikoxenos Painter, may or may not have had figureson the body. The scheme of decoration on the neck of this krater,figuresin the upper zone, ornament in the lower, is difficult to parallel on other volute-kraters.9 240 (P1.33), somewhat later, also had figures in the upper zone, but nothing remains of the lower zone, so one cannot be sure how to class this piece. On other volute-kratersthe figured decoration is restricted to the body, the neck having an ornament in the upper zone, the lower one black.10 236 (P1.32) was decorated according to this scheme, and aesthetically it is the most pleasing of the three combinations of ornament and figures. The choice of ornament on the side of the rim and on the neck is rich and varied, especially on the neck. On the rim there may be a key pattern, as on 234 (PI. 32), 240 (P1.33), and 244 (PI. 33), a maeander often interrupted by a saltire- or a cross-square,as on 237 (PI. 32), or an egg pattern, as on 236 (P1.32). On the neck the ornaments are most often a frieze of palmettes or a palmette-lotus configuration. Although the Agora material is quite fragmentary,it does offer a fair range of ornaments: encircled palmettes (234: PI. 32); diagonally addorsed palmettes (236: P1. 32); lotus-palmette chain (237: P1. 32; 245: P1. 33); chain of upright palmettes and lotuses (244: P1. 33); lotus-palmette festoon (244: PI. 33). 234 (PI. 32) is unusual because the palmettes are drawn in black glaze, not left in reserve.1l Occasionally,in the second quarterof the 5th century,a wreath of laurel appears on the neck, recalling its use on the rims of bell-kraters.12 Normally, the handle flanges are decorated with ivy, as are the handle flanges of the amphora 6

9355 = T. 1 C VP (ARV2600, 14; Paralip.395, 14;Addenda London, B.M. E 468 (note 2 above); New York,M.M.A. 266; 59.11.20 (ARV2224, 1). Also the one by Euthymides,Syracuse Prange,p. 183, cat. no. N 15);and Ferrara3031 = T.579 by the 58.2382 (ARV228, 10;Addenda Painterof Bologna279 (ARV2612, 1;Paralip. 156). An unattributedneck frag397, 1;Addenda 268). 9 See forthisarrangementFerrara2739 = T.749by the Boreas ment, Reggio C 4006, has figuresin both zones; the body is lost (AM89, 1974, pl. 47:1). Painter(note 3 above). 7 Arezzo 1465 10 Here are just a few examples: Karlsruhe68.101 by the (ARV215, 6; Paralip.322, 6; Addenda152; cat.no. 13;Buitron-Oliver, Douris,pls. 139-141). Berlin BerlinPainter(Paralip. Euphronios, 344, 131 bis;Addenda 194);Bologna283 by 2181 and Villa Giulia(ARV223, 4). Syriskos(ARV2260, 8;Addenda 204);threebytheAltamuraPainter: 8 One or two figures on each side: e.g., one by the Berlin 264; Prange,Niobidenmaler, Bologna 271 (ARV2590, 7; Addenda Painter:Villa Giulia (ARV2206, 131;Addenda 194);Munich2382 p. 159, cat. no. A 13), Bologna272 (ARV2590, 8; Prange,p. 159, cat.no.A 14);andFerrara2680 = T.231VT (note8 above);Ferrara by the GerasPainter(ARV2287, 27;Addenda 209;Necropoli...Agri2652 = T.740 by the Niobid Painter(ARV2599, 6; Paralip.394, gento,pp. 110-111 cat. no. 11);and Ferrara2680 = T.231 VT by the AltamuraPainter,threefigureson side A (ARV2590, 10;Para6; Addenda 266; Prange,p. 181, cat. no. N 7); and the namepiece lip. 393, 10: incorrectlynumberedT.281; Prange,N'wbidenmaler, of the Painterof London E 470 (ARV2615, 2; Addenda 269). A variantseemsto be Munich2382 by the GerasPainter,whichhas p. 160, cat. no. A 17). Largecompositionsseparatedby a floral beneath each handle: e.g., Arezzo 1465 by Euphronios(note 7 figuresin the upperzone of the neck,the lowerzone black(note8 above);Ferrara2737 = T.381 by the AltamuraPainter(ARV2589, above). 11 For other use of black ornament,see the 3; Paralip.393, 3; Addenda264; Prange, p. 157, cat. no. A 3); sprayof ivy with the Niobid Painter(ARV2598, 1; Paralip.394, 1; berrieson the neck of Ferrara2667 = T.436 by the Painterof Bologna 268 by Addenda 265; Prange, p. 180, cat. no. N 1). Figurescontinuing Bologna228 (ARV2511, 2; Paralip. 382, 2; Addenda 252). 12 See Ferrara2739 = T.749 by the Boreas Painter,side B around:e.g., Ferrara2739 = T.749 by the BoreasPainter(note 3 above);fiveby the Niobid Painter:PalermoG 1283(note2 above), (note 3 above);FerraraT.113 A VP in the mannerof the Niobid Painter(ARV2608, 3; Paralip. Bologna 17190 = 269 (ARV2599, 8; Paralip.395, 8; Addenda 266; 396, 3; Prange,.Nobidenmaler, p. 207, Prange,p. 182, cat. no. N 9), Boston, M.F.A.33.56 (ARV2600, cat. no. GN 3); and LouvreG 482 which is connectedwith the 12; Paralip.395, 12; Addenda 266; Prange,p. 183, cat. no. N 13), GenevaPainter(ARV2615, -; Addenda 269). Naples 2421 (note4 above):this has the latertype of foot, Ferrara

26

SHAPESTUDIES

Type A. 234 (P1.32) and 236 are the only preservedexamples from the Agora with this pattern. Occasionally,a spiralpattern embellishesthe flanges, as on 242 and 243 (P1.33).13 Most unusual is decoration on the back of the handle. In the Agora the two with spiralson the flanges have olive sprigswith fruit on the backs.14The ground line for the figuresmay consist of a zone of palmettes, a band of maeander, or an egg pattern, just to name three of the most common. None of the Agora pieces preservesthis part of the decoration. There seems to be slightly more consistency in the scheme of decoration used for the later type of Attic red-figuredvolute-kraterthan for the earlier. The side of the rim and the upper, molded zones of the neck are nearly always ornamented,15and the zone just above the shoulder may be black glaze, ornamented, or figured. The ornament on the moldings may be the same as those on the necks of the earlier type of volute-krater,that is, palmettes, lotuses, laurel wreath, or it may reflect moldings better known from architecture, such as the Lesbian cymation.16 On the body, the figures normally continue around without interruption,17and this may perhaps be an argument in favor of identifying238 (Pls. 32, 33) by the AltamuraPainter as an example of the older type with flaringrim and foot in two degrees, for it has ornament below the handles. On two volute-kratersknown to me, one in Basel attributed to the Achilles Painter and the piece in Ferraraby the Kleophon Painter,18the figured decoration on the body is double decker, a system better known on calyx-kratersand only occasionally on other shapes. Ivy decorates the flanges of the handles,19and a band of ornament defines the ground line. No volute-kraterfrom the Agora may be identified for certain as belonging to the later type. CALYX-KRATERS 248-288

(Pls. 34-39)

The calyx-krateris a vessel used for mixing wine and water.1 In Attic red figure the calyx-krater appearsslightlylater than it does in blackfigure,for the famous black-figuredone by Exekiasfrom 13 For other examples, see the comparanda to 242; also, Robertson,AVP,p. 86, especiallyas this ornamentpertainsto the KleophradesPainter,the BerlinPainter,and Douris. 14 Forfigureddecorationon the back of a handle,see the list compiledby Shefton in his publicationof the Agora red-figured louterion584 (Hesperia 31, 1962 [pp. 330-368], p. 335, note 18). AddBologna278, thelatertype(CVA,Bologna5 [Italia33], pl. 106 [1480]:2, 3: there is not a whole figure,but only a head on the handleabovethe rim),attributedby Prange(Niobidenmaler, p. 207, cat.no. GN 5) to the mannerof the NiobidPainter.An oddityis the Saraneckof an unattributedloutrophoros-amphora, fragmentary jevo 419 + 422, whichhas figureson the sidesof the handles(CVA, Sarajevo1 [Yougoslavie4], pl. 29 [156]:1,3). Addthepairofvases of uniqueshapein Malibu,the J. PaulGettyMuseum,81.AE.183 A + B (M.Jentoft-Nilson,AGRPCopenhagen, pp. 278-283). In black figure,it is well knownfromthe FrancoisVaseby Kleitias(ABV76, allastoriadelvaso 29, 1; M. Cristofani,Materiali 1; Paralip. perservire Rome Serie 1980, figs. 106, d'Arte, 1], Speciale [Bollettino Franfois 107;Addenda 21). To this may be added the black-figuredhandle found at Corfu(Acxr 19, 1964 [1966], pl. 366:8, e) and the one foundnear Marathon(Aekxr33, 1978 [1985], pl. 19:13). 15 On side A of Bologna274 by the BoreasPainter,the lower, molded zone of the neck of side A is black (ARV2536, 3; Addenda255), as is the entire neck of Bologna277 by the Altamura Painter(ARV2590, 6; Addenda 264; Prange,NMobidenmaler, p. 159, cat. no. A 12). 16 Fora good example,see Ferrara44701 = T.18 C VP by the BoreasPainter(ARV2536, 4; Paralip.384, 4; Addenda 255). One volute-kraterknownto me has a bead-and-reelpattern:Bologna

278 (CVA,Bologna5 [Italia33], pl. 105 [1479]:1, 2). 17 Exceptions are two by the Altamura Painter that have two figureson each side and no palmetteconfigurationbeneath the handles: Vatican, inv. 17886 (note 5 above) and Bologna 277 (note 15 above). On Louvre CA 3482 by the Painter of the WoollySatyrs(ARV2613, 3; Paralip.397, 3; Addenda 269), the figuresare restrictedto the shoulder so that the narrative,the Death of Actaeon, may develop chronologicallyaroundthe pot (P.Devambez,MonPiot55, 1967 [pp. 77-104], p. 82). This krater has a laurelwreathon the upperzone of its neck. 18 Basel,CahnH.C. 1607(M.Schmidt,"DerRaubderLeukipAK 31, 1992, pp. 3-17; piden auf einerVasedes Achilleusmaler," for the attribution,see p. 3); Ferrara44894 = T.57 C VP (ARV2 1143, 1;Paralip. 334; Matheson,Polygnotos, 455, 1;Addenda p. 406, cat. no. KL 1, pl. 125). 19 For palmetteson the flanges, see FerraraT.136 VP, unattributed(CVA,Ferrara1 [Italia37], pl. 13 [1657]:1). This late5th-centurykraterhas ribbing instead of a tongue pattern on the shoulderat thejunction with the neck and ribbingbelow the figures.Forribbingon both the shoulderandthe body,see Malibu, the J. PaulGettyMuseum87.AE.93by the MeleagerPainter.This is a uniqueform of volute-kraterbecauseit is set into a separate, elaboratelyworkedstand. For its publication,see L. Burn, "A Dinoid Volute-Kraterby the MeleagerPainter:An Attic Vase in 5 in theJ. PaulGettyMuseum the SouthItalianManner,"GreekVases [OPA7], pp. 107-130. 1 Forthe shape,see AgoraXXIII, pp. 26-27 and note 1 forearGiessen lier bibliography.Add:H. Hinkel,Dergiessener Kelchkrater,

CALYX-KRATERS

27

the North Slope Excavations, dated about 520 B.C., still seems to be the earliest known example of the shape.2 Thus the invention of the calyx-kratercoincides more or less with the invention of the red-figuretechnique, although so far this shape is not attested for sure in the earliest workof the firstgeneration of red-figurepainters,the AndokidesPainter,Psiax, and the few others who comprise chapter 1 of ARV2.3The calyx-krateris much favored by members of the Pioneer Group, and Euphronios is the firstpainter to decorate many of them, including two signed by the potter Euxitheos. Euphroniosmay well have been chiefly responsiblefor the general appearance of this krater in the late 6th century; the broad flaring wall of this shape is well suited to his ambitious monumental compositions.4 The calyx-kraterhas a flaring wall, an offset rim surmounted by a thick torus, a cul from which the handles spring, and a foot in two degrees, a reserved base-fillet above a torus. This is the same type of foot used for the amphora Type A, the loutrophoros, and the earlier form of the volute-krater. Between foot and cul is a fillet. Until about 460 B.C., the base-fillet and the torus of the foot are well proportioned in relation to each other; after that the base-fillet becomes increasingly small.5 This change coincides with the elimination of the tongue pattern just above the fillet between foot and body.6 Down to the early second quarter of the 5th century, the diameter of the calyx-kraterexceeds its height, resulting in a sturdy-lookingvessel. Good examples are those by Euphronios and by the Kleophrades Painter.7 Then, until the end of the 5th century and into the 4th, the height and the diameter are nearly equal and the vase has a squarish appearance.8 261, 274, and 280 (P1. 38), the best-preserved calyx-kratersfrom the 1967, pp. 38-67; D. von Bothmer, AA, 1976 [pp. 485-512],

nios,cat. no. 1); LouvreG 103 (ARV214, 2; Paralip.322, 2; Addenda152; Euphronios, cat. no. 3; Denoyelle, Chefsd'oeuvre...Lourated with two zones of figures,see J. Oakley,"Double-Register vre,pp. 104-105, cat. no. 47); LouvreG 110 (ARV214, 3; ParaCalyx-Kraters:A Studyin WorkshopTradition,"AGRPAmsterdam lip.322, 3; Addenda cat. no. 2); Munich inv.8935 152; Euphronios, pp. 119-127. Forcalyx-kraterswith the figureson white ground, (ARV21619, 3 bis, Paralip.322, 3 bisr,Addenda152; Euphronios, see Mertens,AtticWhite-Ground, cat. no. 5); Louvre G 33 (ARV214, 4; Euphronios, pp. 122-126 and Wehgartner,Atcat. no. 11); tischweissgrundige Milan 06.598 = inv.A 1810 (ARV214, 5; Addenda Keramik, pp. 34-42. The monographon the shape 152;Euphronios, is puzzlingfor its completeomission by Frank,Attische cat. no. 8); New York,M.M.A. 1972.11.10(Euphronios, Kelchkratere, cat. no. 4); of profiledrawings.Forliftinga calyx-kraterby its handles,see two New York,Levy and White (Euphronios, cat. no. 6); New York, fragmentsin the Villa Giulia,no no., by the NikosthenesPainter, M.M.A. 11.140.6,attributedby Bothmer(Euphronios, cat. no. 12); one from the tondo, the other from the outside of the same cup Malibu,the J. PaulGettyMuseum77.AE.86,attributedby Both(ARV2124, 1 and 5;Addenda mer and Frel(Euphronios, 175). cat. no. 7); two in Baselin the collection 2 Agora A-P 1044 (ABV 146, 19; of HerbertCahn, H.C. 1644 (Euphronios, Paralip.60, 19; Addenda 40; cat. no. 9) and H.C. 498 Frank,AttischeKelchkratere, pp. 23-67). This is a late work by cat. no. 10). The collaborationswith Euxitheosare (Euphronios, Exekias,and it may be that the representationof a calyx-krater LouvreG 33 and New York,M.M.A. 1972.11.10. 5 Cf., e.g., the foot of on Boulogne 15 by the Swing Painter(ABV308, 71; Paralip.133, Euphronios'calyx-kraterin New York 71; Addenda 82) is slightlyearlier;this is Bohr'sopinion (E. Bohr, (1972.11.10: note 4 above) with the namepiece of the Niobid DerSchaukelmaler [KerameusIV], Mainz 1982, p. 21), although Painter,LouvreG 341 (ARV2601,22; Paralip. 395, 22;Addenda 266; the paintedrepresentationand the kraterby Exekiashavesimilar Prange, .Nobidenmaler, p. 186, cat. no. N 25; Denoyelle, Chefs proportionsand thus cannot be far apartin time. Fora contrary d'oeuvre...Louvre, pp. 138-139, cat. no. 64). 6 See D. von Bothmer,AA, 1976 view, see Frank,AttischeKelchkratere, pp. 265-266 and note 282, [pp. 485-512], p. 489. 7 For whereshe admitsthe pointsof similaritywith Exekias'krater.She Euphronios,see note 4 above. For the Kleophrades goes on to say, however,that the painted kraterseems rathera Painter,see these two examples:Harvard 1960.236, where the transitionalform fromthe Exekiaskraterto the more articulated modern restorationshave now been removed (ARV2185, 31; kratersof the followingyears and should not be thoughtof as a Addenda 187) and New York,M.M.A. 08.258.58 (ARV2185, 36; precursor. Paralip.340, 36; Addenda 187). Frank(Attische Kelchkratere, p. 127) Contemporarywithor perhapsonlyslightlylateris thecalyxnotes that the KleophradesPainteris the firstto show the figured kraterby Epiktetosin the Villa Giulia(ARV277, 90; Addenda decorationcontinuingaroundthe kraterwithoutinterruptionand 169); also Louvre CA 5950 which Bothmer thinks may be by Psiax thinksit may dependon the somewhatsimilararrangementof the (Euphronios, p. 44 and p. 88, note 6 below). Both of these have figureson the Arezzo volute-kraterby Euphronios,1465 (ARV2 concentric reservedbands on the inside (Cohen, AtticBilingual 15, 6; Paralip. cat. no. 13;Buitron322, 6; Addenda 152;Euphronios, Vases, p. 402). Oliver, Douris, pl. 139). 3 ARV2 1-12; Paralip.320-321; Addenda149-151. Two 8 For comparative measurements, see P. Jacobsthal, Psiax are decorated in black figure: Louvre Cp 11294 and by MetMusSt 5, 1934-1936 [pp. 117-145], p. 136, AppendixII and, Cp 11295 (ARV21618; Paralip.128). Forthe possibilityof a redfor additions,E. Vermeule,AJA70, 1966 [pp. 1-22], p. 22. In figuredcalyx-kraterfromthe hand of Psiax,see note 2 above. the latterlist, each calyx-kraterwith an asterisk[*] beforeits mu4 So far there are twelve calyx-kratersby Euphronios: seum accessionnumberhas its diameterat the rim and its height Berin 2180 (ARV213, 1; Paralip.321, 1; Addenda152; Euphro- within one centimeterof each other. Fromthese, LouvreG 48, pp. 488-489; Tiverios, IIepLxXct, pp. 59-80.

For those deco-

28

SHAPE STUDIES

Agora, probably had these proportions, at least to judge by what remains of them. During the 4th century B.C., the shape of the calyx-krater becomes quite elongated, for its height exceeds its diameter, often by a considerable margin.9 The main figured decoration appears on the body; only occasionally are there figures on the cul as well.10 Normally, the figures share a common ground line, but from about 460 B.C. until almost the end of the 5th century, the figures may also appear in two rows,II separated by a narrow reserved line or by a band of ornament, usually a maeander, as on 286 (P1. 38) or an egg pattern, as on 287 and 288 (PI. 39).12 The upper frieze, which is slightly higher than the lower (probably because it is a little longer), continues around the krater without interruption; the lower one is stopped at each handle either by an area of black glaze or by a palmette-lotus ornament.13 This scheme of figured decoration begins in the workshop of the Niobid Painter and is taken up by his followers, in particular painters from the Group of Polygnotos, and by members of the Phiale Painter's workshop, including the Phiale Painter himself. 14 There are only three

calyx-kratersfrom the Agora with this system of decoration, 286 (P1.38) in the manner of the Niobid Painter, 287 (Pls. 38, 39) by an unidentified member of the Group of Polygnotos, and 288 (P1. 39), thus far unattributed but with links to the Eretria Painter. Around the middle of the 5th century, a third system of figured decoration is introduced, which lasts well into the 4th century. This does not restrict the figures to a single ground line but allows them to appear at different levels. As with the two-row scheme, the earliest example of the multiple ground line occurs in the work of the Niobid Painter, specifically on his namepiece.15 The introduction of this type of composition coincides with the famous achievements in monumental wall painting, and, based on the detailed description by Pausanias of the wall paintings in the Knidian Lesche at Delphi,16 it has always been thought that the compositions of these murals can be understood only if the figures stood on separate ground lines, often at different levels. Initially, this arrangement of the figures in the mural compositions may have provided the model an early work by the KleophradesPainter (ARV2185, 33; Paralip.340, 33; Addenda187), ought to be removed. The measurementscited are the ones given by Pottier (CVA,Louvre1 [France1], p. 3),whichweretakenlongbeforethe modernrestorations as well as the ancient but alien foot were removed. For a descriptionof the restorations,see J. D. Beazley,TheKleophrades Painter,Mainz 1974 (the original Englishmanuscripttranslated into German by PaulJacobsthaland publishedin Berlin, 1933; revisedin 1944 and 1948), p. 16. For the present appearance desAIeophradesof the krater,see A. Greifenhagen,NeueFragmente malers[Sitzungsberichteder HeidelbergerAkademie der Wissenschaften],Heidelberg1972, pl. 13. In 1978 the Metropolitan Museum acquired22 fragmentsthat belong to this krater(New York,M.M.A. 1978.429.1:a-v,MMAAnnualReport,1978-1979, p. 34), and they are now on loan to the Louvre. They preserve some of the figureddecoration,a little more of the rim, and part of the cul, which has a maeanderpatternon one side and a key patternto left on the other at the junction with the body, and a zone of tonguesjust abovethe foot. 9 Cf., esp., those by the painters of the L.C. Group (ARV2 379-380). 493-494; Addenda 1456-1461; Paralip. 10 Forthis feature,see Akropolis727 by the NikoxenosPainter (ARV2221, 17), two by the EucharidesPainter:Louvre G 163 (ARV2227, 12; Paralip.347, 12; Addenda199) and Naples, part of 2201 (ARV2227, 13); also Akropolis726, an unattributed fragment,wherethe figureson the cul arein blackfigure(Langlotz, pl. 56). 11 See, most recently,Oakley(note 1 above,p. 119). Add the one foundat Corfu(AeX'r24, 1969 [1970],pl. 262:a);also,the one

foundin the ancientcity at Larissaand attributedto the Painterof Munich2335 by Tiverios(IIepLxXeto, passimand pls. 1-22). 12 Fora band of myrtle,see Bologna 299, associatedwith the PhialePainterby Beazley(seeJacobsthal[note 8 above], p. 140, no. 18)and now attributedto him by Oakley(see Oakley [note 1 p. 77, cat. no. 62 bis). above],p. 126, no. 26; Oakley,PhialePainter, 13 Forblackglaze:see, e.g., Ferrara2892 = T.300in the manner 319; of the PeleusPainter(ARV21041, 6; Paralip.443, 6; Addenda Matheson, Polygnotos, p. 443, cat. no. PEM 7, pl. 253) and the namepiece of the Group of Vienna 1104 (ARV21078, 2; Addenda326). Forpalmetteswith or withoutlotuses,see, e.g., Ferrara 2891 = T.313 by the Niobid Painter(ARV2602, 24; Paralip.395, p. 187, cat. no. N 32) and 266; Prange,Nobidenmaler, 24; Addenda Basel, Antikenmuseumund SammlungLudwig 51, in his manner (ARV21661, 7 bis; Paralip.396, 7 bis;Addenda 268; Prange, p. 209, cat. no. GN 16); the namepiece of the Geneva Painter, 397, 1;Addenda GenevaMF 238 (ARV2615, 1;Paralip. 269);two by the NekyiaPainter,the namepiece,New York,M.M.A. 08.258.21 327), and Vienna 1026 (ARV21086, 1; Paralip.449, 1; Addenda 327). (ARV21087, 2; Addenda 14 See Oakley(note 1 above). 15 LouvreG 341 (note 5 above). For other examplesby this painter,see the fragmentarycalyx-kraterin Reggio, 10555 (Pap. 187, cat. no. N 29, 267; Prange, iobidenmaler, ralip.396;Addenda pl. 50), and two volute-kraters:Berlin 2403 (ARV2599, 9; Addenda266; Prange, p. 182, cat. no. N 10, pl. 53); Rimini and Ancona(Paralip. 395, 4 bis,Prange,p. 181, cat. no. N 5). 16 Pausanias 10.25-31.

CALYX-KRATERS

29

on which the vase painters drew, even though the curved surface of a vase is not well suited to this type of composition.17 In the Agora, no calyx-kraterseems to have been decorated according to this scheme. The ornaments embellishing the offset part of the rim below the torus and on the cul of the calyx-kratervary considerably.Normally these are reservedpatterns;occasionally,mainly on the rims of a few early calyx-kraters,black ornament is used (these are included in the discussion below). Seldom is the rim of a calyx-kraterblack.18 On the rim, the favored ornament is a zone of palmettes, either by themselves or combined with lotuses. Simplest is an upright row of encircled palmettes, as on 252 (P1.34) or 256 by the Kleophrades Painter,the former in black glaze. Occasionally, the palmettes may be drawn horizontally,as on 253 (P1.34), also in black glaze.19 More decorative and more common is a zone of diagonally addorsed palmettes, as on 287 (P1. 39) by an unidentified member of the Group of Polygnotos, an ornament that seems to occur firston calyx-kratersby the KleophradesPainter,20but is more common on calyx-kraters of the second and third quarters of the 5th century (e.g., 266: P1. 36; 269: P1.36). Occasionally, uprightencircled palmettes alternatewith lyre lotuses, 259 being the one, not very well preserved, example from the Agora; on other calyx-kratersthe palmettes form an up-and-down pattern. The latter does not occur on any Agora calyx-krater,but good examples may be seen in the work of Euphronios, the Kleophrades Painter, and the Niobid Painter.21 A zone of palmettes alternating with lotuses takes two forms, an upright frieze, as on 260 (P1.36), or a double chain, the latter not known on calyx-kratersfrom the Agora.22 From about the middle of the 5th century on, the laurel wreath, better known on the rims of bell-kraters, appears on the rims of quite a few calyx-kraters. 272 (P1. 37) by the Phiale Painter and 280 (PI. 38) in the manner of the Dinos Painter are the two examples from the Agora. Occasionally, the rim is decorated with ivy, usually in black glaze, as on 249 (PI. 34), 17 The vase most often connectedwith muralpaintingsis the namepiece of the Niobid Painter(note 5 above). For this connection, see the thoroughdiscussionby E. B. Harrison,"Preparationsfor Marathon:The Niobid Painterand Herodotus,"Art Bulletin54, 1972, pp. 390-402, with earlierliterature. See too, forthe Niobid Painterand his colleaguesand the relationbetween some of their vase paintings and lost wall paintings,J. Barron, "NewLighton Old Walls:The Muralsof the Theseion,"JHS 92, 1972, pp. 20-45; also, S. Woodford,"MoreLight on Old Walls: The Theseus of the Centauromachyin the Theseion,"JHS 94, 1974,pp. 158-165; B. Cohen, "Paragone:SculptureversusPainting, Kaineus and the KleophradesPainter,"AncientGreek Artand W. G. Moon, ed., Madison, Wisc., 1983 [pp. 171Iconography, 192], esp. pp. 177-186; Prange,.Nobidenmaler, pp. 87-111, esp. pp. 102-107 for the namepiece and the various interpretations of the subjecton the obverse. Prange (p. 105), as others have done, opts for a Marathonconnectionbut without giving many details and ratherchurlishlyremarks,"EntsprechendeVersuche sind so gelehrt, dass sie kaum noch verstandlichsind." See also the remarks,pp. 108-109, below,notes 44 and 45. 18 See London, B.M. E 458 by Myson (ARV2239, 16; Paralip.349, 16; Addenda 201); two by the Painterof Goluchow 37: Ferrara898 = T.323 (ARV2271, 1;Paralip. 353, 1;Addenda 206) and Tokyo,FujitaCollection(AA,1985, pp. 260-264); St. Petersburg 637 = St. 1723 by the TriptolemosPainter(ARV2360, 1; 364, 1 and 512; Addenda Paralip. 222). 19 For horizontal encircled palmettes in reserve, see Louvre G 103 by Euphronios(note4 above). 20 Two laterworks:LouvreG 162 187) (ARV2186, 47; Addenda and BaselMarket(ARV2186, 48; Addenda 188). Probablycontem-

porarywith theseis the one in Cincinnati,a middleto late workin the mannerof the BerlinPainter(ARV2215, 10; Paralip.345, 10; Addenda 197). Fora zone of horizontallyaddorsedpalmettes,see the namepieceof the PezzinoGroup,AgrigentoC 1956(ARV232, 2; Paralip.324, 2; Addenda 157;Nlfecropoli... Agrigento, pp. 220-221, cat. no. 72);two by the AltamuraPainter,Boston,M.E.A.59.176 (ARV2590, 11; Paralip.394, 11; Addenda 264; Prange, Miobidenmaler,p. 161, cat. no. A 21) and LouvreG 342 (ARV2590, 12;Addenda264; Prange,p. 161, cat. no. A 22);Ferrara2891 = T.313 by the Niobid Painter(note 13 above);New York,M.M.A. 07.286.86 by the Painterof the Berlin Hydria (ARV2616, 3; Paralip.397, 3; Addenda 269); Bologna 289, which resemblesthe work of the PenthesileaPainter(ARV2891, ; Addenda 302); Ferrara2893 = T.617, the namepieceof the PeleusPainter(ARV21038, 1; Para319; Reeder,Pandora, lip.443, 1;Addenda pp. 349-351, cat. no. 110; Matheson,Polygnotos, p. 436, cat. no. PE 1, pl. 91); and Ferrara 2892 = T.300 in his manner(note 13 above). 21 See New York, LevyandWhiteby Euphronios(note4 above); TarquiniaRC 4196 (blackglaze)by the KleophradesPainter(ARV2 185, 35; Paralip.340, 35; Addenda 187);and LouvreG 165 by the Niobid Painter(ARV2601, 21; Addenda 266; Prange,Niobidenmakr, p. 185, cat. no. N 24);alsoBologna 17370 = Pell.300 by the Dinos Painter(ARV21152, 7; Paralip.457, 7; Addenda 336; Matheson, p. 382, cat. no. D7, pl. 137). Polygnotos, 22 See, e.g., Akropolis742 (partof London,B.M. E 459 [AK14, 1971, p. 52, fig. 2]) by the Berlin Painter(ARV2205, 117; Addenda193); one by the AltamuraPainter:St. Petersburg638 = St. 1600 (ARV2591, 17; Paralip.513; Addenda 264; Prange,Jwobidenmaler, p. 162, cat. no. A 26) and the namepieceof the Villa GiuliaPainter(ARV2618, 1;Paralip.398, 1;Addenda 270).

30

SHAPE STUDIES

an unattributedlate-6th-centurykrater,once in a while in reserve,288 (P1.39), a kraterdecorated in two registers, being a good example. Very rare is the egg pattern. On 261 (PI. 36) by the Hephaisteion Painter it embellishes the lower part of an otherwise black rim; on the namepiece of the Niobid Painter,23it appears below a chain of upright lotuses and palmettes, and on his calyx-kraterin Ferrara,24these two patterns are reversed. On the body the figureddecoration on the obversemay be separatedfrom that on the reverse by a configuration of encircled palmettes that are sometimes combined with lotuses,25 or else, and this is by far more common, the area above the handle may be black. In the Agora, only 249 (P1.34) and 258 (P1.34), which may be by the Diogenes Painter,preservea little of the handle ornament but not enough to determine the type of configuration. Fourof the Agora calyx-kraters are without ornament above the handles:261 (P1.36) by the Hephaisteion Painter;272 (P1.37) by the Phiale Painter; 274 (P1.37) from the Group of Polygnotos; and 280 (P1.38) in the manner of the Dinos Painter. The rest are too fragmentaryto indicate whether this area was patterned or black. On other calyx-kraters,such as the one at Harvard by the Kleophrades Painter and those with multiple ground lines, the figurescontinue around the vase without interruption.26 On the cul, as on the offset part of the rim, there is considerable variety in the choice of ornament, but not very many occur on the Agora calyx-kraters,very likely because of their fragmentary state of preservation. The visual effect of this band of ornament is to provide a ground line for the figures as well as to differentiate the swelling surface of the cul from the flaring wall of the body. The most common ornament is the maeander pattern, often with the units interrupted by cross- or saltire-squares. Examples from the Agora are: 261 (PI. 36) by the Hephaisteion Painter; two from the Group of Polygnotos, 274 (P1.37) and 287 (PI. 39); 280 (P1. 38) in the manner of the Dinos Painter; and 283, which is unattributed. Other ornaments found on the culs of the Agora calyx-kratersare the double chain of lotuses and palmettes on 270 (P1.36) and 271 (P1.37), two unattributedexamples of the mid-5th century; diagonally addorsed palmettes on 285 (P1.38) from the 4th century. The combination of a dot band above encircled palmettes in black glaze that is partly preserved on 252 (P1.34) does not seem to have a parallel on other calyx-kratersin either black figure or red figure, although a zone of encircled reserved palmettes by themselves occurs in the work of Euphronios, the Pezzino Group, and the Berlin Painter.27 Most unusual is for the cul to have figured decoration.28 Even rarer is for it to be completely undecorated.29 Occasionally, on calyx-kraters of the second and third quarters of the 5th century, there is a separate ornament at the handle roots, a zone of tongues being the one that occurs most often.30 More frequently, however, the handles are undecorated as they are on 252 (PI. 34), 261, 271 (PI. 37), 274 (P1. 37), and 280 (PI. 38), which preserve only the stub. 23 Note 5 above.

kraters,see the comparandafor 252.

25

29 See London, B.M. E 458 by Myson (note 18 above) and Copenhagen,N.M. 126 by the Troilos Painter (ARV2297, 11; Addenda 211). The latterhas a tongue patternaroundthe root of each handle. 30 See, e.g., Boston,M.F.A.97.368 by the TyszkiewiczPainter 210); St. Petersburg638 = (ARV2290, 1; Paralip.355, 1; Addenda St. 1600 by the AltamuraPainter(note 22 above);Ferrara2891 = T.313 by the NiobidPainter(note 13 above);two by the Painterof the BerlinHydria, St. Petersburg766 = St. 1271 (ARV2616, 2; Paralip.514) and New York,M.M.A. 07.286.86 (note 20 above); the namepieceof the PeleusPainter(note20 above);and Syracuse 17427 by the Kadmos Painter(ARV21184, 4; Paralip.460, 4; Addenda 341). For a palmette at each handle root, see Louvre G 162 by the KleophradesPainter(note 20 above).

24 Note 13 above.

An exceptionis LouvreCA 5950 (note2 above),whichhasa grapevinein this area,a choice of decorationthatis betterknown on black-figuredcalyx-kraters(seeAgoraXXIII, p. 27). Two other odditiesaboutthiskraterare the reservedbandson the insideand the band of net patternon the bodyjust abovethe cul. 26 Harvard1960.236 (note7 above).Forthe typewithmultiple groundlines, the namepieceof the Niobid Painter(note5 above) or the calyx-kraterby the Painterof the BerlinHydria,New York, M.M.A.07.286.86 (note20 above)may standformanyexamples. 27 Euphronios:Berlin2180;LouvreG 103;New York,M.M.A. 1972.11.10; New York, Levy and White (for these, see note 4 above). The PezzinoGroup:Agrigento,C 1956 (note 20 above). The BerlinPainter:Basel, Cahn H.C. 537 (Paralip. 344, 116 bis, Addenda calyx193). Forencircledblackpalmetteson black-figured

28 See note 10 above.

BELL-KRATERS

31

BELL-KRATERS 289-568

(Pis. 40-58)

The bell-krateris so named because its body is shaped like an inverted bell.1 Like the pelike, the calyx-krater,and the psykter,the bell-krateris not attested before the invention of the red-figure technique. Unlike them, however,the bell-kraterdoes not seem to have been decorated in black figure, although it is known in black glaze.2 The shape is most popular in the last decades of the 5th century B.C. and throughoutthe 4th; most of the Agora bell-kratersmay be dated to this time. TYPE 1: BELL-KRATERSWITH LUGS 289-292

(PI. 40)

The first and earlier type of bell-krateris distinguishedfrom the later mainly by lugs attached to the body just below the rim, which is offset slightly from the body, its side flaring, its top side angular or flat. This heavy-looking type of bell-krater is thought to derive from the wooden vintage vat, a suggestion made by Beazley that seems very plausible,3 especially in view of the bell-kraterof this type in Basel by the Kleophrades Painter,which shows a satyr treading grapes with thejuice pouring into a vat remarkablysimilarin shape to the vase it decorates.4 The earliest known bell-kraters,although fragmentaryand without the lugs preserved, were probably of this type, because they may be dated several decades before the second type of bell-kratercomes in. One of the earliest is by the Hischylos Painter, datable ca. 530-525;5 another, by the Dikaios Painter, is slightly later.6 For well-preservedexamples, we must turn to the four by the Berlin Painter,7which are footless, and the one in Basel by the Kleophrades Painter,just mentioned,8 which has a rilled foot. Early in the second quarter of the 5th century, about the time that the second type of bell-krateris introduced, the first type acquires a foot. Footed bell-kratersof the first type show the same variety of foot shapes as bell-kratersof the second type: a foot in two degrees, a base-fillet above a torus;plain disk;disk with a groove at the top.9 The system of decoration for both types is rather simple. Those by the Berlin Painter and the one by the Kleophrades Painterhave only one or two figureson each side; the figuresstand on 1

Beazley,CB ii, p. 50; Hesperia Suppl.X, pp. 8-9, with earlier bibliography;Follmann,Pan-Maler, pp. 50-51; AgoraXII, p. 55 with bibliography. 2 SeeAgoraXII, p. 55 andnote 12, whichaddsfiveblack-glazed bell-kratersto Beazley'slist (CVA,Oxford 2 [Great Britain 9], pp. 108-109, subpl. 52:8). 3 J. D. Beazley, TheBerlinPainter,Mainz 1974 (the original English manuscripttranslatedinto German by PaulJacobsthal and printed in Berlin, 1930), p. 4. See also the discussionof this type by H. R. W. Smith in CVA,San Francisco1 [USA 10], pp. 44-45. 4 Basel, Antikenmuseumund Sammlung Ludwig, BS 482 Addenda 188; CVA,Basel 3 [Schweiz7], pl. 11 (ARV21632, 49 bisr, [323]:2,4). A fewotherexamplesarethe tondoof Baltimore48.89 in the mannerof the EpeleiosPainter,wherea youthstandsin such a vat (ARV2151, 51; CVA,Baltimore1 [USA 28], pl. 45 [1457]:3); LouvreG 201 by the BerlinPainter,which showsa satyrdrawing wine from this type of krater(ARV2201, 63; Paralip.342, 63; Addenda 192);the vintage scene on Aleriainv. 1968/24 attributed by Jehasse to the Pan Painter (MonPiot58, 1972 [pp. 25-41], pp. 30-36, pl. 4). Here, a vat with lugs is partly sunk in the ground. 5 Villa Giulia50590 (ARV2162, 5; Addenda 182). Forthe date, see CB ii, p. 50. 6 Cab. Med. 387 (ARV231, 5). 7 Louvre G 174 and Florence 12 B 105 (ARV2205, 123); LouvreG 175 (ARV2206, 124;Paralip. 342, 124;Addenda 193;De-

noyelle,Chefsd'oeuvre...Louvre, pp. 114-115, cat. no. 52); Roman Market(ARV2206, 125);and TarquiniaRC 7456 (ARV2206, 126; 342, 126;Addenda Paralip. 193). 8 Note 4 above. 9 Examplesof the type in two degrees:Boston,M.F.A. 10.185, the namepieceof the Pan Painter(ARV2550, 1; Paralip.386, 1; Addenda 256); LouvreG 368 by the Painterof the Yale Oinochoe (ARV2502, 10; Paralip.381, 10). This painter also decorateda hybridbell-krater,whichretainsthe lugsbut has a mouthand foot from the second type, St. Petersburg777 = St. 1786 (ARV2502, 11; Paralip. 513, 11;Addenda 251). Anotherbell-kraterby the Pan Painter,PalermoV 778 (ARV2550, 2; Paralip. 386, 2; Addenda 257; Necropoli...Agrigento, pp. 206-207, cat. no. 65), has a double-ogee foot with base-fillet(CB ii, p. 50). Exampleswith disk:London, B.M.GR 1961.7-10.1 by theAltamuraPainter(ARV21660,33bis, Paralip.374, 33 biz,Addenda264; Prange, Nowbidenmaler, p. 166, cat. no. A 46); Bologna 16428, ex Pell. 308 by Polygnotos(ARV2 1029, 28; Addenda 317; Matheson,Polygnotos, p. 352, cat. no. P 29, pl. 41). Disk with groove at top: Warsaw142355 by the Lykaon Painter(ARV21045,6; Addenda 320; Matheson,p. 432, cat. no. L 6, pl. 68);Cab. Med. 423 by a painterfromthe Groupof Polygnotos (ARV21055, 72;Addenda 322; Matheson,p. 462, cat. no. PGU 83, pl. 163). The latteris unusualfor being glazed below the groove. Fortwo bandsof blackglaze on the verticalsurfaceof the foot, see Copenhageninv. 13817by the KleophonPainter(ARV21145, 35; Paralip.456, 35; Addenda 335; Matheson,p. 414, cat. no. KL 41, pl. 120).

SHAPE STUDIES

32

an ornamentalfrieze (a key pattern or a maeander)that servesas a ground line, with the rest of the vase black.10In one case, there is no ground line. 1 This surelyreflectsthe preferenceof these two paintersfor "darkvases." The early fragmentby the HischylosPainterhas a ribbon pattern above the figures.12 From the early second quarter on, an egg pattern painted above the figuresjust below the junction of the rim becomes the norm,13although the one Agora example has a zone of tongues, 292 (P1.40), and the ground line for the figuresis a maeander pattern, often with saltireor cross-squares.14The lugs and the area below are black glaze,15and the rim is black, except for those bell-kratersthat may be dated after the middle of the 5th century. Most of the examples known to me have a laurel wreath, with or without berries, the same ornament usually found on bell-kratersof the second type.16 This type of bell-kraterseems to go out of fashion in the middle of the 5th century B.C., at the very time when the second type gains considerably in popularity. An exception is the very decorative and elaborate bell-kraterthat may be by the Painter of the Athens Wedding and dates to the early 4th century B.C.17 In the Agora there are only four bell-kraters of this type, and they do not illustrate the features

of the shape very well. Three (289-291) belong here because they may be dated to the early decades of the 5th century. 292, from about the middle of the century, preserves a lug. WITHHANDLES 293-545 TYPE 2: BELL-KRATERS

(Pls. 40-56)

This type of bell-krateris similar to the first in many respects, especially the early examples, but it differs from it chiefly by having round upturned handles attached to the body at a distance from the rim instead of directly below it. The rim is flaring and round with a slight overhang;

sometimes there is a narrow fascia between it and the body (e.g., 296: P1.40; 306: P1.41; 336: P1. 44; 343: P1. 45; and 362: P1. 46). The body, which tapers to a stem, is usually supported by a disk foot, often with a groove at the top (e.g., 361, 399, and 403), or, less frequently, by

a foot in two degrees, a base-filletabove a torus.'8 Throughout the entire period of its production, the general appearance of the bell-krater with handles is much lighter and more decorative than its counterpart with lugs. The earliest bell-kraters with handles are rather square in appearance.

Later the rim widens, so that the lip extends beyond the handles, which in turn become more sharply upturned; the stem grows much taller, making a mannered effect. The bell-krater with handles seems to have an East Greek origin, a theory first suggested by

Mingazzini, who based it on a graffitoincised on the diskfoot of a late-5th-centuryAttic bell-krater xaL Exa.19 In Athens the earliest examples date found at Capua that reads VLXrmoLoupyi TpLac 10

Notes 4 and 8 above. 1I LouvreG 174 and Florence 12 B 105 (note 7 above). 12 Note 5 above. Forother examplesof this ratherrarepattern on bell-kraters,see 309, a rimfragmentofca.440 froma bell-krater of Type 2, with comparanda. 13 A few of the many well-publishedexamples are Palermo V 779 by the OreithyiaPainter(ARV2496, 5; Addenda 250); the two by the PanPainter,the namepieceand PalermoV 778 (note9 above);two by the AltamuraPainter,PalermoV 780 (ARV2592, p. 165, cat. no. A 44) 32; Paralip.394, 32; Prange,Niobidenmaler, and Vienna 321 (ARV2592, 35; Addenda 264; Prange, p. 166, cat. no. A 48). 14 For an egg patternas a ground line, see LouvreG 369 by the AgrigentoPainter(ARV2577, 60). 15 Fora lug decoratedwith a figure,see Frankfurt,Liebieghaus 551 by Syriskos(ARV2260, 3; Paralip. 351, 3;Addenda 204);forone decoratedwith an egg pattern,see LouvreG 369 by the Agrigento Painter (note 14 above); for a chain of upright palmettes, see Vienna 1771,whichmay be by the Painterof the AthensWedding 363). For a configurationof palmettes (ARV21318, -; Addenda

andspiralson the bodybelowthe lugs,see NaplesRC 161fromthe p. 463, Groupof Polygnotos(ARV21055, 74;Matheson,Polygnotos, cat. no. PGU 85) and Copenhagen,inv. 13817 by the Kleophon Painter(note 9 above). 16 A few examples:Bologna 16428, ex Pell. 308 by Polygnotos and Warsaw142335 by the LykaonPainter(both note 9 above); threefromthe Groupof Polygnotos,Cab.Med. 423 (note9 above), Copenhagen,Thor. 101 (ARV21055, 73; Matheson, Polygnotos, p. 462, cat. no. PGU 84), and Naples RC 161 (note 15 above). One has ivy with berrieson its rim: Copenhagen 13817 by the KleophonPainter(note9 above).Fortwo bell-kratersof this time with plain black rims, see Vienna 1772 by the Eupolis Painter 325) and BrusselsA 2080 by the Cassel (ARV21072, 1; Addenda Painter (ARV2 1083, -, 17 Note 15 above.

6).

18 For examples, see Louvre G 497 by the KomarisPainter (ARV21064, 4); two somewhatlater that are near the Budapest 377) and Vienna 935 Group:Vienna 933 (ARV21439, 1;Addenda 379). (ARV21439, 2; Addenda 19 P. Mingazzini,"Un nuovo nome antico per designareuna

BELL-KRATERS

33

from the second quarter of the 5th century, chiefly in the workshop of the Altamura Painter and the Niobid Painter,each of whom decorated both varieties.20 Only a few, very fragmentary bell-kratersfrom the Agora belong to this phase, 293-303. Attributed are 293 (PI. 40) to the Hephaisteion Painter;297 (P1.40) to the Agrigento Painter;298 (PI.40) to the AltamuraPainter, one of his two known bell-kraterswith handles, for he preferred the variety with lugs;21 300 (PI. 41) is by the Niobid Painter and 303 (PI. 41) is in his manner. During the third quarter of the 5th century, production of this type of bell-kraterincreases considerably; by the end of the century and throughout the 4th, it is the most common of all the large shapes in Attic red figure. Not surprisingly,the greatest number of examples from the Agora excavations, including some very handsome and interestingfragments,may be dated after 420, with the latest belonging near the end of the 4th century B.C., the time when production of Attic red figure and this study end. These may serve as just a few examples: 386 (P1.48), connected with the Semele Painter,with a representationof Apollo and two women; 388 and 389 (PI.48), both by the Talos Painter,the latter perhaps showing the Death of Priam; 399 (Pls. 49, 50), which compares with the Painter of Athens 13908 and shows Athena and Herakles on one side and Dionysos with a satyr and maenad on the other; 427 (PI. 51) with a drunken Dionysos; 441 (PI. 52) with the Apotheosis of Herakles;443 (P1.52) with Bellerophon;and 445 (P1.52) with a Chimaera. Worthy of note are 431 (P1.51), 486, 528-531, and 536 (P1.56), which are draw or try pieces used to test the firing conditions of the kiln. The system of decoration for the bell-kraterwith handles is more ornamental than that for the lugged variety,and often the obverse is more elaborately decorated than the reverse, 400 (P1.50) and 402 (P1.50) being good examples from the Agora (only Side A of each is illustrated). On the rim, there is most often a laurelwreath, with or without berries. Occasionally,another pattern is chosen, such as the elegant ivy with berries on 306 (PI. 41), the ribbon pattern below a row of egg and dot on 309 (PI.41), the upright ivy on 320 (P. 42), the diagonally addorsed palmettes on 362 (P1.46), and on several the egg and dot, for example, 304, 323 (P1.43), 402 (P1.50), and 404.22 On those with a narrowfascia between rim and body,there is an egg pattern with dots on the fascia. This pattern is repeated around the root of each handle, and below the handles, dividing obverse from reverse,there is a leafy configurationof palmettes and tendrils. As on later examples of the lugged variety, the figures stand on a ground line of maeander pattern, often interrupted by saltire-, cross-, or checkerboard-squares.Unusual patterns for the ground line among the Agora bell-kraters are the egg pattern on 402 (P1. 50) and the zone of chevrons on 433 (P1.52). Rarely, as on 484, is the ground line simply a narrow reserved band. On the bell-kratersfrom the Agora, particularlythose datable before 400 B.C., the figures share a common ground line; quite often after that they have multiple ground lines, for example, 440 (PI. 52), 442 (PI. 52), 444 (PI. 52), 491 (PI. 54), 524 (PI. 56), and 539 (P1.56), the same compositional device frequently used for other big vases. Most unusual is 545 (PI. 56), which has its figured decoration placed in two friezes, a double-deckerarrangementbetter known from calyx-kraters.23

formadi vasi,"RM 46, 1931, pp. 150-152; cited by P.Jacobsthal (MetMusSt5, 1934-1936 [pp. 117-145], p. 117, note 2), who collectsfurtherevidence,specificallytwo smallplainkratersfound at Kamirosand lalysos on Rhodes (p. 117). See also AgoraXII, p. 55. 20 For well-preservedexamplesof the handledtype,see Ferrara 2738 = T.311 by the AltamuraPainter(ARV2593,41; Paralip. 394, 41; Addenda 264; Prange, wobidenmaler, p. 167, cat. no. A 54) and Ttbingen S./10 1344 = E 104 by the Niobid Painter(ARV2 603, 35; Addenda267; Prange, p. 190, cat. no. N 45). For a

brief discussionof bell-kratersfrom this workshop,see Prange, pp. 34-35. 21 A small fragmentbelonging to 298 preservesthe reserved area at the handle. The other bell-kraterwith handles by the AltamuraPainteris in Ferrara(note 20 above). 22 Forthe lotus-palmettechain,see Copenhagen,Thor.96 and Erbach by the AltamuraPainter (ARV2592, 37; Addenda 264; p. 167, cat. no. A 50). Prange,Niobidenmar, 23 See Oakley,AGRPAmsterda, pp. 119-127.

34

SHAPE STUDIES

TYPE UNCERTAIN 546-566

(Pis. 57-58)

All of these fragmentsmay be dated to a time when both varieties of bell-kraterwere being produced. None preservesa feature that allows one to determine whether it had lugs or handles. Given the few examples of bell-kraterswith lugs found in the Agora excavations, it is probable that most of these had handles, but without confirming evidence it is best to keep them apart. Furthermore,the attributedfragmentsare by painters who decorated both types of bell-krater. 567, 568 (PI.58) These two fragmentary bell-kratersare of a rare variety that has a simple rolled rim, but otherwise, from what remains, they have the same decoration as bell-kraterswith handles. SPECIAL TYPE: NECK NOT MARKED OFF FROM BODY

CALYX-KRATERS or BELL-KRATERS 569-583

(Pls. 58-59)

Each of the fragments in this small section has hard, shiny black glaze on the inside, but none preserves a feature that identifies the shape precisely as either a bell-krater or a calyx-krater. Therefore it is probably safest to keep them in a separate category.1 Only three are attributed, and each is by a painter who decorated both bell-kratersand calyx-kraters. 572 (P1.59) is in the manner of Polygnotos; 576 (P1.59), assigned here, may be by the Kleophon Painter; and 577 (P1.59) is by his companion, the Dinos Painter.The most importantfragment is 570 (P1.59), which was reused as an ostrakonfor Kimon.2

LOUTERION 584

(Pls. 59-60)

In all of Greek vase painting, the louterion is one of the rarestshapes.' In Attic red figure, there seem to be only five certain examples, all extremelyfragmentary.One is 584 (Pls.59-60); another is the 4th-century B.C. spout in Vienna decorated with a louterion that was particularlyhelpful in recognizing the shape of 584 and in making a reconstructiondrawing.2 I One cannot,perhaps,completelyruleout the possibilitythat

some of the betterfragmentscould belong to very large skyphoi, like 1265, but given the rarityof these large skyphoiin general and in the Agora in particular,calyx-kratersor bell-kratersare a preferredoption here. 2 Forthe ostracismof Kimon, see AgoraXXV, pp. 88-89 with bibliography.

of this spout as belonging to a louterion and a reconstruction of the shape from the representationon the front of the spout. Her principalobjectionsseem to be that from what remains,the spout was attachedto a vase shapedlike a bell-krater.Kenner's of thepaintedrepresentationis incorrect( JOAI29, understanding 1935 [pp. 109-154], pp. 133-134): she interprets the top of the

vase as seen in perspective,with the spoutfurthestfromthe viewer and the inside of the vessel stippledto separateit visuallyfrom 1 See B. B. Shefton,Hesperia the exterior. Callipolitis-Feytmans 31, 1962 [pp. 330-368], pp. 331points out that the interiors of painted representationsof vases are normallyblack, and she 335, with earlierbibliography,especiallyH. Kenner,"Das Luterion im Kult,"JOAI 29, 1935, pp. 109-154. Also, D. Callipolitis- interpretsthe stippledsurface as a conical lid that may have a Athens1965,pp.59-60; Ginouves, perforatedsurface,similarto that of a thymiaterion.Since so few Feytmans,Les"louteria" attiques, red-figuredlouteriaexist,the shapeis farfromeasyto identifyand Balaneutiki, pp. 77-99 forplainlouteria,especiallythosepaintedin understandfromfragments.Moreover,since spoutedvasesare so sceneson vasesas well as actualstoneones. Forthe shapein black rare, it is perhapsbest to continue classifyingthe Vienna spout figure,see AgoraXXIII, pp. 32-33. For a discussionabout the with louteria. The other three examplesof red-figuredlouteria kindsof scenesin whichthe louterionappearson Greekvases,see are unattributedfragmentsfrom Menidi: Athens, N.M. 15938, 2, 1980,pp. 89-106. J.-L. Durandand F.Lissarrague,Hephaistos 2 Vienna, Univ. 946 a body fragmentwith part of the stand; N.M. 15937, from the (CVA,Vienna 1 [Deutschland5] pl. 26 shoulder; and N.M. 15936, part of the stand. For these, see 31, 1962, p. 331 and pl. 105; Ginouves, [220]; Shefton, Hesperia Balaneutik?, pp. 59-60 and pl. 22. p. 253 and pl. 46, fig. 142). Callipolitis-Feytmans Callipolitis-Feytmans, (Les"louteria" attiques,pp. 37-38) rejectsboth the identification

STANDSandSUPPORTS

35

The louterion has a rather deep bowl shaped much like that of the dinos, and it is attached directly to a high conical stand. On each side, a flat handle springs from the shoulder, rising quite high before turning downward to join the top side of the rim. At each side of the handles, about level with the rim, a small loop curves downward and is attached to the shoulder. Midway between the handles on one side, a spout projects from the rim. The exact use of the louterion is contested, but there seems to be general agreement in connecting it with the cult of the dead.3 584 gives some idea of the scheme of decoration. At the bottom of each flat handle (which projects slightly from the shoulder, resembling somewhat a plaque) there is a frieze of stoppedmaeander that acts as a base for the figure decorating the handle.4 Below this maeander is an upright palmette and an inverted one at the root of each small handle. Around the spout and below the figures there is an egg pattern. The decoration on each side is divided by the vertical handle. STANDS and SUPPORTS 585-588

(Pls. 61-62)

A distinction between stands and supports was made by Richter and Milne.1 Stands are small objects and few in number. They have a flat or slightly convex resting surface surrounded by a torus rim and are supportedby a conical foot. This is the type called Sosian after the well-known example in Berlin signed by Sosias as potter.2 Except for the exquisite piece in New Yorksigned by Ergotimos and Kleitias,3 all the known examples are datable between the second half of the 6th century and the opening decades of the 5th, that is, before the end of the Persian Wars.4 There are no red-figuredexamples from the Agora. There are two types of supports, conical and cylindrical. Conical supports occur earlier, reaching back to the Geometric period.5 They are thick walled, supported by a torus foot, and at the top they are attached to the bowl. Between the bowl and the stand there is often a molding that strengthensthe join. In Attic black figure,conical supportsarejoined to skyphos-kratersand lebetes gamikoi, occasionally to louteria;6in Attic red figure, they are used for the lebes gamikos (see above p. 18). Cylindrical supportsare hollow,with slightly concave walls that flare at the top and bottom; they end in a molded rim and foot. This type of support is not attached to the vessel it supports;instead, the vessel is set into the hollow at the top. Cylindricalsupportswere probably used for pointed amphorae or those of Panathenaic shape that have bodies tapering sharply to a very small foot and are thus prone to toppling over. There are very few cylindricalsupportsfrom the Agora, and none may be connected with the vase it supported.7 The best Agora example is 585 (Pls. 61-62) by Euthymides, which shows the Delian triad. As with conical supports, the figured decoration is framed above and below by an ornament in reserve or black glaze. Two other supports are included in this section. 587 (P1. 62), with its flaring torus base and rather narrow diameter, is probably from the stand of a dinos. It is included in the general section on stands,because no red-figuredfragmentfrom these excavationshas been recognized as 3 See Shefton, Hesperia 31, 1962, pp. 332-333 with bibliog-

by the Acheloos Painter:London, B.M. GR 1842.4-7.3 = B.M. raphy and a summaryof opinions; also, Ginouves, BalaneutikW, B 167 (ABV 382, 1; Paralip.168, 1; Addenda101) and Toledo 58.69 (Paralip.168, 2 bir,Addenda pp. 252-253. 101);also New York,Levy and 4 Forfigureson the backsof handles,see p. 26, note 14 above. White, a red-figuredpointed amphorawith stand attributedto the CopenhagenPainterbyJ. R. Guy (Gloriesof thePast:Ancient Richterand Milne, ShapesandNames,p. 31. ArtfromtheShelbyWhiteandLeonLevyCollection, D. von Bothmer, 2 Berlin2315 (ARV221, -; Addenda ed., New York1990, pp. 168-171, cat. no. 121; Reeder,Pandora, 154). 3 New York31.11.4 30, 12;Addenda (ABV78, 12; Paralip. 22). pp. 347-349, cat. no. 109). 4 See AgoraXII, XXIII, p. 32, note 20. pp. 179-180 Se Agr XXI,p 0wt and aleAgora ilorpy 6 7

See AgoraXXIII, p. 30 with earlier bibliography. See AgoraXXIII, p. 30.

For amphora and support, see the two black-figuredones

36

SHAPESTUDIES

belonging to a dinos. The last entry is 588 (P1.62), an odd piece that looks like a ratherelaborate low stand. The top side has a hole in the center and shows traces of burning. Perhaps it was coordinatedwith a hole in the bottom of the vessel it supported.

PSYKTERS 589-591

(Pls. 62-64)

The psykter is a wine cooler that has a broad bulbous body supported by a tall cylindrical stem terminating in a torus foot or a foot in two degrees. Its neck is short, and its mouth similar to the foot. Between neck and shoulder there is a small fillet. There are two types of psykter. The earlier is without handles. The second, introduced slightly later, has two small loops on the shoulder for strings or thongs to permit carrying; it also has a lid that fits over the mouth. Between shoulder and neck there is a slightjog; between shoulder and foot the profile forms a continuous curve.' When filled with wine, the psykter was placed in a krater containing iced water or with snow for cooling,2 its stem acting like a keel to prevent it from tipping over. In representations,the psykter stands in a calyx-krater(as it surely did in real life), for the broad flaring shape of this type of krateris well suited to holding the psykter.3Moreover,it is probably no accident that both the calyx-kraterand the psykter v;e.reinvented at about the same time, coinciding also with the change from the black-figureto the red-figuretechnique, a brief period of considerable experimentationin Athenian ceramic workshops. The earliest preservedpsykterseems to be the black-figuredexample signed by Nikosthenes and attributedto the Antimenes Painter.4Together with painters in his manner and those related to him, the Antimenes Painter has left other examples of psykters.5 In red figure, the earliest seem to be the two by Oltos, followed shortly thereafterby those from the Pioneer Group.6 In neither technique is the psykter a very popular shape. The few that survive, however, count

1 For the shape, see Richter and Milne, ShapesandNames, pp. 12-13; S. Drougou, DerattischePsykter[Beitragezur Archaologie 9], Wuirzburg1975;AgoraXXIII, pp. 20-22; K. Vierneisel in KunstderSchale,pp. 259-264. 2 That the psykterheld the coolant, see Drougou,Derattische pp. 31-35. Againstthisview,see AgoraXXIII, p. 21, note 4 Psykter, with bibliography;also,Vierneiselin KunstderSchale,p. 261. 3 Some good examplesare:Athens,N.M. 1045by Kleisophos 51); Bonn inv. 574 by the Painterof the (ABV 186, -; Addenda 93);Villa Giulia VogellPelike(ABV339, 1; Paralip.152, 1;Addenda 50458 by the AmbrosiosPainter(ARV2173, 5; Paralip.338, 5; Addenda 184);Berkeley8.2184 by Makron(ARV2475, 259). See now in the Louvre,a line drawing also the psykter-calyx-krater derSchale,p. 260, fig.41:4, and the in Kunst Vierneisel by published attributedto theTroilosPainter,NewYork, psykter-column-krater M.M.A. 1986.11.12,whichshowsthe Apotheosisof Heraklesand 16 July, the Receptionof Dionysos into Olympos (Cat.Christie's, 1986, pp. 38-39, lot 141). 4 Houston, de Menil (H. Hoffinann,TenCenturies ThatShaped theWest,Houston 1971,fig. 175). Forthe attribution,AgoraXXIII, p. 35) thinksthat the Psykter, p. 20, note 2. Drougou (Derattische two psyktersfrom the Swan Group are earlier:Athens, Vlasto (ABV 658, 125) and Berlin, Univ. D 194 (ABV 658, 126 and Addenda147). These, however, are of the "red-figured"type (ABV658) and thus can hardlypredate the ones from the Antimeneanworkshop,whichprobablydate in the late 520's,shortly afterthe inventionof the red-figuretechnique.Furthermore,vases

fromthe SwanGroupareratherdifficultto datewithanydegreeof certainty;mostof themareprobablylaterthantheyappearto be at firstglance. Drougou'searlydateforthe SwanGrouppsyktershas 16, 1987 alreadybeen questionedby Isler-Kerenyi(NumAntClass [pp. 47-85], pp. 48-49). 5 AntimenesPainter:LouvreCp 12296 (ABV275, 136; Pa[Kera72; J. Burow,DerAntimenesmaler ralip.519, 136; Addenda meus 7], Mainz 1989, p. 89, cat. no. 87, pl. 88);manner:Leipzig T.367 (ABV280, 57; Addenda 73), LouvreF 319 (ABV280, 58; Addenda73 ), LouvreF 320 (ABV280, 59;Addenda 73);related:Louvre F 321 (ABV282, 22; Drougou, Derattische pl. 14:1;AdPsykter, denda73);Groupof Wtrzburg 199:Villa Giulia50674 (ABV289, 28; Addenda 75). 6 Oltos: New York, M.M.A. 10.210.18 (ARV254, 7; Paralip. 326, 7; Addenda163); New York, M.M.A. 1989.281.69, ex King'sPoint, Schimmel(ARV21622, 7 bis;Paralip.326, 7 bis;Addenda163). Euphronios:Boston, M.EA. 10.221 (ARV216, 14; cat. no. 32); St. PeParalip.322, 14; Addenda153; Euphronios, tersburg644 = St. 1670 (ARV216, 15; Addenda153; Euphronios, cat. no. 33). Smikros:Louvre G 58 (ARV221, 6); New York, M.M.A. L 1980.104 attributedbyJ. R. Guy. Phintias:Boston, M.F.A.01.8019 (ARV224, 11; Addenda 155). Euthymides:Turin 4123 (ARV228, 11; Addenda156). The Dikaios Painter:Lon157). The don, B.M. E 767 (ARV231, 6; Paralip.324, 6; Addenda Pezzino Group: Swiss private (ARV21621, 3 bis; Addenda157; NumAntClass 16, 1987 [pp. 72-79], figs. 1-13).

HYDRIAI

37

as masterpieces of Greek vase painting.7 The shape comes to an end by the middle of the 5th century. Among the latest is the big mid-5th century one in a New Yorkprivate collection that shows Herakles and Philoktetes.8 In the Agora red figure, there are only three, all very fragmentary:589 (Pls. 62, 63), which is near the Kleophrades Painter;590 (P1.64), unattributed; and 591 (P1.64), which recalls somewhat the earliest style of Douris. The scheme of decoration is simple. The mouth is usually black, although occasionally it has an ornamental pattern, such as the egg pattern on London, B.M. E 767 by the Dikaios Painter.9 The neck too is black, an exception being one of the psykters by Oltos that has an ivy wreath with berries.10 On the shoulder at the junction with the neck there is a tongue pattern. Psykters without loops have the figured decoration continuing around without interruption. 589 was very likely of this type. Those with loops have the figures on the obverse separated from those on the reverse either by an ornamental configuration at the loop or through the use of a panel to contain the figures.1I Before the end of the 6th century,the ground line for the figuresis a narrow reserved line; later, as on 589 (P1.63) and 591 (P1.64), it is a band of ornament, most often a maeander or a key.12 Stem and foot are normally black, although on the psykter by Douris there is a pretty band of encircled lotuses and palmettes in black glaze on the underside of the body near the stem.13 HYDRIAI 592-608

(Pls. 64-65)

The hydria, or waterjar, is a very old shape in Attic pottery,for the earliest known examples are EarlyProtoattic.1 The shape is recognized largelyby the dispositionof its handles:two horizontal ones attached to the shoulder, used for lifting the vessel as well as for setting it down; and, at the back reaching from shoulder to mouth, a vertical handle for pouring or for carryingwhen the hydria was empty.2 In Attic red figure, there are two types of hydria. One is the shouldered 7 Besidesthose in note 6 above,see, e.g., London,B.M. E 768

by Douris(ARV2446, 262; Paralip. 375, 262;Addenda 241; BuitronOliver,Douris,p. 78, cat. no. 84, pls. 54-55); Munich2417 by the Pan Painter(ARV2556, 101; Paralip.387, 101; Addenda 258); or VillaGiulia3577, the splendidunattributedearly-5th-century one that showsa big centauromachy(FR,pl. 15). 8 J. R. Guy in Imageet ceramique grecque,F. Lissarragueand F.Thelamon,eds., Rouen 1983, pl. opp. p. 153. 9 Note 6 above. 10 New York,M.M.A. 10.210.18 (note6 above). "l Ornament:Turin 4123 by Euthymidesand London, B.M. E 767 by the DikaiosPainter(bothnote 6 above). Panels:Berlin 1966.14 by Myson (Paralip.349, 77 bis, Addenda202). Two exceptions where there is neither ornament nor panel: Baltimore 48.77 by Syriskos(ARV2263, 52; Addenda 205; CVA,Baltimore 1 [USA 28], pl. 28 [1440]:1, 2) and Bloomington,Ind., 79.57, unattributedbut contemporary:side A, Athenaand giant; side B, Poseidonand giant (I know this psykterfrom Bothmer's photograph). 12 On the psykterin Compiegneby the KleophradesPainter (1068: ARV2188, 66; Addenda188), which shows Dionysos and Herakleswith satyrs, there is a reservedband decorated with drinkingvessels in silhouette technique. Here, Dionysos and Heraklesstand on the bottom of the band while the satyrsuse its top edge as theirgroundline, a devicethat servesto emphasize the hero and god. A similarconceit appearson the red-figured psykter,Princeton1989-69, attributedto the KleophradesPainter byJ. R. Guy. 13 London,B.M. 768 (note 7 above).

1 For a brief discussionof the shape in Attic black figure, see AgoraXXIII, pp. 35-38 with bibliography. For red figure, see E. Diehl, Die Hydria:Formgeschichte und Verwendung im Kultdes Mainz 1964, pp. 61-63 and the review by Bothmer, Altertums, Gnomon 37, 1965, pp. 599-608; Follmann,Pan-Maler, pp. 49-50; F. Hamdorf,Pantheon 32, 1974 [pp. 219-224], p. 219; W. Real, Gerhard Klemer, Ttubingen1976, pp. 33-47. Festschriftfir 2 Fountainscenesoften showwomen carryinghydriaion their heads, the pot verticalif full, horizontalif empty. See, e.g., these examplesin Atticblackfigure:London,B.M. GR 1843.11-3.66 = B 336 by theAntimenesPainter(ABV266, 3;Addenda 69; J. Burow, DerAntimenesmaler [Kerameus7], Mainz 1989, p. 93, cat. no. 122, pl. 120);London, B.M. GR 1843.11-3.77 = B 333, unattributed (ABV677,-, 3;Addenda 148);andAthens,Kanelopoulos (AAA9, 1976, fasc. 2, cover). Often, as on the last two, there is a small cushion between head and hydria that acts as a buffer and a support.Forthis donut-shapedpad, see M. B. Moore and D. von Bothmerin CVA,New York4 [USA 16], p. 45; also, F. Brommer, AM 63-64, 1938-1939 [pp. 171-176], p. 175, who illustatestwo examplesin the manner of the Dinos Painter,where Amymone holds one in her hand:Vienna 1011 (ARV21155, 6; Addenda 337; p. 392, cat. no. DM 7) and Vaticaninv.9096 Matheson,Polygnotos, (ARV21155, 7; Matheson, p. 392, cat. no. DM 8); also Rome, Torlonia 73 by Hypsis, where a woman is about to place the cushionon herheadwhileherhydriafills(ARV230, 2;Addenda 157). For lifting a hydriaby the two horizontalhandles, see London, B.M. E 16 by Oltos (ARV261, 75; Addenda165).

38

SHAPESTUDIES

type, well known in black figure, popular especially from about 530 B.C. on. On this type the shoulder forms a sharp angle with the body, and the vertical handle rises above the rim of the mouth before curving downward to join it. In red figure the shouldered hydria appears most frequently in the last decade of the 6th century and the opening years of the 5th. Sometimes these look like literal translationsfrom black figure to red, especially when the figured zones are framed by black ornament.3 Those by the Berlin Painter,like so many of his vases, often show just one or two figures on the body, usually on an ornamental ground line, with the rest of the vase mostly black;4 there are no side frames, as is the norm.5 This type of hydria is very rare after about 470 B.C.; the two examples known to me are the pair by the Hasselmann Painter.6 None of the Agora red-figuredhydriaiis of the shouldered type. The second type of red-figured hydria is the kalpis, whose distinguishing feature is the continuous curve from the mouth to the foot. The kalpis does not appear before the introduction of red figure and, while good black-figuredkalpidesexist, the shape is basically a red-figuredone. All the red-figuredhydriaifrom the Agora are kalpides. The body of the kalpis swells considerablyat the handles, which results in a shape that has a plump look, especiallyin examples that may be dated before 450. Laterkalpidesoften have rather flat shoulders;the body curvesless sharply and tapers more quicklytoward the foot.7 The mouth may be a simple torus, or it may be molded in two degrees, as on 603 (PI.65). The lateral handles curve upward,the curve becoming more pronounced by the late 5th century. The verticalhandle rises from the shoulderto just below the mouth, then curvesdownwardand isjoined to the neck.8 The shape of the foot normally reflectsthe shape of the mouth, torus foot going with torusmouth, ogee foot with molded mouth.9 There are two systems of decoration for the kalpis. One shows the picture on the shoulder; the other has the picture on the body. The former begins slightly earlier than the latter. Both systems occur among the Agora red-figuredkalpides. ONTHESHOULDER592, 593 PICTURE

(PI. 64)

On kalpides decorated in this fashion, the figures appear within a trapezoidal panel that is most often framed on all four sides. Before 500 B.C.and during the first decade or so of the 5th century, this form of decoration is most popular. Between the handles, on the front of the vase, there is a band of ornament with an area of glaze between it and the figured panel above. The rest of the vase is black. Occasionally, there may be a zone of tongues around the root of each horizontal handle;10 similarly,the ornament in the handle zone may be omitted.1l On the earliest kalpides, the panel does not extend laterally as far as the handles; later, it widens 3 E.g.,Munich2418, assignedbyBeazleyto SundryVeryEarly 151;CVA, Red-figurePotsbyVariousPainters(ARV212, 7;Addenda Miinchen5 [Deutschland20], pl. 218 [933]:1:this hydriahas a black-figuredshoulder);Munich 2419, also assignedto the same group (ARV212, 9; CVA,ibid.,pl. 218 [933]:2);Munich 2421 by Phintias(ARV223, 7; Paralip. 155;CVA,ibid.,pl. 222 323, 7;Addenda [937]:1);andLondon,B.M.E 160by the NikoxenosPainter(ARV2 222, 19). 4 E.g., his early hydria in Aberdeen, 695 (ARV2209, 164; Addenda 195)and London,B.M. E 162, also early(ARV2209, 165; Addenda 195). 5 Othershoulderedhydriaiwithoutsideframes:London,B.M. E 163by the CopenhagenPainter(ARV2258, 26;Addenda 204)and Athens,N.M. 16351, by Syriskos(ARV2263, 42); St. Petersburg 764 by the HasselmannPainter(ARV21138, 43; Paralip.517); I havenot see his hydria,Naples,ex Spinelli,and knowit only from Beazley'sdescription(ARV21138, 42). 6 Naples, ex Spinelli and St. Petersburg764 (both note 5 above).Both haveblackivy on the shoulder,figureson the body. 7 Comparethese three:New York,M.M.A. 10.210.19by the

BerlinPainter(ARV2209, 169; Paralip.343, 169; Addenda 195); University,Mississippi,Univ. of Miss., in the manner of the Niobid Painter (ARV2611, 35; Prange, Niobidenmaler, p. 215, cat. no. GN 50); and the namepieceof the MeidiasPainter,Lon361; Burn, 477, 5; Addenda don, B.M.E 224 (ARV21313,5; Paralip. MeidiasPainter, pp. 79-80, figs.5-6). pl. 1:a;Reeder,Pandora, 8 See the threein note 7 above. 9 There are a few exceptions. Torusmouth/ogee foot: Graz G 30 by the Berlin Painter (ARV21634, 183 bis;Addenda196; Schwarz, Triptolemos, p. 36, cat. no. V 44, pl. 3, fig. 5). Molded rim/torus foot: two by the Syleus Painter:St. Petersburg631 = St. 1625 (ARV21640, 42 bis;Paralip. 511) and New York,M.M.A. 11.212.7 (ARV2252, 45); Munich 2430 by the OreithyiaPainter (ARV2497, 9); London, B.M. E 178 by the Painterof the Yale Oinochoe(ARV2503, 20;Addenda 251). 10 E.g., Bonn 70 by Euthymides(ARV228, 12; Addenda156); and LouvreG 51 nearthe DikaiosPainter(ARV232, 1). I E.g., two by the NikoxenosPainter,Wtrzburg 531 (ARV2 51, Kunstwerke 222, 25) and Kassel 78La, ex BaselMarket(Auktion derAntike. 14, 15 Marz1975, no. 152).

HYDRIAI

39

so that the ground line is measurablylonger than the skyline.12Occasionally,the figurescontinue around as far as the vertical handle, the most famous example being the one in Naples by the Kleophrades Painter.13 The framingornaments,which may be in black glaze or in reserve,or in a combination of both, vary considerably from painter to painter, with favorite ornaments being the tongue, key,and net. There are only two red-figuredkalpisfragmentsfrom the Agora with the pictures on the shoulder,592 and 593; only 592 (P1.64) preservesa little of one pattern, a zone of hanging lotus buds above the figures. As an alternativeto full frames, the figuresmay stand on just a patterned ground line, a preference of the Berlin Painter.14 PICTUREON THEBODY 594-608

(Pls. 64-65)

This system of decoration begins slightlylater than the alternativewith figuresconfined to the shoulder,for the earliest examples seem to be by the Kleophrades Painter,designated by Beazley as late works;also two by the Berlin Painter and those by the EucharidesPainter.15All are of the early 5th century and thus at least a decade or two later than the earliest of those with the picture on the shoulder. The figurescover much of the availablesurface,usuallywith a zone of ornament above and below, patterns that may be in black glaze or in reserve and that vary considerably, the upright band of lotuses and palmettes (600: PI. 64), the egg pattern (601: PI. 65), and the maeander pattern (603: P1.65) being the examples from the Agora. 603, in the manner of the Kleophon Painter, is the best-preservedkalpis from these excavations. Rarely do the pictures on the body have side frames,16and normally there is no ornamental configuration below the handles,17although a zone of tongues may encircle the root of each horizontal handle, or there may be a small palmette. Down to about 450 B.C., the figures appear in one row on the front of the vase.18 Thereafter, the figures are sometimes placed in two rows, one on the shoulder and continuing on to the upper part of the body, the other on the lower part of the body. This system of decoration appears at the same time on other large shapes, such as the volute-kraterand the calyx-krater.19Toward the end of the 5th century and during the 4th, the figures in large compositions may appear on multiple ground lines,20an arrangementalso favoredfor other large shapes. Neither of these systems may be attested among the Agora kalpides, owing no doubt to their fragmentarycondition. 12 Cf., e.g., Bonn 70 by Euthymides(note 10 above) with Villa Giulia 50398 by the KleophradesPainter(ARV2188, 69; Addenda 188). 13 Naples 2422 (ARV2189, 74; Paralip.341, 74; Addenda 189). Also: LouvreG 428 by the Painterof the Yale Oinochoe (ARV2 503, 19); Athens Marketby the LeningradPainter(ARV2572, 85): I have not seen this vase and know it only from Beazley's description;London, B.M. GR 1921.7-10.2 from the Group of Polygnotos,painterunspecified(ARV21060, 138;Paralip. 445, 138; Addenda 323; Matheson,Polygnotos, p. 478, cat. no. PGU 162). 14 See, e.g., the two in New York,M.M.A. 10.210.19 (note 7 above) and 65.11.12 (ARV21634, 175 bis, Paralip.343, 175 bis; Addenda 195). His seem to be the earliestpreserved. 15 KleophradesPainter:Vflla Giulia 50384 (ARV2189, 75; Addenda189); Munich 2426 (ARV2189, 76; Paralip.341, 76; CVA,Munchen5 [Deutschland20], pl. 227 [942]:2;Addenda 189); London, B.M. E 201 (ARV2189, 77). The BerlinPainter:Graz G 30 (note 9 above);Boston,M.EA. 1978.45 (Auktion 51 [note 11 above], no. 155). The EucharidesPainter:Athens, N.M. 1482 510, (ARV2229, 40); St. Petersburg2604 (ARV2229, 41; Paralip. 41; Addenda 199); 199);LouvreCp 10786 (ARV2229, 42; Addenda Wtirzburg533 (ARV2229,43); Malibu,the J. PaulGettyMuseum 86.AE.227 (ARV21637, 43 bis-,Paralip.347, 43 bir,Addenda 199); Athens,Akropolis688 (ARV2229, 44);andVienna582 (ARV2229,

45;Addenda199). 16 Examples:St. Petersburg631 = St. 1625 by the Syleus Painter(note 9 above); two by the TyszkiewiczPainter,Louvre G 53 (ARV2294, 64) and Munich 2425 (ARV2294, 65; CVA, Mtinchen5 [Deutschland20], pl. 227 [942]:5, 6). 17 Foran example,see the kalpisin Bostonby the BerlinPainter (note 15 above). 18 Fortwo exampleswhere the figurescontinuearoundto the verticalhandle,see Brunswick,Maine, BowdoinCollege 08.3 by the Niobid Painter(ARV2606, 68; Paralip.395, 68; Addenda 267; L/MC III, 1986, p. 137, no. 56, pl. 118, s.v. Boreas; Prange, .obidenmaler,p. 199, cat. no. N 88) and University,Mississippi, Univ.of Miss.,in his manner(note 7 above). 19 Fora hydria,see twoby unnamed paintersfromthe Groupof Polygnotos:Florence4014 (ARV21060, 144;Addenda 323; Matheson, Polygnotos, p. 479, cat. no. PGU 168)and LosAngeles77.48.2 ex Basel Market(Paralip. (not Durham, N.C., paceAddenda), 446, 144 bis;Addenda 323; Matheson,p. 479, cat. no. PGU 169);and the namepieceof the MeidiasPainter(note 7 above). 20 See those in the upperzone of the MeidiasPainter'snamepiece (note 7 above)or that of the namepiece of the Painterof the CarlsruheParis, Karlsruhe259 (ARV21315, 1; Paralip.477, 1;Addenda 362; Burn,MeidiasPainter, pls. 39, 40).

SHAPE STUDIES

40

OINOCHOAI 609-828

(Pis. 65-84)

The oinochoe is a pitcher or jug used for pouring or, in special cases, as a measure (see below, p. 41 and note 17; p. 43 and note 29). In Attic red figure, there are ten varieties of oinochoe, some very rare, others, like the chous, very common, especially in the late 5th century.1 In the red-figuredmaterial from the Agora excavations under consideration in this volume, there are examples only of Shapes 2 (609), 3 (610-791), 4 (792, 793),8 (794-808), and a special type from the late 5th century that was found in a single deposit (809-826). The last are the products of one potter and were very likely a special commissionfor an occasion honoring Athena. Among the other types, Shape 3, the chous, is the most numerous. SHAPE 2

609

(Pls. 65-66)

This type of oinochoe has a trefoil mouth and a flaring neck that is slightly offset from the ovoid body, which tapers gently to join a thin torus foot.2 Occasionally, there is a small ring at the junction of the neck and shoulder. Most often, the handle is round in section, as on 609 (P1.65); sometimes it may be ridged.3 Normally, the handle curves upward only to the height of the mouth, as on 609; rarely does it rise well above the mouth before curving downward to join it.4 The general effect of this type of oinochoe is sturdy and practical; in the case of those produced in the workshopof the Shuvalov Painter,the appearance is refined and elegant. In Attic red figure, the earliest attributedexamples of the oinochoe Shape 2 seem to be the two by the Goluchow Painter.5Each has a single figure set in a panel placed opposite the handle. After this, there is an intervalof fiftyyears or more before the next attributedred-figuredexamples appear,6namely,the three in the Villa Giulia by the TerpaulosPainter.7During the EarlyClassical period, Hermonax painted several oinochoai of this shape.8 They have no side frames, and the figure stands on a band of ornament. This type of oinochoe is most popular in the last three decades of the 5th century,particularlyin the workshopof the Shuvalov Painter.9His often have two or more figures placed on a zone of stopped-maeanderpattern with checkerboard-squares, and at the handle, a palmette-tendril configuration. In the 4th century, the largest number of oinochoai of Shape 2, including 609 (Pls. 65-66), belong to the Fat Boy Group. These have a hasty,rather untidy look to them. 1 Forthe types,see ARV2xlix-l; Richterand Milne,Shapes and Names,pp. 18-20 and figs. 114-134 (thesealso includeexamples knownin blackfigure);J. R. Green, "Oinochoe,"BICS 19, 1972, pp. 7-17 and 28-35. For pp. 1-16; Lezzi-Hafter,Schuwalow-Maler, Atticblack-figuredexamples,see A.J. Clark,"AtticBlack-Figured 'Olpai' and 'Oinochoai'" (diss.New YorkUniversityInstituteof Fine Arts, 1992). 2 Forthe shape,especiallyin the workof the ShuvalovPainter, see Lezzi-Hafter, Schuwalow-Maler, pp. 9-11; more generally, Green, BICS 19, 1972 [pp. 1-16], p. 6. For black glaze, see AgoraXII, p. 60. 3 Examples:the namepiece of the Painter of Naples 3136 272); Naples Stg. 274 by the Shuvalov (ARV2632, 2; Addenda Painter(ARV21207, 27; Addenda 345): Lezzi-Hafter(SchuwalowMaler,p. 90) removesthis oinochoefromthe painter'soeuvreand attributesit to the same hand as Boston, M.F.A.03.794 in the 347); Ferrara20410 = painter'smanner(ARV21211, 2; Addenda T.18C VP fromtheAlexandreGroup(ARV2 1213, 1;Addenda 347). Fora concavehandle,see Munich2446 by the GoluchowPainter (ARV2 10, 4; Addenda151).

4 Fortwo good examples,see Munich2446 the Goluchow by

Painter(note 3 above)or London, B.M. E 522 by the Shuvalov Painter(ARV21207, 32;Addenda 345). 5 Cambridge163 (ARV210, 3;Addenda 151)and Munich2446 (note 3 above). 6 Forexamplesin blackfigure,see, e.g., those of the Briachos Class (ABV432, 1-4; Paralip.186; Addenda111) or the Class of VaticanG.47 (ABV429-430,1-27; Paralip. 184-185;Addenda10111). Fortwo with a floralband on the shoulderat the junction with the neck, see Villa Giulia50634 (ARV2219, 15; Paralip. 346, 15;Addenda 197)and Munich2450 (ARV2219, 16),both fromthe Groupof the FloralNolans. 7 No nos.:ARV2308, 1-3; Paralip. 212. 357, 2-3; Addenda 8 E.g., the three in Ferrarathat have now been published: T.607(ARV2489,107;Paralip. 379, 107);2460 = T.377(ARV2489, 379, 110; 109;Addenda 249);2461 = T.733(ARV2489,110;Paralip. Addenda 249). 9 See esp. the discussionby Lezzi-Hafter,Schuwalow-Maler, pp. 9-11.

OINOCHOAI

41

SHAPE 3 (CHOUS)610-791 (Pls. 66-81) The chous is the most common type of oinochoe in Attic red figure, especially during the last quarter of the 5th century and the opening decades of the 4th.10 It is recognized by its globular body that forms a continuous curve from mouth to foot, similarto the one-piece amphora and the pelike. The chous has a trefoil mouth, and its foot may be an echinus or a simple torus. The handle rises to the height of the mouth, where it is attached to the lip, and it may be a plain strap or ridged. In the early 5th century the chous is rather tall, its mouth may not be completely trefoil, and its foot is a spreading one. The shape develops a plumper body, with the maximum diameter lower than before, 624 being a good example from the Agora. The latest version is rounder,broader,and more elegant.11 656 and 663 are well-preservedexamples. The chous is known in Attic black figure,but it is not very common. The earliest seems to be the one in New Yorkattributedto the AmasisPainterand placed at the beginning of his career.12 In Attic red figure, the earliestattributedexample seems to be the fragmentaryone by the Kleomelos Painter.13Next are 684 (P1.73) by the EucharidesPainterand two each by the Berlin Painterand by Myson,14 including 611 (P1.66), which may not be by him. 612 (PI. 66) and 613 (P1.66), two unattributedfragments, belong chronologically with these, and slightly later is 624 (PI. 67) by the Painter of the Yale Lekythos. There are comparatively few examples from the second quarter;15then, from around the middle of the 5th century, come five by the Niobid Painter, plus 689 (PI. 73) in his manner.16 After this the shape becomes extremely popular, and many of the examples from the Agora are well enough preservedto illustratethe variationsin the shape. Oinochoai of Shape 3 come in many sizes. The large ones, such as 610-683 (Pls. 66-73), held a standardliquid measure of 3.25-3.50 liters.17The height of these is normally greater than 0.20 m., with the maximum diameter usually 0.17-0.18 m. Smaller ones were probably used for a variety of purposes in daily life as well as in burials. The miniature choes, that is, those less than 0.10 m. in height, seem to have been intended for children, and in particularthey have been connected with the Anthesteria, the oldest festivalin honor of Dionysos, which took place in early springduring the eleventh, twelfth, and thirteenthdays of Anthesterion. On the second day of the festival, the day of the Choes, the new wine, opened on the previous day,was drunk, and three- or four-year-oldchildren wore wreaths on their heads and were given presents, including miniature choes.18 On these small vessels, children are depicted at various playful pastimes. 10 Forthe

shape,see esp. ChoesandAnthesteria; also,J. R. Green, "Choesof the LaterFifth Century,"BSA66, 1971, pp. 189-228; idem,BICS19, 1972 [pp. 1-16], pp. 6-7; Lezzi-Hafter,SchuwalowMaler,pp. 13-15. For blackglaze, see AgoraXII, pp. 60-63. For the chous in relationto the Anthesteria,see below,esp. note 18. I1 Fora briefdiscussionof thisdevelopment,see Green(note 10 above),p. 191. 12 M.M.A. 1978.11.22. See D. von Bothmer,TheAmasisPainter andHis World,pp. 154-155, cat. no. 33, with bibliography.For black-figuredexamplesfromthe Agora,see AgoraXXIII, p. 42. 13 Akropolis 703 (ARV2 118, -,

2; Paralip. 332, -,

2; Ad-

denda174). 14 Berlin Painter:New York,M.M.A. 22.139.32 (ARV2210, 186;Paralip. 343, 186;Addenda 196)and Munich2453 (ARV2210, 187). Myson:Salonika799 (ARV2242, 78; Addenda 202). Those by the BerlinPaintermay be slightlylaterthan the two by Myson. 15 Here are some examples:618 (PI.66), 623 (PI.67), and 773 (PI.80);two by the FlorencePainter:ParisMarket(ARV2544, 66) and Athens, N.M. no no. (ARV2544, 67); St. Petersburg2229 by the AltamuraPainter(ARV2595, 72; Paralip. 513; Addenda 265; note 16 below);Jena 423 near the Ethiop Painter (ARV2666, 6); three by the BowdoinPainter:Bologna 354 (ARV2688, 255),

Bologna353 (ARV2689,256),andCab.Med. 467 (ARV2689, 257). 16 Cab. Med. 460 (ARV2606, 83; Addenda 267; Prange,Nobidenmaler, p. 202, cat. no. N 104, P1.31);Munich2454 (ARV2607, 84; Addenda 267; Prange,p. 202, cat. no. N 105);Florence4007 (ARV2607, 85; Prange,p. 202, cat. no. N 106);LouvreCA 2993 (ARV2607, 86; Prange,p. 203, cat. no. N 107);LouvreN 3415 = L 62 (ARV2607, 87; Addenda 267; Prange,p. 203, cat. no. N 108). Prange (p. 203, cat. no. N 109) attributesSt. Petersburg2229 (note 15 above)to the Niobid Painter. 17 See RE III, cols. 2526-2527 (W.Ruge). A xo0; held 1/12 .rpy%4qg,which in Attica equaled 39.312 liters (see Agora X,

p. 58). Fortwo examplesfromthe Agorathat servedas measures, see AgoraX, p. 62, LM 8 and 9; for a brief discussion,see p. 58. These are not decoratedwith figuresbut have simple bands of glaze on the clay ground. In the catalogue below, the division of the Agora chous fragmentsinto the categoriesFull-Size,Small,and Miniaturewas made by comparingeach fragmentwith, or placingit againstthe wall of, a well-preservedexampleof a chous of similarsize. 18 The literatureon this subjectis, understandably,considerable. These are the basic references:L. Deubner,AttischeFeste, Berlin1932, pp. 93-123, esp. pp. 96-100; S. Karouzou,"Choes,"

42

SHAPE STUDIES

The scheme of decoration for oinochoai of Shape 3 is roughly the same regardless of size, although the quality of drawingfor both figuresand ornament is likely to be higher on the larger vessels. The figures appear on the body about opposite the handle; they may be placed within a framed panel or stand between a narrowband for the ground line and a zone of ornament above. The most common pattern above the figures is the egg, with or without dots: 635 (P1.68), 651 (P1.70), 716 (P1.76), and 739 (P1.78) are particularlygood examples from the Agora. Other patterns decorating the necks of Agora choes illustratethe range quite well: a chain of upright encircled palmettes (e.g., 639: P1.69; 661: P1.71; 710: P1.75; 717: P1. 76; 729: P1. 77); a wreath (e.g., 766; 768; 782: P1. 81), occasionally in added clay (e.g., 678: P1. 72); a chain of upright palmettes and lotuses (e.g., 616; 698: P1. 74); net (611: P1. 66); tongue pattern above egg and dart (657: P1. 71); Lesbian cymation (699: P1. 74); and dot band (774: P1. 80). Unusual is the egg-and-dart pattern with palmettes and leaves above and below on 665 (P1.71). There is less variation in patterns framing the sides. Most often there is just a reserved line. Painters in the workshops of the Eretria Painter and the Meidias Painter prefer elongated chevrons (e.g., 639: P1. 69; 656: PI. 70; 657: PI. 71). The only other side frame on the Agora choes is the dot band on 611 (PI. 66). The ground line ornament is very often the same as that above the figures. . 75), and 716 Most common is the egg pattern, for example, 668 (P1.71), 682 (P1 (PI. 76). After this, the maeander occurs most often: plain (e.g., 614: P1. 66; 632: P1. 68); with checkerboard-squares(e.g., 633: PI. 68; 637: PI. 69; 639 and 640: PI. 69; 656: PI. 70; 662: P1. 70; and 674: P1.72); with saltire-squares(e.g., 629; 631: P1.68); with cross-squares(e.g., 636; 688). Quite rare as ground lines are the following patterns:spiral (623: PI. 67);19 saltire-squares (684: PI. 73); border of esses (700: PI. 74); key pattern (757: PI. 79); and the dot band (774: P1.80).20 Normally, the handle and the area below it are black glaze. 617 (P1.67) and 649 (PI.69) have a palmette at the very top of the handle next to the rim, and 616 (PI. 67) is unusual for having a more elaborate palmette configurationabove a row of tongues in the same area.21 SHAPE4 792,793 (P1.81) This well-proportionedtype of oinochoe appears around 460 B.C.and lasts until the end of the century.22It has a ratherbroad, plain torus mouth and a flaringneck that forms a continuous curve with the shoulder and body. Slightly below the mouth, on the neck, there is a line incised thteis offset from body, sometimes with a fillet for emphasis (e.g., through the glaze. The foot 793: PI. 81), and often it is molded. The tripartitehandle is attached to the shoulder and rises well above the mouth before curving downward to join it. The system of decoration is rather simple. The figures stand on an ornamental ground line, an egg pattern, as on 792 (PI.81), or a maeander pattern with checkerboard-squares,as on several by the Shuvalov Painter.23 At the the shoulder with theneck there is an egg pattern. The area below the handle may be junction of the andAnthestria, passim;A. Rumpf, AJA50, 1946,pp. 122-139; Choes 'AttischeFeste-Attische Vasen,"BJb 161, 1961, pp. 208-214; A. Pickard-Cambridge,TheDramaticFestivalsof Attica,rev. ed., Oxford 1968, pp. 1-25; W Burkert,HomoNecans,Berlin 1972, English ed. 1983, pp. 213-238, esp. pp. 216-222; J. Ba?ant, "Iconographyof Choes Reconsidered,"List Filologik98, 1975, London 1977, of theAthenians, pp. 72-78; H. W Parke,Festivals pp. 107-124, esp. 108-109; E. Stern, "Kinderkannchenzum Arbeiten [CastrumPereChoenfest," Thiasos:Siebenarchtiologische grini 132/133], Amsterdam1978, pp. 27-37; Simon, Festivals, pp. 125-174; pp. 92-101, esp. pp. 94-95; Rthfel, Kinderleben, Burn, MeidiasPainter,pp. 86-93; G. Raepsaet and C. Decocq, "Deuxregardssur l'enfanceatheniennea l'epoqueclassique,"Les etudesclassiques 55, 1987, pp. 3-15; B. Gossel-Raeckin Kunstder Athenian Schale,pp. 442-447; R. Hamilton, ChoesandAnthesteria: andRitual,Ann Arbor 1992. Iconography 19 This patternoccursabovethe figureson a mid-5th-century

unattributedchous,Berlin3186 (CVA,Berlin3 [Deutschland22], pl. 148 [1077]:4). 20 Other rare patternsare these. Chevron:Vienna 1043 by the Painterof the LouvreCentauromachy(ARV21094, 103;Addenda328) and London, B.M. E 532 (ChoesandAnthesteria, p. 143, cat. no. 636, fig. 198). Chain of upright encircled palmettes: WiirzburgH 4937 by the TarquiniaPainter(ARV2871, 95; Pa300). Tongues:TubingenS./10 1382 (CVA, ralip.426, 95; Addenda Tubingen4 [Deutschland52], pl. 42 [2559]:1). 21 Fora palmetteconfigurationbelow and to either side of the handle,see Munich2454 by the Niobid Painter(note 16 above). 22 Forthis type, see Green (note 1 above),p. 7; Lezzi-Hafter, Schuwalow-Maler, pp. 15-16. 23 E.g., Kassel T 43 (ARV21206, 1; Addenda 344) and Dresden 332 (ARV21206, 9; Addenda 344).

OINOCHOAI

43

plain, as on 792, or there may be a palmette-tendrilconfiguration.24792 seems to be unusual for having side frames. 793 (PI. 81), with its bulbous body, flaring neck, and molded foot, is akin to Shape 4 and is probably from the workshopof the Chicago Painter. It, too, has side frames. The earliest attributedexamples are the four in Boston by the Chicago Painter,25which are probablyby a single potter.26The largestnumber,however,are decorated by the ShuvalovPainter and by a slightly later artist, the Bull Painter.27 Other attributed examples are contemporary with these.28 SHAPE 8 (MUG) 794-808

(P1. 82)

The mug is a rather heavy set vessel that may be used for drinking, for dipping, or as a measure.29There are three variants. The earliest, Shape 8 A, begins in the late 6th century in the workshops of Epiktetos and the Epeleios Painter,30but the largest number, including 795-798 (P1.82), are from the workshop of the Painter of Berlin 2268, who favored the shape.3' This variant has a short, outturned rim, a convex body, and a flat bottom. Its handle is a simple strap. Shape 8 A lasts at least until the end of the 5th century,799 (PI.82) being the latest example from the Agora in this study. Except for 794, the Agora examples of this variant are too fragmentary to illustrate the shape very informatively. Shape 8 B begins during the late first quarter of the 5th century32and may be distinguished from 8 A by its taller lip, which is markedly outturned, resultingin a greater articulationof the profile and a lighter effect. If the early-5th-centurydating of 800 (P1.82) is correct, then Shape 8 C begins earlier than 8 B. 8 C is very similar to 8 A, except that instead of a plain, flat bottom, it has a ring base and the underside is decorated with a circle and a dot, e.g., 801. 802 (PI. 82), although an example of Shape 8 C, is something of a maverick, for it curves inward sharply at the bottom and has a spreading foot. Several mugs, 803-808 (P1.82), are of either Shape 8 A or 8 C, but without part of the bottom or the foot, one cannot be certain of its type. The system of decoration is the same for all three types. The figure or figures stand on a narrow reserved ground line. There is no ornament,33and the general effect is rather dark and sober. SPECIAL 809-826

(Pls. 83-84)

In mid-April of 1939, a small deposit in bedrock, about seven meters from the forecourt of the Klepsydra Fountain at the north base of the Akropolis cliff, yielded a group of fragmentary 24 As the two by the ShuvalovPaintercited in note 23 above.

16], pp. 8-9; AgoraXII, pp. 70-78; R. Hampe, Pantheon 36, 1978 Art [pp. 107-113], pp. 107-108; K. Schauenburgin AncintGreek andIconography, 272), 13.191 (ARV2631, 39;Addenda W. Moon, ed., Madison, Wisc., 1983 [pp. 259272), (ARV2631, 38;Addenda 13.192 (ARV2631, 40;Addenda 272). 284], p. 259; idem,Boreas6, 1983 [pp. 95-104], pp. 95-97; 26 See Lezzi-Hafter,Schuwalow-Maler,15. R. Blttter,AntikeWelt16, 3, 1985 [pp. 51-52], p. 51. p. 27 ShuvalovPainter:ARV21206, 1-11; Paralip.463, 30 See Orvieto, Faina 148 by Epiketos 1-8; Ad(ARV277, 89), one denda344-345. These are discussedby Lezzi-Hafter,Schuwalow- relatedto the EpeleiosPainter,Cracow 1259 (ARV2152, 9), three Maler,pp. 15-16. BullPainter:ARV21349,-, 1-11;Addenda 368connectedwithhim: Palermo2132 (ARV2 152,-, 1;Addenda 180); 369. 794; 800 (P1.82). The mug once in the BaselMarketand attrib28 E.g., the three by the Painterof the EdinburghOinochoe: uted to Euphroniosis now considered to be by Epiktetos(see Vienna 938 (ARV21217, 7), St. Petersburg,no no. (ARV21217, Blatter[note 29 above],p. 51, note 4, with bibliography). 31 ARV2156-157; 8), Naples 3096 (ARV21217, 9); the four by the CalliopePainter: 180-181. 336;Addenda Paralip. 32 Vienna 863 (ARV21263, 76; Lezzi-Hafter,Eretria-Maler, The earliestattributedexampleseemsto be the one in Boston p. 334, cat. no. 175, pl. 112), Florence 17 B 49 (ARV21263, 77; Lezziby the BrygosPainter,dated ca.480 (CB i, p. 21): Boston,M.F.A. Hafter,p. 334, cat. no. 179, pl. 114:b),Oxford 1923.395 (ARV2 00.339 (ARV2385, 226;Addenda 228). The largestnumberfroma 1263, 78; Lezzi-Hafter,p. 334, cat. no. 177, pl. 113:c,d),London, singleworkshopbelongto the Groupof Philadelphia2272 andare B.M. E 563 (ARV21263, 79; Lezzi-Hafter,p. 334, cat. no. 176, probablyonly slightlylater(ARV2779, 1-10; Addenda 288). 33 On pl. 113:a,b). Lezzi-Hafteradds two: AleriaT 90, 1879 (p. 334, mugsof Shape8 A by the Painterof Berlin2268 thereis cat. no. 178, pl. 114:c)and Bristol,Vt., Love(Lezzi-Hafter, a small reservedtriangleat the very top of the handle near the p. 334, cat. no. 180, pl. 114:a). The Disney Painter:Athens, N.M. junctionwith the mouth,whichsimulatesthe space createdwhen 1269 (ARV21265, 13); London, B.M. E 561 (ARV21265, 14; a doublehandlesplitsoff at this pointjust beforeit is attachedto Addenda 356);New York,M.M.A. 28.97.24 (ARV21265, 15). the mouth. 29 Forthistypeof oinochoe,see B. Sparkes,AK 11, 1968 [pp. 325 Boston,M.F.A. 13.197 (ARV2630, 37; Addenda 272), 13.196

SHAPE STUDIES

44

oinochoai that date from the late 5th century.34 These oinochoai are similarenough in shape that they are surely the product of a single potter, and the restriction of the figured decoration for the most part to Athena, when identifiable,suggests that they were all made at one time for an occasion honoring the goddess.35 The mouth is quite broad and often molded; the slender neck flares, and at the junction of the neck and shoulder there is a ring. The body is tall, slender,and ovoid, with a ratherflat shoulder,on which two plastic mastoi are placed, and it tapersin a gentle curve to a molded foot. The handle is triangularin section, rising up from the shoulder, then curving inward to join the neck just below the mouth. The entire effect is one of articulated elegance that recalls metalwork. The system of decoration varies somewhat, but the subjecton the body is, as far as the state of preservation allows interpretation, almost always the chariot of Athena. The side of the mouth may be plain (821 or 822) or decorated, either with an egg pattern if it has an overhang (809: P1. 83) or with a wreath if it is in the shape of an echinus (823). Twice, Athena appears on the neck, both times in archaizing Panathenaic form, once to left (822: PI. 84), the other to right (823: PI. 84).36 Otherwise the neck is glazed (809: P1.83), or it may have an ornament, a wreath (810; 824: PI. 84; 825; 826: Pl. 84) or a lotus-palmetteconfigurationreminiscentof small neck-amphorae(821). On the shoulderat thejunction with the neck there is a tongue pattern, and the band of ornament below the figuresis either a stopped-maeanderpattern with checkerboardsquares or an egg pattern. Below the handle there is a palmette-tendrilconfiguration(e.g., 818: P1.84), or else this area may be black (e.g., 809: PI. 83). While the production of these oinochoai seems to be the work of one potter, the painter or painters have thus far remained undetected. Green distinguishedthree groups, but he concluded that it was impossible to allocate the pieces among individualhands and admitted that all but 814 (PI.83) could be by the same artist, a reasonable conclusion in view of the homogeneity of these vessels.37In ARV2,Beazley remarkedthat, except for 814, this group is not very far from theJena Painter,38an artist specializing in small vases, although not oinochoai, around the turn of the to ARV1,he had linked 821 with the ShuvalovPainter,39 andCorrigenda 5th century. But in Addenda forward an idea recently put by Lezzi-Hafter,who also added 817 (PI. 84) and 819,40 but did not attribute them to a specific painter. In view of the preference of the Shuvalov Painter for various types of oinochoai and other small vessels decorated in a refined, elegant style, it is likely that the painter of 809-826 was at least on the periphery of this workshop, and perhaps one day new material will make an attributionpossible. TYPEUNCERTAIN827, 828

(PI. 84)

Neither fragment preserves a feature that identifies its exact variety of oinochoe. They are by the Painter of the Edinburgh Oinochoe and may be either Shape 1 or Shape 10; without the mouth, it is impossibleto tell, especiallysince this painter decorates oinochoai of both shapes.

34 See T. L. Shear, 9, 1940 [pp. 261-308], pp. 298Hesperia 299. The deposititselfdatesfromthelate 3rdcenturyand includes fragmentsof coarseware and roof tiles as well as coins. For the oinochoai, see J. R. Green, 'A New Oinochoe Series from the AcropolisNorth Slope: Class of Agora P 15840," Hesperia31, 1962, pp. 82-94. 35 Green ([note 34 above], pp. 93-94) suggeststhat they may have been used in connection with the PanathenaicFestivalor with the ceremonyof the cult of Athena rlttca.Forthis cult, see Helveticum N. Yalouris,"Athenaals Herrinder Pferde,"Museum 7, 1950,pp. 19-101, esp.pp. 47-64 for the cult in Athens. 36 This instance of a Panathenaic type of Athena stridingto

right predatesby about fiftyyears the reversalof her image on the prize amphora, which does not begin until about 360 (see AgoraXXIII, p. 16 with bibliography). 37 Green(note 34 above),p. 89. 38 ARV21697 sub 1518. Forthe painter,see Paul-Zinserling, p. Jena-Maler, passim. 39 Addenda andCorrigenda, p. 2115 to ARV' 754-755, nos. 3133: comparedwith smallneck-amphoraeby the ShuvalovPainter (ARVI754-755, nos. 31-33, 35, and 37). Cited by Green(note34 above), p. 89. In ARV2these neck-amphoraeare ARV2 1209, 346. 518; Addenda 48-50, 52, 54; Paralip. 40 Lezzi-Hafter,Schuwalow-Maler, p. 118, cat. nos. 0 30-0 32.

LEKYTHOI

45

LEKYTHOI 829-898

(Pis. 85-90)

The lekythos is a vessel used for holding oil and unguents. It was often placed in tombs or sometimes on the steps of stone funerary monuments.' There are three principal types: the profile of the first curves without interruptionfrom the neck to the foot; this is the characteristic after which, for the most part, shape in Attic black figure during e first half of the 6th century it ceases to be produced.2 The second type, with the shoulder set off from the body, comes in during the second quarter of the 6th century3 and continues throughout the 5th. The third is the squat lekythos, which rests on a broad base and usuallyhas only a slight interruptionbetween the shoulder and the neck. It is most popular during the second half of the 5th century and is discussed in the next section (pp. 47-48 below). The shouldered lekythos receives its name from the sloping shoulder set off from the body. As mentioned above, this type comes in during the second quarter of the 6th century, and at that time it is a rather small vessel with a broad shoulder,convex tapering body, rounded mouth, and echinus foot.4 Shortly after the invention of red figure, the cylinder lekythos is introduced; the earliestpreserved of these are in black figure, but one cannot exclude the possibility that the new type also existed in early red figure, coming in with the new technique.5 The shape of the body gives this form of lekythos its name, and it is the most popular in red figure and particularly in white ground during the High Classicalperiod. The mouth is calyx-shaped and flat on top; the handle, a simple strap. Between the neck and the sloping shoulder there is often a slight jog. Below the figured zone the body curves inward to join the foot, which may be a simple disk or one in two degrees, a vertical member above a glazed torus. Between body and foot there is often a fillet.6 The general effect is one of refined elegance. The profileof the body ofthe earliestred-figuredcylinderlekythoiis gently convex, 829 (PI.85) being a good example,7 and in this respect it is similar to its black-figuredcounterparts.8 By the early 5th century,the profile has become much more vertical, a characteristicthat may originate with the Edinburgh Painter,who is the first artistto decorate a series of handsome, straight-sided cylinder lekythoi.9 In red figure, the Berlin Painter is the first to realize its possibilities, and he produced a splendid series in which the tall, slender shape complements his predilection for a single figure placed against a dark background.10 Following his example, many painters take up the shape, particularly those related to him, such as the Tithonos Painter, the Providence Painter (830: PI. 86), and the most admired artist to specialize in lekythoi, the Achilles Painter (835: PI. 86).11 The large cylinder lekythoi from the time of the Berlin Painter on are designated 1 For the shape, see Richter and Milne, ShapesandNames London 1938,passim; pp. 14-15;J. D. Beazley,AtticWhiteLekythoi, WhiteLekythoi, Kurtz,Athenian passim.Forexamplesin blackglaze, see AgoraXII, pp. 150-155. For some remarksabout small redfiguredlekythoiinfluencedby the workshopof the BeldamPainter, see Haspels,ABL,pp. 178, 180-181. Forlekythoiplaced on the steps of funerarymonuments, see, e.g., the representationson Athens, N.M. 1935, a white-groundlekythosby the Bosanquet Painter(ARV21227, 1;Paralip. 466, 1;Addenda 350). 2 Forexamplesfrom the thirdquarterof the 6th century,see AgoraXXIII, p. 43 and p. 204, cat. no. 798, pl. 75. 3 AgoraXXIII, p. 44 with bibliography. 4 For earlyexamples,see Haspels,ABL,pp. 7-23, 33-39. For those from the Agora, see AgoraXXIII, pp. 44 and 202-205, cat. nos. 789-797 and 799-814, pls. 74, 75. 5 Haspels,ABL,pp. 41, 69; also Kurtz,Athenian WhiteLekythoi, 78. p. 6 For two well-preserved late-6th-centuryexamples in red

figure, see the two signed by the potter Gales: Boston, M.EA. 13.195 (ARV235, -, 1;Addenda 158);Syracuse26967 (ARV236, -,

2; Paralip.325, 2; Addenda158). 7 See also the two Gales

by (note 6 above). 8 E.g., P 24106 by the Gela Painter (ABV 715, -, 9 bis, Addenda 119). Forearlyred-figuredAtticlekythoi, 214, 9 bisr, Paralip. see CB i, p. 11 and Haspels,ABL,pp. 69-76. 9 Haspels, White ABL,p. 69 andpls. 28, 29; alsoKurtz,Athenian Lekythoi, p. 78.

10 A few examples: Palermo V 669 (ARV2211, 188; Addenda196); PalermoV 666 (ARV2211, 193); Harvard 1972.44, ex New Haven, Watkins(ARV2211, 197;Addenda 196);Philadelphia 5706 (ARV2211, 201); and Liverpool 1977.114.29 (ARV2 211, 208; Paralip. 344, 208;Addenda 196). 1 TithonosPainter:ARV2309-310; Paralip.357; Addenda 213. ProvidencePainter:ARV2640-643;Paralip. 274-275. 400;Addenda AchillesPainter:ARV2993-994 forredfigure;995-1001 forwhite 312-313. ground;Paralip. 437-438; Addenda

46

SHAPE STUDIES

by Beazley as Standard.12829-863 are the examples from the Agora. 829-839 are decorated in red figure;840-863, in the white-groundtechnique, are for the most part very poorly preserved, with much of the drawing scarcely legible. Besides those just mentioned, of the other attributed red-figuredexamples fromthe Agora, 829 (P1.85) seems akin to the NikosthenesPainter,831-833 (P1.86) are by the Bowdoin Painter,834 (P1.86) is in his manner, 836 (P1.86) is by the Calliope Painter,and 839 (P1.86) is by the Painter of London 1923. Among the white-ground examples, the following have been attributed:842 (P1.86) is comparableto the Selinus Painter;847 and 848 (P1.87) may belong to the Bird Group;849 may be by the Painterof Wurzburg566; 854 (P1.87) is by the Reed Painter;and 855 (P1.87) is by the Triglyph Painter. Alongside these more carefullypotted and more finely decorated lekythoi is the Secondary type, a slighter version that is distinguishedfrom the standard cylinder lekythos not only by its smaller size and less skillful decoration but also by the slightly concave profile of its body. In other respects,the Secondary lekythosresemblesthe Standardtype. 864-887 are the red-figured examples from the Agora; 888-897, those on white ground. As with the Standardtype, there are also artistswho specialize in secondary lekythoi.13In the Agora there are three by the Aischines Painter(867-869: P1.88), and one each by the IcarusPainter(864: P1.88), the Beth Pelet Painter (865: PI. 88), the Carlsruhe Painter (866: PI. 88), and the Seireniske Painter (870: PI. 88). 871 (P1.88) may be by the last. In white ground, 891 (P1.89) comes from the workshopof the Tymbos Painter and may be in his manner. Others, for example, 889 (P1.89), 890 (listed in ARV' but not in ARV2;P1.89), and 892 and 893 (P1.89), are probablyto be connected with this workshop,but the state of preservation is so poor that one may not be certain of an attribution. A variation may be 898 (PI.90), which belongs to Class DL14and may be by the Painterof Copenhagen 3830. The scheme of decoration is similar for both types of lekythos. On the shoulder, there is an ornament, usuallyup-and-downpalmettes that are most often in red figurebut occasionally in black glaze, as on 829 (PI.85), whose shape and shoulderornament reflectthose of contemporary black-figuredlekythoi.15 On white-ground cylinders, the shoulder patterns are normally drawn on white ground. Above the palmettes, in either technique, there may be a zone of tongues or egg pattern (829: PI. 85; 847: PI. 87). The shoulder ornament of the Secondary type is the same as that for the mass-producedlate black-figuredlekythoi:rays below a zone of tongues (e.g., 866: P1. 88 and 885).16 837 and 838 (PI. 86) are unusual for having a figure flanked by palmettes on the shoulder. At the top of the body,just below the shoulder,there is also an ornament, often a maeander pattern (e.g., 830; 836 and 837: PI. 86) or a key (e.g., 831: PI. 86; 844: PI. 87; 867: P1.88; 869: PI. 88; 880 and 881: P1.89; 890 and 891: P1.89). Unusual is the S-pattern on 875 (PI.88) by the Comacchio Painterand the net pattern on 898 (P1.90), which may be by the Painter of Copenhagen 3830. In the worksof the BerlinPainterand his followers,as well as on Secondary lekythoi, such as 879, 884, and 885 (PI.89), and on some of the white-ground cylinders(e.g., 857 12 ARV2 675. 13 See ARV2,chs. 37-39. 14 Class DL is the

type potted in the Diosphos Painter's workshopand favoredby him and his coworkers.This variant "can hardlybe classed as either standardor secondary"(ARV2 675), but it is the "mostimportantof the shapesdecoratedwith White figuresand palmetteson a white ground"(Kurtz,Athenian Lekythoi, p. 80). The ratherdeep mouth of Class DL is glazed, but the neck and shoulderare reserved;the foot is in two degrees, the lower member glazed. Without the mouth, neck, and foot, one cannot be absolutelycertain 898 (PI.90) is from Class DL, but the best stylisticcomparisonsare with lekythoifromthisclass, and for this reason it is separatedfrom the standardcylinders and lekythoi of the Secondary type. For the Class, see ARV2 301 and Kurtz, AthenianWhiteLekythoi, pp. 80-81 and 96-102,

esp. pp. 99-100.

15 The two signedby Gales as potter (note 6 above)also have up-and-downpalmettesin blackglaze. Later,shoulderdecoration in black glaze on standardlekythoioccurs most often on those fromworkshopsof paintersassociatedwith black-figureartists,a good example being the lekythoi by the Bowdoin Painter,who is closely connected with the Athena Painter,and the two may evenbe the sameman (seeARV2677 and the associationmadeby Haspels,ABL,pp. 157-160). The Agoralekythoiby the Bowdoin Painter,831-833 (PI.86), and the one in his manner,834 (PI.86), do not preservethe shoulderpattern. 868 (P1.88), by the Aischines Painter,has up-and-downpalmettesin blackglaze and belongsin this category,for it is a lekythosof the same shape as those by the DiosphosPainter(ARV2709). 16 See Agora XXIII, pp. 46-47 for examples.

SQUAT LEKYTHOI

47

and 863), however,this area may be undecorated.17Most often on the body there are only one or two figures placed opposite the handle with the rest black18or, in the case of the white-ground lekythoi, this area is white, and the subject is funerary. 829 (P1.85), with the figures continuing around, does not seem to have a parallel among red-figuredlekythoi. Below the figures on the Standardcylinder lekythos, the ground line usuallyconsists of a band of ornament, the maeander pattern and the key being the favorites. Of the Agora lekythoi, only 829 (P1.85), with its frieze of pomegranates, preservesthe ground line; the rest are fragmentsfrom higher up the vessel or, as is the case with 832 (PI.86), a reservedband, which is customaryfor secondary lekythoi, provides a ground line.19 The area between the ground line and the foot is black. SQUAT LEKYTHOI 899-982

(Pls. 90-95)

The squat lekythos, as the name implies, has a short, almost globular body that rests on a broad ring base that may be plain or articulated. Its short neck is sometimes slightly offset from the shoulder;the mouth may be flaringor calyx-shaped,and it is usuallyflat on top or slightlyconvex. The handle is a simple strap, or it may be segmental or somewhat triangular in section.1 The squat lekythos seems to be a purely Attic shape, not influenced by Corinth or other regions.2 Its predecessor is the round-bodied lekythos, such as the one in London by the Gorgon Painter,3 and this in turn perhaps derives from the Corinthian aryballos.4 There is, however, a significant chronological intervalbetween the black-figuredround-bodiedlekythosand the red-figuredsquat lekythos, and any apparent relation between the two may simply be fortuitous. The squat lekythos is most popular during the second half of the 5th century and the opening decades of the 4th, but the earliest attributedexample is the one in Berlin by Paseas (the Cerberus Painter),datable around 500 B.C.5 This work is followed about two decades later by the one in the Vatican by the Brygos Painter showing the Death of Orpheus.6 The shape is taken up by various painters until the end of the century,but no artistmay be said to specialize in decorating it. For the most part, the larger squat lekythoi, such as the one in New York by the Achilles Painter,7are handsome, well-potted, and carefully decorated pieces. Three unattributedfragmentary examples from the Agora, 901 (P1.90), 906 (P1.90), and 915 (P1.91), were probably from the larger type. 982 (P1.95), the only white-groundexample from the Agora, was probablya very fine piece. Alongside these large squat lekythoi are very many small ones, some of which are carefullydecorated. Of interestis 958 (P1.94), which depicts a crawlingchild, a theme well known 17 E.g., BerlinPainter:PalermoV 670 (ARV2211, 195);Harvard 1972.44, ex New Haven,Watkins(note 10 above).Tithonos Painter:New York,M.M.A. 27.122.6 (ARV2310, 15;Addenda 213). Hermonax:PalermoV 673 (ARV2490, 123; Paralip.379, 123). ProvidencePainter:Athens, N.M. 12890 (ARV2641, 93; Addenda274). 18 In the area below the handle the two by the Gales Painter (note 6 above)have a palmetteconfigurationthat is similarto the one above the handlesof a contemporarycalyx-krateror around the handlesof a stamnos. 19 Here are a few examplesof unusualpatterns.Shorttongues: Munich inv. 7517 by the KleophradesPainter(ARV2189, 78). Crenellation:PalermoV 669 by the BerlinPainter(note 10above). Dot band:Harvard4.1908 by the BerlinPainter(ARV2211, 189; Addenda 196). Single row of invertedivy leaves:Harvard1972.44, ex New Haven, Watkinsby the Berlin Painter(note 10 above). Single row of ivy to right: Basel, Cahn H.C. 768 by the Berlin Painter(Paralip. 345, 201 b&,Addenda 196)and StockholmG. 1700 by the Troilos Painter(ARV2297, 18; Addenda 211). Borderof

esses:Oxford 1920.104by the AchillesPainter(ARV2993, 94). 1 The basic studyfor this For shapeis Rudolph,Bauchkkythos. those by the EretriaPainter,Aison, and the Meidias Painter,see Lezzi-Hafter,Eretria-Maler, pp. 210-237, esp. pp. 210-224 for shape and ornament. See also A. Greifenhagen,JahrBerlMus 3, 1961 [pp. 117-133], pp. 117-120; Wehgartner, Attisch weissgrundige Keramik, pp. 102-112. Forexamplesin blackglaze, see AgoraXII, pp. 153-154. 2 See Rudolph,Bauchlekythos, pp. 6-8, who showsthat Corinthian and Ionianexamplesare laterthan the earliestAttic. 3 London,Russell (ABV9, 17;Addenda 3). 4 See Haspels,ABL,p. 3; Greifenhagen(note 1 above),p. 117. 5 Berlin, inv. 1960.32 (ARV21630, 12 bis). Beazley adds a fragmentfrom the Akropolisbelonging to a very early squat lekythosof the same model as the one in Berlin. 6 Vaticaninv. 17921 (ARV2385, 224; Addenda 228). 7 New York,M.M.A. 17.230.13 (ARV2994, 105;Addenda 312).

48

SHAPE STUDIES

from the miniature choes associated with the Anthesteria (p. 41 above). At times, therefore, a thematic connection may have existed between the two shapes. The following squat lekythoi from the Agora excavations have been attributed:three to the Well Painter (920-922: PI. 91), plus three by or near him (923-925: Pls. 91-92), one each to the Bowdoin Painter (899: PI. 90), the manner of the Icarus Painter (900: P1. 90), the White-Line Class of Small Lekythoi (908: P1.90), the Calliope Painter (914: P1.91), the L.M. Painter (943: P1. 93), the Bull Painter (945: P1. 93), and the Group of Carlsruhe 280 (946: P1. 93). In addition there are two namepieces: Agora P 7561 (902: PI. 90) and Agora P 16879 (956: PI. 94). One last, 905 (PI. 90), has been compared with the work of the Painter of London E 494. The system of decoration for squatlekythoiis rathersimple. The neck may be black (e.g., 923, 943, 960, and 964) or reserved (929: P1.92), a conceit perhaps borrowed from the shouldered lekythos.8 At the base of the neck there may be an ornament, most often a tongue pattern (e.g., 915: PI. 91; 920: P1. 91; 921; 931) or an egg pattern (e.g., 901; 935: P1. 92). The figures on the body are often placed opposite the handle, as on the shoulderedlekythos, and they may stand on a band of ornament, the egg pattern being most popular. 901 (P1.90) has a stopped-maeander pattern with cross-squares.Often, a simple reservedband providesa ground line (e.g., 903: P1.90; 932: P1. 92; 960: P1. 94; 964: PI. 94, 966: P1. 94). The area below the handle may be black, or there may be a palmette-and-tendrilconfiguration. As with the shouldered lekythos, there are no side frames.9

ALABASTRA 983-985

(PI.95)

The alabastron is a container for perfume or scented oil.1 It has a broad, flat mouth whose diameter may almost equal that of the body and a very narrow,short neck that may or may not be offsetfrom the elongated, gently curvingbody that ends in a rounded bottom. On some alabastra there is an unpierced lug on each side of the shoulder,but the vessel is carried like the aryballos, that is, suspended by strings or thongs slipped around the neck and held in the hand.2 The 8 For this point, see the remarksby Rudolph, Bauchlekythos, p. 76 in referenceto Bowdoin 15.41 by the Painterof the Yale 277). Lekythos(ARV2660, 75;Addenda 9 An exceptionis the earliestattributedsquatlekythos,Berlin inv. 1960.32(note 5 above),which has a reservedline for both the side framesand the groundline. Also unusualhere is the row of ivy leaveson each side of the handle,which is reminiscentof the doublerowon the handleflangesof the amphoraTypeA and the volute-krater.Mentionmay also be made of Copenhagen3882, a white-groundsquatlekythosclose to the Two-RowPainter(ARV2 727, 5; Addenda 282): here, a palmetteconfigurationresembling thatof the Side-palmetteLekythoiframesthe figure(Wehgartner, Attischweissgrund*ge p. 109). Keramik,

Munich 1985], cited by M. Meyer,"Mannermit [Magisterarbeit, Geld:Zu einer rotfigurigeVasemit 'Alltagsszene'," JdI 103, 1988 [pp. 87-125], p. 87. Forwhite-groundalabastra,see Mertens,Attic White-Ground, pp. 128-136, and Wehgartner,Attischweissgrundige Keramik, pp. 112-134. 2 For a good example, see Berne 12227 in the manner of 265; the AltamuraPainter(ARV2596, 1; Parahp.394, 1; Addenda p. 175, cat. no. A 94) and BrusselsR 397 by Prange,Arobidenmaler, Syriskos(ARV2264, 60):a white-groundalabastronwith a woman holdingan alabastron.Sometimesthe thongsseem to be gathered togetherand attachedto a thin, narrowobjectthatlooksas though it were made of wood or leather(see Angermeier[note 1 above] p. 10). Foran example,see the middlewomanon sideB of Munich 2411 fromthe Groupof Polygnotos(ARV21051, 18; Paralip. 444, 1 The basic studyis H. Angermeier,DasAlabastron: EinBeitrag 18;Addenda p. 450, cat. no. PGU 22). 321; Matheson,Polygnotos, In vase painting, alabastraare often seen hanging on the Giessen 1936. See also Richterand Milne, zurLekythen-Forschung, of the women'squarters;moreover,a thematicconnection walls S. and Karouzou, 101-103; ABL, pp. Shapes Names,p. 17;Haspels, seemsto existbetweenthe use of the alabastronand the imagesof BCH 86, 1962 [pp. 430-466], pp. 430-442; U. Knigge,AM 79, Prichernomoria womenpaintedon them,particularlyduringthe secondquarterof 1964,pp. 105-113; K. Gorbunova,Iz istoriiSevernogo the 5th century. Here are a few examples:two from the Group sbornik v antichnuiu statei,Leningrad1979, pp. 37-48, with epokhu: of the PaidikosAlabastra,Oxford 1921.1214 (ARV2100, 16)and an Englishsummaryon p. 125. The last presentsthe resultsof excavationsthat have yielded clay alabastraalongsideexamples Copenhageninv. 3881 (ARV2100, 22);Bonn84a by the Painterof Munich2676 (ARV2393, 47); Athens, N.M. 1240 by the Painter made of alabaster. These come from the burialsof women and 404, 47); San Francisco, children. I have not seen the followingstudy:C. Mauermeyer, of LondonE 342 (ARV2669, 47; Paralip. "Das griechischeAlabastron:Formgeschichteund Verwendung" Legionof Honor 1873 by the AischinesPainter(ARV2717, 226).

ALABASTRA

49

alabastron is an old shape in Greek pottery, the earliest being Protocorinthian examples from the beginning of the 7th century; in Attic black figure, the earliest example is still the one by the Amasis Painter found in the Agora excavations.3 In red figure, the two signed by Psiax in collaboration with the potter Hilinos seem to be the first; they are so alike that they were surely made as a pair, even though in antiquity one was exported to South Russia and the other remained in Athens.4 At the end of the 6th century, a group of alabastra appears that takes its name from the one in the Louvre signed by Paidikosas potter.5 This workshop,which specialized in the shape, produced alabastra decorated in both red figure and in outline on white ground. Otherwise, for the most part, alabastraare produced in lekthyosworkshops.6A good-sized group of white-ground alabastra,including 984 (P1.95), is the Group of the Negro Alabastra,which gets its name from the depiction of an Ethiopian on many of them and seems to be influencedby artists in the workshop of Syriskos,who also produced red-figuredand white-ground alabastra.7 The shape of the alabastroncontinues without major change until about the middle of the 5th century, after which production of clay alabastra ceases. At about this time, the white-ground lekythos gains prominence, and, in the case of the white-ground alabastron, its cessation may well be linked with the increased production of lekythoi.8 The system of decoration for the alabastronis simple but varied. The top side of the mouth is reserved,the neck is black, and often there is a tongue pattern on the shoulder. On alabastrafrom the Group of the Paidikos Alabastra, below the tongues and separated by a black band there is another ornament, most often a maeander pattern that forms the upper frame for the figures.9 On most alabastra not of this group, however, there is only one pattern on the upper part of the body.10 On each side, there is usually a single figure, as on 983 (P1.95) by the Painter of

For the connectionwith women, see Angermeier(note 1 above), p. 44; Karouzou(note 1 above), p. 438; Knigge (note 1 above), p. 105;and Wehgartner,Attischweissgrundige Keramik, p. 112. 3 For the shape in black figure, see AgoraXXIII, pp. 47-48 with bibliography.The AmasisPainter'salabastronis on p. 253, cat. no. 1257. Add to the bibliographyAddenda 45. 4 Karlsruhe 242, from Athens (ARV27, 4; Paralip.321, 4; Addenda150), and Odessa 26602 (ARV27, 5; Addenda150). For vases made to be sold as pairs, see AgoraXII, p. 13. Psiaxis also the firstto decoratealabastrawith blackfigureson white ground as well as an alabastronin Six's technique. The white ground are St. Petersburginv. 1429 = 381 (ABV 293, 12; Paralip.127, 12; Addenda76) and Munich 2294 (ABV 293, 13); the one in Six's techniqueis London, B.M. GR 1900.6-11.1 (ABV294, 25; Addenda 77). For a discussionof Psiax and the early use of white ground,see Mertens,AtticWhite-Ground, pp. 35-40. 5 LouvreCA 487 (ARV2 99, 9 and 102, -, 1, both alabastra). Forthe name, see alsoARV2102,-, 2-4, withoutverbs,and 1-2, below (bothnow lost), 1700; Paralip.331; Addenda 172. These are cups. On the basisof the similaritybetweenthe alabastronsigned by Pasiadesand those by Paidikos,Beazley(ARV2102)suggested that "it must be consideredwhether Pasiadesand Paidikosare not the same man: 'Paidikos'being a nicknameaccepted, with satisfaction,by Pasiades." 6 See Mertens,AtticWhite-Ground, p. 135; Wehgartner,Attisch Keramik, weissgrundige pp. 131-132. 7 ARV2 267-269; Paralip.352; Addenda205-206. For the Syriscanconnection, see ARV2267; Mertens,AtticWhite-Ground, pp. 132-133; J. Neils,AK23, 1980 [pp. 13-23], p.22. Foralabastra by Syriskos,see ARV2264, 58-66; Paralip.351;Addenda 205. 8 There is no agreementas to why the clay alabastroncame to an end. If the shape had had a shortperiod of production,as with the psykter,one could arguethat it was an awkward,difficult

shapeto turnon thewheel(thedifficultymentionedbyAngermeier [note I above], p. 9): this argumenthardlyapplies to alabastra. Wehgartner(Attischweissgrundige Keramik, p. 113) suggeststhat a greaterproductionof or importsof glassand stone alabastratook over the functionof clay alabastraand that clay alabastra,being unglazedon the inside,would allow air to penetratethe clay. If thiswerethe case,glazingthemon the insidewouldnot havebeen too difficult,as happenedwith5th-centuryPanathenaicamphorae XXIII, p. 15), and would have solved the problem. More (Agora likely,productionceased because of a combinationof factors,as suggestedby Mertens(AtticWhite-Ground, p. 136):unavailabilityof particularcosmeticpreparations;use takenover by lekythoi,also mentionedby Angermeier,p. 45; changein fashionor customs. 9 Examplesof other ornaments. Chevron: Wltrzburg544 fromthe Groupof the PaidikosAlabastra(ARV2100, 24). Tongue pattern: Cambridge37.39 from the same group (ARV2100, 15). Sidewayspalmettes:Barcelona,no no., connectedwith thisgroup (ARV2101, 2; Paralip. 331, 2). 10 Here are some examplesof alabastranot fromthe Paidikos Groupthat also havetwo rowsof ornamentabovethe figure.Kerameikosinv. 2713, signed by the potter Atitas, whose name is otherwiseunknown(Paralip. 331; Addenda 172):egg patternabove a key to right. Two by the Painterof Berlin2268: Chicago,Univ. 1967.115.243(ARV2157,87; Addenda 181)and Providence25.073 (ARV2157, 88): tongue pattern above chevron. Berlin 2254 by the Pan Painter(ARV2557, 123; Paralip.387, 123;Addenda 259): tongue pattern above a stopped-maeanderpattern with crosssquares. Tampa, Fla., ex Maplewood,NJ., Noble by the Dresden Painter(ARV2656, 28): tongue pattern above egg and dot. An unattributedexample from the National Gardensin Athens (Ar;kx22, 1967 [1968], pl. 75:a):tongue patternabove a key to right.

50

SHAPE STUDIES

Prague 774, occasionally two,11 and the obverse is sometimes separated from the reverse by a vertical band of ornament, such as a maeander pattern (985: PI. 95), a simple reserved line, or, occasionally,by an architecturalelement.12 The ground line for the figuresis normally a narrow reservedband; if an ornament, it is often the same pattern as the one above the figures. Except for alabastra from the Paidikos Group, the rounded bottom is black. Paidikos alabastravery often have a palmette or other ornament on the bottom.13

ARYBALLOI 986, 987

(P1.96)

The aryballosis a small container for oil, used especiallyby athletes. It has a broad mouth, a short narrow neck, and a spherical body.1 There are two main types. The earlier is the Corinthian, which is particularlypopular from the late 7th century on and is found in excavationsthroughout the Mediterranean.2 This type is recognized by its disk-shaped mouth, rounded bottom, and uprightstraphandle extending from the shoulderto the mouth. The aryballosof Corinthian type does not appearvery often in either Attic blackfigureor Attic red figure,and it seems to disappear shortly after the invention of the new technique.3 The later type of aryballos is the Attic, which varies in details more than its Corinthian counterpart does. It has a hemispherical mouth and may be handleless, as 986 (PI.96), or have one or two uprighthandles that project slightlywhere they are attached to the shoulder. The bottom of the vessel may be rounded, like the Corinthian type, flat like the oinochoe of Shape 8 (the mug), or supportedby a ring base, as 987 (P1.96). There are few Attic red-figuredaryballoi. The earliestseem to be the one by Psiax that is now lost and a contemporaryunattributedfragmentfrom the Akropolis.4Slightly later is the example by the Kleomelos Painter,and one whose decoration seems to imitate the style of Onesimos in his early Panaitianphase; these are followed by the early-5th-centuryaryballoi attributedto Syriskos Il For figurescontinuingaround the vessel without interruption, see Cambridge37.39 fromthe Groupof the PaidikosAlabastra (note 9 above). Forfiguresset in two rows,see Athens,Vlasto by the Two-RowPainter(ARV2727, 21); also the white-ground examples by this painter, who gets his name from this feature (ARV2726, 1-11; Paralip.411; Addenda 282); New York,M.M.A. 41.162.67 by the Beth PeletPainter(ARV2729, 23). 12 Examples. Ornament:Barcelona,no no., connectedwith the Group of the PaidikosAlabastra(note 9 above):palmettes. Warsaw 199240 by Syriskos(ARV2264, 66; Paralip.351, 66): zigzag. Tampa, Fla., ex Maplewood,NJ., Noble by the Dresden Painter (note 10 above): stopped-maeanderpattern with cross-squares.Two with stopped-maeanderpattern,both by the AischinesPainter:San Francisco,Legion of Honor 1873 (note 2 above) and Adolphseck57 (ARV2717, 227); Athens, no no. (AeX-r19, 1964 [1966], pl. 48:a). St. Petersburgn 1905.71 attributedby Gorbunovato the AischinesPainter(Gorbunova, note 1 above, p. 45, fig. 11 and p. 125): key to right. For an elaboratefloral,see the two by Psiax:Karlsruhe242 and Odessa 26602 (bothnote 4 above). Reservedline: Athens,N.M. 1240 by the Painterof London E 342 (note 2 above). Architecture:Bonn 84a by the Painterof Munich 2676 (note 2 above):door. For a briefdiscussionof dividingornament,see J. Mertens,AK22, 1979 [pp. 22-37], pp. 25-26, note 26. 13 Two alabastraby painters contemporarywith this group each have a black palmette on the bottom: Chicago, Univ. 1967.115.243by the Painterof Berlin2268 (note 10 above)and 337, 13). Athens,N.M. 1740 by Paseas(ARV2163, 13;Paralip.

1 Forthe shape,seeJ. D. Beazley,'Aryballos,"BSA29, 19271928, pp. 187-215; Richter and Milne, ShapesandNames,p. 16. G. Schwarz,"Addendazu Beazleys'Aryballoi'," JOAI 54, 1983, pp. 27-32. For white-groundexamples,see Wehgartner,Attisch Keramik, pp. 134-136. Forthe method of suspending weissgrundige the aryballos,see C. H. E. Haspels,"Howthe AryballosWasSuspended,"BSA29, 1927-1928, pp. 216-223. Forrepresentations of athletesholdingor using aryballoi,see, e.g, Leydenxv e 28 = PC 63, the namepieceof the AntimenesPainter(ABV266, 1; Pa[Kerameus7], ralip.117, 1;Addenda 69;J. Burow,DerAntimenesmaler Mainz 1989, p. 80, cat. no. 11, pls. I, 11-13); Egesiason Berlin 2180 by Euphronios(ARV213, 1; Paralip.321, 1; Addenda152; cat. no. 1; for a particularlygood illustration,see NoEuphronios, ble, Techniques, fig. 152); the youth on the "Brotherand Sister" Stele, New York,M.M.A. 11.185 (G. M. A. Richter,TheArchaic Gravestones ofAttica,London 1961, p. 27, cat. no. 37, fig. 109). 2 See H. Payne, Necrocorinthia: Artin the A Studyof Corinthian VaseArchaicPeriod,Oxford 1931, passim;D. A. Amyx, Corinthian Painting Period, Berkeley1988,passim. oftheArchaic 3 See J. D. Beazley (note 1 above), p. 197. For good Attic black-figuredexamples, see, e.g., two in the MetropolitanMuseum:26.49 signedby Nearchosas potter(ABV83, 4; Paralip. 30, 4; Addenda 23) and 62.11.11 attributedto the AmasisPainter(Para45). In redfigure,the one by Psiaxthatwasonce in lip.66;Addenda Bolognais of the Corinthiantype, except that it has two handles, PU 322 (ARV27, 6). 4 Psiax:once Bologna

(note3 above);AkropolisF 170(Beazley [note 1 above],p. 204, no. 1).

PYXIDES

51

and to Makron, as well as the one signed by Douris.5 The Early Classical examples include one by the Painter of the Yale Lekythos,which, like one by Syriskos,has its decoration on white ground, and the three by the Clinic Painter.6A ratherlong time elapses before the latest examples appear,which include 986 (P1.96) in the manner of the Meidias Painter and 987 (PI.96), which is contemporary.7 The figured decoration may wrap around the body without interruption, as on 986 (PI.96). There may be a vertical band of ornament, such as the net pattern on Akropolis F 170 or the maeander pattern with cross-squareson the aryballos by Syriskos and the one by Douris.8 No ready parallel exists for 987 (P1.96), which has its figures placed in panels framed by vertical ribbing.9 Above and below the figures there may be ornament, as on 986, which has an egg and dot. The shoulder may be black, particularlyif the figures on the body overlap it slightly, as they do on the aryballos by Douris.10 More often, the shoulder has ornament, such as the palmettes on 986 and 987 or the tongue pattern on Athens, N.M. 1702, or it may have a figure on each side, the aryballos in Naples by the Kleomelos Painter with its lions, Oxford 1929.175 by Makron with its leopards, and Louvre CA 2183 by the Clinic Painter with its Erotes being good examples.11 On the bottom, particularlyif it is rounded, there may be an ornament or a figure.12 987, with its ring base, is unusual in having a starburstpattern in added clay on the underside. PYXIDES 988-1062

(Pls. 96-101)

The pyxis is a lidded vessel used by women to hold cosmetics or jewelry,' and often the figured scenes on them, particularlyin Attic red figure, depict aspects of the everyday life of Athenian women. In Attic red figure, there are four main types. Examples of each have been found in the Agora excavations,but nearly all are fragmentary,and only one pyxis, 1058, may be matched with its lid. TYPEA 988-1021 (Pls. 96-98) The pyxis Type A, the most frequent in Attic red figure, has a concave body supported by a tripartite foot or, more rarely,a simple ring base. At the top of the body there is a flange over which the incurving side of the lid fits. The lid itself may be flat or gently sloping, with a slightly offset brim. The knob of the lid is most often conical or cushion shaped. The overall effect is rather metallic.2 5 Kleomelos Painter: Naples RC 177 (ARV2119, 3; Addenda175). Imitationof Onesimos:Boston 98.879 (ARV21646: to p. 333). Syriskos:Taranto4553 (3799),the decorationon white ground(ARV2264, 57; Addenda 205). Makron:Oxford 1929.175 (ARV2180, 337;Addenda 247). Douris:Athens,N.M. 15375(ARV2 447, 274; Addenda 241; Buitron-Oliver,Douris,p. 78, cat. no. 85, pl. 56). 6 Painter of the Yale Lekythos:Athens, Vlasto (ARV2661, 77). Clinic Painter:LouvreCA 2183 (ARV2813, 96; Paralip. 420, 96; Addenda 291; Denoyelle, Chefsd'oeuvre...Louvre, pp. 136-137, cat. no. 63);Berlin2326 (ARV2814, 97; Addenda 292);and Athens, Vlasto (ARV2814, 98). 7 Others:once Wminterthur, Imhoof-Blumer,which,according to Beazley,recalls the Dinos Painterand the Painterof Athens 1454 but is not in ARV' or ARV2(Beazley[note 1 above],p. 208, no. 15; Schwarz [note I above], p. 27, no. 20); Broomhall,Earl of Elgin (Beazley,p. 209, no. 16, fig. 8); Berlin 2710 (Beazley, p. 209, no. 17;Schwarz,p. 27, no. 24);DresdenZV 1261(Beazley, p. 209, no. 18);Athens,N.M. 1702 (Beazley,p. 210, no. 19). 8 AkropolisF 170 (note 4 above). Taranto 4553 (3799) by

Syriskos(note 5 above). Douris: Athens, N.M. 15375 (note 5 above). One other also has a side border,but I have not seen it: once Winterthur,Imhoof-Blumer(note 7 above). 9 Forribbing,see the briefdiscussionin AgoraXII, pp. 21-22. 10 Athens,N.M. 15375 (note 5 above). 11 Athens,N.M. 1702 (note 7 above);Naples RC 177 (note 5 above);Oxford 1929.175(note 5 above);LouvreCA 2183 (note6 above). 12 E.g., the palmette-lotusconfigurationon the aryballosby Psiaxonce in Bologna(note 3 above);the wheel on Taranto4553 (3799)by Syriskos(note5 above)and on Broomhall,Earlof Elgin (note 7 above);the youthwith a game cock on Boston98.879, an imitationof earlyworkby Onesimos(note5 above). 1 See AgoraXII, pp. 173-178; Richterand Milne, Shapesand Names,pp. 20-21; for black-figuredexamples,see AgoraXXIII, pp. 49-50. 2 The basic studyfor this type is Roberts,Pyxis.

SHAPESTUDIES

52

In Attic red figure, the earliest preserved, attributedpyxides Type A belong to the opening years of the 5th century,3but it is not until the second quarter of the century that they appear in any number,chiefly among the followersof Douris,4 also painters of the PenthesileaWorkshop, in particularthe Veii Painter(988: PI. 96; 989: PI. 96), the Painterof Bologna 417, the Painterof London E 777, and the Painter of London D 12.5 Most of the pyxides Type A from the Agora may be dated around the middle of the 5th century. Late in the third quarter,there are severalby the Drouot Painter,6including 993 (PI. 96); 994 (PI. 97) may be compared with his style. The comparatively few Agora examples that follow are unattributedones from the late 5th century (999-1004: PI. 97 and 1016-1019: PI. 98). The Agora series seems to continue as late as the second quarter of the 4th century, 1020 and 1021 (PI.98). On the pyxis itself, the figures continue around without interruption. The area above and below them may be plain, as on 988 (PI. 96), 990 (PI. 96), 992 (PI. 96), 996 (PI. 97), and 1000 (PI. 97), or there may be a zone of ornament, such as the egg pattern (993: P1. 96), rays (994), tongues (998), or laurel (999: Pl. 97). The lid is most often decorated with ornament, in particular a tongue pattern at the base of the knob, then a zone of palmettes, as on 1007 (PI. 97), 1013 (PI. 98), and 1015 (PI. 98), or palmettes and lotuses as on 1005 (PI. 97). Usually a separate pattern articulates the brim, such as the stopped-maeanderpattern on 1005 (PI. 97) or the egg pattern with dots on 1013 (PI.98). The side of the lid may be plain, e.g., 1006, 1011, and 1015, or with ornament, such as a wreath and an egg pattern (1005), a stopped-maeander pattern with cross-squares(1007), or tongues (1010).7 The effect is often colorful. Occasionally, as on 1009-1011 (PI. 98), 1017 (PI. 98), and 1020 (PI. 98), there are figures on the top side. 1009 (PI.98) is unusual for having ornament on its underside. TYPEB 1022-1038

(Pls. 99-100) The pyxis Type B has a cylindricallid that slips over the box to rest on a projecting torus. At thejunction of the top side and wall there is usuallya molding, frequentlya torus. The pyxis itself sits on a ring base that is considerably smaller in diameter than the bottom of the pyxis. The lid may be lifted off the box either by a vertical loop handle made of clay or by a metal ring attached through a hole that pierces the center of the lid. 1022 (Pl. 99), 1024 (PI. 99), 1025 (PI. 99), and 1028 (P1.99) had metal rings, but today only the hole remains.8 In Attic red figure, the pyxis Type B is quite rare, and no painter may be said to have specialized in it, although the Painter of London D 12 has left four.9 The earliest attributed example still seems to be the one compared with the Chaire Painter,10an artist working during the last years of the 6th century. Other attributedexamples, including 1027 (PI. 99), which is near the Painter of Athens 1243, belong to the second half of the 5th century and the first half of the 4th.11 3

E.g., Akropolis559 in the mannerof Onesimos(ARV2332, 35); London, B.M. E 769 by the BriseisPainter(ARV2410, 63; Addenda 233); London, B.M. E 807 by Douris (ARV2447, 275; Buitron-Oliver,Douris,p. 85, cat. no. 240, pl. 112);and Akropolis 560 by Makron(ARV2479, 336; Addenda 247). 4 See ARV2805-806, 87-93; Paralip. 291. 420; Addenda 5 Veii Painter:ARV2906, 109-116; Addenda 303. Painter 304. of Bologna 417: ARV2917, 198-204; Paralip. 430; Addenda 307. Painterof London E 777: ARV2943-944, 78-84; Addenda Painter of London D 12: ARV2963, 87-95; Paralip.434; Addenda308. 6 ARV2 349. 466; Addenda 1223, 1-7; Paralip. 7 For a good idea of the variouspossiblecombinations,see Roberts,Pyxis,passim. 8 For good examplesof the clay loop handle, see the one in

Bochum,S 148, by the Painterof London D 12 (ARV2963, 98; Addenda 308) or Louvre CA 587 by the Painter of the Louvre 449, 104;Addenda 328). Centauromachy(ARV21094, 104;Paralip. 9 The namepiece(ARV2963, 96); Basel Market(ARV2963, 97); Bochum,S 148 (note 8 above);LucerneMarket(ARV2963, 434, 99). 99; Paralip. 10 ParisMarket(ARV2145, ). Here are a few well-publishedexamples:Laon 37.1053 by the Painterof BrusselsR 330 (ARV2930, 106);TuibingenS./10 1257 = E 157 from the Long Chin Group (ARV21222, 3; Addenda349); London, B.M. E 775 in the manner of the Meidias Painter(ARV21328, 92; Addenda 364; Burn,MeidiasPainter, p. 116, cat. no. MM 136, pls. 18, 19:a);and TtibingenS./10 1401, perhapsfromthe ChalkiGroup(CVA,Tubingen4 [Deutschland52], pl. 47 [2564]:1,2; the attributionis on p. 102).

PYXIDES

53

The top side of the lid is most often decorated with the head of a woman surrounded by an ornament, a scheme of decoration that recallsthat of cup tondi. The ornament is most often a laurel wreath (1029: Pl. 99; 1032: PI. 99) or chevron (1025: PI. 99; 1028: PI. 99), sometimes rays or tongues.12 Other lids, such as 1023 (PI. 99), 1024 (P1.99), 1026 (P1.99), and 1031, have no band of ornament between the woman'shead and the brim. An alternativeto the female head is a frieze of figures, 1022 (PI.99) and 1027 (PI.99) being the examples from the Agora. Rarely is the decoration of the lid purely ornamental, particularlyif figures appear on the wall.13 1031 seems to be unusual in having a female head on the top side of the lid and ornament on the wall. Normally, both top side of lid and wall are figured,for example, 1027 (PI.99), 1033 (P1.99), and 1035 (P1.99). TYPE C

1039-1054

(Pls. 100-101)

The pyxis Type C is low and broad, with a strongly concave wall that is flanged at the top to receive a lid. A ring base, similar to that of the pyxis Type B, supports the vessel. The lid is domed, with a sharply offset brim, and is providedwith a metal ring, as are many of Type B.14 Probably derived from the pyxis Type A, the pyxis Type C does not seem to appear before 450, and the largest number of attributedexamples come from the workshop of the Meidias Painter. Production of the pyxis Type C ceases about 350.15 Most of the pieces from the Agora are of the late 5th or early 4th century B.C. The figured decoration is most often confined to the lid, with the pyxis itself being black or decorated with ornament, as on 1054 (P1. 101).16 On the lid, above the figures, there is often a pattern, such as a zone of tongues (1041: PI. 100), but more often this area is plain. Ornament appears on the brim and offers a ground line for the figures. An egg pattern with dots is the most common (e.g., 1051-1053: P1. 101), but other possibilities include a laurel wreath (1041: P1. 100) or tongues (1044: PI. 100). Rarely is the brim black.17 TYPED 1055-1062

(P1.101)

The pyxis Type D is similar in form to the powder pyxis, except that its lid does not slip over the entire wall but just covers the top of the wall, which is flanged.18 The edge of the lid is often molded and grooved;the undersidemay be plain, or it may have a flat projectingarea that fits inside the rim of the pyxis, thus insuring a good fit. Occasionally, the lid has a knob,19but more often this feature is omitted. The wall of the pyxis widens slightlytoward the bottom, which is flat and rests on a ring base close in diameter to that of the lid. 1058 (P1. 101) illustratesthe shape well, for both lid and pyxis are intact, except for a few chips. The pyxis Type D appears

12 Rays:Laon37.1053 by the Painterof BrusselsR 330 (note 11 above).Tongues:Bonn 769 by the Painterof Florence4217 (ARV2 1222,-, 1). 13 A good example is Louvre CA 587 by the Painterof the LouvreCentauromachy(note8 above). 14 Forthis type of pyxis,see esp. Roberts,Pyxis,pp. 143-175. 5 Roberts, Pyxis,p. 144. 16 For figureson the pyxis itself, a rare occurrence,because this is where one put one's fingers,see two that are unattributed, Athens, N.M. 1594 (Roberts,Pyxis,p. 158, cat. no. 1, pl. 90:2) and Athens,N.M. 1630 (Roberts,p. 162, cat. no. 4, pl. 93). For figureson both the lid and the pyxis, see Oxford G 302 = 551 in the mannerof the MeidiasPainter(ARV21328,98; Paraip.479, 98; Addenda 364; Burn, MeidiasPainter,p. 100, cat. no. M 29,

pls. 49,50: by the painterhimself)and the one foundin a graveon EupolidosStreet8, whichshowson the top sideof the lid the Birth of Erecthonios,with the namesof the figuresinscribed(AeXr 31, 1976 [1984], pl. 35). 17 For an example, see Copenhagen inv. 731 (CVA,Copenhague 4 [Danemark4], pl. 163 [165]:1). 18 For the powder-boxtype, see AgoraXII, p. 175 and AgoraXXIII, p. 50. Forthe Type D, see AgoraXII, pp. 177-178. 19 See Orvieto, Musei dell'Opera573 (aroundthe knob:owl between olive sprigs, youth to right, large skyphoson ground, boar to right, rock, and tree: I know this piece from Bothmer's photograph);Ttilbingen7383 (CVA,Ttiibingen4 [Deutschland52], pl. 47 [2564]:3-5), fromnear the Otchet Group(CVA,p. 102).

54

SHAPE STUDIES

early on in Attic red figure20but is most popular during the late 5th and early 4th centuries.21All the Agora examples may be dated during this time. The scheme of decoration is a simple one. The pyxis itself is black.22 On the top side of the lid there is usuallyonly a single figure,a human head (e.g., 1055: P1. 101, 1062: P1. 101), or an object such as the calyx-krateror kantharos on 1057 (PI. 101) or the chest on 1058 (PI. 101). Occasionally, if there is a knob, the figures appear in a circular frieze, similar to those on the lids of Types B and C.23 LEKANIDES 1063-1142

(Pls. 101-109)

The lekanis is a low, shallow bowl supportedby a thick ring base. Just below the rim there are two metallic-lookinghorizontal ribbon handles that usually have an outward-curvingreturn at each side. The vessel was used to contain various substances.1In Attic black figure and in black glaze, the lekanis may be with or without a lid,2 but in Attic red figure, it typically has a lid decorated with figures. In the 6th century the lid is domed and nearly the same height as the lekanis;in the course of the 5th century the lid becomes increasinglyflat, and by the end of the century the angle between the top side of the lid and the downturnedrim is a very sharp one. The lid has a stemmed knob that is flat on top, sometimes with a hole in the center; by the end of the 5th century the side of the knob is flanged.3 Occasionally, as with 1089 (P1. 104) and 1125-1129 (Pls. 107-108), the lid is reversible; the broad, flat knob serves as a resting surface, and the inside of the lid, which often has a depression in the center (similarto the fish plate: see pp. 58-59 below), can be used as a receptacle.4 The rim of the lekanisis flanged (e.g., 1065: PI. 101), so that when the lid is in place, the profile between the two parts is continuous. In the Agora, no red-figuredlid may be matched for certain with any of the four lekanis fragments (1063-1066), which are mainly only parts of handles. In Attic red figure,the lekanisdoes not seem to appear before the end of the PersianWars,the well-preservedone in Taranto/Reggio, a middle to late work by the Berlin Painter, being one of the earliest.5 It is only during the last decades of the 5th century that the shape assumes the popularitythat is sustained throughout the 4th;6 the majorityof examples from the Agora are of the 4th century. Among the painters or groups of painters specializing in lekanides, the following examples from the Agora may be attributed:1095-1101 (Pls. 104, 105) to the Otchet Group, the last added here; 1102-1105 (PI. 105) are from the Group of Nuptial Lekanides, many of which approximatethe style of the Otchet Group; 1118 (P1. 107) is near the Painter of Salonika 34.1; 20 See the fourexamplesby the ThaliarchosPainter:Paris,Petit Palais382 (ARV281, 1;Addenda 169),Akropolis574 (ARV281, 2), Athens,N.M. 1710 (ARV281, 3), and New York,M.M.A. 20.253 (ARV281, 4);two compared:Boston,M.F.A.10.216(ARV281, -) and Bonn, Langlotz(ARV281, -). Classof Vienna3717: Oxford 1922.67 (ARV2312, 1);the namepiece(ARV2312, 2). Painterof Acropolis573: Akropolis575 (ARV2312, 1);the namepiece(ARV2 312, 2); Basel, Cahn, H.C. 14, which recallsthe BrygosPainter (ARV2390, -); Oxford 1929.4 by the BriseisPainter(ARV2410, JdI 97, 1982 64); Basel, Cahn H.C. 632 (A. Kossatz-Deissmann, [pp. 65-90], p. 77, fig. 15: severalof those listedabove are given on pp. 75-76, note 43). 21 AgoraXII, p. 177. 22 For an exception, see Ttibingen 7383, which has an ivy

wreath(note 19 above). 23 For a well-preservedexample of both pyxis and lid, see

Tubingen7383 (note 19 above). I For the shape, see Richter and Milne, ShapesandNames, Suppl.X, pp. 10-11; AgoraXII, pp. 164-173. pp. 23-24; Hesperia 2 AgoraXII, pp. 164-168; AgoraXXIII, pp. 51-53. 3 Forlids of lekanides,see esp.AgoraXII, pp. 167-168. 4 Fora good example,see the one foundin a tomb at Nisyros (ClaraRhodos6-7, 1932-1933, pp. 516-517, figs. 45, 46). For others,see AgoraXII, p. 168, note 19. 5 No no. (ARV2212, 215;Addenda 196). 6 The first workshopto produce a quantity of red-figured lekanidesis that of the Meidias Painter. See ARV2 1314, 17362 for the painterhimself;ARV21326477; Addenda 18; Paralip. 364 forhis manner.None of the 1327, 77-90; Paralip. 478;Addenda Agoralekanidesseemsto come fromthis workshop.

ASKOI

55

1122 (PI. 107) is by the Painter of the Reading Lekanis; 1125-1127 (P1. 107) may come from the Group of the Vienna Lekanis, and 1123 (PI. 107) is comparable with it; 1130 and 1131 ared. One of (P 1. 108) the best fragments, 1139 (PI. 108), may be by the Eleusinion Painter, but if not, it is certainly near him. Two other fragments may now be assigned: 1090 (P1. 104) to the Jena Painter and 1111 (PI. 106) to the Painter of Vienna 155. The system of decoration is simple. The exterior of the lekanis may be black, or, like 1065 (PI. 101), both the handles and the body may carryornament, orjust the body may be patterned.7 On the lid, there is often an egg pattern at the root of the knob'sstem and another on the downturn of the lid, for example, 1107 (PI. 106), 1118. On the top side of the lid, the figures continue around without interruption. Often, as on 1102-1105 (PI. 105), the subject is a nuptial one.8 A fairly large group shows pairs of confronted female heads wearing sakkoi (e.g., 1121: P1. 107; 1135: P1. 108); a related group shows the heads of Arimasps and griffins (e.g., 1123: P1. 107). On the reversible lids, where the figured area is narrower because of the greater diameter of the knob, the figures often consist of just a frieze of animals (e.g., 1089: P1. 104; 1125-1127: P1. 107; 1128 and 1129: Pl. 108). 1124 (PI. 107) has facing heads of women on the top side and a large head of a woman on the underside. The top side of the knob may be plain (e.g., 1070: P1. 102; 1073; 1119: PI. 107) or with ornament (e.g., 1100: PI. 105; 1107: P1. 106; 1118: P1. 107; 1121: P1. 107; 1135: P1. 108). Normally, the underside of the lid is glazed; 1067 is slipped. LIDS 1143-1148

(P1.109)

Included in this section are six fragments that are difficult to assign to a specific shape. Most puzzling of all is 1143 (PI. 109), which, to judge from the potting markson the underside, comes from near the edge and seems to show a fallen warrior who is fighting back. 1144 (PI. 109), a fragment of a flat lid, is too large to belong to either a pyxis or a lekanis. 1146 (PI. 109) is small and seems slightly domed. 1145 (PI. 109) is reservedon the underside and, given the size of the woman's head in relation to the fragment, it must have been quite large. Perhaps it is the lid of a lebes gamikos. 1148 (P1. 109) looks as though it were the lid of a pyxis; the underside is completely smooth however, and has neither a flange nor an overhang to secure it properly on the pyxis. Moreover,the glaze on the underside is rather coarse. It is too large to be a bobbin, for these are normally about 0.12 m. in diameter,and the estimated diameter for 1148 is 0.20 m. ASKOI 1149-1186

(Pls. 109-112)

The askos is a small, round vessel with an oblique spout that was used for pouring liquids, oil, wine, or perhaps honey. There are many varieties but no agreement about the correct name 7 Some examplesof the decorativepossibilities:uprightlotuses and palmettes on wall, laurel wreath on handles: Capua no no. (CVA,Capua 2 [talia 23], pl. 20 [1095]:4); laurel wreath on one side of the body, up-and-downpalmetteson the other, handles of each black: Gotha, Ahv. 71 and 70 (CVA,Gotha 2 [Deutschland29], pl. 71 [1402]:1, 2); laurel wreath on body, tongueson handles:Ferrara4252 = T.65 A VP by the Painterof

Salonika38.290 (ARV21500,6;Addenda 383);horizontalpalmettes on body,handlesblack:Ferrara10343 = T.4 C VP,the namepiece of the Painterof FerraraT.4 C (ARV21502, l;Addenda 383). 8 These have been interpretedas the Epaulia, the day after the wedding,when the bride receivesgifts, see Hesperia Suppl.X, p. 10. Forthe Epaulia,see L. Deubner,.JdI15, 1900,pp. 144-154.

SHAPESTUDIES

56

of each; thus, for the sake of consistency, the terms used by Sparkes and Talcott in AgoraXII will be retained for the Attic red-figuredaskoi from these excavations.' SHALLOW2 1149-1182

(Pis. 109-111)

This form of askos has a low body with a convex top side and wall and a flat ring base. A narrow-necked, flaring spout rises obliquely from the shoulder, and to facilitate pouring, an arched handle, attached just below the spout, extends to the opposite side of the vessel where it joins the shoulder. 1160 (PI. 110) gives a good idea of the shape. Normally, the topside of the askos is smooth; occasionally,as on 1157 (PI. 110) and 1172 (P1.111), there is a small molding that simulatesa lid.3 The earliestattributedexample of this form of askos seems to be the one by Makron;4the number increasesduringthe middle decades of the 5th century,reaching a height at the end of the century, when most of those from the Agora may be dated. Of the few that may be

attributed, 1149 (PI. 109), an early example of ca. 470, is the namepiece of a very small group, Agora P 5562; 1150 (P1. 109) is by the Painter of the Yale Lekythos; 1151 (P1. 109) and 1152 (P1. 109) are by the Veii Painter and the Painter of London D 12 respectively, both active around 450 B.C.; 1161 (PI. 110) recalls the Hasselman Painter.

On the top side of the askos there are figures, most often an animal placed at each side of the handle. These may be arrangedso that one pursuesthe other in a counter-clockwisedirection (e.g., 1153: PI. 109 and 1154: P1. 109), or each may face the spout (e.g., 1160: P1. 110; 1161: PI. 110; 1164: P1. 110; 1169: P1. 110; and 1171: P1. 110).5 Occasionally,there are human figures, such as the seated youths on 1151 (P1.109), the reclining figureson 1152 (P1.109), or the Erotes on 1161 (P1. 110). An unusual arrangement of the figured decoration is the hero rising from a tomb on Boston, M.EA. 13.169, the composition being perpendicular to the handle.6 On several askoi the figured decoration is a human head (1181: PI. 111); on 1158 (PI. 110) there is the head and neck of a donkey or a mule. DEEP7 1183, 1184

(PI. 111)

This form of askos differsfrom the preceding mainly in its taller body, the handle and spout being roughly the same. In some there is a hollow tube through the center of the body, although this feature may not be attested on either of the figured examples from the Agora, but it does occur in black glaze.8 The earliestattributedexample seems to be the one by the Painter of Berlin 2268, followed by that decorated by Makron.9 This form of askos has nearly the same lifespan as the shallow type, but it is not nearly so common; the system of decoration is also similar. STRAINER10 1185, 1186

(P1. 112)

This distinctive type of askos has a shallow body with convex wall and a flat ring base; the handle is upright and ring-shaped, often with rills or grooves, as on 1185 (PI. 112). On the top side of the askos,the center is sunken slightlyand perforatedto create a strainer.Usually a simple molding surrounds this area. Instead of a flaring spout, there is a molded lion head, set at a 1 For the shape, see Richter and Milne, ShapesandNames, pp. 17-18; AgoraXII, pp. 157-160; Massei, Gli Askoi... Spina, passim,who distinguishestwo basic types,each with its own variants; for eleven forms of the askos, see Beazley,AJA25, 1921 [pp. 325-336], pp. 326-327, note 3: this has been modifiedinto two (ARV21). In the discussionbelow,the correlationbetweenthe termsused here and those used by Beazley(1921)and Masseiwill be noted. 2 Beazley:Type 1;Massei,pp. xxxiii-xxxv:ClassI:a. 3 Beazley:Type 2; Massei,pp. xxxv-xxxvii:ClassI:b. 4 Brunswick,Maine,BowdoinCollege 23.30 (ARV2480, 339;

Addenda 247). 5 For an examplewhere the two figuresface the root of the handle, see Cambridge2/1900 by the Painterof London D 12 (ARV2963, 104;Addenda 308). 6 See Hoffmann,SexualandAsexualPursuit, pl. 10:4. 7 Beazley:Type 4; Massei,pp. xxxv-xxxvii:ClassI:b. 8 Agora XII, p. 158. 9 Painter of Berlin 2268: Louvre G 609 (ARV2157, 89); Makron:Providence2.074 (ARV2480, 338 Addenda 247). 10 Beazley:Type 8; Massei,pp. xxxvii-xxxviii:ClassII:b.

PLATES

57

right angle to the handle. The body of the lion, as well as other decoration, is in red figure.ll 1185 illustratesthis form and its system of decoration very well. The lion takes up about half of the figured area, confronted beasts the other half. This form of askos first appears in the late 5th century B.C., with the largest number of examples datable in the 4th. PLATES 1187-1222

(Pls. 112-115)

The two types of plates current in Attic black figure continue into red figure. In the Agora, red-figured examples of both types have been found, but because all are fragmentary,they do not illustratethe shape very well.1 Several fragmentsof fish plates have also been recovered. 1187-1195 (Pls. 112-113) This type of plate is best known in black figure.2 It is recognized by its convex rim joined directly to the floor just above the ring base; the floor often thickens slightly toward the center. The rim may end in a simple torus (e.g., 1188: PI. 112), or it may be molded (e.g., 1190 and 1191: PI. 112);sometimes it is pierced with two holes for suspension, a feature that does not seem to occur on plates exported to Italy.3None of the Agora rim fragmentsof Type A preservesa hole. The typical scheme of decoration shows figures on the floor, usually with an exergue that may be reservedand plain or else decorated with ornament.4 On the rim, there is usually a foliate motif, such as ivy (1190 and 1191: P1. 112) or olive (1188: P1. 112).5 There are few red-figuredplates of Type A. The earliestseems to be the unattributedlate-6thcentury example from the Akropolisthat shows an archer and a hoplite, followed slightly later by the well-preservedpiece attributedto the BriseisPainter.6Fromthe Early Classicalperiod there is one in Naples by the Amphitrite Painter;7from the High Classical, two in Athens, one by the Washing Painter, the other unattributed.8 From the late 5th century is the large unattributed example in Copenhagen that depicts the Thiasos of Dionysos.9 All the Agora examples are thus far unattributedand may be dated from the very late 5th century to the second quarterof the 4th. TYPEA

TYPEB

1196-1213

(Pls. 113-114)

This type of plate has a molded convex rim and a ring base, and often there are moldings on the underside of the floor.10 The rim may be joined to the floor of the plate just above the ring base, as on 1204, or the base may be recessed so that the floor of the plate extends somewhat beyond it before attachment of the rim (1209). Like the plate Type A, there may be two suspension holes in the rim, as on 1196 (P1.113) by the Heraion Painter. 11 For this type, see AgoraXII, pp. 159-160; in more detail, K. Schauenburg,RM 83, 1976, pp. 261-271; also Massei, pp. xxxvii-xxxix.

1 For the shape, see Richter and Milne, ShapesandNames, pp. 31-32; Callipolitis-Feytmans, Lesplatsattiques, pp. 371-376; for examplesin black glaze, see AgoraXII, pp. 144-150. Forwhiteground examples, see Mertens,AtticWhite-Ground, pp. 119-122; Keramik, Wehgartner,Attischweissgrundige pp. 150-154. 2 See Callipolitis-Feytmans, Lesplatsattiques, passim.Forexamples fromthe Agora,see AgoraXXIII, pp. 267-270. 3 See Lesplatsattiques,p. 212, note 3. Callipolitis-Feytmans, Fora good examplewithsuspensionholes,see the late-5th-century one in Copenhagen,inv.838 (CVA,Copenhague4 [Danemark4], pl. 169 [171]:1;boughtin Athensin 1846: CVA,p. 131). 4 For an undecoratedexergue, see Naples RC 138 by the BriseisPainter(ARV2410, 67);foran ornamentalone, see Athens,

N.M. 14792 by the Washing Painter (ARV21133, 197). An unattributedfragment,AkropolisB 12, does not seem to have an exergue(Langlotz,pl. 2:14). 5 Forlaurel,see Athens,N.M. 14792 by the WashingPainter (note 4 above)and Copenhageninv.838 (note 3 above). The rim of the BriseisPainter'splate is glazed (note 4 above). 6 AkropolisB 12 (note 4 above);for the date, see CallipolitisFeytmans,Lesplatsattiques, p. 155, note 12. NaplesRC 138 (note4 above). 7 Naples, Mus. Cap. 984 (ARV2833, 48). I know this plate only fromBeazley'sdescription. 8 Athens, N.M. 14792 (note 4 above);AkropolisB 29 (Langlotz, pl. 2:41). 9 Copenhageninv.838 (note 3 above). 10 For this type of plate, see Callipolitis-Feytmans,Lesplats attiques, pp. 211-223; AgoraXXIII, pp. 55-56.

58

SHAPESTUDIES

The general system of decoration for the plate Type B is similar to that of Type A. The rim is glazed black on both the top side and the underside, like 1199 (PI. 113), or it may have an ornament, such as the rays on 1200 (P1. 113), the ivy on 1204 (PI. 113), the myrtle on 1206 (P1.114), or the laurelwreath on 1210 (P1.114). 1213 (PI. 113), the only white-groundplate from the Agora, has a plain rim covered with white slip. The figured decoration is confined to the floor of the plate, sometimes with an exergue, sometimes without. Often the composition does not take up all the available space, and a reserved line or an ornament surrounds the figures. The resultsbear a markedsimilarityto the interiordecoration of contemporarycups; indeed, the earliestsignificantnumber of attributedred-figuredplates of Type B come from cup workshops.1 Production of the plate Type B begins about the same time that the red-figuretechnique is invented,12and most of the attributedexamples belong to the last two decades of the 6th century, in particular to Epiktetos and Paseas, the two red-figure artists known to have taken a special interest in the shape.13 The type appears periodically throughout the 5th century and well into the 4th.14 In the Agora red figure,the earliestexamples are 1196 (P1.113) by the Heraion Painter and 1197 (P1. 113), which is near him, followed shortly thereafter by 1213 (P1. 114), the Agora white-groundplate. Next are the unattributedEarlyClassical one, 1198 (P1.113); 1199 (PI. 113) by the Painterof London D 12; 1200 (PI. 113), unattributed;and 1201 (P1.113), which is near the EretriaPainter. The rest, 1202-1212 (Pis. 113-114), are from the late 5th or 4th centuries; 1211 (P1.114) dates in the second quarterof the 4th and is the latest from the Agora. FISHPLATES1214-1220

(Pls. 114-115)

In Attic red figure,this gay,colorfulplate is chieflya productof the firsthalf of the 4th century.15 Its floor slopes downward to a central depression that was probably used as a receptacle for an accompanying sauce or for the fishjuice. Usually one or two grooves surround the depression. The rim of the fish plate is a downturned, slightly convex one, and a plain or molded ring base supportsthe plate. The fish and other marine life painted on the top side of the floor give this type of plate its name.16 Since the figured decoration takes up most of the available space, ornaments are restricted. The area of the floor just next to the central depression may be plain (e.g., 1214: P1. 114), or there may be a pattern, such as the wave on 1216 (PI. 114) or the zone of tongues on 1217 (PI. 114). Some of the very large fish plates, such as 1220 (P1.115), have a double zone of ornament.17 The side of the rim is usually decorated with a wave pattern or tongues. In Attic red figure,McPhee and Trendalldistinguishedfive painters and five classes and drew the conclusion that the potter of each class was also the painter.18 Only one fish plate from

II See Lesplats attiques,p. 211. The Callipolitis-Feytmans, Agora plates of Type B are too fragmentaryto illustratethis similarityvery well. For a few good and well-knownexamples, see Oxford 1966.441 by the Painterof Acropolis24 (ARV222, 2; Paralip.323, 2; Addenda154); New York,M.M.A. 1981.11.10 169);two by Paseas:Boston, by Epiktetos(ARV277, 92; Addenda M.F.A.01.8025 (ARV2163, 6; Addenda 182)and Oxford 1879.175 = 310 (ARV2163, 8; Paralip. 337, 8;Addenda 182);Harvard60.350 by the Bryn Mawr Painter(ARV2456, 2); and Copenhageninv. 3878 by Makron(ARV2479, 335;Addenda247). 12 See Lesplatsattiques, Callipolitis-Feytmans, p. 212. 13 For plates by Epiktetos, see ARV277-78, 91-102; Paralip.328-329; Addenda169; for Paseas,see ARV2163, 1-9; Para182. lip.337;Addenda 14 The latestattributedexampleseemsto beJena SAK 0495 = 388 by the Jena Painter,which Beazley designates"plateor the

like"(ARV21515, 79; Paul-Zinserling, Jena-Maler, pl. 66:1). 15 The basic studiesare McPhee and Trendall,Fish-Plates and Fischteller: .NaturundBild,Berlin 1989; also N. Kunisch,Griechische McPheeand Trendall,AK 33, 1990 [pp. 31-51], pp. 35-38 with an updateof theirlist. Fora precursorof the truefishplate,called a Gallatinplate,see McPheeand Trendall,Fish-Plates, pp. 23-28. 16 For the differentkinds of fish and shells, see McPhee and Trendall,Fish-Plates, pp. 21, 172-173; Kunisch(note 15 above), passim.

17 Foran animalfriezewith egg and dot above and below,see St. Petersburg3207 by the PieridesPainter(McPheeandTrendall, Fish-Plates, p. 45, cat. no. 118,pl. 8:a);fora triplezone of ornament aroundthe central depression,see Berlininv. 3384 (ibid.,p. 49, cat. no. 143, pl. 11:a). 18 McPheeand Trendall,Fish-Plates, p. 20.

KANTHAROI

59

the Agora, 1215 (PI. 114), has been attributed to a painter, the Alcacer do Sal Painter, whose namepiece is in Lisbon.19 TYPEUNCERTAIN 1221, 1222

(P1. 115)

These two plate fragments preserve no feature that allows one to opt for Type A or Type B. Neither is attributed,and both are of either the late 5th century or the early 4th. 1222 (P1.115) is interesting for its rather enigmatic subject, which includes an eagle.

KALATHOIDS 1223, 1224

(Pls. 115-116)

The kalathos is a tall, spouted krater with outturned rim, flaring wall, and a flat bottom or a ring base.1 Its name means wool basket, and such baskets are well attested on vases in domestic scenes. Examples in clay are rare after the Geometric period.2 In the Agora the shape is known in plain ware but not in figured. Two fragmentaryvessels (1223 and 1224), which may be called kalathoids,have come to light. Each preservespart of the rim and wall and the start of the sharply curving underside but nothing of the spout or foot. The figured decoration may continue around the vase without interruption, as it does on the unattributedone in Berkeleythat may be dated late in the 5th century,or it may be divided between obverse and reverse by lugs, as it is on the famous one in Munich by the Brygos Painter.3 1223 (P1. 115) was probably without lugs. Above and below the figures there is usually an ornament, such as the maeander above them on 1223 or the spirals above them on 1224 (PI. 116), and below them, the egg pattern with dots, as on 1224.

KANTHAROI 1225-1236

(Pls. 116-117)

The kantharosis a two-handled cup with a deep bowl.1 While rare in figured pottery, it is often represented on vases, particularlyin Dionysiac scenes, in which it is the drinkingvessel preferred by the god, and these painted examples probably representkantharoimade of metal.2 From the relatively few clay examples, it seems clear that the kantharoswas not a favored drinkingvessel, being greatly outnumbered by the elegant cup and the practical skyphos. Beazley distinguished four types of kantharos,3each according to the shape of the body, the disposition of the handles, and the presence or absence of a stemmed foot. Among the Agora red-figuredpieces, examples of Types A, B, and D have been found, but for the most part they are so fragmentary and so few in number that they do not illustratethe shape very well. 19 Lisbon 11.241 fromAlcAcerdo Sal (McPheeand Trendall, Fish-Plates, p. 39, cat. no. 69). See RichterandMilne,Shapes andNames,pp. 13-14; H.R.W. Smith, CVA,BerkeleyI [USA 5], pp. 50-51; R. T. Williams,"An Attic Red-FiguredKalathos,"AK 4, 1961, pp. 27-29; AgoraXII, p 80. 2 For a discussionof Geometric examples, see P.J. Connor, Late GeometricKalathosin Melbourne,"AA,1973,pp. 58-67. "A 3 Berkeley8.3342 (CVA,Berkeley 1 [USA 5], pl. 52 [253]); Munich 2416 (ARV2385, 228; Paralip.367, 228; Addenda 228;

pp. 120-121, cat. no. 17). Necropoli...Agrigento, I The best discussionis still by Caskeyin CB i, pp. 14-18; also Beazley in CB iii, pp. 10-11 (for Types A and C); Richter and Milne, ShapesandNames,pp. 25-26; for examplesin blackglaze, but with comments and bibliographyabout figured examples, see AgoraXII, pp. 113-124, esp. pp. 113-117. For pre-Archaic antecedents,see P. Courbin, "Les origines du canthare attique archaique,"BCH 77, 1953, pp. 322-345. 2 See AgoraXII, p. 113, note 1. 3 AV,p. 4.

SHAPESTUDIES

60 TYPEA 1225, 1226

(P1.116)

This, the most metallic-lookingof the kantharoi,is also the oldest and the best represented. The kantharos Type A has a flaring wall and a cul that curves sharply inward to join the tall stem that flares slightly toward the broad flat foot. Between the stem and the cul there may or may not be a fillet to emphasize the transitionbetween the two parts of the vase. The thin strap handles are attached to the cul and rise well above the rim before curving downwardgracefullyto join it. There are two variantsof the kantharosType A, each distinguishedby the handles and the stem: A 1 and A 2. Type A 1 is the older of the two, being known as early as ca. 600 B.C. in Attic black figure.4 The handles of this type are completely free from any structural support between handle and body; the stem is smooth and relatively thin.5 Type A 2 does not seem to appear before the early 5th century; the earliest is probably the well-preserved one by Douris in the Vlasto Collection in Athens, an early work of the painter.6 This type is slightly heavier in appearance than Type A 1, and at about the level of the rim there is a connecting strut to the handle. Sometimes there is also a spurprojectingfrom the handle somewhat above the root to facilitate holding the vessel; on the stem, about midway between the cul and the torus foot, there is a projecting ridge or torus.7 1225 (P1.116) and 1226 (P1. 116) are the kantharoiType A from the Agora, but since the handles are lost, one cannot be certain if they were A 1 or A 2. The system of decoration shows the figuresseparatedinto obverse and reverseby the handles. Normally, the handle is black; occasionally, there may be an ornament at the root, such as an upright lotus or a palmette.8 Usually the rim is black9 and so is the cul.10 Often, the theme on each side is related.11 TYPEB 1227, 1228

(P1.116)

This type has a body similarin shape to that of Type A, but it differsin all other details. The cul slopes down to a filletjoined to a very short stem that broadens to a flaringfoot. The handles are attached to the cul, but they do not rise above the rim beforejoining it. The effect is sturdier, less refined than that of Type A. The system of decoration is similar to that of Type A except that the compositions are simpler and without ornamental borders. There are few examples of the kantharos Type B, the earliest being the one in Munich by the Amphitrite Painter that dates ca. 460.12 The largest number belong to the Class of the CzartoryskiKantharos, to which 1228 (PI. 116) should probably be added.13 The other attributed examples, the three by the 4 See Athens,fromVari(Courbin[note 1 above],p. 334, fig. 15). Forlater examples,see those mentionedby Caskeyin CB i, p. 15: Florence 3887 from ca. 530-520 is now attributedto the BareissPainter(M. B. Moore and D. von Bothmer,AJA76, 1972 [pp. 1-11], pp. 5-6 and pl. 4:11, 12);and by Sparkesand Talcott in AgoraXII, p. 114. 5 Forgood examples,see Boston,M.EA. 95.36 by the Brygos Painter(ARV2381, 182; Paralip.366, 182;Addenda 227) and Cab. Med. 849 by the PenthesileaPainter(ARV2889, 167;Addenda 302). 6 Athens,Vlasto(ARV2445,255; Buitron-Oliver, Douris,p. 72, cat. no. 7, pl. 4). 7 For good examplesof this type, see two by the Amphitrite Painter:Boston,M.F.A.98.932 (ARV2832,36;Paralip. 422, 36)and 422, 37;Addenda London,B.M. E 155 (ARV2832, 37; Paralip. 295). The latteralso has a fillet between cul and stem. An interesting variantof this type is the coveredone in Londonthat recallsthe MarlayPainter,B.M. E 156 (ARV21281,-; Addenda 358). 8 Lotus:St. Petersburginv. 3386 by the NikosthenesPainter

(ARV2127, 29; Paralip. 510, 29;Addenda 176). Palmette:Cab.Med. 849 by the PenthesileaPainter(note 5 above). 9 Besidesthe egg patternon 1226 (andthe comparandalisted underthisentry),see the ivy patternat the rimof LouvreCA 1587 by the ShuvalovPainter(ARV21210, 69; Addenda 346). 10 In additionto the egg patternon 1225 and its comparanda, the followingare the only patternsknown to me on the cul of a kantharosType A: encircledinvertedpalmettes:St. Petersburg inv. 3386 by the NikosthenesPainter(note 8 above):these cover the entire undersideof the cul. Tongue pattern:Boston, M.F.A. 98.932 by the AmphitritePainter(note 7 above). I See E. Simon,JOAI42, 1955 [pp. 5-26], p. 12. 12 Munich 2560 (ARV2832, 38; Paralip.422, 38; for the date, see Lulliesin CVA,MUnchen2 [Deutschland6], p. 25). 13 The kantharoiof thisclasswerefirstput togetherby Beazley in GreekVasesin Poland,Oxford 1928, p. 32 and note 1. See ARV2 982, 1-9.

KANTHAROI

61

Hasselmann Painter,are known to me only from Beazley.141227 and 1228, but for their missing stems and feet, give a reasonable idea of the shape. 1229 (PI. 116) This is a low, stemlesstype ofkantharoswith convex wall and incurvedrim, the body supported a by ring base. The strap handles are attached rather low on the body, and they curve upward to well above the rim, similar to that of the kantharos Type A. The kantharos Type D is also referredto as Sotadean after the one once in Goluchow signed by Sotades as potter.15It seems to be one of the earliest known, although probably no earlier than 1229 (P1. 116).16 These are followed by the two mid-5th-century examples attributedto the Penthesilea Painter and those of the late 5th century by the EretriaPainter.17 The system of decoration for this type of kantharosis confined to a figured composition without ornamental frames. TYPE D (SOTADEAN)

SAINT-VALENTINVASES 1230-1236

(P1. 117)

This class consists mainly of kantharoiof a single type, as well as skyphoi, chiefly of Type A but also the Corinthian type.18 The class gets its name from the well-preservedkantharosfound in the excavations at La Motte Saint-Valentinin the Bourgogne region of France.19This kantharos has a flaring rim, a rather straight wall that passes without sharp interruption into the slightly swelling cul, and a ring base. Its two strap handles curve outwardjust below the rim and are attached below the top of the cul. The decoration consists of various patterns applied either in black glaze onto the reserved ground or in white onto black glaze. The shape is sturdy,and the decoration colorful. In their study of these vases, Howard and Johnson distinguished nine groups of kantharoi (I-IX) and three subgroups (A-C), each according to the system of applied ornament.20 None of the Saint-Valentinkantharoifrom the Agora excavationsis complete, but enough remains that each may be assigned to its appropriategroup. 1230 (PI. 117) belongs in Group I, the earliest of their nine:21 tongue pattern on rim, then lozenges, followed by a narrow band of ivy, a feather pattern, and another zone of tongues. Two, 1231 (P1. 117) and 1232 (P1. 117), go to Group II: tongue pattern on rim, then a broad feather pattern, a narrowband of ivy, and a zone of tongues. 1233 (PI. 117) and 1289 (PI. 121), a skyphos,come from Group VI: tongue pattern on rim, laurel wreath, another tongue pattern, then a laurel wreath and a zone of tongues. 1234 (PI. 117) may also belong to Group VI. The last two from the Agora, 1235 (PI. 117) and 1236 (P1. 117), may be assigned to Group VII, the latest of the groups to which the Agora pieces belong:22 tongue 14 Once Munich, Preyss(ARV21138, 50); Bari 4249 (ARV2 1138, 51); and SantaBarbara,Brundage(ARV21138, 52). 15 Goluchow,Czartoryski76 (ARV2764, 7). Forthis type, see also the brief discussionby Lezzi-Hafter,Eretria-Maler, pp. 289294. 16 Louvre G 248 from the SchifanoiaGroup may be slightly earlier(ARV2387, 2). 17 Penthesilea Painter: Munich 2565 (ARV2889, 169; Addenda302) and FerraraT.308 (ARV2889, 170). EretriaPainter: Cab.Med. 851 (ARV21251, 41;Addenda 354; Lezzi-Hafter,EretriaMaler,p. 352, cat.no. 285, pl. 184)andMontpellier,Univ.23 (ARV2 1251, 42; Lezzi-Hafter,p. 332, cat. no. 158, pl. 106:h). Beazley classedthe latter as "Sotadean." Lezzi-Haftercalls it a shallow cup with the rim offset on the inside (for a profile, see p. 85, fig. 25:d). She then adds four fragmentsof kantharoiType D to the EretriaPainter(p. 352): Taranto,no no. (cat. no. 285 bis; pl. 185);Barcelona4237 (cat. no. 286; pl. 187:i);Barcelona532 (cat. no. 287; pl. 187:g;thoughtby Beazley [ARV21252, 44] to

be perhapsfrom a skyphos);and Barcelona3479 (cat. no. 288; pl. 187:h). 18 For a brief descriptionof the salient characteristicsof this classanditsvariants,seeARV2984-985. The basicstudyis stillthe one by S. Howardand E P.Johnson,"The Saint-ValentinVases," AJA58, 1954, pp. 191-207. Fora shorteraccount,see P.Moreno in EAAVI, pp. 1067-1068; also K. Schauenburg,JdI 103, 1988 [pp. 67-85], pp. 81-82, note 58 and p. 84, figs. 30 and 31 for a kantharosonce in the Basel Marketthat has an owl on one side and ornamentalpatternson the other.An owl appearson another kantharosof this class,WtirzburgH 4893 (RM92, 1985,pl. 44:3). 19 See HowardandJohnson(note 18 above),p. 192, GroupII, no. 2, with bibliography. 20 Ibid.,pp. 191-196. Several of these groups also contain skyphoi. For the one example from the Agora excavations, see 1289. 21 Ibid.,p. 204 for the chronologyof this group. 22 Ibid.,pp. 205-206 for the datingof this group.

SHAPESTUDIES

62

pattern on rim, then a zone of verticalpanels that alternateblack glaze and reserve;below this are a laurel wreath and a zone of tongues.

SKYPHOI 1237-1339

(Pls. 117-125)

After the cup, the skyphos, particularlythe Attic type, is the most popular drinking vessel in Attic red-figuredpottery. It has a deep bowl supported by a ring base or a flaring foot and two handles attached at opposite sides of the rim. In Attic red figure, there are three types: A, B, and Corinthian, the firstbeing by far the most popular. All three types are well representedin the Agora red figure, with the largest number of examples being of Type A. TYPE A

1237-1308

(Pls. 117-123)

The skyphosType A, or Attic type, has a rather straightwall that curves inward only slightly at the rim and toward the bottom, where it is joined to a thick torus foot. The two horizontal handles are round in section and attachedjust below the lip.2 In the variant called a hybrid, the handles are disparate, one being a vertical strap similar to that of the skyphos Type B.3 None of the Agora examples seems to be in this category. There is little change in the shape until the last quarterof the 5th century,when the rim begins to turn outwardand the body tapers more sharply toward the base, featuresthat become more exaggerated throughout the 4th century. Most often, the rim is glazed black, for example, 1259, 1275 (PI. 120), 1276 (PI. 120), and 1278 (PI. 120), although occasionally there may be an ornament, the egg pattern with or without dots being the most common, especially after 450 B.C. (e.g., 1271: PI. 120; 1287; 1290: PI. 121; 1298; 1299: P1. 121; 1308: P1. 122). On some of the finer pieces, more elaborate ornaments include the maeander pattern, the stopped-maeanderpattern with cross-squares,a frieze of upright encircled palmettes, or a wreath (1263: PI. 119; 1306: PI. 122).4 Below each handle there is most often a palmette configurationsimilar to that on the bell-kraterwith which the skyphosType A, especiallythe large examples such as 1265 (PI. 119), sharescertain affinities.5 This area may also be black, as 1248 (PI. 118), particularlyif only one or two figures appear on each side.6 On a few skyphoi, none from the Agora, the figures continue around the vessel without interruption.7 Below the figures there are most often one or two reserved lines (one line: 1242: P1. 117; 1248: P1. 118; 1279: P1. 121; 1280: P1. 121; 1282: P1. 121; 1303; two 1 For the shape in general, see Richter and Milne, Shapes andNames,pp. 26-28; AgoraXII, pp. 81-87; in blackfigure,see AgoraXXIII, pp. 58-61. For a woman drinkingfrom a skyphos, see Malibu,theJ. PaulGettyMuseum86.AE.265,ex Bareiss(Kunst derSchale,p. 314, fig.53:2b;Reeder,Pandora, p. 94, figs.3-4; CVA, the J. PaulGetty Museum8 [forthcoming]). 2 Forthis type, see AgoraXII, pp. 84-85; for the black-figured examplesfrom the Agora, see AgoraXXIII, pp. 59-61. In Attic blackfigure,the rim curvesoutward. 3 Forgood examples,see New York,M.M.A. 29.131.4 by the 227); Laon 37.1032 by BrygosPainter(ARV2381, 176; Addenda the TarquiniaPainter (ARV2870, 87); two by the Penthesilea Painter:LouvreG 195 bis(ARV2889, 165)and St. Petersburginv. 4225 (ARV2889, 166);one by the SplanchnoptPainter:University, Mississippi,Univ.of Miss. (ARV2899, 143). 4 Maeander:Boston 13.186 by Makron(ARV2458, 1; Para243; Reeder,Pandora, p. 64, fig. 3). Stoppedlip.377, 1; Addenda maeanderpattern with cross-squares:Berlin 1970.9, attributed to the Triptolemos Painter (E. Knauer, Ein Skyphosdes Triptolemosmalers Berlin], Berlin 1973); [125 Winckelmannsprogram

Vienna 3710 by the BrygosPainter(ARV2380, 171; Paralip.366, 171;Addenda 227);Laon 37.1032 by the TarquiniaPainter(note3 above). Upright encircledpalmettes:Basel, Cahn H.C. 541 in the mannerof the MeidiasPainter(Burn,MeidiasPainter, p. 106, cat. no. MM 17,pl. 34). The attributionis by E. Simon, Wiirzburger N.E. 1, 1976, pp. 177-186. JahrbuchflirdieAltertimswissenschaft, 5 For the lozenge pattern below the handles on both the Corinthianand Attictypesof skyphoi,see the list compiledunder 1327. 6 A few examples:Cab. Med. 839 by the TriptolemosPainter 223); Altenburg287 by the Aischines (ARV2367, 97; Addenda Painter(ARV2717, 235);Berlin2580 by the EuaionPainter(ARV2 797, 143)and London,B.M. E 148 in his manner(ARV2799, 15); two by the LewisPainter:BaselMarket,once Erbach(ARV2974, 309). 19;Addenda 309) and Schwerin731 (ARV2974, 23; Addenda 7 Examples:Florence4218 by the KleophradesPainter(ARV2 191, 102;Addenda 189;Espositoand de Tommaso,Vasiattici,cover and p. 54, fig.75);two by the BrygosPainter:Vienna 3710 (note4 above) and Louvre G 156 (ARV2380, 172; Paralip.366, 172; Addenda 227);Boston 13.186 by Makron(note 4 above).

SKYPHOI

63

lines: 1252; 1269: PI. 120; 1273: P1. 120; 1275: P1. 120; 1276: Pl. 120). Rarer is an ornament such as the stopped-maeander pattern, as on 1266, or the stopped-maeander with saltire- and checkerboard-squares,as on 1265 (P1. 119).8 On the underside of the floor there are one or two concentric circles with central dot. 1308 (PI. 122) is unusual for having its figured decoration set in two registers.9 The skyphosType A is well known in Attic black figure of the late 6th and early 5th centuries, especially in the work of the Theseus Painter and the CHC Group.10 In Attic red figure, the earliest certain attributed example seems to be the fragmentaryone in Florence that shows Iris attacked by centaurs, a late work of the Kleophrades Painter.11 Down to about 470, this type of skyphos is not very popular, although there are some examples of exceptional quality, such as the famous one in Vienna by the Brygos Painter and the one in Boston by Makron.12 In the second quarter of the 5th century the skyphos Type A comes into prominence, particularly among painters of the Penthesilea Painter'sworkshop, including the painter himself.13 In the Agora, only two skyphoi, 1245 (P1. 118) and 1246 (P1. 118), each by the Painter of Heidelberg 211, are from this workshop, and 1248 (P1. 118) by the Akridion Painter and five others not yet attributed, 1240-1244 (P1. 117), are probably contemporary. Not much later is 1253 (P1. 118), the namepiece of the Group of Agora P 1073. During the third quarter of the 5th century, this type of skyphos is best known in the work of the Marlay Painter and the Penelope Painter,14two artists whose style often reflects that of the Parthenon sculpture. 1265 (PI. 119), once a very large, very fine skyphos, bears some resemblance to these painters but does not seem to be by either. Most of the Agora skyphoi of Type A may be dated from the last quarterof the 5th century until well into the 4th. Among those attributed, 1274 (P1. 120) is the namepiece of the Group of Agora P 18953, 1275 (PI. 120) is by the Painter of the Frontal Warrior,and 1278 (PI. 120) and 1279 (P1. 121) are by the Millin Painter,all painters working in the late 5th century who have not left many vases. 1289 (P1.121) is a Saint-Valentinvase, the only Agora skyphos from this class.15 From the 4th century, 1301 (PI. 121) is by the Kalymnos Painterand 1303-1305 (P1.122), the latest Agora skyphoi, belong to the EB. Group. TYPEB

1309-1322

(Pls. 122-123)

This type of skyphos has a slightly incurving rim and a body that tapers rather sharply to a ring base. It is most easily recognized by its disparatehandles, a horizontal one that is round in

8 Other patterns. Maeander: Boston 13.186 by Makron (note 4 above). Stopped-maeanderwith cross-square:e.g., Berlin 1970.9 by the TriptolemosPainterand Vienna 3710 by the Brygos Painter(bothnote 4 above);Altenburg271 by the Amphitrite Painter(ARV2832, 31;Addenda 295);University,Mississippi,Univ. of Miss.by theLewisPainter(ARV2974, 26;Addenda 309). Tongues in outline:BrusselsA 10 by the Painterof the YaleLekythos(ARV2 661, 86; Paralip.403, 86; Addenda 277). Wreath:Taranto50943 by the MarlayPainter(ARV21278, 27). 9 For an earlierexample of this scheme, see LouvreG 558, an unattributedskyphosof about 460 (J. Oakley,AJA93, 1988 [pp. 383-391], p. 387, fig. 5). 10 Theseus Painter:ABV 518-520; Paralip.255-259; Addenda 129-130. The CHC Group:ABV 617-623; Paralip.306-308; Addenda 144. 11 Florence4218 (note 7 above). Three earlierskyphosfragments may be of Type A, but they were not classed as such by Beazleyand theyareprobablybest keptseparatehere. Two areby

Oltos:Akropolis450 (ARV266, 134)and Agora,North SlopeA-P 430 (ARV263, 136). Eachof these has a band of ivy in blackglaze on the rim, a standardfeatureon Attic black-figuredskyphoiof Type A, and Akropolis450 shows part of the palmetteconfiguration at the handle. The third is a very early fragmentby the BerlinPainter,Akropolis454 (ARV2213, 241; Addenda 196). This has a plain rim. 12 Brygos Painter: Vienna 3710; Makron: Boston, M.F.A. 13.186 (bothnote 4 above). 13 See ARV2877-971, passim;Paralip.428-435, passim;Addenda300-309. 14 MarlayPainter:ARV2 472-473. Pene1278, 27-34; Paralip. lope Painter:ARV21300-1302, 1-26; Paralip. 360. 475;Addenda 15 For these kantharoi and skyphoi, see the discussion on pp. 61-62 above. Of the six groups and three subgroupsdistinguishedby Howard andJohnson in their basic study of these vases(AJA58, 1954, pp. 191-207), the followingcontainskyphoi: II, IV,VI, VII, and B. 1289 seems to be fromGroupVI.

64

SHAPE STUDIES

section and attached to the rim and a verticalstraphandle that forms a circularloop.16 The effect is lighter and more delicate than in Type A, less so than in the Corinthian type. The decoration of this type of skyphos is restrained. Most often it consists only of a single figure on each side without ornament below the handles and no patternworkon the rim or above the ring base.17 A single reservedline servesas a ground line. 1309-1311, although fragmentary or somewhat restored, illustratethe shape and the system of decoration rather well. Skyphoi of Type B are far fewer than those of Type A or even the Corinthian type, and no painter may be said to specialize in this variant. The earliest attributed examples come from the late 6th century; one recalls the Pythokles Painter, and the other is by Epiktetos.18 Other early attributed examples are by the Triptolemos Painter, the Brygos Painter, the Pan Painter, and the Painterof the Yale Lekythos.19Forthe most part, however,the largest number of skyphoi Type B decorated with human figures may be dated in the second quarter of the 5th century, including 1309 (PI. 122) by the LyandrosPainterand an unattributedone, 1310 (P1.122),both of which belong to the 450's. Contemporarywith the Agora examples are the one by the Aischines Painter and that by the Sotades Painter,as well as one in his manner.20 A charming group of skyphoi Type B are the glaukes, so called from the owl between olive sprigs on each side.21 The earliest of these seems to date from the opening decades of the 5th century and the last from the end of the century.22 The Owl Skyphoi do not form a class, and it is also difficult to establish hands within the group, although 1321 (P1. 123) seems to be by the same artist as three others, a painter thus far unnamed. The earliest Agora example, 1312 (PI. 122), a rim and handle fragment, stands somewhat apart from the rest, because the owl appears on the top side of the vertical handle facing the rim, and the body was probably black except for a zone of cross-hatchingabove the base, similar to the decoration of this area on many skyphoi of the Corinthian type (see below). Most of the Owl Skyphoi from the Agora date from the middle decades of the 5th century; 1322 (PI. 123) seems to be of the last quarter. 1323-1332 (Pls. 123-124) CORINTHIAN The skyphos of Corinthian type is an elegant vessel, rather light in make. Its wall is convex, the rim usually curves inward slightly, and the bowl is supported by a flaring ring base. The handles are attached to the walljust below the rim.23 16 See AgoraXII, pp. 86-87. Here the termglauxis reservedfor thoseskyphoithataredecoratedon each sidewith an owl between olivesprigs(seebelow). Fora TypeB withtwoverticalhandles,see London,B.M. E 139 by Epiktetos(ARV277, 86; Paralip.328, 86; Addenda 168). Fordisparatehandleson skyphoiTypeA, see note 3 above. None fromthe Agoraseemsto havehandlesplacedthus. 17 Two exceptionswith more than one figurebut no ornament are both earlyexamples:Berlin2318, which recallsthe Pythokles Painter (ARV236, -; Addenda158); London, B.M. E 139 by Epiktetos(note 16 above). 18 Recalls the PythoklesPainter (note 17 above); Epiktetos (note 16 above). One should also add the skyphosonce in the Basel Marketthat is probablyby the Painterof Wtirzburg517 A. G. Basel,Sonderliste N, Mai, 1971, no. 64). (ManzenundMedaillen The attributionis Cahn's. 19 TriptolemosPainter:ARV2367, 102-105;Addenda 223. Bry227. Pan Painter:ARV2 gos Painter:ARV2381, 178-179; Addenda 259. Painterof the YaleLekythos:ARV2 559, 147-150; Addenda 661, 91-93. 20 AischinesPainter:Trondheim(ARV2718, 238). Sotades Painter:Vatican, Astarita 101 (ARV2764, 6; Paralip.415, 6); 287). manner:LouvreG 617 (ARV2768, 33; Addenda 21 See ARV2982 and 984; Paralip. 311. The most 437; Addenda

comprehensivediscussionsof Owl Skyphoiare by F P.Johnson, toDavidMooreRobinson Presented II, Saint '"AnOwl Skyphos,"Studies Louis 1953, pp. 96-105 and "ANote on Owl Skyphoi,"AJA59, 1955,pp. 119-124. Morerecentlyandmoregenerally,whereowls on shapesotherthanskyphoiarediscussed,R. Stupperich,"Eulen der Athena in einer mtinsterschenPrivatsammlung,"Boreas3, 1980 [pp. 157-173], esp.pp. 157-159 (withearlierbibliography); also K. Schauenburg,"Heraklesund Eulenauf einem Kraterder SammlungGeddes,"RM92, 1985,pp. 45-64 andmoregenerally, "Eulenaus Athen und Unteritalien,"JdI 103, 1988, pp. 67-85. amphora One shouldaddthese:Munich,inv.9406, a black-figured TypeB, withan owl on each side and inscribed:AEMOEIOE on one side (B. Kaeser,Muib 38, 1987 [pp. 228-231], esp. pp. 228229, figs. 5, 6; above p. 7, note 21); Kyoto, Hashimoto8, a redfiguredamphoraType B from the first half of the 5th century, which has an owl on each side (CVA,Japan 1, pl. I [1]); an oinochoeof Shape7 once in the LucerneMarket,now in a private collection,that is attributedto the ShuvalovPainter(ARV21208, 346):therethe owl betweenolivesprigsappearson the 47;Addenda spout. 22 See W. B. Dinsmoor,AJA38, 1934 [pp. 408-448], pp. 419421. 23 The basic studyfor this type of skyphosisJ. Oakley,"Attic

SKYPHOI

65

The shape is borrowedfrom Corinth during the second quarterof the 6th century by painters of the Komast Group, artists greatly influenced by Corinth with regard to both the shapes they decorate and their style of painting.24In Attic red figure, the earliestattributedexamples seem to be the one by Oltos and the two by the Nikosthenes Painter,which date in the penultimate decade of the 6th century.25While the skyphosof Corinthiantype never becomes popular and no painter specializes in its decoration, it has a long history, for the latest examples may be dated as late as ca. 350. The largestnumber,however,including most of the ones from the Agora, may be dated to the second and third quartersof the 5th century.26In the Agora red figure, the earliestexample is 1323 (P1. 123), an unattributed one from the Rectangular Rock-cut Shaft, a deposit datable around 480 or slightly later.27 The latest from the Agora is 1332, which belongs to the early 4th century. The scheme of decoration varies. Normally, before 400 the rim is glazed, 1330 (PI. 124) with its wreath being an exception.28 The area below the handles may be black glaze (1326),29 or there may be a palmette-tendril configuration (1324: P1. 123; 1329: P1. 124; 1330: P1. 124; 1331: P1. 124). 1327 (P1.124) is unusualfor its verticalband of lozenge flankedby cross-hatching. The area just above the foot may be glazed (1325) or reserved; more often, however, there is a zone of narrowrays (e.g., 1323: P1. 123; 1324: P1. 123; 1326), occasionally cross-hatching(1329: P1. 124; 1330: P1. 124; 1331: P1. 124).30 Between the figures and the rays or cross-hatching there may be a band of black glaze between reserved lines (e.g., 1331: P1. 124) or the opposite, a reserved line between black bands (e.g., 1330: P1. 124). 1325 (P1. 123) is unusual for having a maeander pattern combined with black in this area.31 Corinthian skyphoiwith black glaze just above the foot usually have one or two reserved bands below the figures to serve as a ground line. The skyphoi of Corinthian type from the Agora excavations are for the most part quite fragmentary,but taken together they illustraterather well the decorative possibilities.

TYPEUNCERTAIN1333-1339

(Pls. 124-125)

This section contains a small group of skyphosfragments, none of which preserves a feature that would for certain identify the variant. 1335 may be from a small skyphos of Type B. 1333 (P1.124), 1334 (PI. 124), 1336 (PI. 125), and 1337 (P1.125) could be either Type A or Corinthian. 1338 (P1. 125), by the Painter of Athens 17191, could be from almost any type of skyphos, although given its late-5th-century date, Type A or Corinthian is more likely.

57, 1988, Red-FiguredSkyphoi of CorinthianShape," Hesperia pp. 165-191; see p. 165, note 2 for earlier bibliography. For Attic black-figuredexamples from the Agora, see AgoraXXIII, pp. 58-59; for blackglaze,AgoraXII, pp. 81-83. 24 See AgoraXXIII, p. 59, note 4. 25 Oltos: Akropolis449 and Munich (ARV266, 135; Oakley [note 23 above], p. 175, cat. no. 1). NikosthenesPainter:Louvre G 66 (ARV2126, 25; Parali. 333, 25; Oakley,p. 175, cat. no. 2; Addenda176); Liminas(ARV21627, 25 bis, Addenda 176; Oakley, p. 175, cat. no. 3.). 26 See Oakley (note 23 above),p. 168. The heavierskyphos TypeA is clearlythe preferredvariantin both blackfigureand red figure. Forits influenceon the Corinthiantype in red figure,see

Oakley,p. 169. 27 See E. Vanderpool, Hesperia15, 1946 [pp. 265-336], pp. 265-270. 28 Forother exceptions,see Oakley(note 23 above),p. 170. 29 Forexample,Vienna 1773 by the LewisPainter(ARV2 972, 2; Paralp.435, 2; Addenda 309; Oakley [note 23 above], p. 177, cat. no. 14);Copenhageninv. 1943by the ZephyrosPainter(ARV2 976, 3; Oakley, p. 178, cat. no. 19; Addenda310); or Oxford 1930.255(Oakley,p. 176, cat. no. 10). 30 See Oakley(note 23 above),p. 170 and notes 13-16 for the breakdown. 31 For other patternsbelow the figures,see Oakley (note 23 above),p. 170.

66

SHAPE STUDIES

CUP-SKYPHOI 1340-1346

(P1.125)

The cup-skyphoscombines featuresof the skyphosand the stemless cup. The lip is usually offset and concave; the handlesjoin the bowl well down the wall and curve upward, sometimes rather sharply;the depth of the bowl stands somewhere between that of the skyphos and of the stemless cup, and like them the bowl rests on a ring base.1 All three drinking vessels are sturdy and practicallooking. The earliestattributedcup-skyphoiseem to be the two by Epiktetos,2and 1340 (P1.125) by the Ashby Painter cannot be much later. The shape appears in red figure throughout the 5th century and well into the 4th but it is never very popular, and no one painter has left very many examples. In the Agora, besides 1340 by the Ashby Painter,the only other attributed cup-skyphosis 1341 (PI. 125) by the TriptolemosPainter. On the outside the scheme of decoration consists of figures, which sometimes extend to the handles, 1340 being the one sure example from the Agora excavations;alternatively,there may be a palmette-tendril configurationat each handle.3 Normally, the lip is black;4 1344 (P1. 125) is unusual for having a wreath with berries painted in white on the inside of the lip, and 1342 has one with the berries in added clay. 1343 has ivy. A reservedline marksthe ground.5 The interior of the cup-skyphos is usually black, but on some there may be stamped decoration.6 The few examples of cup-skyphoifound in the Agora excavationsdo not illustratethe shape very well.

STEMLESS CUPS 1347-1399

(Pls. 125-129)

As the name implies, this type of cup does not have a stem between the bowl and foot; instead, a molded ring base is attached directlyto the bottom of the bowl. The lip may be plain, offseton the inside only, or offset on both the inside and the outside. The upcurving handles are attached well below the rim. This type of cup is much more popular in black glaze than it is in red figure.1 The earliest examples begin about 510-500;2 the shape becomes established only during the second quarter of the 5th century, specificallyin the workshop of the potter Sotades, which, in addition to producing stemless cups of the standardvariety,also fashioned one of delicate make with wishbone handles.3 The shape continues until well into the 4th century. While no painter 1 The best discussionof the shapeis AgoraXII, pp. 109-112.

2 Oxford G. 276 = 520 (ARV276, 84; Paralip.328, 84; Ad-

denda168)and Naples,RP 27669 (ARV277, 85; Addenda 168). 3 For well-preservedexampleswithouthandledecoration,see thetwobyEpiktetos(note2 above);fortwowithhandledecoration, see theseby the PenthesileaPainter:New York,M.M.A.96.18.76 (ARV2888, 151)and Naples 26060 (ARV2888, 152). 4 Foran ornamentalband on the lip, see the zone of upright lotusesand palmetteson Zurich,ETH B 19 by the Painterof the YaleLekythos(ARV2661, 94; Addenda 277), which is also unusual for havingan ornamentalgroundline, a stopped-maeanderpattern with checkerboard-squares.Perhapsadd here the band of chevronsjust below the very narrowlip on the namepieceof the Painterof Athens 1237 (ARV2865, 3;Addenda 299). 5 Fora maeanderpattern,see the examplementionedin note 4 above;also the maeanderpatternwith saltire-squares on Berlin inv.3244, whichis similarin styleto thoseof theXenotimosPainter 334). (ARV21142,-; Addenda 6 See AgoraXII, pp. 110-112. 1 The bestdiscussionof the shapeisAgoraXII, pp. 98-105. For

those fromthe workshopof the EretriaPainter,see Lezzi-Hafter, Eretria-Maler, pp. 281-283. Fora depictionof someone drinking from a stemlesscup, see Herakleson LouvreMN 734, a pelike by the PasitheaPainter(ARV21472, 2). 2 1365 (PI. 127), which resemblesthe work of Oltos, is the earliestexamplefromthe Agora. See Akropolis205 by Onesimos (ARV2329, 133)and TtibingenS./10 1538 = E 22 in his manner (ARV2332, 34; Addenda217) which is dated by Burow (CVA, Ttibingen5 [Deutschland54], p. 20)to ca.490-480. Fromthe late 6th centuryis Berlin 1958.7, the odd bilingualfrom the Stemless Classand designatedby Beazleyas a "stemless of a peculiarkind" (ARV252). This otherwiseblack-figuredcup has a pair of redfiguredeyes in the exergue. Add to these a small unattributed stemlessin Boston, M.F.A. 22.678 (I know this piece from the descriptionin AgoraXII, p. 98, note 1). 3 For the SotadesWorkshop,see ARV2pp. 763-773; Paralip. pp. 415-416; Addenda286-287. The cup with the wishbone handlesis London,B.M. D 7 by the SotadesPainter(ARV2763,3; Addenda 286).

CUPS

67

may be said to have specialized in the shape, the Marlay Painter and his close colleague, the Lid Painter, have each left several, including 1374 (PI. 127) by the latter and 1348 (PI. 125), which may be by either artist. Of the attributedexamples of better quality from the Agora excavations, three belong to followers of Douris: 1347 (PI. 125) is by the Euaion Painter; 1359 (P1. 126) is close to two cups by the Borden Wood Painter; and 1371 (PI. 127) is unascribed. The other attributedAgora pieces belong to rathermodest artists:the Group of Vienna 116, 1353 (PI. 126), 1396 (P1.129), and 1397 (PI. 129);the namepiece of the Painter of Agora P 5192, 1360 (PI. 126) and 1361 (P1. 126), which is also by him; the Carlsruhe Painter, 1369 (P1. 127); the Painter of London E 122, 1375 (PI. 127); the Painter of Orvieto 1047, 1383 (P1. 128); and the Painter of London E 113, 1384 (PI. 128). In addition, 1367 (P1. 127) is probably by the Painter of the Yale Cup, and 1362 (P1.127) slightly resemblesthe work of the Koropi Painter. There are two systems of decoration. One has figures both in the tondo and on the outside framed at the handles by a floral configuration. 1347-1358 are the examples from the Agora, and unusual among them is 1348 (P1. 125), which has a lozenge pattern on the exterior with a figure in black silhouette beneath each handle.4 The border around the tondo is most often a single reserved line or a pair of concentric circles (e.g., 1354: PI. 126). Occasionally, there may be a maeander pattern for the tondo border, as on 1372 (P1. 127), a fragment that may have had figures on the outside. On some stemless cups with figures on the exterior, the tondo has stamped decoration, a good example being Naples 2628 by the Sotades Painter.5 The only stemless decorated in this manner from the Agora is 1357 (P1. 126) by the Q Painter; 1374 (P1. 127), 1377 (PI. 127), and 1381 (P1. 128), each with a figured tondo, have an incised tongue pattern around the tondo. The second system of decoration has figuresin the tondo only, with the exterior black, 1359-1364 being the Agora examples. The decoration around the tondo is the same as that for the first system, a reserved line, a pair of concentric circles, or even two pairs (1362: PI. 127). For both systems, the underside of the floor is decorated with concentric bands and circles with a central dot, and often the inside of the ring base is glazed as well. A large number of stemless cups from the Agora excavations, 1365-1399, are floor fragments without enough of the wall preserved to determine if the exterior was figured or plain.

CUPS 1400-1633

(Pls. 129-153)

In Attic red figure, the cup is the most common type of drinking vessel, especially the elegant Type B, which exists in greater quantity than any other type and has the longest history. Of the three major types of Attic red-figuredcup, A, B, and C, all three are representedfor certain in the Agora material.1 TYPE A

1400

(P1. 129)

The cup Type A first appears rather late in the third quarter of the 6th century, the famous one in Munich signed by Exekias as potter being the earliest canonical example.2 In red figure, 4 See the comparandacited for this entry. For a featherlike patternon the exteriorand a reservedpalmettebeloweachhandle, see FerraraT.736 by the HasselmannPainter(ARV21138, 54). 5 ARV2764, 5. For cups in general, see Bloesch, FAS,passim;also Seki, Gefdssform... Schakn, passim,whosechiefinterestis theproportional relationshipbetween the shape and the decorationon both the

insideand the outside. 2 For a brief descriptionof the shape in Attic black figure, particularlyas it pertainsto the pottery found in the Agora, see AgoraXXIII, pp. 66-67 withbibliography.Exekias'cup is Munich 2044 (ABV146, 21; Paralo.60, 21; Addenda 41). Seki(Gefdssform... Schalen, p. 28) has misunderstoodhow the symposiastwouldrelate to the compositionon the inside of this cup when he writes:"Auf jeden Fallkanndie prachtige,abernicht ubermaBiggroBeSchale

68

SHAPESTUDIES

the shape first occurs in the workshop of Andokides, who signed the bilingual cup in Palermo of which the red-figuredpart is by the Andokides Painter,the black-figuredby his colleague the LysippidesPainter,3and the shape continues into the last decade of the 6th century. The majority of cups of Type A are eye-cups with bilingual decoration, in which the tondo is decorated in black figure, the exterior in red; all these cups have been studied thoroughly and extensively by Cohen.4 In the Agora excavations,so far,only one red-figuredeye-cup of Type A has been found (1400: PI. 129), a rim fragmentpreservingpart of the left eye and eyebrow. Since there is no trace of the tondo, one cannot determine if it was a bilingual or entirely red figure; its resemblance to bilingual eye-cups attributedto Oltos makes it likely,however,that this work also was bilingual. The cup Type A has a rather deep bowl, a thick stem, a low flaring foot, and a fillet that articulatesand strengthens the join between bowl and stem. The profile of the foot is concave. In red figure, the bowl becomes slightlywider and shallower,the resting surfaceof the foot may be broad and flat as in black figure(TypeAZ), or it may be reduced to a narrowstrip(TypeAY).5The system of decoration includes a small tondo containing a single figure. On the exterior there are palmettes next to the handles; then a pair of eyes, sometimes with a figure or a nose between them, completes the decoration.6 1400 (P1. 129), with only part of its rim preserved, does not illustratethe type very well. TYPEB 1401-1553 (Pls. 129-146) The cup Type B is the most popular cup shape in all Attic red figure and is the one best represented in the Agora excavations.7 Although this type of cup is known in Attic black figure of the late 6th and early 5th centuries, it is essentially a red-figured shape. The profile shows a continuous curve from the bowl to the foot interrupted only by a chamfer on the top side of the foot. Usually the rim is plain, but occasionally it may be offset on the inside, as on 1407 (Pls. 129-130), the well-preservedcup signed by Gorgos as potter.8 The profile of the foot varies 28, 1966 [pp. 13-29], p. 22 on the analogy of Bloesch's hongrois (Dm 30,4cm) am besten erfahrenwerden, wenn man sie in die AndokidesGroup [FAS,pp. 12-16]), and Center Island, private Hand nimmt. Das wird besonders deutlich, wenn Mann die collection(Cohen,AtticBilingualVases, p. 247: C 6). The Budapest Anordnungder Henkelbedenkt:Das Schiffscheintin den Mund cup is unusualforhavinga grapevineat the handlesinsteadof paldes Trinkendenzu fahren." Actuallythere are special features mettesand in thisway followsthe black-figurescheme(B. Cohen, about the arrangementof the compositionon the inside of this in GreekVasesin theJ. PaulGettyMuseum4 [OPA 5] [pp. 73-82], cup in relation to the format. The first addressesthe physical If it. one p. 74; in more detail,AtticBilingualVases,pp. 249-251). Contemwhile a positions of decorating cup steadying problem of a kind form porarywith these is one attributedto Psiaxby Bothmer,Malibu, tripod, the cup so thatthe foot, rim,andone handle the J. Paul Getty Museum86.AE.278, ex Bareiss(J. R. Mertens, the mast of the boat would be perpendicularto the hand of the AK 22, 1979, pl. 11; CVA,the J. Paul Getty Museum 8 [forththe composition painter.Much more important,however,is how coming]). Fora generaldiscussionof the shape in red figure,see relatesto the personwho drinksfromthe cup. If one wereto drink Bloesch,FAS,pp. 33-39. from it, recliningon the left elbow in the customarybanqueting 4 Attic that the so the hold to comfortable be most BilingualVases,pp. 240-522; more briefly,Seki, Gefdsswould cup it position, pp. 19-29. bowl restedin the palm of the hand and the rightthumbreached form... Schalen, 5 ThesetypedesignationsareBeazley's(ARV239)astheyapply held is If the the rim. over hooked and handle the cup up through to standardeye-cups. in this manner,one would drinkfrom it so that the lips touched 6 For the range of variations,see Cohen, AtticBilingualVases, the as this In handle. the of left the cup to rim way, the just partII, passim. was drained of its liquid contents, the compositionof Dionysos 7 The best discussionof this type of cup is still Bloesch,FAS, and his boat would emergerightbeforethe viewer. Also, it is no Schalen, passim.Forblack pp. 41-109. See also Seki, Gefdssform... accidentthat the mastof the boat and its hull are not alignedwith it is where also suggested see 92, plausibly XII, and its handles p. the Agora diameter glaze, the the axes of the cup (i.e., through thatthereare so few examplesbecausethe cup Type B "wasmore complement),for this gives the effectof the boat and its occupant fragile and harder to make, and thus cost and impracticability sailingon a sea of risingand fallingwaves. Perhapsone may even made its productionin blackintermittent." this of inside the on coral-red the dark that to far as so suggest go 8 Forothers,see, e.g., London,B.M. E 37 signedby Epiktetos cup alludesto a "wine-darksea,"a favoriteepithetof Homer:e.g., (ARV2 72, 17; Paralip.328, 17; Addenda167) and Athens, N.M. 183. 1, Odyssey 3 Palermo V 650 (ABV255, 7; 256, 21; ARV25, 14; Para1430 by the EuergidesPainter(ARV295, 122). For the lip offset both insideand outside,see London,B.M. GR 1920.6-13.1, also 66, 67, 150). Two othershave been lip.114, 21; 321, 14;Addenda 170)and New York, added, each by the AndokidesPainter:Budapest51.28 (ARV2 by the EuergidesPainter(ARV288, 1;Addenda Painter the (ARV2175, 07.286.47 M.M.A. stem Hegisiboulos the by lacks which 150) 321, 15;Addenda 1617, 15; 1621;Paralip. Addenda 184). 339; and foot but is probablyType A (J.-G.Szilagyi,Bulletindesmusies Paralip.

CUPS

69

considerablyfrom potter to potter, as does the height of the vessel in relation to its diameter. The side of the foot is normally reserved;the undersidemay be glazed or unglazed; the resting surface is narrow. Throughout its history the shape maintains a sleek, refined appearance. The earliest red-figuredcups approximatingType B are transitionalfrom Type A. They have continuous curve profile and the chamfer,but the side of the foot is molded or concave and the the resting surface rather broad, like that of the cup Type A. These come from the workshop of a potter for whom Psiax worked. One cup, New York,M.M.A. 14.146.1, is by Psiax himself; two others, Munich 2603 and New York,M.M.A. 1984.500.1, are related to him.9 None of the Agora cups seems to be transitional. The firsttrue cups Type B come fromthe workshopofthe potter Kachrylion, who introduceda convex profile to the foot and reduced the width of the restingsurfaceto a mere strip. Euphronios, Oltos, and the Hermaios Painter, among others, decorated cups for Kachrylion, the crowning achievement being the masterpiece in Munich signed on the side of the foot by Euphronios as painter and by Kachrylion as potter.10Coral-redsurroundsthe tondo of this cup, for Kachrylion seems to have been especially interested in the use of this decorative technique, which was sometimes difficultto control.11 1403 is associated with London, B.M. 97.10-28.2, a cup signed by Kachrylion: like it, the Agora example has coral-red applied not only on the inside around the tondo but also on the outside below the figures. 1533 (PI. 145) is by the Hermaios Painter,and 1603 (P1. 151) recalls him, but neither these nor 1403 is well enough preserved to determine if the potting may have been by Kachrylion. There is no coral-red on 1533 and 1603, and it is uncertain if 1603 is Type B or C. In the Agora the best-preservedType B cups from this period are 1407 (Pis. 129, 130), which is signed by the potter Gorgos, whose name is otherwise unknown, the two by Epiktetos, 1513 and 1514 (P1. 143), two in the manner of the Epeleios Painter, 1408 (P1. 131) and 1519 (P1.143), and 1515 (P1.143) by the Painter of Bologna 433. The cup Type B is at its most elegant in the last decade of the 6th century and the opening decades of the 5th. These are the years when the master potters Brygos, Python, and Hieron collaborated with superb painters, the Brygos Painter, Douris, and Makron.12 This is also the time when Euphronios turns from painting to potting. His career as a potter of fine cups can be documented well into the second quarterof the 5th century,13for Onesimos and the Pistoxenos Painter are known from signaturesto have worked with him.14 Very few cups by these painters have been found in the Agora excavations;those that have are mere scraps, and none preserves a potting signature: 1524 (PI. 144) by Onesimos; 1421 (P1. 133) in the manner of the Brygos Painter; 1539 (P1. 145), which is probably by Douris, 1417 (PI. 132) in his manner, and 1410 (P1. 131), which recalls his early work; 1424 (P1. 133) by Makron; and 1428 (P1. 134) in the manner of the Pistoxenos Painter. The best-preservedAgora cups from the very late 6th and early 9 New York, M.M.A. 14.146.1 (ARV28, 9; Addenda151). Munich 2603, signed by Psiax but without the verb (ARV29, -, 2 and 41, 38; Addenda151). New York,M.M.A. 1984.500.1 (Mertens,AK 22, 1979, pl. 14:1-3, 6). Beazley (ARV29, -, 1) paired New York,M.M.A. 14.146.2 with Munich 2603 because each bears the name of Psiax without a verb and is not painted by him. The stem and foot of New York,M.M.A. 14.146.2 are missing,so one cannot be sure if it was one of these transitional pieces. Cohen (AtticBilingualVases, p. 353) playswith the idea that these two signaturesmay have been potting ones on the analogy that occasionallypotter signatureslack the verb, but she rejects this idea in view of Psiax'screative activity as a painter at this time. Mention should also be made of the two contemporary black-figuredcups by the Amasis Painterthat also approximate the Type B: Vatican369 a, signedby Amasisas potter(ABV157, 87; Paralip.65, 87; Addenda 46) and Oxford 1939.118 (ABV 157, 89; Paralip.65, 89; Addenda 46). The foot of each has a broad restingsurface;the profileof the Vaticanfoot is concave,that of

Oxfordconvex. 10 Munich2620 (ARV216,17;Paralip. 322, 17;Addenda 153;Eucat. no. 41). Forthe particularlyharmoniousrelationship phronios, betweenthe shapeof this cup and its decoration,see the remarks Schalen, by Seki, Gefdssform... pp. 60-61 and pl. 14:1-3. 11 For the technique, see B. Cohen, Marsyas15, 1970-1971 [pp. 1-12], esp. pp. 4-6 for Kachrylion'suse of it. 12 Forthe potterBrygos,the BrygosPainter,and his circle,see ARV2368-424; Paralip.365-374; Addenda 224-235. Pythonand Douris, see ARV2425-453; Paralip.374-376; Addenda 235-242; Buitron-Oliver,Douris,passim. Hieron and Makron, see ARV2 243-247. 458-482; Paralip. 377-379; Addenda 13 For Euphroniosas potter,see ARV2313-314; D. Williams in Euphronios, pp. 47-51. 14 For Onesimos, see ARV2318-332; Paralip.358-361; Addenda214-217; the PistoxenosPainter,see ARV2859-865; Paralip.425-426; Addenda 298-299.

70

SHAPESTUDIES

5th centuries are 1422 (P1. 133), the namepiece of the Painter of Agora P 42; 1520 (PI. 143) by the Painter of the Agora Chairias Cups; and an unattributedone, 1411 (P1.132), which bears some similarityto the Nikoxenos Painter but is too rough to be his. In the middle decades of the 5th century the greatest number of red-figuredcups come from the workshop of the Penthesilea Painter.15These vary considerably in size and quality,ranging from the large namepiece in Munich and the even larger cup in Ferrara16to small, modest products by lesser artists. The largest group of attributed cups from the Agora excavations, including 1442 (P1. 135), a collaboration between the Painter of Bologna 417 and the Painter of London E 777, are Penthesileans:1440 (P1.135) is by the painter himself; 1443 (P1.136) is by the Painterof Bologna 417; 1444 (P1.136) is by the Painterof BrusselsR 330; 1445 (P1.136) is by the Painter of Orvieto 191 A; 1446 (P1. 136) is by the Painter of London E 777; 1447-1449 (P1. 136) are by the Painter of Heidelberg 211, and 1451 (P1. 137) is near him; 1450 (P1. 137) preserves features of both the Painter of London E 777 and the Painter of Heidelberg 211 and may be another collaboration; 1452 (PI. 137) is by the Koropi Painter; 1453 (PI. 137) and 1549 (PI. 146) are by and near the Painter of London D 12; and three are not assigned to a specific painter: 1441 (P1.135), 1454 (P1.137), and 1455 (P1.137). Only 1447 is well enough preserved to give a good idea of the shape. The best cups Type B of the last quarter of the 5th century are decorated by the Eretria Painter and his colleague, the Calliope Painter, by the Codrus Painter, and by Aristophanes, who worked for the potter Erginos.17 Most of the cups Type B that are contemporary or later are modest products. From the Agora, the two best-preservedexamples are 1500 (P1. 142), a late-5th-century unattributedcup, and 1511 (P1. 143), a mid-4th-century piece by the Painter of Vienna 202. Two fragments, 1470 and 1471 (P1. 138), are by the Calliope Painter; three, 1480-1482 (Pls. 139-140 ), are by the Fauvel Painter; and seven, 1486-1492 (Pls. 140-141), three of them (1488, 1490, and 1492) added here, are Sub-Meidian. 1481 and 1482, which cannot be from the same cup, are so alike that they may have been intended as a pair. Usually,the cup Type B has figureddecorationon both the inside and the outside. Those with figures in the tondo only are for the most part earlier than 500 B.C.: 1513-1520 from the Agora include some of the best cups from the excavations. Notable exceptions in the Agora material are from the middle of the 5th century and the third quarter: 1525 (P1. 144) by the Painter of Louvre G 456 and 1526 (P1.144), an unattributedcup with the unusual subject of a kestrelwith a snake in its beak hovering above a marsh, probablyfrom about the middle of the 5th century. Late-6th-century cups Type B often have a single reserved line separating the tondo from the surrounding area, and the diameter of the tondo compared with that of the cup is often rather small.18 By about 500, or slightly later, the tondo becomes larger, and it is almost always surrounded by ornament, most often a stopped-maeander pattern, frequently interrupted by checkerboard-,saltire-, or cross-squares.Normally the figuresfill the entire tondo; occasionally, as on 1490 (PI. 141), there may be a reservedexergue. Most often the area surroundingthe tondo is black; 1442 (P1. 135) and 1472 (PI. 138) have figures in this zone.19 Occasionally, as on the Louvre Theseus cup by Onesimos, there may be a pattern on the inside just below the rim;20 15 For the workshop,see ARV2877-971; Paralip.428-435; Addenda 300-309. 16 Munich 2688 300). (ARV2879, 1; Paralip.428, 1; Addenda Ferrara44885 = T.18 CVP (ARV2882, 35; Paralip.428, 35; Addenda 301). 17 Eretria Painter: ARV2 1247-1257; Paralip.469-470; Addenda353-355; Lezzi-Hafter,Eretria-Maler, passim. Calliope Painter:ARV2 1259-1264; Paralip.470-471; Addenda 355-356; Lezzi-Hafter,Eretria-Maler, passim.CodrusPainter:ARV21268356-357. Aristophanes:ARV2 1273; Paralip.471-472; Addenda

363. 478;Addenda 1318-1319; Paralip. 18 E.g.,Munich2620 by Euphronios(note 10above)or Munich 2618 by Oltos (ARV261, 74; Paralip.327, 74; Addenda 165). The best illustrationsof this point are in Seki, Gefdssform... Schalen, pls. 14:2and 15:2,respectively. 19 The mostfamouscup with thissystemof decorationis surely London, B.M. E 84 by the CodrusPainter,where the Deeds of Theseuson the insidearereplicatedon the outside(ARV21269, 4; Addenda 356). 20 LouvreG 104 (ARV2318, 1; Paralip.358, 1; Addenda 214;

CUPS

71

another variant is to fill the entire inside with figures (but for a narrow pattern at the rim), two well-knownexamples being by the PenthesileaPainter,his namepiece and the Tityos cup.21 None of the Agora cups seems to be decorated on the inside according to either of these variants. On the outside the decorative arrangement varies considerably. The more ambitious cups have figuresextending from handle to handle, 1407 (P1.130)being the best early example from the Agora.22 Very often there is a single palmette beneath or beside each handle or a palmette-tendril configurationthat varies from artistto artistand from period to period (e.g., 1452: P1. 137; 1473: P1. 139; 1485; 1500: PI. 142). The ground line is usually a single reservedline, sometimes two. If there is an ornament, normally it is the stopped-maeanderpattern with the same variants used for the tondo border, 1419 (P1. 132), by the FoundryPainter,and 1428 (PI. 134), in the manner of the Pistoxenos Painter, being the only Agora examples that preserve a pattern in this area.23 Most unusual is the decoration of 1403 and 1410 (P1. 131), where coral-red is applied to the surface around the tondo on the inside and below the figureson the outside without a separating ornament or reservedline. TYPEC

1554-1598

(Pls. 146-151)

Compared with the graceful cup Type B, the cup Type C is a sturdy drinking vessel more common in black glaze than in either black figure or red.24 It has a deep bowl that passes directly into a rather short, thick stem, which is separated from the torus foot by a fillet that may be a raised ring, as on 1554 (P1. 146), or merely two lines incised through the glaze, as on 1580. The lip may be plain or offset. If the latter,the handles are attached to the bowl directlybelow the beginning of the lip. There does not seem to be a difference in the height of the stem or in the shape of the foot whether the lip is plain or offset. Although the cup Type C appearsin blackfigureduringthe last two decades of the 6th century, it is generally a rare and modest product with a deep bowl and scarcely any stem.25 Best known cat. no. 55; Denoyelle,Chefsd'oeuvre... Louvre, Euphronios, pp. 110111, cat. no. 50). 21 Munich2688 (note 16 above)and Munich2689 (ARV2879, 428, 2; Addenda 2; Paralip. 301). 22 Fortwo famousexamples,see Euphronios'cup in Munich, 2620 (note 10 above)and the SosiasPainter'scup in Berlin,2278 (ARV221, 1;Paralip.323, 1;Addenda 154). 23 Cups decoratedin the last two decades of the 6th century show the greatestexperimentationwith ornamentalgroundlines. The followinggive an idea of the range: Encircledpalmettesto right: two by Euphronios,Munich 2620 (note 10 above)and Athens, N.M. 15214 = Akropolis176 cat. no. 44); two by Oltos, 153; Euphronios, (ARV217, 18;Addenda Berlin 2264 (ARV260, 64; Paralip.326, 64; Addenda164) and TarquiniaRC 6848 (ARV260, 66; Paralip.327, 66; Addenda 165); Louvre G 68 near the Thalia Painter,which are in black glaze (ARV2113, -). Black-glazepalmettesto left:Naples Stg.5 fromthe Pezzino Group(ARV232, 4; Addenda 157). Ribbonpattern:London,B.M. E 17 by Oltos (ARV262, 80) and LeipzigT.489 by the AktorionePainter(ARV2137, 3). Key pattern to left: Louvre G 17 by Oltos (ARV262, 83; Paralip.327, 83; Addenda 165). Diagonally addorsedpalmettes:Louvre G 6 by Epiktetos (ARV272, 21): this has a spiralpatternaroundthe tondo. Uprightencircledpalmettes:VillaGiulia57912 by Epiktetos (ARV272, 24;Addenda 167). Invertedencircledpalmettes:London,B.M.E 35 byEpiketos (ARV274, 38; Addenda 168);the WiderCircleof the Nikosthenes Painter:Boston,M.F.A.08.30a, in blackglaze (ARV2135 [a])and Berlin 1964.4 (ARV21700;Paralip.334;Addenda 177). Chain of uprightlotuses and encircledpalmettes:London

B.M. 97.10-28.2 signed by Kachrylionas potter (ARV2108, 26 and 115). Lozenge:St. Petersburginv.3385 by the NikosthenesPainter (ARV2125, 13). Ivy, as on the handle of the amphora Type A: Lucerne Market,attributedto the NikosthenesPainter(ArsAntiqua III, 29. IV 1961, no. 100). Up-and-downpalmettes:London,B.M. E 12 by the NikosthenesPainter(ARV2126, 24; Paralip. 333, 24; Addenda 176). Net pattern:London,B.M. E 11 by Pamphaios(ARV2129, 22;Addenda 176);and London,B.M. E 15 by the PoseidonPainter (ARV2136, 1;Addenda 178). An interestingvarianton the ornamentalpatternis the frieze of vesselsdrawnin silhouettethat appearsbelow symposia:London, B.M. E 70 by the Painterof the ParisGigantomachy(ARV2 421, 78);Vatican,no no. by Douris (ARV2427, 2; Paralip. 374, 2; Addenda 235; Buitron-Oliver,Douris,p. 72, cat. no. 8, pl. 5); and London,B.M.E 64 bytheAshbyPainter(ARV2455, 9; Paralip. 374, 2; Addenda 243). 24 The bestdiscussionof the shapeis stillBloesch,FAS,pp. 111136;forthoseby Pamphaios,pp. 68-69; morerecently,S. Roberts, Hesperia55, 1986 [pp. 1-74], pp. 7-9; also Seki, Gefdssform... Schakn,pp. 92-98: catalogueand briefdescription;Lezzi-Hafter, Eretria-Maler, pp. 74 and 79. Forblackglaze,see AgoraXII, pp. 9192. In ARV2,p. li, Beazley designatesas Type C only those cups that have "anoffsetlip as well as the characteristicstem and foot." In AgoraXXIII, pp. 67-68, however,cups of this type, but with plain rims, are includedin the section on Type C, and for consistencythe samewill applyto the red-figuredpotteryfoundin the Agoraexcavations. 25 See Bloesch,FAS,pp. 113-119.

72

SHAPESTUDIES

are the cups of the Segment Class, which are decorated on the inside only, the figures filling all the available space.26 In red figure it is the potter Kachrylion who is instrumental in defining the shape of the cup Type C, for he was the first to increase the height of the stem and to put the fillet at its lower end, thus establishing a firm base for the bowl.27 Each of the two well-preservedcups Type C signed by Kachrylion has a plain rim, as does a contemporary one signed by the potter Hermaios, and all three are attributedto the Hermaios Painter, as is 1579 (PI. 149), which shows Ixion fettered to the wheel.28 Not enough of the shape of 1579 remains to establish a potting link with either Kachrylion or Hermaios. One of the earliest examples of a cup Type C with an offset rim seems to be Boston, M.F.A. 00.336, which is near the Carpenter Painter.29

From the Agora, several well-preservedexamples of cups Type C with both offset and plain rimshave been found, most of them datablein the last decade of the 6th century. 1554-1570 have offset rims, the best being 1554 (PI. 146) by Epiktetosand 1570 (PI. 148) with the white-ground interior that may be by Douris and is datable ca. 480.30 1570 has an almost straight offset rim and a molding on the underside of the foot. 1571-1574 have plain rims, of which 1571-1573 (Pls. 148-149) are from the Group of Acropolis 96 and 1574 (P1. 149) is by the Painter of the Agora Chairias Cups, who also decorated one with an offset rim (the rest of his cups from the Agora, 1592-1594 [P1. 150], do not have their rims preserved).31 A good many other cups Type C from the Agora have also been attributed. Among them are those with offset rim: 1555 (P1.146) is related to the Group of Acropolis 96; 1556 (Pis. 146-147) recalls Euphroniosand may be compared with the Gotha Cup; 1557-1560 (P1.147) are by the Pithos Painter,together with 1561 (P1. 147) in his manner; 1563 (P1. 147) and 1564 (P1. 147) are by the Painter of Agora P 2578; and 1569 (P1.148) is by the Boot Painter.Among those in which the rim is not preserved are: 1575 (P1. 149), which may be by Psiax; 1578 (PI. 149), which seems to be by the Euergides Painter; 1580 (PI. 149), which comes from the Group of Adria B 300; and 1588-1590 (PI. 150) and 1591 (P1.150), added here, which are by the Heraion Painter. This type of cup continueswell into the second quarter of the 5th century, 1569 (P1. 148) by the Boot Painter being the latest example from the Agora excavations.32A few come from the workshop of the Eretria Painter.33 The two latest, datable ca. 400, seem to be the one in Boston by the Painter of London E 130, the other an unattributedpiece in New York.34 There is a distinct preference for black glaze on the entire exterior of the cup, whether the lip is offset or plain, 1554 and 1555 (PI. 146) being good examples of the former and 1571-1573 (PIs. 148-149) of the latter from the excavations. The figured composition in the tondo is usually 26

The class was first put together and named by Bloesch, FAS,pp. 118-119. See ABV 212-215, 690; Paralip.102-103; Addenda 57; also,AgoraXXIII, p. 68. 27 Bloesch,FAS,p. 121. 28 Kachrylion: Boston, M.F.A. 95.33 (ARV2 110, 3; Addenda173) and Louvre MNC 736 (ARV2I10, 5; Addenda173); AdriaB 485 is also signedby Kachrylion,but one cannottell from the photographsif it is Type B or C (ARV2110, 11;Addenda 173); the signed Bucharestcup, 18811 (ARV2111, 15; Addenda173), preservesonly the tondo with part of the stem and, accordingto the authorsof the CVAentry, P. Alexandrescuand S. Dimitriu (Bucharest2 [Roumanie2], p. 21), it is probablyType B. Hermaios:London, B.M. E 34 (ARV2110, 8; Addenda 173);Boston, M.F.A.03.844 is signedby Hermaiosbutpreservesonlythe tondo, stem,andpartof the foot (ARV2110, 1);I havenot seenthe profile of London, B.M. 96.10-22.1, also signed and probablyby the HermaiosPainter(ARV2111 [a]). 29 ARV2180;Paralip. 185. 339; Addenda 30 For white-groundcups, see J. R. Mertens, "AtticWhite-

GroundCups:A SpecialClassof Vase,"MetMus79, 1974,pp. 91Keramik, pp. 49-98. 108;Wehgartner,Attischweissgrundige 31 It is unclearto me on whatevidenceRobertshas established that 1571-1573 areby Kachrylion([note24 above],p. 9). E. Van15, 1946 [pp. 265-336], p. 279) saw that they derpool (Hesperia "forma group and are certainlythe workof one hand,"but he did not linkthem with a potter. 32 For a well-preservedcontemporaryexample, see London, B.M. E 66 by the Clinic Painter (ARV2808, 2; Addenda 291). Bloesch(FAS,p. 78) suggeststhat the cup Type C is superseded by smallcupsof Type B. 33 See Lezzi-Hafter,Eretria-Maler, p. 321, cat. nos. 72-79, p. 328, cat. nos. 135, 136;and p. 331, cat. no. 150. 34 Boston, M.F.A.03.819 (ARV21404, 2; Paralip.488, 2; Addenda374); New York,M.M.A. 06.1021.111 (H. McClees, Daily New York1933, p. 80). andRomans, LifeoftheGreeks

BOWLS

73

only one or two figures within a reserved line.35 1566 (P1. 148) is unusual for having coral-red applied to the outside of the bowl below the offset lip, on the stem, and on the top surface of the foot, as well as around the tondo on the inside. In the Agora, only two of the cups Type C have figured decoration preserved on the outside, and each has an offset lip: 1568 (P1. 148), an unattributedfragment of about 500 B.C., and 1569 (P1.148) by the Boot Painter of ca. 470-460. Neither gives a good idea of this system of decoration, for very little remains of the figures on the exterior and nothing of the tondo.36 The ornaments surroundingthe tondo of cups Type C parallelthose of Type B. The side and restingsurfaceof the foot are reserved,the undersideglazed. TYPE UNCERTAIN 1599-1633

(Pls. 151-153)

The pieces included in this short section are for the most part fragments that may be dated in the late 6th century and should be of either Type B or Type C; without the stem one cannot be certain; hence they are grouped here. Several are attributed:1603 (PI. 151) recalls the Hermaios Painter; 1606 (P1. 151) belongs to the Wider Circle of the Nikosthenes Painter; 1608 (P1. 151) may be by the Pithos Painter; 1609-1612 (Pls. 151, 152) are by the Heraion Painter; and 1614 (P1. 152) is comparable to the Agora Chairias Cups. 1630 (PI. 152) is by the Painter of Agora P 5192 and belongs in the second quarter of the 5th century. 1633 (P1. 153), the white-ground fragment with a highly interesting, if uncertain, subject, is contemporary. 1631 (P1. 153), which may be an Acrocup, is probably by the PenthesileaPainter,datable around the middle of the 5th century. 1632 (P1.153), with the owl in its tondo, is probablyfrom the third quarterof the century; its best parallels are with the Group of Owl Skyphoi, which may be dated during these years.

BOWLS 1634, 1635

(P1.153)

Bowls are much more common in black glaze than they are in figured pottery.1 In the Agora, one black-figuredbowl has been found,2 and in red figure only two, one of the late 6th century,the other of the late 5th. 1635 (P1. 153) was restored as a one-handler, even though there was no evidence for a handle, and it is perhaps saferto class it as a bowl. It has a flat rim and is supported by a conical base. 1634 (PI. 153), the other bowl from the Agora, is more akin to a saltcellar, having a convex wall with inturned rim and a plain base.

35 Foran exception,see London,B.M. E 43 by the Epidromos Painter(ARV2118, 13; Addenda174):here, two lines frame the tondo as if the painterplannedto includean ornamentalpattern, then changedhis mind. 36 A few good examplesof cupsTypeC withfigureson boththe inside and the outside are: Rome, Villa Giulia 20760 by Skythes 329, 14;Addenda (ARV283, 14;Paralip. 170):plainrimandreserved linefortondoborder;Basel,Antikenmuseum undSammlungLudwig, BS 488 by the Delos Painter(ARV2172, 4; Addenda 184):rim and tondo borderas the last; London, B.M. GR 1873.8-20.376 = E 65 by the Brygos Painter(ARV2370, 13; Paralip.365, 13;

Addenda 224; CVA,London9 [GreatBritain17], pl. 62 [838]):offset lip and stopped-maeanderpatternwith saltire-squares around tondo; LouvreG 115 by Douris (ARV2434, 74; Paralip.375, 74; Addenda 237; Buitron-Oliver,Dourins p. 80, cat. no. 119, pl. 71): offset lip and maeanderpattern with saltire- and cross-squares aroundtondo. l See AgoraXII, pp. 128-138 (this discussionalso includes saltcellars). 2 P 7268 (Agora XXIII, p. 316, cat. no. 1847, pl. 118).

74

SHAPESTUDIES

BOBBINS 1636-1641

(Pls. 153-154)

The "bobbin"consistsof two disksjoined in the center by a spool, the finishedproduct resembling a modern yoyo.1 Occasionally there is a pair of holes near the rim.2 Its precise Greek name is not known for certain, but a recent attempt to identify it with an iynx (Tuvv),a magical spinning wheel used to woo unwillinglovers, is an attractiveone.3 Not many "bobbins"have survived,and all but two come from Athens or its environs.4 The size of "bobbins"is rather uniform, each diskbeing 0.11-0.13 m. in diameter,and the time span within which they were produced is rather brief, from the end of the Persian Wars until shortly after the middle of the 5th century. 1640 (P1.153), the white-ground one, seems to be the earliest. The system of decoration, whether in red figure or on white ground, resembles that for cup tondi. One or two figures,occasionally three,5occupy the circularformat, with a reservedline or a line of glaze emphasizing the perimeter. Rarely does this area have an ornament.6 On some "bobbins"there is an exergue.7 1641 (PI. 154) may have had one. The division of 1639 (PI. 153) into horizontal registersdoes not seem to have a parallelamong other known "bobbins";nor does there seem to be a parallel for the zone of figures around the tondo on Athens, N.M. 2350 by the Sotheby Painter,8a system that is better known on cups (p. 70 above). EPINETRA 1642-1649

(PI. 154)

The epinetron is used in the process of making wool.1 Shaped roughly like a half-cylinder,it fitted over the thigh of the woolworker,tapering slightly toward the knee, as does the one on I The mostrecentdiscussions:Wehgartner, Attisch weissgrundige and P 29670 (note 2 above). The latterwas found after the cut-

Keramik, pp. 154-160 and H. A. Shapiro,"Greek'Bobbins':A New AncientWorld11, 1985,pp. 115-120. Also, C. SeInterpretation," Urbinati gal, "Simaethaandthe lynx(Theocritus,IdyllII),"Quaderni di Cultura Classica15, 1973,pp. 32-43; S.Johnston,"Hekate'sTop A Studyof Hekate's Rolesin and the Iynx Wheel,"in HekateSoteira: Atlanta 1992, pp. 90-111. andRelated theChaldean Oracles Literature, and A. Buhl, "Votivgabenaus Ton: Fora clay model, see C. WeiB3 Jojo oder Fadenspule,"AA, 1990, pp. 494-505. 2 See New York,M.M.A. 28.167 by the PenthesileaPainter 302); Agora P 29670 (T. L. ShearJr., (ARV2890, 175; Addenda 42, 1973, pl. 67:a). Hesperia 3 See Shapiro (note 1 above),passimand p. 116 for earlier literaryand archaeologicalbibliography. For the 'tvv, see the brief remarksby Paul-Zinserling, Jena-Maler, pp. 118-119. Burn Painter, (Meidias pp. 40 and 43) describesas an iynx the objectheld by Eros above Adonis' head on Florence 81948 (ARV21312, 1; 361; Espositoand de Tommaso, Vasiattici, Paralip.477; Addenda p. 79, fig. 132). For other good examplesof someone using an Keramik, p. 220, note 3 iynx, see Wehgartner,Attischweissgrundige and Shapiro,p. 117, note 20 for two additions. 4 The exceptionsare Athens, N.M. 10459 from the Kabiric beiTheben I, sanctuary(P.WoltersandG. Bruns,DasKabirenheiltum Berlin1940,pl. 24);Mykonos(DilosXXI, pl. 44:114). Wehgartner Keramik, pp. 156-157) listssix decoratedin the (Attisch weissgrundige white-groundtechnique,including1640 and 1641; on pp. 220221, note 6, she giveseight red-figuredexamples,including1638

off date for the potteryin this volume;it has been missingsince 1974. Thus her total is fourteen (or thirteen, if the two from the Kerameikos[1962 and 1961:Wehgartner,pl. 53:2, 3] belong to the same object, an option Wehgartner[p. 159] leaves open, chieflybecausethe exact findspotof 1962 is not known).To these should be added a fragmentfound at Aigina (D. Williams,AA, 1987 [pp. 629-680], p. 637, fig. 8:A 19). If the identificationof 1636, 1637, and 1639 as "bobbins"is correct,it will bring the totalto seventeenor eighteen. These do not seem to be lids:none has a flange on the underside,which is very smooth and in the case of 1639 is slipped;1639 thickensslightlynearthe centeras if to indicatethe startof the spool. 5 E.g.,Munich8956 by the EuaionPainter(ARV2798, 152). 6 Fora stopped-maeanderpattern,see the fragmentary"bobbin"in Mykonos(note4 above). 7 None fromthe Agoraexcavationspreservesthisfeature.See Munich8956 (note 5 above),which has a blackexergue. Louvre CA 1798by the Painterof LondonD 12 has a reservedexergueon one side (ARV2964, 107). 8 ARV2775, 3; Addenda 288. 1 The basic study of the epinetronis an unpublisheddissertationby PamelaBenbow,"Epinetra,"HarvardUniversity1975. I am gratefulto Dr. Benbowfor allowingme to consulther thesis in connection with my work on the volume of Attic blackfiguredpottery from the Agora. More recent, brief discussions

EPINETRA

75

Athens, N.M. 2179. Its wider, open end often terminatesin a torus molding (e.g., 1646); its closed end, which covered the knee, is frequently decorated with a plastic female head2 but may also have only painted decoration, such as the head of a woman (1645: P1. 154; 1649: P1. 154).3 Or this area may be black (1642: P1. 154). The lower edge of each side is plain, not molded, and flat on the underside. A figured frieze, usually showing a scene in the women's quarters, occupies the two sides; the top side bears a scale pattern that may be painted or incised, in which case it feels rough to the touch. 1649 is our only example with a roughened surface. At the open end, next to the torus, there is often a zone of rays (1646). The figured friezes and the imbrication are framed by a variety of patterns: diagonally addorsed palmettes (1642: P1. 154), an egg pattern (1644: P1. 154), a stopped-maeander(1646: PI. 154; 1649), and a laurel wreath (1648: P1. 154) occur on the Agora epinetra.4 Between the figures and the imbrication there is usually a narrow zone of ornament, such as the egg pattern on 1649; normally a line of glaze indicates the ground line.5 Occasionally, as on 1645 (P1. 154), there is a scroll or volute next to the painted head on the closed end. The epinetron appears first in Attic black figure of the late 6th and early 5th centuries, the attributed ones exclusively from the workshop of the Sappho and Diosphos Painters and that of the Golonos Group.6 The red-figuredepinetra begin during the third quarter of the 5th century, that is, well after the black-figuredseries ends, and they seem to stop about 400 B.C. Other than the EretriaPainter,who decorated the two most famous red-figuredepinetra,7 the only red-figure artistwho evinces any interestin the shape is the Painterof Berlin 2624.8 1644 (P1.154) is by him; 1645 (PI. 154) may be by him; and 1646 (PI. 154) is near him.

are Lezzi-Hafter,Eretria-Maler, pp. 253-262, with earlierliteraMunich ture; A. Pekridou-Gorecki,Modeim antikenGriechenland, 1989, pp. 16-20, also with many of the earlierreferences(p. 138, notes 15-18). In the processof woolworking,the epinetronseems to have been used in the stage between spinningand weaving. Benbow (pp. 4-14) summarizesthe conclusionsdrawnby previousscholars who have triedto explainthe functionof the epinetron,observing that GiselaRichterwas the firstto suggestthat the epinetronwas used in spinning (BSA 11, 1904-1905 [pp. 224-241], p. 235). This interpretationwas based on an unattributedepinetronof about430-420, Athens,N.M. 2179, whichshowsa seatedwoman with an epinetronon her right thigh, a wool basketon the floor beside her (see Robert, 'Apx'Ecp1892, pl. 13:2; most recently, Pekridou-Gorecki,p. 19, fig. 6). Benbow (pp. 15-16) points out thatthe processdepictedon Athens,N.M. 2179 cannotbe carding becausethe woman is not workingwith a roughmass of recently washedwool; nor is she workingwith a rove,for these soft, thick ropes seem to be made by pulling and twistingthe unspunwool acrossthe lowerleg (pp. 3 and 17). The latterprocessis illustrated by the followingexamples:the tondo of a cup by Douris, Berlin 2289 + Florence 7 B 28 + Rome, Villa Giulia (ARV2435, 95; Paralip.375, 95; Addenda238; Pekridou-Gorecki,p. 17, fig. 3; Buitron-Oliver,Douris,p. 81, cat. no. 143);Florence3918 by the Stieglitz Painter (ARV2827, 7; Addenda 294; Pekridou-Gorecki, p. 18, fig. 4); a red-figuredpyxis by the Painterof Philadelphia 2449, New York,M.M.A. 06.1117 (ARV2815, 3; Addenda 292). On Athens,N.M. 2179 the womanworkswith a fine thread,and the suggestionby Benbow(pp. 18-20) that she rubsit acrossthe surfaceof the epinetronto smooth it out so it can be woven into finefabricseemsto be the mostplausibleexplanationforthe use of

this object. 2 The namepieceof the EretriaPainter,Athens, N.M. 1629, preservesa bust of Aphroditein this area (ARV21250, 34; Paralip.469, 34; Addenda 354; Lezzi-Hafter,Eretria-Maler, p. 347, cat. no. 257, pl. 168:b,c). 3 Athens,N.M. 2179 seemsto be unusualfor havinga mythological representation,Bellerophonand the Chimaera('ApX'Ep Eingriechischer 1892, pl. 13:3; S. Hiller, Bellerophon: Mythosin der romischen Kunst,Munich 1970, fig.3). See also the rideron Rhodes 13886, the namepiece of the Chalki Group (ARV21503, 6; Addenda383). Forthe subject,see L/MC VII, pp. 227-228, s.v. Pegasos (C. Lochin). 4 Someotherexamples.The namepieceof the EretriaPainter, Athens,N.M. 1629 (note 2 above)has a transversefiguredfrieze at its coveredend and a chain of uprightpalmettesand lotuses next to the torusmoldingat the open end. The namepieceof the ChalkiGroup,Rhodes 13886 (note3 above),has a tonguepattern at the closedend and a friezeof uprightencircledpalmettesat the open end. 5 Exceptions. The epinetron in Amsterdam the Eretria by Painterhas a zone of leaves above the figures(2021:ARV21251, 35; Addenda 354; Lezzi-Hafter,Eretria-Maler, p. 353, cat. no. 293, pl. 186:c).On the namepieceof the ChalkiGroup,Rhodes 13886 (note 3 above),a bead-and-reelpatternformsthe groundline on one side, a tonguepatternon the other. 6 SeeAgoraXXIII, 69; alsothe list p. compiledby H. S. Robinson (AJA49, 1945 [pp. 480-490], pp. 488-489). 7 The namepiece, Athens, N.M. 1629 (note 2 above), and Amsterdam2021 (note5 above). 8 ARV21225, 1-4 the by painterhimself;ARV21225,-, 1-3 near him.

SHAPESTUDIES

76

CLOSED: SHAPE UNCERTAIN 1650-1666

(PI. 155)

Severalfragmentsfrom closed vases do not preservea featurethat permits certain identificationof the shape and thus are included in this short section. A few are attributedto painters, but even this does not offer enough information to identify the shape. 1650 (P1. 155), by the Kleophrades Painter,may belong to a large oinochoe of Shape I; it does not seem to be either a psykter or a stamnos, as suggested by Ashmead.1 Beazley thought that 1654 (P1. 155), by the Pan Painter, should be from a hydria,2but one may not rule out an amphora or a pelike. 1660 (P1.155), in the manner of the Meidias Painter, might be from a hydria, given this painter's preference for the shape. 1666 (P1.155), which is compared with the MarsyasPainter,may be from a lebes gamikos. 1662 (PI. 155) and 1663 (PI. 155), the latter with traces of gilding preserved, perhaps are acorn lekythoi, a rare type, but without part of the acorn cup, one may not tell for sure, and they might also be "tall-boys,"a variantof the squat lekythos.3 Their dates of ca.400 and their very thin walls rule out alabastra.

OPEN: SHAPE UNCERTAIN 1667-1672

(PI. 156)

Six small fragments belong in this section. The best is 1668 (P1. 156), which is by the Euaion Painterand seems to come from some kind of special cup with a ratherdeep bowl or perhaps from a mug. 1667 (P1. 156) may be a mug or a skyphos or possibly even the cup portion of a plastic vase, were it not for its slightly convex wall, and 1669 (PI. 156) may be a small column-krater. The most interestingpiece is 1671 (PI. 156), a fragmentthat seems to be from a shallow bowl with outturned rim and the start of an upright handle. 1672 (PI. 156), a small scrap with good shiny black glaze on the inside, may be from the receptacle of a rhyton.

FRAGMENTS: UNCERTAIN IF CLOSED or OPEN SHAPE 1673-1679

(Pls. 156-157)

A small group of fragments,glazed on the inside, may belong to volute-kraters,column-kraters,or stamnoi. The quality of the drawing on each is quite high. 1676 (PI. 156) is by the Kleophrades Painter. The inside is rather smooth, and in places the glaze is streaky.It may be from a stamnos, as suggested by Beazley in ARV2. Contemporary with 1676 is 1673 (P1. 156), whose subject is particularlyenigmatic. It is probably from a krater,but a stamnos may not be ruled out. 1674 (P1.156)presentssimilaroptions. Two good fragmentscome from the Group of Polygnotos. 1677 (P1. 156), preserving the head and shoulders of a kalathiskosdancer, may be from a stamnos or column-krater,or perhaps a dinos, as Beazley suggested in the ARV2entry. 1678 (Pl. 156) is probablyeither a column-krateror a stamnos. 1679 (P1.157) by the Meidias Paintermay be from a stamnos or a krater.

I A. Ashmead, Hesperia35, 1966 [pp. 1-36], p. 21. 2 ARV2 558, 140. 3 SeeARV2 1175, 9-10 and 1317, 2-3.

PLAQUES

77

MISCELLANEOUS 1680, 1681

(PI. 157)

The entries in this section do not find places elsewhere. 1680 (PI. 157) seems to be some kind of receptacle with coarse, grainy glaze on the inside and rather elegant decoration in the form of a four-spoked chariot wheel on the underside. Since it is broken all around, one cannot be certain how the walls were formed or what the original shape was. Conceivably, it might be from a pyxis, except that the glaze is coarse, not smooth, on the inside. More straightforward is 1681 (PI. 157), a hollow ring surmounted by three skyphoi decorated with women. ASTRAGALOS 1682

(PI. 157)

As its name implies, the astragalosis a vessel shaped like a knuckleboneused as playing pieces in a game of chance.1 Few figured astragaloi survive. The most famous, in the Villa Giulia, bears an inscriptionpraising Timarchos and the potting signatureof Syriskos.2A little later are the one in London by the Sotades Painter that shows women dancing and a man gesturing toward them and the one in New York that recalls the Painter of London D 12, an artist in the workshop of the Penthesilea Painter.3 1682 (P1. 157), the small Agora fragment of an astragalos that shows part of a satyr,seems later than these.

PLAQUES 1683, 1684

(P1.157) A plaque is a flat, usually rectangular,slab of clay,sometimeswith slip on the back; 1684 is a good example. There are two types of plaque, funeraryand votive, and among the former there are two variants, the single plaque and the plaque series.1 Each type of plaque is much better known in black figure than in red figure, where it is very rare. Besides 1683 and 1684, two attributed ones come from the Akropolis: 1043 by the Nikoxenos Painter and 1051, which has the name of Mikion, who may have been the artistor the dedicator;a third, unattributed,is the famous plaque from Eleusis dedicated by Niinnion.2 In the red figure from the Agora, two fragmentaryplaques have been found. 1683 (P1. 157), one of the earliest Agora red-figuredpieces, was assigned by Beazley to a group of Sundry Very Early Red-figurePots by VariousPainters. It preservespart of a battle and was probably a votive plaque. 1684 (P1.157) is Polygnotanin style and, to judge from the somber expression on the faces of the two youths, was probably funerary. 1 For all aspects of the shape, see R. Hampe, Die Steleaus Pharsalos imLouvre, Berlin1951. Here,the figuredastragaloiaswell as astragaloiin other materialsare discussed,as are the literary sources. I have not seen the followingstudy:G. Rohlfs,Antikes imeingstigen Gross-Griechenland: Einevergleichende historischKnichelspiel linguistische Studie,Tubingen 1963 (cited by Beck, Album,p. 54, note 6). 2 VillaGiulia866(ARV2264,67; 205). Paralip.351,67;Addenda 3 London, B.M. E 804 (ARV2765, 20; Addenda 286). New York,M.M.A. 40.11.22 (ARV2965, -; Addenda 308). Robertson (AVP,p. 188)suggeststhatthe one in Londonmightbe a container

for knuckleboneplayingpieces. l See Agora XXIII, pp. 71-72;J. Brooklyn,"'Attic Black-Figure FuneraryPlaques"(diss.Universityof Iowa, 1981). 2 Akropolis 1043 (ARV2222, 30); Akropolis 1051 (ARV2 1341, -; Addenda367). For others from the Akropolisbut unattributed,see Langlotz, pls. 81-82. The Niinnion plaque, Athens, N.M. 11036 (Simon, Festivals, p. 32, note 56 and p. 36 withbibliography,andpl. 11;also, E. Simon,AK 9, 1966 [pp. 7292], pp. 86-91; G. Mylonas, Eleusisand theEleusinian Mysteries, Princeton1961, pp. 213-221).

PO'l"TTERS, PAINTERS, GROUPS, and CLASSES ED FIGURE, like black figure, is the name of a technique, and in Athens it prevailed for the decoration of pottery from the late 6th century B.C. until the third quarterof the 4th, perhaps even slightlylater.1 The gradualchange from the Protoatticstyle to the full Attic black-figure technique that occurred during the decades ca. 640-610 may easily be charted, particularlyfrom the pottery excavated in the Athenian Agora and the Kerameikos.2 No such intermediate stage existsfor red figure,and the variousstimulithat may have led to the change from the one technique to the other are not so readily apparent. In her contribution to the Copenhagen Symposion on ancient Greek and related pottery, Joan R. Mertens offers the most thoughtful discussion on this subject.3 She contends that the two techniques "representdifferent uses of the same means of artistic expression, and that the continuity between them is at least as important as the change from the one to the other"4 and that "vase painting in Athens has consisted of a recombination of certain fundamental elements from the Geometric period on."5 While accepting and elaborating on the importance of line in both techniques, a major consideration in her argument is the use of outline, which occurs as early as Protoattic,never trulydies out, and becomes an importantand expressiveingredient in the work of the Amasis Painter,where it does indeed give the figures a greater sense of volume.6 Still, while the use of outline in the third quarter of the 6th century is surely to be regarded as an important factor in the change from black figure to red figure, never does it offer the sharp contrast between red clay and black glaze that is so important for each technique. Another considerationwhen discussingthe change lies within the accomplishmentsof Exekias and the Amasis Painter,who, althoughartistsof very differenttemperaments,explorethe technical and expressive possibilities of the black-figuretechnique to their fullest extent.7 Nowhere else 1 543 and 544, fragmentarybell-kraters,are the latestpieces in this studyand seem best placed early in the last quarterof the 4th century. 2 See E. T. H. Brann,TheAthenian and Agora,VIII, LateGeometric Protoattic Princeton 1962; K. Ktibler,Kerameikos: Pottery, Ergebnisse derAusgrabungen, des spdten8. bisfijihen6. VI, ii, Die Nekropolen Berlin 1970. Jahrhunderts, 3 R. Mertens,"Some Thoughtson AtticVase-Paintingof the J. 6th Cent.B.c.,"AGRPCopenhagen [pp. 414-434], esp.pp. 414-425. 4 AGRP Copenhagen, p. 414. Boardman(ARFV: Archaic, p. 14), however,views red figureas a "positivebreakwith paintingtraditions,and ... differentlyinspired";Boardman,in ABFV,p. 105: "the new technique... was obviouslyinventedby a skilfulblack figureartist,and not, forinstance,a distinguishedmuralist(ifthere weresuchspecialists)sincemanydetailsandpatternsareborrowed straightfrom black figure." For a brief discussionof the various reasonsfor the changeand the possiblecandidateswho may have had a hand in it, see D. Williams,in Looking at GreekVases, T. RasmussenandN. Spivey,eds., London1991 [pp. 103-118], pp. 103107. He objectsto the view that sourcesoutsideof vase painting may havecontributedto the inventionof red figure(seepp. 80-81 below and p. 82, note 4) and sees the introductionof the new techniqueas takingplace "withinthe sphereof pottery-makingitself, namelythose in the black-figuretechnique,pioneeredby the Amasis Painter,combined with the searchfor new ideas, driven by the potterNikosthenes"(p. 106). He also suggeststhatthe very earliestred figuremightwell havebeen small,verymodestpieces,

and only laterwas the new techniquetransferredto largervessels. This suggestiongains validity from the fragmentsof very early red figurepublishedby B. Cohen, "Odditiesof Very EarlyRedin thej. Paul Figureand a New Fragmentat the Getty,"GreekVases 4 [OPA5], pp. 73-82. To these may be added 164 GettyMuseum (PI. 25), two very early fragmentsof a column-kraterthat show decidedlyblack-figureelements, such as the use of incision and added red (below,p. 84). See also D. Williams,"The Drawingof the HumanFigureon EarlyRed-FigureVases,"in NewPerspectives, pp. 285-301. 5 AGRP Copenhagen, p. 414. 6 Fora briefdiscussionof these vases,see J. R. Mertens,Papers on theAmasisPainterandHis World,Malibu 1987 [pp. 168-183], pp. 171-172, who adds that the vases with outline are earlier than the earliestred figure. The Amasis Painter'suse of outline is best observed on his famous neck-amphorain the Cabinet des Medailles, 222, signed by Amasis as potter (ABV 152, 25; Paralip.63, 25; Addenda 43), where it is used to define the flesh of the two maenadswho dance up to Dionysos. A particularly good illustrationin color may be seen in E. Simon, Diegriechischen Munich 1976, pl. XXIII, where it appearsoppositeto and Vasen, contrastssharplywith pl. 72, which shows the obverse. There, Athena'sfleshis renderedin the mannerstandardfor blackfigure: white applied over black glaze. Robertson(HGA,p. 217) also stressesthe importanceof outlinefor red figure. 7 Good black-figuredpottery continued to be produced until well into the 5th century,and it never truly died out, the

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in Attic black figure are shape, ornament, and figuresso beautifullyand sensitively coordinated. The later work of these two painters coincides with the first decade of experimentation with the new technique in various workshopsof the Kerameikos,but so far there is no firm evidence that either artist tried his hand at red figure,although surelyeach was well aware of it. Of the two, the Amasis Painter is closer to the innovation, and indeed one wonders if, one day, a red-figuredwork will come to light that is surely from his hand.8 In any investigation,it must be rememberedthat the decade of the 520's was a time of great artistic fermentation in the Athenian potters' quarter. White ground as a backgroundfor figures was firmly established,9and the short-livedtechniques of coral-red and added color made their debuts.10?Study of vases painted during this decade revealsthat while many artistscontinued with the tried and true, there were others who were ready to experiment with the various possibilities and combinationsof glaze, outline, incision, and added red or white in an attempt to produce new and expressiveresults. Of all these experiments,however,only red figure and white ground were to have a future. An essential ingredient in the change from black figure to red figure is the strong affinity between sculptureand painting, especially in the last decades of the 6th century. In a provocative paper read before the convention of the ArchaeologicalInstitute of America in December 1972, Homer A. Thompson addressedexactly this issue.11 Reviewing the history of color on sculpture as well as on panel paintings, such as the Pitsa pinakes in the Athens National Museum and the Megakles plaque from the Akropolis,12he demonstratedthat there was a very long tradition Panathenaicamphorasequenceprovidingthe firmtestimony.Yet, afterExekiasand the AmasisPainter,no reallynew developments may be observedin blackfigure. 8 Nothing in the work of Exekiasappearsto me to indicate that he was interestedin decoratinghis vasesin any but the pure black-figuretechnique,i.e., basicallysilhouettefiguresenlivened by incision as well as by accessoryred and white seen againsta light background. As for the more tantalizingquestionconcerningthe Amasis Painterand his relationshipto the red-figuretechnique,see Mertens(note 6 above), pp. 173-175. There she examinesthe two fragmentarycups in Florencefrom the AMA Group (ARV2 160;Addenda 181),to whichhavebeen addedtwo morefragments in the collectionof HerbertCahn (H.C. 695 and 696). On one of the Florencecups, 1 B 6, the letters A /n4 and E were restoredby Beazleyto read 4 rmAsi E P E 5E ; one ofthe Cahn fragments, H.C. 696, is inscribed: ]H/ \,j the other, H.C. 695, 5 Ero 1E . This, of course, is a potting, not a painting,connec-

tion, and so far no one has linkedthe drawingon these cupswith thatof the AmasisPainter(Cohen [AtticBilingualVases, p. 273], in her discussionof these cups, suggeststhat the satyron Florence A B 1 is "in stylevaguelyreminiscentof the AmasisPainter,"but she stops well short of attributingeither cup to him). Cahn has attributedhis fragmentsto Skythesand, acceptingthis, Mertens (p. 174) raises the possibilitythat the uninscribedbilingualcup in Florencefrom this group,A B 1, may also be by Skythes. For the AmasisPainterand red figure,see M. Robertson,'"AVignette Kunst[AKBeiheft9, Bern by the AmasisPainter,"Zurgriechischen 1973],pp. 81-84. Therehe drawsattentionto the pantherheadat the root of the handleof the oinochoeLondon,B.M. GR 1842.728.785 = B 524 (ABV154, 47; Paralip. 64, 47; Addenda 44) that resemblesred figureexceptthat "theblackcontourline is separated from the blackbackgroundby a narrowreservedor incisedline. The essence of 'red-figure'is that the blackgrounditselfdirectly surroundsand definesthe figures"(p. 83). Throughinscriptions,Amasishas also been identifiedas the fatherof Kleophrades,but this too is a potting connection. See p. 92 below, note 1. For inscriptionsin the work of the Amasis

Painter,see Immerwahr,AtticSript,pp. 36-39. 9 The two basic studies-of this important technique are Mertens,Attic White-Ground, esp. pp. 27-47 for the origins and establishmentof white ground; Wehgartner,Attischweissgrundige Keramik, esp. pp. 3-10 for the beginnings. Each of these authors views the problemquite differently.Wehgartner(p. 6) rejectsthe importanceof the AndokidesWorkshop,arguingthathis two amphorae with white slip, New York,M.M.A. 63.11.6 and Louvre F 203, merely representspecial uses of this technique;she opts (p. 7) for Nikosthenesas the chief innovatorof the white-ground technique,mainlybecauseof the wide varietyof shapesfromhis workshopon which white groundis used. Mertensgives a more measuredaccount (p. 33), namely, that while Nikosthenesused white groundfor its "decorativeeffect and novelty,"he does not seem to have made any creativeinroadswith the technique;she considersthe two amphoraeby Andokidesto be majorundertakings and that his workshopwas the more innovativeone (pp. 3335). Cohen (AtticBilingualVases,pp. 45-46) agrees that the New Yorkvaseis a showpiece.It seemsto me thatgiventhe differentuse each potter makesof the white-groundtechnique,there is room for each to havehad a hand in its developmentduringthe 520's. 10 Forcoral-red,the basicstudyis stillB. Cohen, "Observations on Coral-Red,"Mansyas15, 1970-1971, pp. 1-12. ForSix'stechWhiteLekythoi, pp. 116nique,or added color,see Kurtz,Athenian et archaeologia 9-10, 1978-1979, 120; H. Juranek,Actapraehistorica pp. 107-111; most recently,J. Grossman,GreekVasesin theJ. Paul der Jahrbuch 5 [OPA7], pp. 13-26 and L. Htunnekens, GettMuseum StaatUchen 28, 1991, pp. 7-21. Baden-Wiirttemburg Kunstsammlungen 11 "FromBlackFigureto RedFigure:WhytheChange?"Given on December29, 1972, upon the occasionof receivingthe Gold Medal for DistinguishedArchaeologicalAchievement. I am indebtedto ProfessorThompsonnot only forgivingme a copyof his paperbut also for allowingme to summarizehis basicargument. It may be appropriateto mention here that the bilingual vases do not play a role in the change from black figureto red, because all are later than the earliestred figure (see pp. 82-83 below). 12 For the Pitsa pinakes, see the good colored illustrationin

EARLY RED-FIGURE POT PAINTERS

81

outside of vase painting of applying dark or bright colors to a light surface, a tradition that lasted well past the Archaic period. This traditionwas broken, however,when fine-grained,white Parian marble became the stone preferred by sculptors. In relief sculpture, the carved figures were set against a blue or red background (blue for votive, red for funerary);only the hair, facial features, and details of armor or clothing were emphasized by paint.13 A few grave markersare not carved in relief at all but have reservedfiguresagainst a colored background.14The result is remarkably similar to that of Attic red figure;moreover,one must not forget that such monuments, especially funeraryones, were visible and well known to any Athenian. Thus, no one phenomenon was responsible for the invention of red figure; instead, various stimuliinside and outside the Kerameikosduringthe late thirdquarterof the 6th centuryprovided the necessaryingredients that prompted vase painters to reversethe black-figuretechnique and to invent red figure. From the very beginning, the new technique was impressive,and once it caught on, there was no turning back. Even though good black figure continued to be produced until well past the end of the 6th century, from about 520 on the most talented artists directed their creative energies toward experimenting with and developing the possibilitiesof red figure. EARLY RED-FIGURE POT PAINTERS THE ANDOKIDES PAINTER AND THE EARLIEST RED FIGURE

The earliestred-figurepainter who has left enough vases for us to establishhis personalityand chart his chronology is the Andokides Painter, named after the potter for whom he decorated five signed vases, four amphorae and one cup.2 The potter Andokides seems to have learned his craftin the workshopofExekias, who signs as both potter and painter.3 Each shows a markedpreference for the large showy amphora Type A P.Charbonneaux,Archaic NewYork1971,p. 312, fig.357; GreekArt, for the Megaklesplaque, p. 313, fig. 359. Cohen (AtticBilingual Vases, pp. 227-229) showsthat this plaquemay well be by Psiax. 13 A fewgood examplesthatmaybe datedin thethirdquarterof the 6th centuryare New York,M.M.A. 12.158 (G. M. A. Richter, ArchaicGravestones of Attica,New York 1961, p. 24, cat. no. 33, fig. 95); New York, M.M.A. 11.185 and Berlin A 7 (Richter, p. 27, cat. no. 37, fig. 109; for the color, see J. R. Mertens in TheMetropolitan Museumof Art:Greece andRome,New York 1987, pp. 30-31, cat. no. 16); New York,M.M.A. 36.11.13 (Richter, p. 32, cat. no. 45, fig. 126; for a modern renderingof the colors, see L. Hall, AJA 48, 1944, pls. VIII, IX); Athens, N.M. 4472 (Richter,p. 42, cat. no. 59, fig. 152). Independentlyand somewhatlater, Boardman(ARFVArchaic,p. 14) also linked the inventionof red figurewith painted relief sculpture:"The comparisonwith relief sculpturemay go deeper,however,and it might be fair to read in some of the conventionsof redfiguremoreconsciousimitationof reliefwork,"but Classical, (ARVF: p. 11)"thepracticesof panelpaintingmighteven lie behind the very inventionof the red figure technique." See also Cohen (AtticBilingualVases, pp. 113-117), who, in connection with the originsof the AndokidesPainter,suggeststhat he began as a coloristof marblereliefs,in particularthose of the Siphnian Treasury(see p. 82 and note 4 below). 14 These come from the last years of the 6th century and thus postdate the beginning of red figure, yet they are visually instructive:New York,M.M.A. 15.167 (Richter[note 13 above], p. 44, cat. no. 61, fig. 147); Athens, N.M. 30 (Richter,p. 48, cat. no. 70, figs. 159, 160); Athens, N.M. 31 (Richter,p. 48, cat. no. 71, figs. 163, 164);BerlinA 8 (Richter,p. 49, cat. no. 73, fig. 67). The last was linked by Rumpfwith Skythes(A. Rumpf,

[HandbuchderArchaologie6], Munich1953, MaleriundZeichnung p. 78). Forvasepaintersapplyingcolorto marble,see p. 82 below. I ARV2 1-6; Paralip.320-321; Addenda149-150. The best ch. 3. studyis Cohen,AtticBilingualVases, 2 Berlin2159 (ARV23,1; Paralip.320, 1;Addenda 149);Louvre G 1 (ARV23, 2; Paralip.320, 2; Addenda149; Denoyelle, Chefs d'oeuvre...Louvre, pp. 92-93, cat. no. 41);New York63.11.6 (ARV2 1617, 2 bis,Paralip.320, 2 bis,Addenda 149);LouvreF 203 (ARV2 4,13; Addenda150; Denoyelle, pp. 94-95, cat. no. 42); Palermo V 650 (ABV256, 21; ARV25, 14; 37, 1; Paralip.114, 21 and 321, 67 and 150). The signatureson the amphoraeare 14; Addenda incisedon the foot; the one on the cup is paintedin blackletters on side A. Forincisedsignatures,see the interestingdiscussionby B. Cohen, "The LiteratePotter:A Traditionof IncisedSignatures on AtticVases,"MetMusJ26, 1991, pp. 49-95. 3 Fora summaryof the signaturesof Exekias,see Development, p. 58; unfortunately, pl. 63:1, whichillustratesthe doublesignature on Berlin1720,is printedleft and rightreversed;the editorsregret thiserror.Exekiasseems,on the whole,to signvasesthatareeither new shapesor old ones modifiedwith regardto detailsof shape or systemsof decoration. Forexample,he signedthe firstknown eye-cupof Type A, Munich 2044 (ABV 146, 21; Paralip.60, 21; Addenda 41) and the firstcanonicalamphoraType A, Vatican344 60, 13; Addenda (ABV 145, 13; Parahip. 40). Modified examples includehis neck-amphorain Londonwithits decidedlyovoidbody thatprovidesthe model for the late black-figuredexamplesof this shape(B.M.GR 1836.2-24.127 = B 210:ABV 144, 7; Paralip. 60, 7;Addenda 39) and his fragmentarydinosin the VillaGiulia,which is the firstto haveits figurespaintedon the insideof the riminstead of beingset in friezeson the outsideof the body (50599:ABV 146,

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with flanged handles and sturdy foot in two degrees. This was the type of amphora favored by Exekias, and it is probably not surprisingthat his younger colleague shared this preference. By contrast, the work of the Andokides Painter, especially his earliest, does not have anything in common with the style of Exekias or, for that matter, with that of any contemporary. In her thoroughstudyof Attic bilingualvases, Beth Cohen offersan intriguingexplanationfor the origins of the AndokidesPainter,namely,that he began his artisticcareer as a colorist of marble sculpture, in particularthe sculpturesof the Siphnian Treasuryat Delphi,4 and slightly later turned to the decoration of vases. On the Treasury,the light, cream-colored figures appeared against a dark background,and with this firmlyin mind, it would have been naturalfor the Andokides Painterto take the initiative and reserve his figuresagainst the glazed background.5 Cohen's starting point is the painter's amphora in New York, his earliest preserved work, which she observes is very close to the Treasury sculpture in both general style and specific details.6 Each side of this vase displaysa tentativeness,especially the almost complete absence of overlappingfigures, suggesting that the painter was a little unsure and feeling his way. As the Andokides Painter grows more confident with the red-figuretechnique, he creates compositions where the figures truly interact with one another. A good example is his amphora in Berlin, where the contest for the tripod on the obverse is now a true struggle between Herakles and Apollo and, on the reverse, two pairs of wrestlersare locked in tense combat.7 As he develops, the Andokides Painter becomes a master of skillfullyarranged, elegant figures wearing richly decorated garments.8 In the Agora excavations,so far, only one fragment, 24 (P1. 10), has been linked with the Andokides Painter. Said by Beazley to recall the painter "more or less vividly,"9 it shows Herakles (only his thighs) striding to right, and the drawing seems closest to the New Yorkand Berlin amphorae. 24 comes from an amphora, but one cannot be certain which kind. The wall does not seem thick enough for Type A; perhaps it is Type B and, if so, it would add a new variant to those by or near the Andokides Painter. But without more evidence it is safer to place 24 in the Amphora, Type Uncertain category. The early work of the AndokidesPainteris in pure red figure. Seven bilingual vases comprise most of the middle and late work of the artist, who decorated the red-figuredpart of each; the

20; Addenda 41). It is temptingto speculatethat Exekiasmay also havesignedthe Agoracalyx-krater,the earliestpreservedexample of this shape(A-P 1044:ABV 145, 19;Paralip. 60, 19;Addenda 40). Forinscriptionsin the workof Exekias,see Immerwahr,AtticScript, pp. 32-36. For the signaturesof Andokidesin relationto those of Exekias,see Cohen,AtticBilingualVases, pp. 3-4. 4 Cohen, Attic BilingualVases, pp. 105-117, esp. pp. 113-117. She is not the firstto note the stylisticaffinitiesbetweenthe two, but hers is the most detailedaccount,especiallyher discussionof his early work (pp. 119-161, passim). Stronglyopposed to this at GreekVases(p. 79, note 4 explanationis D. Williams,in Looking above),p. 105:"Yet,surelyit is inherentlyunlikelythata painterof reliefsculpture,who was skilledenough to be employedon a new and elaboratebuildingat Delphi, would have moved to Athens and immediatelygone to work in a potter's shop and equally suddenlyinventedthe red-figuretechnique?The skillof potting and vase-paintingrequiredyears of experience,so much so that they were most probablypassed, then as now, from generation to generationwithin the same family." One should remember, however,that the coloringof marblereliefsculpturewasprobably not restrictedto fillingin the backgroundbut verylikelyincluded paintingdetailson the figuresthemselves,such as facial features and decorationon garments. Brinkmann'srecently published study of the SiphnianTreasuryhas made this abundantlyclear zumformalen AufbauundzumSinngehalt (V Brinkmann,Beobachtungen Munich 1994).Thus, addingcolor derFriesedesSiphnierschatzhauses,

to marblewouldrequirea certainskillthatI shouldthinkcouldbe transferredto the decorationof a pot. If the AndokidesPainterwas not the inventorof the Atticred-figuretechnique,he wascertainly the firstto see the possibilitiesvisiblein a few experimentalpieces, like those mentioned on p. 79 above, note 4, and to develop them. Furthermore,there seems to be no practicalreasonwhy a skilledpainterwouldbe restrictedto decoratingonjustone specific surface. 5 Forthe tracesof color preservedon the Treasuryat the time de DephesIV, ii, Paris 1928, pp. 93-95, of discovery,see FouiUes 108-109, 126, 140, and 159. For a good idea of the contrastin antiquity,see P. de la Coste-Messeliere,AuMusicdeDelphes,Paris 1936, p. 399, fig. 18, the West Frieze. See the recent study by Brinkmann(note4 above). 6 New York,M.M.A. 63.11.6 (note 2 above). Fordiscussion, see Cohen, AtticBilingualVases,pp. 119-131. As a result of her observationsof the closestylisticconnectionbetweenthisvaseand the Treasury,she wishes to lower the date for the beginningof red figureto about 525, the time when the workon the Treasury shouldhavebeen about completed. 7 Berlin2159 (note 2 above). 8 Good examples are the obversesof these two amphorae: the fierce fight on Louvre G 1 (note 2 above) and the splendid Amazonomachyon Orvieto,Faina64 (ARV23, 5; Paralip.320, 5; Addenda 149). 9 ARV25.

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83

black-figuredwork is attributedto the LysippidesPainter,10a pupil ofExekias. Whether these are two separate artists or a single man decorating vases in both techniques is a question that has long tantalized students of Greek vases. On at least one occasion, Beazley opted for a single artist,11but his final decision was to keep the two painters apart.12 The most persuasive and detailed arguments for distinguishing the Andokides Painter from the Lysippides Painter and demonstratingtheir collaborationare those of Cohen.13 Her case for two painters is a very strong one; barring new discoveries or perceptions that would tip the scale in favor of a single artist, the controversymay now probably be put to rest. Generally,the red-figuredside of the bilingual amphora is the more accomplished and the more inventive, even when the scene is the same, as it is on the one in Munich and the two in Boston.14 The Andokides Painter simplifies the scene by making the figureslargerand by including less detail. By comparison, the picturesby the LysippidesPainter seem derivative. Some of the subjects on the red-figured sides of these bilingual amphorae attest well the Andokides Painter's creative and imaginative approach to myth. On Louvre F 204,15 Herakles gingerly approaches Cerberus, who stands in the gateway to Hades' palace, hero and hound visibly wary of each other. Athena stands by, and a tree adds a touch of landscape. See also the splendid scene on the obverse of London, B.M. B 193,16 where Herakles, kneeling on the ground, has raised the Nemean Lion to shoulder level and prepares to hurl it to the ground, knocking it senseless, but not before the feline's sharp hind claws leave their mark on the hero's shoulder. This is an ambitious scene that as far as I know does not have a good parallel in vase painting.17 Of all the bilinguals, the oddest is the Palermo eye-cup, for here the two techniques are not separatedback from front but run into each other below the handles.18A furtherexample of the Andokides Painter's experimentation with technique is his white-figured amphora, Louvre F 203,19 an experiment that seems not to have been repeated. On one side, Amazons prepare for battle, with one on horseback;on the other, they swim in the sea. In style there are many affinities with that of the Siphnian Treasury,especially with the mounts on the South Frieze.20 The Andokides Painter'scompositions are alwayswell thought out with regard to the shapes they decorate; often, they are innovative. His figuresare colorful and elegant; in Beazley'swords, "the work of the Andokides Painter is always clean and gay, if not so certain, so precise as the best black figure drawing.,"21 A particularly versatile and elegant artist is Psiax, who signed as painter two red-figured alabastra,each bearing the name of the potter Hilinos; Psiax workedfor two other potters as well, Menon and, perhaps more important,Andokides.22He is a slightlyyounger contemporaryof the 10 This artist takes his name from the kalos inscriptionon London,B.M.GR 1851.8-6.15 = B 211 (ABV256,14; Paralip. 113, 14;Addenda 66). 1 See Beazley,Development, p. 104, note 2 bisfor the historyof his decisionson one painteror two. Fora summaryof the various scholarlyopinions, see Robertson,HGA,p. 653, note 107; more briefly,AVP,p. 297, note 13. 12 ARV22.

13 chs. 2-3, passim. Cohen,AtticBilingualVases, 14 Munich 2301 (ABV255, 4; ARV24, 9; Paralip.113, 4; 320, 66 and 149); Boston, M.FA. 01.8037 (ABV 254, 2; 9; Addenda ARV24, 7; Paralip.113, 2; 320, 7; Addenda 65 and 149);Boston, M.FA. 99.538 (ABV255, 6; ARV24, 12; Paralip.113, 6; 320, 12; Addenda 66 and 150). 15 ABV254, 1;ARV2 65 4, 11; Paralip.113, 1; 321, 11;Addenda and 150. 16 ABV 254, 3; ARV24, 8; Paralip.113, 3; 320, 8; Addenda 66 and 149. The numberis now GR 1839.11-9.2. 17 A contemporarygem in Bostonis veryclose in composition: M.F.A.27.674 (J. Boardman,Archaic Greek Gems:Schools andArtists

in theSixthandEarlyFifthCenturies B.C., Evanston 1968, p. 94, cat. no. 254, pl. 17). In vase painting, one may cite the whitegroundlekythosby the EdinburghPainterin the GoulandrisCollection:Athens, No. Col. 2 (L. Marangou,AncientGreek Art:The Athens 1985, p. 96, cat. no. 137). There, J.IP Goulandris Collection, Heraklesholds the lion at waist level and beats it with his club. But neitheris a real matchfor the Londonamphora. 18 PalermoV 650 (note 2 above). For discussion,see Cohen, AtticBilingualVases, pp. 246-249. 19 Note 2 above. For pertinent remarks,see Cohen, Attic BilingualVases, pp. 153-157. 20 Cohen (AtticBilingualVases,pp. 154-155) describesmany detailsthe twohavein common,and theseobservationsstrengthen her argumentthat the AndokidesPainterwas much more than merely aware of the Treasuryin terms of its general style, but, instead, totally familiarwith even its smallestdetails. For good photographs,see P. de la Coste-Messeliere,Delphes,Paris 1957, pls. 72-75. 21 Beazley,Vases inAmerica, pp. 5-6. 22 Hilinos:Karlsruhe242 (ARV27, 4; Paralip.321, 4; Addenda

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POTTERS, PAINTERS, GROUPS, and CLASSES

AndokidesPainter,but he differsgreatlyfrom him in both style and temperament, even though in many respects there is considerable influence from the Andokides Painter himself.23 Although Psiax painted three handsome amphorae Type A,24 he is most comfortable decorating rather small, exquisite vases, and it is probably this characteristicthat has prompted scholars to suggest that Psiax may have been a pupil of the Amasis Painter,whose preference for small, perfectly formed vases is well attested.25Initially a black-figurepainter,Psiax mastered all the techniques, that is, red figure,white ground, coral-red, and Six's. He is the first artist to produce a significant number of vases with black figureson white ground,26and his use of the other special techniques marks him as a particularly skillful and innovative artist. In pure red figure, he often lightly incises anatomical details instead of painting them in, an oddity that is probably a cross-over from his contemporary work in black figure. 1575 (P1. 149), a fragmentary cup Type C, has such incision

and is very likely by Psiax. 24 (PI. 10), which recalls the Andokides Painter, and 1575 (P1. 149), which is probably by Psiax, are the two earliest red-figuredfragmentsfrom the Agora excavations that may be linked with a specific painter. Two other contemporary pieces were placed by Beazley in the Group of Very Early Red-figured Pots by Various Painters.27 164 (P1.25), two fragments of a small column-krater,has not yet been linked with a specific artist,but the style of drawing as well as the abundant use of accessory red, applied more or less in the black-figure manner (i.e., on top of

black glaze), confirms its early date. So too for 1683 (P1. 157), a fragment of a small plaque with a hole for suspension drilled near the top. It shows a combat in which one warrior carries a Boiotian shield emblazoned with a rosette between two serpents, each emblem in black figure. The earliest work of Oltos is contemporary with the mature production of the Andokides

Painter as well as the work of Psiax,28but it continues until the end of the 6th century.29 The shape favored by Oltos is the bilingual eye-cup Type A; it has a small tondo decorated with a single figure that fills the space very elegantly. On each side of the exterior there is a pair of apotropaic eyes, sometimes with a nose, more often with a figure between, and at each handle there is a tightly closed palmette with a red heart. Oltos paints robust figures that often have rather heavy thighs, and sometimes the head seems slightly large for the body. A favorite pose shows the figure moving in one direction, usually to right, looking back. On these early cups, the figures appear singly and do not interact with one another as they do on later vases by Oltos (p. 88 below). 150). Menon:Phila150)and Odessa 26602 (ARV27, 5; Addenda delphia5399 (ARV27, 3). Andokides:London,B.M.GR 1980.1176)and 29.1, ex CastleAshby(ABV293, 7; Paralip.127, 7;Addenda Madrid 11008 (ABV253, 1 and 294, 24; ARV27, 2; Paralip.128, 77 and 150). The most detaileddiscussion 24 and 321, 2; Addenda of Psiax is by Cohen, AtticBilingualVases,pp. 196-239. See also J. R. Mertens,"SomeNew Vasesby Psiax,"AK 22, 1979,pp. 2237, who presentsfive new pieces, three black-figuredmastoi,one of them with the figureson white ground, and two red-figured Hydriades cups;also B.Jeskeand C. Stein, "Einefruihrotfigurige Psiax,"HASB8, 1982, pp. 5-20. 23 See Cohen,AtticBilingualVases, pp. 196-239, passim. 24 Munich 2302 (ABV294, 23; ARV26, 1; Paralip.128, 23; 77 and 150);Madrid 11008 and Philadelphia5399 (both Addenda note 22 above). 25 ForPsiax as a pupil of the AmasisPainter,see Cohen, Attic BilingualVases,p. 196, note 7 for the references. For Psiax'links WhiteLekythoi, withAmasis,see the briefremarksby Kurtz,Athenian p. 11. For the Amasis Painterhimself,the most comprehensive treatmentis the exhibitioncatalogue:D. von Bothmer,TheAmasis New Yorkand Malibu 1985,passim. Painter andHis World, 26 See Mertens,AtticWhite-Ground, 35-40; Kurtz,Athenian pp.

WhiteLekythoi, pp. 9-12. In the Agora excavations,one fragmentary white-groundlekythoshas been found that is near Psiax in XXIII, p. 205, cat. no. 817, pl. 75). An oddity style:P 5002 (Agora of this lekythosis its figuredpredella below the main zone. If Cohen's astute observationsare correct and her attributionaccepted (AtticBilingualVases,pp. 199-202), Psiax' earliestwhitegroundworkoccurson side B of the mouthof New York,M.M.A. 63.11.6 by the AndokidesPainter(note 2 above). 27 For the group, see ARV211-12; Paralip.321; Addenda151. For some other very early pieces, contemporarywith these, see Cohen (p. 79 above,note 4). 28 ForOltos, see ARV253-69; Paralip. 162326-328; Addenda 166. For his very many bilingual eye-cups, see Cohen, Attic BilingualVases,pp. 322-399. Also, J. Harnecker, Oltos:UnterundStil einesfriihrotf*guenSchalenmaters zu Themenwahl suchungen Reihe XXXVIII, Archaologie, [EuropaischeHochschulschriften, vol. 18], Frankfurt1991;S. Klinger,"TheSourcesof Oltos'Design on the One-PieceAmphoraLondon E 258," AA, 1993, pp. 183200. 29 1400 and 1401 (P1.129)belongto his matureandlaterwork; thustheyaretreatedin the sectionon earlyred-figurecup painters (pp. 87-88 below).

THE PIONEER GROUP

85

THE PIONEER GROUP EUPHRONIOS, PHINTIAS, EUTHYMIDES, AND OTHERS

If the Andokides Painterand his contemporariesfirmlyestablishedthe red-figuretechnique in the Athenian Kerameikos, it was the second generation of red-figurepot painters who developed its expressivepossibilities. Active from the late 520's until the end of the 6th century and perhaps somewhat beyond, these painters fearlesslyexplored what brush and glaze could do, producing some of the most remarkablecompositions that have come down to us. They well deserve the nickname "Pioneers,"because their figureswere "fullof the enthusiasm of the pioneer: the artist delights in collecting and recording the very smallest facts."l Chief among these painters is Euphronios, who worked with the potters Kachrylion and Euxitheos.2 Euphronios' earliestwork appears on cups and often shows stylisticlinks with Oltos, especially the proportions of the figures;recent attributionsmake clear that Euphronios' career begins earlier than was previously thought and that at times he is influenced by Psiax.3 Pertinent to the Agora material are the cups by Psiax, Oltos, and Euphroniosthat have a palmette quatrefoil in the tondo, for 1600 (P1.151) adds a newcomer to these few and finds its best comparisonwith a cup by Oltos in Madrid. Important among the early works by Euphronios are two cups: the Sarpedon cup formerly in the collection of Nelson Bunker Hunt, for its composition is clearly a forerunnerof the monumental version painted on the calyx-kraterin New York;and the badly flaked cup in the J. Paul Getty Museum that depicts Ajax carryingthe body of Achilleus, a theme popular in Attic black figure after it was treated so splendidly by Exekias but quite rare in red figure, where there seem to be only four known examples.4 The mature work of Euphronios appears mainly on large vessels, and, while he decorates a wide range of shapes, he seems particularlyattracted to the calyx-krater,probably because its flaringshape provides a broad format over which his figurescan spreadout comfortably.He is the first painter to perfect the use of relief line and dilute glaze that produced such richly textured surfaces on so many of his vases. Good examples are the gods on the New Yorkkrater and the figure of Herakles on the Levy and White krater,on the Milan fragment, and on the St. Petersburg neck-amphora, which is close to the painter.5 The often-complicated foreshortenedposes of his figuresgive them a monumental, almost sculptural,quality. His keen observationand his detailed rendering of human anatomy often result in figures that are particularlylively and expressive, prompting Beazley to write long ago that "Euphronioshas explored that curious country, the 1

AncientHistory5, 1927, p. 423. For Beazley in Cambridge inscriptionsin this group,see Immerwahr,AtticScript,pp. 63-74. 2 Euphroniosin general, see ARV213-19; Paralip.321-322; Addenda 152-153; Euphronios, passim.Also:Euphronios [Attidel SeminarioInternazionaledi StudiArezzo,27-28 Maggio, 1990], Florence 1992;Euphronios-Peintre [Rencontresde l'Ecole du Louvre], M. Denoyelle,ed., Paris1992;Euphronios undseineZeit,Berlin1992. For the collaborations,see Kachrylion:Munich 2620 (ARV216, cat. no. 41), signed 17; Paralip.322, 17; Addenda153; Euphronios, by both potter and painter;LouvreCp 11981 (ARV217, 21; Addenda153;Euphronios, cat. no. 46), signedby potteronly; London, B.M. GR 1837.6-9.58 = E 41, and Rome, Villa Giulia no no. cat. nos. 36 (ARV258, 51 and 1557, 1; Addenda164; Euphronios, and 37), signed by potter only, dissociatedfrom Oltos and reattributedto Euphronios(M. Robertson,J. PaulGet_y Museum Journal 9, 1981 [pp. 23-34], p. 26); two other cups, Art Market, ex Hunt and Malibu, and the J. Paul Getty Museum 77.AE.20 cat. nos. 34 and 35) are consideredto be potted by (Euphronios, Kachrylion(Robertson,loc.cit.). Euxitheos:LouvreG 33 (ARV2 cat. no. 11), signed by potter only; New York, 14, 4; Euphronios, M.M.A. 1972.11.10 (Euphronios, cat. no. 4; Addenda 404 and 405),

signedby both potterand painter. 3 See particularlyD. von Bothmer,"Euphronios:Neue Erkenntnisse,"in Euphronios, pp. 39-45. 4 Art Market,ex Hunt (note 2 above),signed by Euphronios in paintedletterson the side of the foot; the inscriptionsnaming the figuresare reserved,not painted in added red (for this, see ARV25, subno. 6). Malibu,the J. Paul Getty Museum77.AE.20 (note 2 above). The examplesby Exekias:side A of Berlin 1718 (ABV144, 5; Addenda 39) and each sideof Munich 1470(ABV144, 6;Addenda 39). Besidesthe sceneon the Malibucup, the otherredfiguredexamplesknownto me are Vienna 3722 from the Group of Very EarlyRed-figuredPots by VariousPainters(ARV211, 3; Paralip.321, 3; Addenda 151);Malibu, the J. Paul Getty Museum 77.AE.5.4(etal.) by the BerlinPainter(M. B. Moore, "The Berlin Painterand Troy,"J. PaulGetty Museum Journal[forthcoming])and Cab. Med. 537 and 598 by Douris (ARV2429, 19; Addenda 236; Buitron-Oliver, Douris,p. 74, cat. no. A 32, pl. 21). 5 New York,M.M.A. 1972.11.10 (note 2 above);New York, cat. no. 6);Milan06.590 = inv.A 1810 LevyandWhite(Euphronios (ARV214, 5; Addenda 152;cat. no. 8);and St. Petersburg610 (ARV2 18, 2; Paralip. 509, 2; Addenda 153;cat. no. 17).

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POTTERS, PAINTERS, GROUPS, and CLASSES

body of a man and he finds, likes, maps, and remembers a great many capes, roads, hills, and hollows" and "his greater knowledge of the human body enables Euphronios to render more special aspects of the human mind."6 Such remarksevoke the figures of Herakles and Antaios on the Louvre krater,where the tense, vigorous hero contrasts sharply with the limp, vulnerable giant, a contrast greatly heightened by the even featuresand neat coiffureof Heraklesjuxtaposed with the coarse face of the giant, his teeth bared in pain, his eyeball rolling up beneath his upper lid, indicating his imminent demise, and his wild, shaggy hair and beard. Others include the youthful corpse of Sarpedon on the New York krater, blood still streaming from the wounds inflicted by Patroklos,his lips parted slightly,and his eye closed in death; the collapsing figure of Kyknos on the Levy and White krater;and Toxis, the Amazon fatally wounded by Telamon on the Arezzo volute-krater.7In the Agora our only link with Euphroniosis a marginal one, 1556 (Pls. 146-147), a small cup Type C decorated on the inside only and praising a youth named Agasikrates. It is not by Euphronios himself but recalls him and compares favorablywith the Gotha cup.8 A very fine and sensitive draftsmanis Euthymides,the second important artist of the Pioneer Group. He was probably a slightly younger contemporary of Euphronios.9 Euthymides signs as painter and on three occasions gives his patronymic: Ho o t o .10 585 (Pls. 61-62) preserves only the patronymic as well as a potting verb without an accompanying name. Like Euphronios, Euthymidesmainly decoratespots and has produced a good variety of them. Unlike Euphronios, however,he does not favorthe calyx-kraterbut ratherthe amphora Type A, the variantpreferred by the AndokidesPainter. Euthymides'compositionsare usuallysimplerthan those of Euphronios, and he uses much less dilute glaze and relief line to create patterns and textures. Clean, fluid lines drawn with absolute sureness define the poses and anatomy of his figures as well as the folds of their voluminous garments. With a minimum of line, Euthymidesachieves a new degree of volume with his figures, and his compositions have a spatial depth not seen before in vase painting. A particularlyrelevantexample is Eledemos, the middle komast drawn in three-quarter back view on the reverseof Munich 2307,11 which has on its obverse the solemn scene of Hektor leaving home, a touching moment in which his parentslook on quietly,hoping their eldest son will return safely. The front of this vase bears the painter's signature as well as his patronymic, and the inscription continues at the far left of the reverse in the form of the famous boast, which may refer to the innovative drawing of the middle komast.12 In the Agora material the figure 6 inAmerica, p. 27. ForEuphroniosandanatomy, Beazley,Vases see D. von Bothmer,"Euphronios:An Attic Vase-Painter'sView of the HumanBody,"in "ISpuaoN. I. rouXvxSpvw AtaoXet;q, 1986-1989, Athens 1990, pp. 25-42. 7 Louvre G 103 (ARV214, 2; Paralip.322, 2; Addenda 152; ... Louvre, cat. no. 3; Denoyelle,Chefsd'oeuvre pp. 104Euphronios, 105, cat. no. 47); New York,M.M.A. 1972.11.10 (note 2 above); New York,LevyandWhite(note5 above);andArezzo1465(ARV2 15, 6; Paralip.322, 6; Addenda152; cat. no. 13; Buitron-Oliver, Douris,pls. 139-140). 8 GothaAhv.48 (ARV220, -; Paralip. 322;Addenda 153). 9 Cf. ARV226-30; Paralip.323-324; Addenda155-157. For Euthymidesbeing slightlyjunior to Euphronios,see, e.g., Robertson, HGA,p. 222 and AVP,p. 29 or (Boardman)ARFVArchaic, p. 33. 10 Vaseswith both the paintingsignatureand the patronymic: Munich 2307 (ARV226, 1; Paralip.323, 1; Addenda 155);Munich 2308 (ARV226, 2; Addenda156); Turin 4123 (ARV228, 11; Addenda156). As painteronly:Bonn 70 (ARV228, 12;Addenda 156); AdriaBe 64.10 (ARV228, 18;Addenda 156);Florence7 B 2, Boston, M.EA. 10.203, London,B.M. GR 1952.12-2.7, VaticanAstarita

121, New York,M.M.A. 1977.192.2a-d and 1982.386 (ARV229, 19; Addenda 156). Euthymidesalso signs as potter in neat letters incisedon the foot of an oinochoe,New York,M.M.A. 1981.11.9, which is decoratednot by him but by anotherartistwho seemsto have some ties to the SosiasPainter.Fora tentativeattributionto intheJ. PaulGetty Vases the PythoklesPainter,see D. Williams,Greek Museum 5 [OPA 7] [pp. 41-64], p. 62, note 19. The patronymic has been readdifferently.L. Talcott(Hesperia 5, 1936 [pp. 59-69], p. 59) suggests"the 'grey-hairedone."' Immerwahr(AtticScript, p. 72) opts for the sculptorPollias,who is knownfromdedications on the AthenianAkropolis. For these, see A. Raubitschek,DediA Catalogue cations of theInscriptions fromtheAthenian of the Akropolis: SixthandFifthCenturies B.C., Cambridge,Mass., 1949, pp. 166168, cat. no. 149;pp. 221-223, cat. no. 186;p. 224, cat. no. 189; pp. 250-251, cat. no. 220; pp. 251-252, cat. no. 221; pp. 329-330, cat. no. 307. l Note 10 above. 12 For this,see the remarksby G. M. A. Richter,AtticRed-Fiured in Greek New Haven 1958, pp. 55-56 and Perspective Vases: A Survey, andRomanArt,London 1970, pp. 22-23; also, Robertson,HGA, pp. 223-224 and AVP,p. 32. For linking the inscriptionsfront

EARLY RED-FIGURE CUP PAINTERS

87

of Apollo with his kitharaon 585 (Pls. 61-62), although fragmentary,offers firm testimony to the fine draftsmanshipof Euthymides, and the drawing seems closest to the Theseus amphora.13 A furtherlink with Euthymidesis 248 (P1.34), a small fragment of a calyx-kratersaid by Beazley to look like an imitation of the painter. The head of the youth on 248 compares favorablywith that of the young man holding a pointed amphora on Warsaw 142332 and with those of the wrestlerson Turin 4123.14 The third important artist of the Pioneer Group is Phintias, who seems to be a slightly older contemporaryof Euphroniosand Euthymides. His name is known from both painting and potting signatures,but he did not decorate his one figuredvase signed as potter, a small cup in Athens.15 One of his earliest vases, a cup Type A in Munich, bears the signature of the potter Deiniades.16 On a hydria he praises Euthymides,surely a friendlygesture.17Phintias decorates cups as well as pots, but the latter are perhaps more memorable, especiallyhis masterpiece, the amphora Type A in Tarquinia.18His figuresdo not have quite the weight and strengthof those by Euphroniosand Euthymides;on the other hand, they are graceful and at times elegant. None of the Agora red figure is by Phintiashimself, but 1407 (Pls. 129, 130),the smallcup signed by the potter Gorgos, shows certain links with his workshop,particularlywith Athens, N.M. 1628, signed by Phintias as potter but painted by another not yet named.19 The Gorgos cup belongs with other fine late-6th-century cups, in particularsingletons such as the Sosias Cup, the Hegesiboulos cup, and the Gotha cup.20 Other good painters, such as Smikros, Hypsis, the Dikaios Painter, and members of the Pezzino Group, may be counted among the Pioneers, but none of the Agora vases and fragments may be attributedto them.

EARLY RED-FIGURE CUP PAINTERS OLTOS, EPIKTETOS, AND SKYTHES

Alongside the painters of the Pioneer Group are those who specialize in decorating cups, and it is with some of them that the fine series begins that will culminate in the masterpieces of Onesimos, the Brygos Painter, Douris, and Makron. Chief among the late-6th-century cup painters are Oltos and Epiktetos,but there are also quite a few others who, together, give a good idea of the work being created in this area of Athenian ceramic production. The early work of Oltos has alreadybeen mentioned as contemporarywith the mature work of the Andokides Painter and the early work of Euphronios(p. 84 above, and p. 85 above). Oltos and back, see A. Furtwanglerin FR I, p. 64. Forthe inscriptions on this vase, see G. Neumann,AA, 1977 [pp. 38-43], pp. 39-41 and A. Linfert,Rivistadi Archeologia 1, 1977 [pp. 19-26], pp. 1922, who, like Beazley (ARV226) and others, sees the boast as a good-naturedtease. Also, H. Engelmann,"Wienie Euphronios," undEpigraphik Zeitschrinftir 68, 1987, pp. 129-134, who Papyrologie suggeststhat the inscriptionson the reverserepresenta playful spiriteddialoguebetweenthe threekomasts. 13 Munich2309 (ARV227, 4; Paraip.323, 4; Addenda 156). 14 Warsaw142332 (ARV227, 8; Paralip.324, 8; Addenda 156); Turin4123 (note 10 above). 15 Athens,N.M. 1628 (ARV225, 1;Addenda 155;HumanFigure, pp. 140-141). 16 For Phintias, see ARV222-26; Paralip.323; Addenda154155; C. WeiB,"Phintiasin Malibuund Karlsruhe,"GreekVasesin theJ. PaulGetty 4 [OPA5], pp. 83-94. Paintingsignatures: Museum TarquiniaRC 6843 (ARV223, 2; Paralip.323, 2; Addenda155); LouvreCp 10784 (ARV223, 3);London,B.M. E 159 (ARV224, 9;

Addenda 155);Munich 2590, signedby Deiniadesas potter(ARV2 24, 12; Paralip.323, 12; Addenda 155);Baltimore,Johns Hopkins B 4 (ARV224, 14;Paralp.323, 14;Addenda 155);Karlsruhe63.104 (ARV21700, 12 ter,WeiB,pp. 83-93); and Malibu, the J. Paul GettyMuseum80.AE.31(ARV21620, 12 bir,WeiB,pp.90 and9293). Pottingsignatures:Athens,N.M. 1628 (note 15 above);Eleusis, no no. (ARV225, -, 2); and Akropolis 873 (ARV225, -, 3). 17 Munich2421 (ARV223, 7; Paralip. 323, 7;Addenda 155). 18 RC 6843 16

(note above). 19 Note 15above. Forthe connectionof 1407 with

Phintias,see particularlythe evidenceput forth by C. Cardon,AJA83, 1979, pp. 169-173. 20 Sosias:Berlin2278 323, 1;Addenda (ARV221, 1;Paralip. 154); Hegesiboulos:New York, M.M.A. 07.286.47 (ARV2175; Paraip. 339; Addenda 184). Bothmerattributesthe cup in Basel, Cahn H.C. 680, to this painter (see D. Williams, in New Perspectives [pp. 284-301], p. 292, fig. 8 and p. 300, note 29). The Gotha cup: GothaAhv.48 (note8 above).

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POTTERS, PAINTERS, GROUPS, and CLASSES

specialized in cups, but pots are considered some of his best work.l Prime among these are the three Nicosthenic amphorae potted by Pamphaios, two in the Louvre and one in Zurich, a fragmentary amphora Type A in Vienna, an amphora Type C signed by Euxitheos and a stamnos by Pamphaios, both in London, and the two psykters in New York.2 Oltos signed as painter two of

his best cups, both made by Euxitheos, the one in Berlin that shows on side B the rare theme of the

Fight for the Body of Patroklos (the names inscribed) and the famous piece in Tarquinia with the assembly of gods on side A.3 Oltos' drawing is always lively and sometimes it may be a little rough, but never is it fussy or finicky. His best vases usually depict mythological themes, such as those mentioned above. Others include Herakles wrestling the Nemean Lion and hurling the Boar on two cups in the Louvre, Priam ransoming Hektor on a cup in Munich, Dionysos either with his retinue of unruly satyrs and maenads or fighting a giant on two cups in London.4 In the Agora, besides 1600 (P1. 151), which has been tentatively linked with Oltos, only two other vases, both fragmentary cups, are by him. One is 1401 (P1. 129), two small fragments attributed by Beazley, each showing a bit of a male figure to left; the other is 1400 (P1. 129), the only red-figured eye-cup from the Agora, which is added here to the work of Oltos. 1365 (P1. 127), a fragment of a stemless cup, bears some resemblance to him. Epiktetos is the youngest important contemporary of the Andokides Painter, Psiax, and Oltos, and his signature is known from many vases, in particular cups.5 His signed calyx-krater in the Villa Giulia, which also bears the name of Andokides incised on the foot, seems to be his earliest preserved work, for the drawing is rather tentative and stylistically recalls the work of Psiax.6 Epiktetos is an elegant, refined, precise painter whose temperament seems ideally suited to decorating cups and other small vases. The series of red-figured plates begins with him, one of which he signed as potter as well as painter;7 their circular formats bear a direct resemblance to cup tondi, and the problems of composition are similar. Occasionally, Epiktetos tried his hand at other types of small vessels.8 Early on, he collaborated with Nikosthenes, in whose workshop he may have learned and perfected his craft.9 Later, he collaborated with Hischylos, a particularly fine example being the splendid bilingual eye-cup in London,10 this being his preferred shape

I p. 8; ARV253; more recently,H. P. Beazley,VasesinAmerica, Helveticum 38, 1981 [pp. 228-244], p. 231. ForOltos Isler,Museum in general,see p. 84 above,note 28. 2 LouvreG 3 (ARV253,1;Addenda 162;Denoyelle,Chefsd'oeuvre ... Louvre, pp. 102-103, cat. no. 46: also G 2); Zurich, private collection (Paralip.327, 1 bis;Addenda163); Louvre G 2 (ARV2 53, 2; Paralip.326, 2; Addenda163); Vienna, Univ. 631 a (ARV254, 3; Paralip.326, 3; Addenda163);London, B.M. E 258 163); 163) and E 437 (ARV254, 5; Addenda (ARV254, 4; Addenda New York,M.M.A. 10.210.18 (ARV254, 7; Paralip.326, 7; Addenda163) and 1989.281.69, ex King's Point, Schimmel(ARV2 326, 7 bis;Addenda 1622, 7 bis;Paralip. 163). 3 Berlin2264 (ARV260, 64; Paralip. 164;CVA, 326, 64;Addenda Berlin [DDR 3], pls. 1-3 [112-114]); TarquiniaRC 6848 (ARV2 60, 66; Paralip.327, 66; Addenda 165). 4 LouvreF 128(ARV258,50;Addenda 164);LouvreG 17(ARV2 62, 83; Paralip.327, 83; Addenda 165);Munich2618 (ARV261, 74; Paralp.327, 74; Addenda 165);London, B.M. E 16 (ARV261, 75; Addenda 165). 165);and London,B.M. E 8 (ARV263, 88; Addenda 166-169. The most 5 ARV270-80; Paralip.328-329; Addenda recentthoroughdiscussionof Epiktetos,in particularhis bilingual eye-cups, is Cohen, AtticBilingualVases,pp. 400-438. For his signatures,see Immerwahr,AtticScript,pp. 61-63. 6 Villa Giulia, no no. (ARV277, 90; Addenda 169; that the foot may not belong, see B. Cohen, "The Literate Potter:A Tradition of Incised Signatureson Attic Vases," MetMusJ26,

1991 [pp. 49-95], p. 89, note 68). Forthe connectionwith Psiax, see ARV277, 90; also, Cohen, AtticBilingualVases,pp. 400-403. This calyx-kraterhas reservedbands on the inside (p. 402), a link with Louvre CA 5950, a calyx-kraterthat also has similar decorationon the inside and has been attributedby Bothmerto Psiax (Euphronios, p. 44: "Der rotfigurigeKelchkraterLouvreCA 5950 muBvon Psiaxstammen,was sich durcheinenVergleichmit Kelchkratersim Louvre den Fragmentenseines schwarzfigurigen [Para,128] verifizierenlaBt, auch an solchen Details wie dem Hahn als Schildzeichen[vgl. ARV2,7 Nr. 2], den orientalischen Kriegern[vgl.ARV2,7 Nr. 3], den Peltenund BootischenSchilden [vgl.ARV2,7 Nr. 6.8], abervor allem an den Gesichtern").If this attributionis correct, and it seems to be, it strengthensthe link between Psiax and the early work of Epiktetos. Cohen (p. 402, note 10)raisesthepossibilitythatthe Louvrecalyx-kraterCA 5950 might"be an earlyworkby Epiktetosthat is stilleclectic in style." 7 Akropolis 6 (ARV278, 102).

8 Examples. Two cup-skyphoi:Oxford G 276 = 520 (ARV2 76, 84; Paralip.328, 84; Addenda168) and Naples, RP 27669 168). Skyphos:London,B.M. E 139 (ARV2 (ARV277, 85; Addenda 77, 86; Paralip.328, 86; Addenda168). An exquisite kantharos 168). Mug: Orfragment:Odessa 26338 (ARV277, 87; Addenda vieto, Faina 148 (ARV277, 89). 9 Fora discussionof the Nicosthenicconnection,see Cohen, AtticBilingualVases, pp. 407-412. 10 328, 3; Addenda 166). London,B.M. E 3 (ARV270, 3; Paralip.

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in his early period. His figures and compositions are often inventive, and Epiktetosmay perhaps be credited with introducing the figure of a frontal squattingsatyr or man between the eyes.11 The best work of Epiktetos occurs on cups that do not have the restricted format of the eye-cup but use the entire availablesurfaceso that the figuresmay interrelate. Good examples are the cup in London, a collaborationwith Pamphaios,that shows Theseus and the Minotaur on one side, revelers on the other, and the beautiful cup in the Villa Giulia that depicts Achilleus and Memnon, with Psychostasiaon one side, Herakles hurling the Boar at Eurystheuson the other.12 From the mature phase of Epiktetos, three well-preservedcups have been found in the Agora, each decorated on the inside only. 1513 (PI. 143) depicts a spirited satyr astride an ithyphallic donkey; 1514 (P1.143) shows a pair of youthfulboxers locked in combat, one clearly the loser;and 1554 (P1.146) has a nude hetaira about to wash, holding a boot in each hand, a good example of the scenes of daily life that begin to be favored in late-6th-century Attic red figure. This cup bears the kalos name Hipparchos, a name that appears on mature works by Epiktetos.13 A less prolificbut no less talented cup painter than Oltos and Epiktetosis Skythes,who has left roughly two dozen pieces, including two standlets of the rare Sosian type and possibly a third.14 1402 (P1. 129), two fragments of a cup, is by Skythes; one fragment bears the adjective kalos and the last two letters of Epilykos,the youth frequentlypraised by this painter.15Notable among the works by Skythes are the signed cup in the Villa Giulia that shows Theseus threatening the Krommyon Sow on one side and the hero attacking a youth on the other and the cup in the Louvre that has a youth in the tondo precariouslybalancing a pointed amphora on his raised left foot.16 THE EUERGIDESPAINTERAND OTHERS

The works of the next group of cup painters are all contemporary with the mature vases by Oltos, Epiktetos,and Skythes,but these paintersare for the most part not as capable as the first three, and hence the discussion of them will be briefer. Quite a large number of red-figuredcups from the Agora excavations belong in this section. First among these to be discussed here is the Euergides Painter,named after the potter who signed several cups.17 The drawing of the EuergidesPainteris rather loose, and his compositions have a quiet simplicity with very little overlapping of the figures. The figures themselves show little interior drawing, and their drapery is seldom patterned. On occasion, however,he outdoes himself, a good example being the late cup from the Akropolis.18The Agora cups by the Euergides Painter are all mere fragments. Two were attributedby Beazley, 1528 and 1529 (P1. 144). Two others were connected by him with the painter, 1531 (P1.144) and 1578 (P1.149), and one said to recall him, 1602 (P1.151), but none of these was listed in ARV2.All three, however,find their best comparisonswith the EuergidesPainterand should be included among his cups. 1530 (P1.144) is added here, for once one has figuredout what remains on this small scrap, the attributionis clear. 1532 (P1.144) seems to be in the manner of the painter. " Cohen, AtticBilingualVases,p. 411. These are examples: Wtrzburg 468 (ARV271, 8; Addenda167) and Oberlin 67.61 329, 14 bis,Addenda (Paralip. 167). 12 London, B.M. E 37 (ARV272, 17; Paralp.328, 17; Addenda167)and Villa Giulia57912 (ARV272, 24; Addenda 167). 3 ARV21584;Cohen, AtticBilingualVases, 437. p. 14 ARV2 169-170. 83-85; Paralip. 329; Addenda 5 Forthe list, see ARV21578;also the comparandato 1402. 6 Villa Giulia 20760 (ARV283, 14; Paralp.329, 14; Addenda170) and Louvre F 129 (ARV284, 20; Addenda170; Depp. 96-97, cat. no. 43). An oddnoyelle, Chefsd'oeuvre...Louvre, ity of this cup is its exteriordecoration:a single black figureon

each side (A, Herakles;B, Kyknos)surroundedby coral-red.The tondois redfigured.Normally,a bilingualcup has a black-figured interiorand a red-figuredexterior.See Cohen,AtticBilingualVases, pp. 514-515 for a briefdiscussionof this cup. 17 ARV2 87-98; Paralip.330; Addenda170-172. For a comprehensivediscussionof the painter,see P. Rouillard,"Lepeintre d'Euergides,"RA, 1975, pp. 31-60. 18 Akropolis166 (ARV292, 64; Paralip.330, 64; Addenda 171). The mainsceneshowsAthenaseated,watchinga cupbeingturned on the wheel,whilebehindher is the ambitiousfigureof a frontal. squattingmetalworker.Below the figuresis a maeanderpattern insteadof the usualsinglereservedline.

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POTTERS, PAINTERS, GROUPS, and CLASSES

In ARV1,p. 67, Beazley grouped together four small cups by one hand in the manner of the Euergides Painter,and he called this artist the Painter of Agora P 1275 after 1555 (P1. 146). In ARV2,p. 105, he combined three of these cups (1571-1573, Pls. 148-149) with the Group of Acropolis 96, set 1555 somewhat apart, and compared 1521 (P1. 144) with the Group.19 Four of these (1555, 1571-1573) are modest cups Type C decorated on the inside only, each showing a youth involved in a daily activity. The fifth, 1521 (P1. 144), is a cup Type B, also decorated on the inside only. Related to the cups in the manner of the Euergides Painter is 1515 (P1. 143), which is by the Painter of Bologna 433 and decorated on the inside with a youthful boxer, the exterior black.20 A few more attributed cups belong in this section. 1403, which has coral-red on both the inside and the outside, is not far from the cup in London signed by Kachrylion as potter.21Two, 1533 (P1. 145) and 1579 (P1. 149), are by the Hermaios Painter, and a third, 1603 (P1. 151), recallshim.22 The most interestingof the three is 1579, which depicts Ixion fettered to the wheel, a myth that is rare, with this being one of the earliest representations. 1404 (P1. 129) may be by either the Hermaios Painter or the Chelis Painter;231405 (P1. 129) seems connected with the Chelis Group. THE COARSERWING: THE NIKOSTHENESPAINTER,THE PITHOSPAINTER, THE HERAION PAINTER,

ANDOTHERS

In general, the drawing by these painters is somewhat hasty,often verging on the coarse and sloppy;even on their better pieces, the painting seldom approximateseven the slighterworkof the cup painters discussed above. The largest number of attributedlate-6th-century cups from the Agora excavationsbelong in this section. The Nikosthenes Painter is the name given to the artist who decorated three vases signed by the potter Nikosthenes, a skyphoid, a kantharos, and a pyxis;24he also painted vases for Pamphaios, who "may have been the younger partner of Nikosthenes."25 The Nikosthenes Painter likes to depict scenes of Dionysos with his satyrsand maenads, also athletes and warriors.26Some of his best pieces, however, show representationsof myths not frequently depicted. Notable among them are Herakles and Alkyoneuson the cup in Melbourne, Hypnos and Thanatos with the body of Sarpedon on a cup in London, an ambitious composition that is surely indebted to the superior rendering of it on Euphronios' krater in New York, and the odd scenes on the Louvre skyphos that seem to show a Gigantomachy,except that the iconography is atypical.27 None of the Agora pieces is by the NikosthenesPainterhimself,but three cup fragmentsbelong to the painters of his Wider Circle, and all three depict satyrs. 1406 (P1. 129) was attributed by Beazley; 1606 (P1. 151) and 1607 (P1.151) are added here. A fourth cup, 1582 (P1. 149), which shows a woman holding a child, bears some similarity to two cups by one hand in the Wider 19 ARV167, V, 1-4; ARV2105. ARV2106;Addenda 172. 21 173. The LonKachrylion,potter:ARV2107-109; Addenda don cup is B.M. 97.10-28.2 (ARV2108, 26). 22 ARV2 173. 331-332; Addenda 110-111; Paralip. 23 ARV2 173. 112;Paralip.332;Addenda 24 Berlin 2324 (ARV2126, 26; Addenda176); Boston, M.EA. 00.334 (ARV2126, 27; Paralip. 333, 27; Addenda 176);Villa Giulia 20749 (ARV2127, 30; Paralip.333, 30; Addenda176). For the 175-176; also, painter,see ARV2123-127; Paralip.333; Addenda Cohen,AtticBilingualVases, pp. 489-493. 25 ARV2 124;for the Pamphaiosvases,see ARV2127-130. 26 E.g., Melbourne 1730.4 (ARV2125, 20; Paralip.333, 20; Addenda 176); 176); TarquiniaRC 2066 (ARV2126, 23; Addenda 20

and New York,Callimanopoulos(ARV2124, 7;Addenda 176). 27 Melbourne 1730.4: side A (note 26 above). London, B.M. E 12: side A (ARV2126, 24; Paralip.333, 24; Addenda176); for the connectionof the scene on this cup with Euphronios'krater, see D. von Bothmerin TheGreekVase,S. L. Hyatt, ed., Latham, N.Y., 1979 [pp. 63-80 and 156-158], pp. 71-75. LouvreG 66 (ARV2126, 25; Paralip.333, 25; Addenda 176). Forthe odditiesof Lemythe avant the sceneson thisvase,see F.Vian, Laguerre desgiants: Paris 1952, pp. 54-55. Particularlystrangeis helUnistique, l'epoque the appearanceof Irisand of Herakleswith a spearand a Boiotian shield insteadof a bow and arrow. Vian has misunderstoodthe weapon of Athena'sgiant: it is a broken spear, not a piece of furnitureor a tripod.

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91

Circle of the painter, and 829 (P1.85), a lekythoswith the figures going around the body without interruption, is by the same hand as London, B.M. 1907.10-20.1, a cup signed by Pamphaios as potter and akin in style to cups by the Nikosthenes Painter.281536 (P1.145), a cup fragment,is loosely linked with Pamphaios and Nikosthenes. A painter of decidedly lesser talent than the Nikosthenes Painter and those in his circle is the Pithos Painter,who gets his name from the composition in the tondo of four cups that shows a satyr or a youth kneeling at a pithos.29 His cups are decorated on the inside only, always with a kneeling or reclining figure, and often the drawing is quite coarse. His cups from the Agora excavations give a good idea of his narrowrange and lack of ability. 1557-1560 (P1.147), 1583-1586 (PI. 150), as well as 1517 (Pl. 143) and 1608 (PI. 151), which are added here, are by the painter himself; 1516 (PI. 143) and 1561 (PI. 147) are in his manner; and 1587 (PI. 150), also added here, recalls him. Fourcup painters were consideredby Beazley as probablybelonging to the same workshopas the Pithos Painter,30and their work has the same broad, coarse quality as most of that by the Pithos Painter himself. 1580 (PI. 149) is a small fragmentfrom the Group of Adria B 300;31 1518 (P1. 143), 1563 and 1564 (PI. 147), the three cups by the Painter of Agora P 2578,32 are quite close in style and quality to the Pithos Painter. Most productive among these four is the Heraion Painter, who takes his name from a plate found in the Heraion on Delos.33 1196 (P1. 113), 1589-1590 (P1.150), 1609-1612 (Pls. 151-152), and 1591 (PI. 150), which is added here, are by the painter himself, 1588 (P1. 150) recalls him, and 1197 (PI. 113) is near him. The last artist of these four is the Chaire Painter, named after the inscription on five of his cups.34 Beazley attributed 1613 (P1.152) to him. The Epeleios Painter, so called from a kalos name, is less coarse and rough a painter than those from the Pithos Painter's group.35 In general, the Epeleios Painter's compositions are rather simple, and his figures usually show little interior drawing. None of the Agora cups is by the painter himself, but two well-preservedones, 1408 (PI. 131) and 1519 (PI. 143), are in his manner, and two mugs, 794 and 800 (P1.82), are connected with him. These, in turn, lead to mugs of similar shape by the Painter of Berlin 2268,36 who also decorated quite a few cups as well as alabastraand an askos. 795-797 (PI.82) are by the painter; 798 (PI.82) recalls him. OTHEREARLYRED-FIGURE CUP PAINTERS

The painters in this section do not form a group, nor are they all closely connected with those just discussed.37Among the severalpainters included by Beazley under this heading, the work of three appears in our material. 1527 (P1. 144) is near the Delos Painter,38who takes his name from a fragmentary cup found on Delos,39 and 1522 (P1. 144) is by the Ambrosios Painter.40 The most important pieces are those by the Painter of the Agora Chairias Cups, 1520 (PI. 143), 1562 (P1.147), 1574 (P1.149), and 1592-1594 (P1.150). He was an artistwho decorated several pleasant-looking,smallish cups with a single figure in the tondo, the outside black.41 In addition to those by the painter himself, 1614 (P1.152), a small fragment, may be compared. 28 ARV2 176. 129, 21; 131, 21;Addenda 29 ARV2 139, top, and 139-141; Paralip. 178. 334-335; Addenda 30 ARV2142. 31ARV2142;Addenda178. 32 ARV2142. 33Delos 658 (ARV2143, 19). The painter:ARV2142-144. 34ARV2144-145; Paralp.335; Addenda 178. 35 For this painter, see ARV2 146-153; Paralip.335-336;

Addenda 179-180. 36 ARV2153-158; Paralip. 336; Addenda 180-181. 37 ARV2159. 38 ARV2172;Paraip.338;Addenda 184. 39 Delos 652 (ARV2172, 3). 40 ARV2 173-175; Paralip.338; Addenda 184. Named after an inscriptionon his cup in Orvieto,Faina62 (ARV2174, 17). 41 ARV2176-177; 339;Addenda 185. Paralip.

92

POTTERS, PAINTERS, GROUPS, and CLASSES

LATE ARCHAIC POT PAINTERS Of the many painters of large vases active during this time, the Kleophrades Painter and the Berlin Painter are universally acknowledged to be among the best. Although very different temperamentally,each displays a flexibility and a sensitivity to the task of painting a vase that is recognizable at once, and often the resultsare brilliant. THE KLEOPHRADES PAINTER

The Kleophrades Painter is named after the potter who painted his name on the side of the foot of a cup in the Cabinet des M6daillesand who was the son of Amasis.1 It is generally agreed that the Kleophrades Painter was a pupil of Euthymides.2 Like Euthymides, in his early work the Kleophrades Painter shows a distinct preference for decorating the amphora Type A with framed panels, each composition consisting of three figures who have remarkableweight and substance and who often wear voluminous himatia with clearly defined three-dimensionalfolds.3 As Beazley put it: "His figures are solid and powerful;the details are properly subordinated,and the whole is simple, strong and dignified."4 The Kleophrades Painterdecoratedmany differentlarge shapes, and his ability to coordinate shape with a wide variety of compositions attestshis versatility.Good examples are the Dionysiac revel on the famous pointed amphora in Munich and the boisterous procession in the Return of Hephaistos on the Harvard calyx-kraterwhere wine has clearly loosened everyone's inhibitions, even those of Dionysos himself.5 These raucous, noisy scenes contrast sharply with the neckamphora in New York,where a single figure appears on each side: Herakles holding the stolen tripod, Apollo coming to reclaim it, the rest of the vase black.6 Some of the Kleophrades Painter'smost memorable scenes illustrate episodes from the Trojan War.7 Chief among these are the Iliupersis painted on the shoulder of the Vivenzio hydria, a representation that seems to have no true equal among the extant examples, and the amphora in Wiirzburg that shows the duel between Ajax and Hektor interruptedafter a long day of fighting when it became clear that neither hero would be the better man that day.8 1 Cab. Med. 535 and 699 (ARV2191, 103;Addenda 189). For Amasis as the father of Kleophrades,see D. von Bothmer,The Malibu 1985, pp. 230-231 with earandHis World, AmasisPainter 7. Paul lier bibliography,esp. his article "'A.t&a; 'Ait&aoL8o," GettyMuseumJournal9, 1981, pp. 1-4, which sets out the history of the problem. Two fragmentarycups in the J. Paul Getty Museum provide firm evidence. 80.AE.54, a foot fragment, is signed on the side: JI Ao0

YY , which may be restored

toread: KXLEO PA,a : E p 01 i N 4, AEA 14-iH YY onthe basis of the partialinscriptionon the namepiece,Cab. Med. 535 and 699. The second,83.AE.217,whichpreservesboth the tondo with the signatureof Douris and all of the stem and foot, has onthe side ofthe foot: ~LEO, PAA2?

ErOIiZ-N

AMA?I\AO?

Douris,p. 75, cat. no. 38, pl. 24). (Buitron-Oliver, Boardman ("EpiktetosII R.I.P.,"AA, 1981, pp. 329-332) J. has shown that the Epiktetosinscriptionon the painter'spelike in Berlin (2170: ARV2 185, 28; Addenda187) is modern, thus puttingto rest the idea that the KleophradesPainterwas named Epiktetosbut was not the same artistas the cup'painter.Forthe 340KleophradesPainterin general,see ARV2181-195; Paralip. Painter,Mainz 341; Addenda186-190; Beazley, The Kleophrades 1974 (the original English manuscripttranslatedinto German by P.Jacobsthaland printedin Berlin 1933; revisedin 1944 and p. 82. 1948). Forhis inscriptions,see Immerwahr,AtticScript, 2 See the remarksin ARV2181; alsoJ. D. Beazley,JHS 30, 1910, p. 39. Furtwanglerseems to have been the firstto notice

the similaritybetween the two painters(FR i, pp. 262 and 263: text to Munich2305). 3 One maycompare,forexample,thewomanon Munich2305 (ARV2182, 4; Paralip.340, 4; Addenda186) by the Kleophrades 323, 1; Painterwith Hekubaon Munich2307 (ARV226, 1;Paralip. Addenda 155)or Koroneand one of her runningsisterson Munich 2309 (ARV227, 4; Paralip. 323, 4; Addenda 156)by Euthymides;the 340, discusthroweron TarquiniaRC 4196 (ARV2185, 35; Paralip. 35; Addenda187) by the Kleophrades Painter with the discus throweron Munich2308 (ARV226, 2;Addenda 156)by Euthymides; the revelerson Munich 2305 have much the same characteras thoseon Munich2307, and the one seen fromthe backrecallsthe satyrsimilarlyseen on Warsaw142332 (ARV227, 8; Paralip.324, 8; Addenda 156)by Euthymides. 4 Beazley(JHS 30 [note 2 above]),p. 39. 5 Munich 8732 = 2344 (ARV2182, 6; Paralp.340, 6; Addenda186). Harvard1960.236(ARV2185, 31; Addenda 187). 6 New York,M.M.A. 13.233 (ARV2183, 13; Paralip. 340, 13; Addenda 187). 7 Thesehavebeendealtwithby Boardman,"TheKleophrades Painterat Troy,"AK 19, 1976, pp. 3-18. 8 189). Naples 2422 (ARV2189, 74; Paralip.341, 74; Addenda See esp.Robertson'sdescriptionof thisscenein HGA,pp. 233-235 and AVP,pp. 61-64. Boardman([note 7 above], p. 15) suggests that it might allude to the PersianSack. Wtirzburg508 (ARV2 186). 182, 5; Paralp.340, 5; Addenda

LATE ARCHAIC POT PAINTERS

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Several fragmentarypots by the Kleophrades Painter,including four calyx-kraters,have been found in the Agora. At least two (and perhaps four) of these depict Trojan themes. 256 (P1.35), the best known, shows AchilleusMourning and may representthe Mission or, more likelyperhaps, the Second Arming, although neither interpretationis without problems. One fragment of 254 (PI. 34) shows the majestic head of an old man whose identificationas Phoinix Beazley accepted. The trumpeter on 257 (P1. 34) may or may not have Trojan connections, and the same may be said for the head of the kingly-looking man on 255 (P1.34). A very early work is Herakles on 1650 (P1. 155), a fragment of uncertain shape, as is 1676 (P1. 156), which shows the lower legs and feet of a man or youth standing frontally. 589 (Pls. 62-63), the fragmentary psykter showing several athletes, is near the Kleophrades Painter and must have been most impressive when intact. 203 (P1.29), a small fragment of a column-kraterpreserving the head of a satyr, seems Kleophradean. THEBERLIN PAINTER A handsome amphora in Berlin is the name vase of the Berlin Painter,who was a contemporary of the Kleophrades Painterbut whose period of activity lasted somewhat longer, until well into the second quarter of the 5th century.9 Like the Kleophrades Painter,he too learned from Euthymides,also fromPhintias, and a new calyx-kratermakes clear that on at least one occasion he was influenced by Euphronios'painting.10Although the Berlin Painter decorates many different shapes, his favorites are the Panathenaic amphora and the Nolan amphora, probably because they provide the best format for the composition he most preferredand indeed perfected:a single figure on each side of the vase, the rest black.11 Economy of line and great restraintcharacterize much of the work of the Berlin Painter. No vase by the Berlin Painter has yet been found in the Agora excavations. The Gorgos cup, 1407 (Pls. 129-130), once thought to be an early work and accepted with some reservation by Beazley, should be dissociated. And the small cup fragment, 1419 (PI. 132), also listed by Beazley with the Berlin Painter,but with uncertainty,is by the FoundryPainter. THE NIKOXENOSPAINTERAND THE EucHARIDESPAINTER

The Nikoxenos Painter is named from the kalos inscription on one of his Panathenaic amphorae,12 a shape he clearly favored, along with the kalpis. His drawing is often rather coarse, the line none too sure, and frequently the faces of his figures, even Athena, look as if they had just swallowed something very sour.13 None of our vases is by the Nikoxenos Painter himself or even in his manner,but 234 (P1.32), a fragmentaryvolute-krater,seems to belong among those vases said by Beazley to be Akin to the Nikoxenos Painter.14Another fragmentaryvolute-krater, 9 Berlin2160 (ARV2196, 1; Paralip.342, 1;Addenda 190). For the painter,see ARV2 196-216; Parahp.341-346; Addenda190197; Beazley,TheBerlinPainter,Mainz 1974 (the originalEnglish manuscripttranslatedinto German by P.Jacobsthaland printed in Berlin1930);C. Cardon,"The BerlinPainterand His School" (diss.New YorkUniversityInstituteof Fine Arts, 1977). For his inscriptions,see Immerwahr,AtticScript,pp. 82-83. 10 For a summaryof the various suggestionsconcerningthe teachers of the Berlin Painter,see M. B. Moore, "The Berlin Painter and Troy," 7. Paul GettyMuseumJournal(forthcoming), note 72. The influence from Euphroniosis best observed on the Gettycalyx-kraterpresentedin this article. 11 His positioningof the figurealwaystakes into account the subjectand what the figureis doing. Forexample,on the Munich Panathenaic,2312, the figuresof the Gorgon pursuingPerseus are set rather high so that their legs have plenty of room to

convey the idea of rapid movement(ARV2197, 11; Paralip.342, 11; Addenda190), whereas on the New YorkamphoraType C, the figuresof the kithara-playerand his trainerare placed lower down, and the swayingfigureof the musicianbeautifullyreflects the curveofthe vase(M.M.A.56.171.38:ARV2197,3;Paralip.342, 3; Addenda 190). 12 University,Mississippi,Univ. of Miss. no no. (ARV2221, 6; Addenda 198). In general,ARV2220-224; Paralip. 198. 346;Addenda 13 For example: Boston, M.F.A. 95.19 (ARV2220, 5; Addenda198) and London, B.M. E 160 (ARV2222, 19). For rather harshassessmentsof his work,see theseby Beazley:BSA18, 19111912,p.233: "hiscuriousandrepellentstyle";BSA19, 1912-1913, p. 247, where he is likened to "a clown"; and Vasesin America, pp. 25-26: "Workingwhollyby rote,he producesfigures,passably human." 14 ARV2223-224; Paralip. 346; Addenda 198.

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235 (P1.32), belongs here, for it was compared by Beazley with the Karkinos Painter,15whose style of drawing shows links with the Nikoxenos Painter. A more prolific and decidedly more talented artist than his teacher is the EucharidesPainter, who is also called after a kalos name.16 Although representedprimarilyby pots, he also painted a chous, 684 (P1. 73), lekythoi, skyphoi, and cups, including 1523 (P1. 144). His early work is his best, and sometimes he seems indebted to the Berlin Painter, occasionally even to the Kleophrades Painter.17On these vases, the drawing is sure, the compositions are well balanced, and the figures have substance and character. The subjects depicted by the Eucharides Painter are not repetitive or common, for throughout his work there is a good variety of scenes from mythology as well as from daily life. Sometimes the mythic subjects are rare ones, such as the Death of Argos, which appears on his amphora Type A in Hamburg with figures on the neck instead of on the body,18 or Apollo and Tityos, which takes up both sides of one of his neck-amphorae in London.19 Scenes of daily life are often quiet depictions of music or athletes, good examples being the ones on the back of an amphora in New York and on a hydria in Malibu.20 In the Agora excavations, several fragmentary vases by the Eucharides Painter have come to light, and they reflect his versatilitywith regard to shape and subject. Two are column-kraters. 165 (PI. 25) shows a departure on one side with a child sitting on the shoulders of a man and on the other a fight, perhaps Herakles and Kyknos in the presence of Athena; 198 (P1.28) depicts a fight, probably an Amazonomachy. 289 (P1.40), a bell-krater, has Triptolemos about to depart on his winged throne and is one of the earliest examples with accompanying serpents. 684 (P1.73), a small chous, depicts Nike sprinklingincense on a flaming altar. Two others are probablyfrom daily life. On 251 (P1.34), a calyx-kraterfragment, a boy leads a horse, and on 1523 (P1. 144), a cup, a woman strides to right. MYSON AND OTHER PAINTERSOF COLUMN-KRATERS

The most important artistof this small group is Myson, whose signatureas potter and painter appears on a fragmentary column-kraterfound in the Akropolis excavations.21 He may have been a pupil of Phintias,22and, if so, he is another pot painter linked with the Pioneers. His best-knownvase is the Kroisos amphora in the Louvre, which shows the Lydian king seated atop the funeral pyre that is about to be set ablaze by a servant named Euthymos, a unique subject 15 Named for the shield device of a crab playing the aulos on a volute-kraterin New York,M.M.A. 59.11.20 (ARV2224, 1; Addenda 198. 198). The painter:ARV2224; Addenda 16 Copenhagen124(ARV2229, 35;Paralip. 347, 35). The name also appearson Malibu, the J. Paul Getty Museum 86.AE.227 (ARV21637, 43 bis-,Paralip.347, 43 bis;Addenda199; CVA,the J. Paul Getty Museum 7 [forthcoming]). For teacher-pupil,see ARV2226, with earlier bibliography. In general, ARV2226232; Paralp.347-348; Addenda 199-200; Langridge,"Eucharides Painter,"passim. 17 The figureof Dionysoson London,B.M. E 279 (ARV2226, 1;Addenda 199)recallsthe image of him on Munich8732 = 2344 by the KleophradesPainter(note5 above).Forthe BerlinPainter, these may serve as examples. Tityos on London, B.M. E 278 (ARV2226, 2; Paralip.347, 2; Addenda199) recallsAigisthoson Vienna 3725 (ARV2204, 109; Paralip.342, 109; Addenda193), especiallythe vigorousgesturebut particularlythe frontalleg and foot, includingeven the creases on the joints of the toes. The hoveringeidolon of Sarpedonon LouvreG 163 (ARV2227, 12; Paral4p. 347, 12; Addenda199) is surelymodeled on that painted on the Getty calyx-krater(note 10 above). The scene of Achilles 347, 38; fightingHektoron VaticanH 545 (ARV2229, 38; Paralip.

Addenda 199) sharesmany detailswith the one on London, B.M. E 468 (ARV2206, 132;Paralip. 343, 132;Addenda 194),exceptthat on the latterthe figuresdo not overlap,owingto the long friezelike format. 18 Hamburg1966.34 (Paralip. 347, 8 ter,Addenda 199; Reeder, Pandora, pp. 317-320, cat. no. 96). The subject recurs on the shoulderof the painter'shydriaon loan to Wiirzburgfrom the collection of Takuhiko Fujita in Tokyo (E. Simon, AA, 1985 [pp. 265-280], p. 267, fig.49; forthe attribution,p. 269, note 243). Forthetheme,seeLIMCV, 1990,pp.664-665, s.v.Io (N.Yalouris). 19 London, B.M. E 278 (note 17 above). For the theme, see LLMCII, 1984, pp. 310-311, s.v.Apollon(0. Palagia). 20 New York,M.M.A. 07.286.78 (ARV2227, 9; Paralip.347, 9; Addenda 199);Malibu,the J. PaulGettyMuseum86.AE.227(note 16 above). 21 Akropolis806 349, 42; Addenda 201). (ARV2240, 42; Paralip. It showsAthenaand a male at an altaron one side;on the other, Athenaseatedwith a youthbeforeher holdingan olivebranch.It wasprobablya dedicationby the artist(ARFVArchaic, p. 112). For 201Myson in general,see ARV2237-244; Paralip.349; Addenda 202. 22 ARV2 237.

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that should probablybe considered historical.23Other ambitious compositions by Myson are the scene of the sons of Theseus rescuing Aithra from burning Troy on a calyx-kraterin London and the Amazonomachy on the Vatican psykter.24More often, however, Myson prefers simpler compositions consisting of one to three figureswith very little overlapping,and these adapt well to the column-krater,his preferred shape. Myson's favorite theme is the komos, then Dionysos, either alone or accompanied, and less frequently the symposion.25 His ability to draw lifelike figures in active or passive situations is not as strong as that of some of the painters discussed above; sometimes his drawing is rather loose and the limbs of his figures have a rubbery look; the results often look slightly forced, hence Beazley's designation of Myson as "the father of the Mannerists."26 Several vases by Myson have been found in the Agora; while for the most part fragmentary,they representwell his shape and subjectpreferences. All are column-kraters,except for 611 (PI.66), which is a chous, and, while accepted as Myson by Beazley,may not be by Myson after all (see remarkssub611). Only one column-krater,190 (P1.28), which shows a flute player on one side and a discus throweron the other, could be mended into a nearly whole vase. Several, 170 (P1.26), 191 (Pl. 27), 193 (P1.27), 194 (PI. 28), 211 and 212 (P1. 30), and 611 (PI. 66), show komasts. Two, 172 (P1.26) and 209 (P1.30), depict a symposion; 192 either a komos or a symposion. A discus throwerappears on 189 (P1.27). Only two depict the mythological world: Dionysos (?) on 171 (PI. 26) and Eos pursuing either Kephalos or Tithonos on 210 (PI. 29). Two otherpainterswhose workhas been found in the Agorabelong here. 236 (P1.32), a volutethe interesting vase is the fragmentary krater,comes from column-kraterin Basel showing the capture of Silenos.27 One of the figured fragments of 236 preservespart of a chariot, the other a lyreplayerand a woman; they probablycome from different sides of the vase. The second artistis the Goettingen Painter,whose name vase is a column-krater that shows Dionysos with satyrs on one side and a komos on the other,28 themes favored by Myson. His drawing resemblesthat of Myson but is weaker and rougher;the Agora pieces reflect this. 200 (PI.29), by the painter himself, preservesthe head and shouldersof one komast and only the face of a second; 168 (PI. 25), in his manner, also shows the head of a komast; 201 and 202 (PI. 29), which recall him, also continue the komast theme. 169 (Pls. 25-26), which may be by him or in his manner, depicts on one side Athena fighting a Giant. All are column-kraters. OTHER LATEARCHAICPAINTERSOF LARGEVASES

For the most part, these painters are more talented than those just discussed. Their very best vases stand up to comparison with the good work, though not the best work, of the Kleophrades Painter and the Berlin Painter. The Syleus Painter is named after the inscribed scene on the stamnos in Copenhagen that shows Herakles standingbefore Syleus in the presence of Athena.29 Three other artistsare closely 23 Louvre G 197 (ARV2238, 1; Parap. 349, 1; Addda 201; Denoyee, Chefsd'oeuvre...Louvre, pp. 120-121, cat. no. 55). The story is told by Herodotos(1.86-87) and is well knownfrom the thirdode (lines24-29) of Bakchylidescomposedfor the Olympian victory of Hieron of Syracusein 468 B.C., a good two decades or so after Myson painted his amphora. For commentaryon the subjectsof this vase, see F. Hauser in FR ii, pp. 278-279; T. B. L. Webster,PotterandPatronin Classical Athens,London 1972, Munich 1976, p. 107; pp. 74-75; E. Simon, Diegriechischen Vasen, and J. Boardmanin TheEyeof Greece: Studiesin theArtof Athens, D. C. Kurtz and B. Sparkes,eds., Cambridge1982 [pp. 1-28], pp. 15-16. 24 London, B.M. E 458 (ARV2239, 16; Paralip.349, 16; Ad-

denda201). Vatican,Astarita428 (ARV2242, 77; Paralip.349, 77; Addenda 202). Forothers,see ARV2237-238. 25 Goodexamples:Wtirzburg 526(ARV2239,l9;Addenda201); New York,M.M.A. 07.286.73 (ARV2240, 45; Addenda 201); and Nicosia C 812 = MK 50 (ARV2239, 24; Addenda 201). 26 ARV2238. 27 Basel, Cahn H.C. 191 (Paralp.348, 4 bis;Addenda 200). For this smallgroup,see ARV2233; Paralip.348;Addenda 200. 28 GottingenH 36 and H 37 (ARV2233, -, 1;Addenda 200). In 200. general:ARV2233-236; Paraip.348; Addenda 29 203). In Copenhagen inv. 3293 (ARV2251, 36; Addenda 203. general:ARV2249-254; Paralp.350; Addenda

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linked with the Syleus Painter: the Painter of the Munich Amphora, the Gallatin Painter, and the Diogenes Painter.30 In the Agora, only two small fragments belong here; the first is 258 (PI. 34), a calyx-kratersaid by Beazley to be perhaps by the Diogenes Painter. If so, it adds a new shape to those he is known to have decorated. So little remains (only the back of a male head), however, that it is difficult to draw conclusive comparisons. The other, 187 (PI. 27), a column-krateradded here that preservesmost of the face of a satyr,finds its best parallelswith the Diogenes Painter and the Syleus Painter. There are just two major painters in the next group, both closely related stylistically,often difficult to tell apart, and possibly the same man. The first is the Copenhagen Painter, named after an amphora Type B in Copenhagen that shows scenes of daily life, an old man with an Ethiopian slaveboy on one side and a youth buying an amphora on the other, the two sides linked thematically.31The Copenhagen Painterprefersdecoratingstamnoi over all other shapes, but his only Panathenaic amphora known thus far is 20 (Pls. 7-8), which shows a victor with a tripod on one side about to be crowned by Nike, who appears on the other. More prolific and more talented is the "brother"of the Copenhagen Painter, Syriskos, who has long been called after the potting signatureon an astragalosin the Villa Giulia32but whose signature as painter is now known from a calyx-kraterin Malibu.33 Syriskosdecorated many differentshapes, not only pots but also smaller vessels such as lekythoi, alabastra, an aryballos, skyphoi, and a series of head kantharoi, thus indicating that he is a very flexible painter when it comes to coordinating figure and shape. Unfortunately,nothing by his hand has been identified so far in our material. Linked with his alabastraare those from the Group of the Negro Alabastra,984 (P1.95) being an example from the Agora.34 Beazley grouped quite a few painters in the last section of Late Archaic pot painters because of chronological considerations rather than ones of stylistic unity.35The work of five has been found in the Agora excavations. The first is the Harrow Painter, whose eponymous vase, an oinochoe, is one of his best. In a quiet composition reminiscent of the Berlin Painter,it shows a handsome boy with a hoop.36 His preferredshapes are the neck-amphorawith twisted handles and the column-krater.Two modest fragmentarycolumn-kratersare added here. 220 (P1.30), with only the head of a satyr looking downward, is best paralleled by those of the Harrow Painter, and 195 (P1. 28) bears some resemblance to his work; the connection, however, is weaker. An especially lively and gay scene of satyrs treading grapes occurs on 173 (PI. 26), a column-krater attributed to the Flying Angel Painter, called after an amphora Type C in Boston.37 His favorite shapes are this rare type of amphora, pelikai, and column-kraters. His drawing is rather simple, and his compositions are often confined to a single figure or to two or three without much overlapping. The scene on 173 is an ambitious one for him, and this Agora krater belongs among his best works.

30 Painter of the Munich Amphora (ARV2245-246; Para350; 202);the GallatinPainter(ARV2247; Paralip. lip.350;Addenda Addenda 202); and the Diogenes Painter (ARV2247-248; Paralip.350;Addenda 202). In 1970 Robertsonsuggestedthat the work of the first two artistsmight be the early work of the Diogenes Painterandwas inclinedto thinkthatall four,includingthe Syleus Painter,mightbe a singlepersonality,butconcluded,"Ihavefound no similarlinks of this early group with the worksof the Syleus Painterhimself,but thinkit likelythat the connectionwill one day be established"(AK13, 1970 [pp. 13-16], pp. 14-15). 31 351, 1;Addenda 204). Copenhagen125 (ARV2256,1;Paralip. 204. Moregenerally:ARV2256-259; Paralip. 351;Addenda 32 Villa Giulia 866 (ARV2264, 67; Paralip.351, 67; Ad204denda205). Generally:ARV2259-267; Paralip.351; Addenda

205. Robert Guy has suggested orally that the Copenhagen Painterand Syriskosare the same man. Until the evidence is set forthin print, it is perhapssafestto continuekeepingthe two separate. 33 The J. PaulGettyMuseum92.AE.6. 34 Forthe Group,see ARV2267-269; Paralip. 205352;Addenda 206; above,p. 49, note 7. 35 ARV2271-299. 36 Harrow56 (ARV2276, 76; Addenda 207). In general:ARV2 206-207. For his linkswith 272-278; Paralp.353-354; Addenda the BerlinPainter,see M. Robertson,Mujb27, 1976 [pp. 29-46], pp. 38-39. 37 Boston, M.F.A.98.882 (ARV2279, 7; Paralip.354, 7; Ad208. denda208). In general:ARV2279-282; Paralp.354;Addenda

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A ratherwhimsical, but not especiallyable, personalityis the Geras Painter,who is named after the scene on a pelike where Herakles clubs Geras, the personification of Old Age.38 He prefers pelikai to all other shapes, and the Agora excavations add another, 32 (PI. 11), which shows on its obverse a woman reaching down towarda phallos-bird,a not-too-common imaginarycreature that appears elsewhere in this painter'swork.39 Two more painters remain to be mentioned. 175 (PI.26) is a small scrap of a column-krater that shows the head of a youth and is attributed to the Tyszkiewicz Painter, a second-rate artist who on occasion produced fine work, as is the case with his name vase, a large calyx-kraterthat shows Trojan duels on each side, Achilleus and Memnon on side A, Aineas and Diomedes on side B, the names inscribed.40Our last painter in this section is the Hephaisteion Painter,whose name vase is 261 (PI. 36), a calyx-krater that shows Dionsyos on one side, a maenad on the other.41 Few vases by this painter have been recognized. 261 is his only known calyx-krater; 293 (PI.40), with a youth departing, his only bell-krater.

LATE ARCHAIC CUP PAINTERS Of the many fine artistswho specialize in decorating drinkingcups, especially the elegant, refined Type B, four are particularly renowned: Onesimos, the Brygos Painter, Douris, and Makron. Alongside the famous cups by these painters, there is also the work of a good many others that helps to define the character of Attic red figure in the opening decades of the 5th century. ONESIMOS, THE ANTIPHON PAINTER, AND THE COLMAR PAINTER

The name of the painter Onesimos is known thus far from just one signature, on a cup in the Louvre decorated with youthful horsemen that is also signed by Euphroniosas potter, the only one for whom Onesimos is known to have worked.1 His earliest work is contemporary with the mature and late production of Euphronios,who was probablyhis teacher.2 There is considerable variety in the output of Onesimos, and his drawing is always fresh, sure, and informative. His compositions may be the essence of simplicity, the tondo of the Brussels cup that shows a girl going to wash,3 or they may be large, complicated scenes, those on the two Iliupersiscups.4 His figuresmay be passive and quiet or noisy and energetic, but always they are expressiveand reveal their innate character.5Onesimos' choice of subjectsis a broad one, and many of these, both from the mythological world or the realm of daily life, are memorable. Forinstance, the Theseus cup in Paris,which shows in the tondo a young hero at the bottom of the sea and on the outside four of his youthful deeds (thisis perhaps the finest of the cycle cups);the cup in Boston with a satyrsitting 38 Louvre G 234 (ARV2286, 16; Addenda 209). In general: ARV2285-287; Paralip. 209. 355;Addenda 39 See sub 32. 40 Boston, M.EA. 97.368, ex Coll. Tyszkiewicz(ARV2290, 1; Paralip.355, 1;Addenda 210). In VasesinAmerica, p. 55, Beazley remarkedthatthe krateris "themasterpieceof a mediocrepainter, one who has no true artistry,no love of fair line and fair form: yet size, shape and compositionmake it an imposingthing." In 210-211. 355-356; Addenda general:ARV2289-296; Paralip. 41 ARV2 211. 297-298; Paralip.356;Addenda

1 LouvreG 105 (ARV2324, 60; Paralip. 359, 60; Addenda 215).

In general:ARV2318-334; Paralip.358-360; Addenda 214-217; D. Williams, CVA,London 9 [Great Britain 17], p. 15. Also, D. Williams,"Onesimosand the Getty Iliupersis,"GreekVasesin theJ. PaulGettyMuseum5 [OPA 7], pp. 41-64, which introduces a particularlyimpressivecup signed on the foot by Euphronios

as potter (for this connection, see the discussionon pp. 41-42 with earlierbibliography);D. Williams,"Euphronios:Vom Maler zum Topfer,"in Euphronios, pp. 47-51. For his inscriptions,see Immerwahr,AtticScript,pp. 84-85. 2 See Williams,OPA7 (note 1 above), pp. 41-42 with earlier references. 3 BrusselsA 889 (ARV2329, 130; Paralip.359, 130; Addenda217). 4 Berlin2280, Berlin2281, andVatican(ARV219,1-2:Berlin;

Addenda 153). Forthe attributionand discussionof the scene, see D. Williams,JahrBerlMus 18, 1976, pp. 9-23: this cup preserves Euphronios'namewithoutthe signifyingverb. Malibu,the J. Paul Getty Museum83.AE.362, 84.AE.80, and 86.AE.385 (Williams, OPA7 [note 1 above]):there, a few letters of his name and the pottingverb remain. 5A particularlygood example is the anxiousfigureof Priam on the Getty cup (Williams,OPA7 [note I above],p. 51, fig.8:f).

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precariously on a pointed amphora, a lusty creature bursting with energy; the giants on a cup in London who wear pelts instead of hoplite armor, an innovation that may be Onesimos'; the athletes on a cup in Boston where the figureof thejumper atteststo the painter'ssharp perception of reality; or the man propositioning a woman, who will probably grant him her favors.6 Only one small fragmentat the Agora, 1524 (P1.144), from the tondo of a very fine cup, is attributedto Onesimos. It preservesthe lower part of a woman standing on tiptoe and is probablyan amorous scene from daily life. Two fragments of another cup belong here, 1409 (PI. 131), for they are said by Beazley to be close to the Eleusis Painter, whose namepieces, two white-ground cups at Eleusis, are now attributedeither to Euphroniosor to Onesimos.7 This painter'sfew cups are contemporarywith the earliestwork by Onesimos, and his most ambitiouspiece is the cavalrycup that shows a horse seen from the back.8 1409 depicts women fleeing. The Antiphon Painterand the Colmar Painterare contemporariesof Onesimos, but they are not quite as talented with the brush as he. A kalos inscription written on a stand in Berlin is the eponym of the Antiphon Painter,who was probably a pupil of Onesimos.9 It depicts three youths and ranks among his best work known thus far. One piece by the Antiphon Painter or in his manner has surfaced in the Agora, 1237 (PI. 117), a small skyphosfragment that depicts a youthful trainer, very likely standing opposite an athlete. The Antiphon Painter's line is often bold and purposeful, his drawing is fluid and articulate;he is not much interested in rendering texture, although occasionally he depicts a bit of shading on inanimate objects, such as shields, a rarely seen innovation of this time.10 His favorite subjects are komasts, athletes, and warriors; his compositions are for the most part rather simple without much overlapping of the figures. He can, however, be bold and daring; a good example is the thrown-backhead of a komast in the tondo of a cup in Florence; on other occasions, he is perceptive and subtle, as the youthful boxer in the tondo of his cup in St. Petersburgillustrates.11 A cup in Colmar gives the next painter his name.12 His style of drawingshows the influence of both Onesimos and the Antiphon Painter,and Beazley consideredit likely that he "satside by side with them in the workshop of Euphronios."13 Like the Antiphon Painter, the Colmar Painter prefersas subjectsyouthful athletes, komasts,and warriors,but his drawingis less subtle and sure. 1418 (PI. 132), two fragments of one cup from the Agora excavations, is by him. The more appealing of the two shows a mantled youth before a cage housing his pet bird; the other depicts a youthfuljumper. ANDHIS CIRCLE PAINTER THE BRYGOS When one thinks of elegance and refinement in Late Archaic Attic red-figured vase painting,

the Brygos Painter is one of the first whose work comes to mind. Named after the potter of 6 Louvre G 104 (ARV2 318, 1; Paralip.358, 1; Addenda214; Euphronios,cat. no. 55; Denoyelle, Chefid'oewre... Louvre,pp. 110111, cat. no. 50); Boston, M.FA. 10.179 (ARV2 327, 110; Paralip. 359, 110; Addenda216); London, B.M. GR 1894.3-14.1 = E 47 (ARV2 319, 3; Addenda214; CVA, London 9 [Great Britain 17], pl. 8 [784:b]); Boston, M.EA. 01.8020 (ARV2321, 22; Paralip.359, 22; Addenda215); and London, B.M. GR 1836.2-14.25 = E 44 (ARV2 318, 2; Paralip.358, 2; Addenda214; CVA,London 9, pl. 9 [785]:b). 7 Eleusis 618 (ARV2 314, 3; Paralp. 358, 3; Addenda213) and Eleusis 619 (ARV2 315, 4; Addenda213). For the attribution to Euphronios, see Bothmer in Euphronios,p. 43 (with concurring

denda213). 9 Berlin 2325 (ARV2 335, 1; Paralip. 361, 1; Addenda217). In general, ARV2 335-350; Paralip.361-363; Addenda217-220; D. Wiliams, in New Perspectives [pp. 285-301], pp. 292-297. 10 For examples, see R. Blatter, AA, 1968 [pp. 640-652], pp. 644-645; Williams (note 9 above), p. 294. 1 Florence 10 B 80 (ARV2 335, 9; Addenda218; Williams [note 9 above], p. 293, fig. 11). St. Petersburg 655 (ARV2 340, 64; Paralip.511, 64; Williams [note 9 above], p. 294, fig. 12 and the discussion on p. 295). 12 Colmar 48 (ARV2 353, 9; Addenda221). More generally: ARV2 352-357; Paralip.363-364; Addenda221; D. Williams, CVA,

Journal9, 1981 opinions);M. Ohly-Dumm,J. PaulGetyMuseum [pp. 5-22], p. 20; for Onesimos, see Williams, OPA7 (note 1 above),p. 41. 8 Boston, M.F.A. 10.196 (ARV2315, 6; Paralip.358, 6; Ad-

London9 [GreatBritain17], p. 27. 13 ARV2352.

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cups who signed his name either on the handle reserve or on the side of the foot,14 the Brygos Painter decorated cups that form a remarkableseries, skyphoi that are masterpieces, a few small vases of various shapes, as well as rhyta and an odd kalathoid vase with a spout, a late work that shows, on one side, Alkaios and Sappho, their names inscribed.15 The Brygos Painter'sfigures are always expressive, their postures and gestures fully in character with the situation. A good example is the maenad in the white-ground tondo of the Munich cup, her wild grace at once vibrant and delicate.16 The Brygos Painter is among the first to differentiatebetween the bodies of boy and man, girl and woman.17 He carefully delineates his garments, contrasting the cool linen chiton with the warm, woolen himation, which often has a thick black border for strong definition and a line of dots here and there across its wide folds. The Brygos Painter'schoice of subjects,like that of Onesimos, to whom he is slightlyjunior,18 is wide-ranging, and mention of a few of the best seems appropriate. In addition to those already cited are Tekmessa covering the impaled body of Ajax in the tondo of a cup in Malibu, a tender scene that alludes to all the horrorsof the TrojanWar,which are depicted with furious directness on the painter'sIliupersiscup in the Louvre;the touching encounter between Priam and Achilleus in the Ransom scene on the Vienna skyphos; the amusing illustrationof Hermes as cattle thief on the Vatican cup, the innocent-looking infant bundled into a liknon while a cow sniffs him curiously; the Gigantomachy on the cup in Berlin, which is one of the first to show Herakles in Eastern dress; satyrs attacking Iris, a rare if not unique theme, on a cup in London; and the wonderful revel on the cup in Wurzburg,where the party is in full swing on the outside and in the tondo a youth vomits, a warning against overimbibing,probably meant humorously.19Pertinent to the latter is 1421 (P1. 133), in the manner of the Brygos Painter,which shows a revel on the exterior that seems to find its best parallel with this one. Several good painters belong to the circle of the Brygos Painter, in particular the Briseis Painter, the Foundry Painter, and the Painter of the Paris Gigantomachy. Only the work of the last two, a single sherd attributedto each, appears in the Agora material. The FoundryPainter is a bold, spirited artist who decorated cups potted by Euphronios and Brygos.20His namepiece is the famous cup in Berlin that depicts bronzeworkersin their foundry assembling and putting the finishing touches on statues of two youths, one a warrior,the other an athlete, while colleagues are busy with the furnace.21Occasionally,the FoundryPainter'swork is reminiscent of that by the Brygos Painter, but more often he is his own man. For the most part, his figuresdo not have the gracefulbalance and delicate air those by the BrygosPainterhave; 14 Forthe signatures,see ARV2398-399; Paralip.369. Not all thesecupsaredecoratedby the BrygosPainter.Forthe painter,see ARV2368-385; Paralip.365-368; Addenda 224-229; D. Williams, CVA,London9 [GreatBritain17], pp. 53-54. Forhis inscriptions, see Immerwahr,AtticScript,pp. 88-89. 15 Munich2416 (ARV2385, 228; 367, 228;Addenda 228; Paralip. Necropoli...Agrigento, pp. 120-121, cat. no. 17). 16 Munich 2645 (ARV2371, 15; Paralip.365, 15;Addenda 225). Forthe white-groundworkof the BrygosPainter,see D. Williams, "AnOinochoe in the BritishMuseum and the BrygosPainter's Workon a White Ground,"JahrBerlMus 24, 1982,pp. 17-40: here (pp. 29-31), the convincingreattributionof London,B.M. D 13, a white-groundoinochoe,fromthe FoundryPainter(ARV2403, 38; Addenda 231) to the BrygosPainteradds a new dimensionto his workin this technique. 17 A few examples:the youngAstyanaxand the matureNeoptolemos on Louvre G 152 (ARV2369, 1; Paralip.365, 1; Addenda224; Denoyelle, Chefsd'oeuvre ... Louvre,pp. 122-123, cat. no. 56) and the boy servantand Achilleuson Vienna 3710 (ARV2380, 171; Paralip.366, 171; Addenda 227), both of which have the additionalcontrastof old age (Priam);the boy and man in the tondo of Oxford 1967.304 (ARV2378, 137; Paralip.366, 137;Addenda 226);the youngbut matureBriseison LouvreG 152,

and Callisto in the tondo of London, B.M. GR 1848.6-19.7 = E 68 (ARV2371, 24; Paralip. 365, 24;Addenda 225; CVA,London9 [GreatBritain17], pl. 58 [834]:b). 18 ARV2368: the BrygosPainter's"earlierwork runs parallel with that of Onesimos." 19 Malibu,the Paul GettyMuseum86.AE.286 (Paralip. J. 367, 1 bis,Addenda 224; CVA,the J. Paul Getty Museum8 [forthcoming]);LouvreG 152 and Vienna 3710 (bothnote 17 above);Vatican 16582 (ARV2369, 6; Paralip.367, 6; Addenda 224); Berlin 2293 (ARV2370, 10; Paralip.365, 10 and 367, 10; Addenda 224); London, B.M. GR 1873.8-20.376 = E 65 (ARV2370, 13; Paralip.365, 13;Addenda 224; CVA,London9 [GreatBritain17], pl. 63 [839]:b);Warzburg479 (ARV2372, 32; Paralip.366, 32 and 367, 32;Addenda 225). 20 Bloesch, FAS,pp. 73-74, nos. 15, 18, 20-22; 79, nos. 50, 51; 84; and 85, nos. 17 and 24. For the painter,see ARV2400-405; 230-232. The articleby E. Knaueris Paralip.369-371; Addenda particularlyrelevantfor understandingthe style and character of this painter: '"ARed-FigureKylix by the FoundryPainter: Observationson a Greek Realist,"IndianaUniversitArtMuseum Occasional Papers, Bloomington1987, pp. 2-29. 21 Berlin2294 (ARV2 400, 1; Paralip. 370, 1;Addenda 230).

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rather,they are hearty, rugged, powerful, and their faces, especially, are strongly individualized and full of human character. Good examples are the "dirty"fighters on a cup in London; the youth (Theseus[?]) on a cup in Munich spearing a fallen centaur, who makes one last effort to defend himself, his face contorted in pain; a cup in Boston that shows Hektor in the final moments of his life, his head in three-quarterview looking back at Achilleus about to overtakehim.22 1419 (P1. 132), the small but worthy Agora fragment by the Foundry Painter, which shows the legs of a man or youth, was hesitantlyattributedby Beazley to the Berlin Painter;an attributionto the FoundryPainter seems surer. The Painter of the Paris Gigantomachy is called after the big Gigantomachy on a cup in the Cabinet des Medailles, an illustrationthat is reminiscentof the grand depiction by the Brygos Painter on the cup in Berlin: the drawing is weaker and reflects the painter's inclination toward mechanical repetition.23 1423 (PI. 133)belongs near the namepiece: it shows a warrior(who may even be a giant) attackingto left and was probablyfrom a scene with severalfigures. Usually,compositions by this painter show little overlapping,the Munich athlete cup being a good example.24 The workof two other Bryganpaintershas been found in the Agora excavations. The Painter of the Yale Cup decorated small modest cups with simple compositions.25 1367 (PI. 127), a stemless cup fragment, may be by him. Of closer interest is 1422 (P1.133), the namepiece of the Painterof Agora P 42, an artistmore on the periphery of the Brygos Painter'scircle than some of the others.26 1422 and the Stroganoffcup with Eleusinian deities are probably his best works.27 DOURIS Douris was as productive as the Brygos Painter but very differentfrom him in temperament. His signatureas painter appears mainly on cups, but on one occasion he signs as both potter and painter,and on another as potter,thus indicatinghis masteryof every aspect of vase production.28 Early on, his work shows links with Onesimos, probably via the workshop of Euphronios, for whom he decorated a few cups, albeit without signature.29Throughout his career he collaborated regularlywith the potter Python.30 Douris is chiefly a cup painter, but on occasion he turns his attention to other shapes, notable among them the signed kantharos,the signed psykter,and the white-groundlekythoi.31 Douris' work may be divided into four distinct stylisticperiods, the earliest being just before 500 B.C., the latest in the 470's; the salient features of each have been summarized by Beazley.32 22 London, B.M. GR 1850.3-2.2 = E 78 (ARV2401, 3; Paralip.370, 3; Addenda230; CVA,London 9 [Great Britain 17], pl. 69 [845]:c). Munich 2640 (ARV2402, 22; Paralip.370, 22; Addenda 231). On the outside of this cup, a centaurlashes out with his hind legs, connectingwith the shieldof the Greekbehind him, a motivethat recursconsiderablylateron the BassaeFrieze, wherethe actionis morevicious(Slab527: see C. Hoflkes-Brukker, Passau1975, in derurspringlich DerBassai-Fries geplanten Anordnung, p. 50). Boston, M.F.A.98.933 (ARV2402, 23; Paralip.370, 23; Addnda231). 23 Cab. Med. 573 (ARV2417, 1; Addenda 234). The painter: 234-235. ARV2417-424; Paralip. 373-374; Addenda 24 Munich2649 (ARV2418, 25;Addenda 234). 25 New Haven, Yale 165 (ARV2396, 17). The painter:ARV2 229-230. 395-398; Paralip. 369;Addenda 26 ARV2415-416; Paralip. 234. 373;Addenda 27 Rome, once Stroganoff(ARV2415, 2; Paralip.373, 2; Addenda234). 28 As potterand painter:BrusselsA 718 (ARV2445, 256; ParaDouris,p. 75, cat. no. 48, 241; Buitron-Oliver, lip.521, 256;Addenda pls. 32-33). As potter:Athens,N.M. 15375 (ARV2447, 274; Addenda241; Buitron-Oliver,p. 78, cat. no. 85, pl. 56). In gen-

eral:ARV2425-451; Paralip. 235-242; Buitron374-376; Addenda Oliver,passim. For his inscriptions,see Immerwahr,AtticScript, pp. 41-45. pp. 86-87; Buitron-Oliver, 29 ARV2426-427; Bloesch, FAS,pp. 70, no. 2; 71, no. 9; 77, no. 33; Buitron-Oliver, Douris,pp. 58-59. 30 ARV2426; Bloesch,FAS,pp. 96-101; Buitron-Oliver, Douris, pp. 56-58. In addition, Douris painted cups signed by Kleophrades,Berlin 2283 and Vatican,Astarita 134 (ARV2429, 21; Addenda 236; Buitron-Oliver,Douris,p. 74, cat. no. 34, pls. 2223) and Malibu,the J. Paul Getty Museum83.AE.217 (BuitronOliver,p. 75, cat. no. 38, pl. 24); also one for Kalliadeswhose name seems to be otherwiseunknown,LouvreG 115 (ARV2434, 237; Buitron-Oliver, 375, 74;Addenda p. 80, cat.no. 119, 74;Paralip. pls. 71 and 146). 31 BrusselsA 718 (note28 above);London,B.M. E 768 (ARV2 241; Buitron-Oliver,Douris, 446, 262; Paralip.375, 262; Addenda p. 78, cat. no. 84, pls. 54-55 and frontispiecein color);PalermoNI 1886 (ARV2446, 266; Paralip.375, 266; Addenda 241; Buitron376, Oliver,p. 75, cat. no. 46, pi. 30); Cleveland66.114 (Paralip. 266 bis,Addenda 241; Buitron-Oliver,p. 75, cat. no. 47, pl. 31). 32 ARV2 425-426.

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Douris is a vigorous painter, a master at creating pleasing and balanced compositions whose figures enhance the spaces they inhabit. His subjects are far ranging, from simple scenes of everydaylife to imaginativemythological representations.Most memorable among the latter are several early and middle works:Ajax carries the body of Achilleus on the fragmentarycup in the Cabinet des Medailles where the frontal face of Ajax attests his mental and physical exertion. The Trojan cup in Vienna shows on the outside the quarrel between Odysseus and Ajax and the subsequent vote, with Ajax looking dejected; on the inside Odysseus delivers the contested armor to its rightfulheir,Neoptolemos, who staresat his father'shelmet, grieving over his loss and perhaps a little overwhelmedby the responsiblitiesthat lie ahead. Eos lifts the body of Memnon in the tondo of the famous cup in Paris, a scene that once again brings to mind the Sarpedon krater by Euphronios. In the tondo of a cup in the Vatican,Jason is disgorged by a dragon in the presence of Athena, a theme that still awaits an explanation.33 Among examples of daily life, one may simply mention the schoolroom scene on the cup in Berlin, the symposia on two cups in London, where one symposiast reclines on a couch seen from the narrow end, and the embracing couple in the tondo of the cup in Christchurch,a late work.34 In the Agora red-figuredmaterial, five fragmentaryvases, a psykter and four cups, may be linked with Douris; although no one of them was accepted by Beazley as Douris himself, they deserve to be included in this discussion. 1539 (PI. 145),which preservesa little of a symposiast,is probably by Douris, and, if so, it is an early work best paralleled by the figure in the tondo of the very early cup in the Vatican.35 1410 (P1.131), with a courting pair in the tondo and a palaestra scene on the outside, recallsin style the earlyworkof Douris.36 591 (P1.64), severalfragmentsof a small, thin-walled psykter,was loosely associated by Beazley with Douris' earliest style,37yet it sharesstylisticfeatureswith the signed aryballosin Athens, a middle work.38The best Agora piece in this group is 1570 (P1.148), the white-ground cup with the youthful lyre-playeraccompanied by his charmingpet hare:this earnest, tranquilscene seems worthyof Douris himself in his middle phase, when his style was moving away from the lively,decorativeArchaic preference toward the more reserved, austere Early Classical. 1570 praises Erinos, and if it is by Douris, it adds a new kalos name to those already known in his work. The last Agora piece, 1417 (P1. 132), is a small fragment of a cup in the manner of Douris that shows a komos. MAKRON

Like Onesimos, Makron is known so far from only one signature, on his masterpiece in Boston, a skyphos that shows Paris leading Helen away on one side and Menelaos reclaiming 33 Cab.M6d.537 and598 (ARV2429,19;Addenda 236; BuitronOliver,Douris,p. 74, cat. no. 32, pl. 21);Vienna 3695 (ARV2429, 236; Buitron-Oliver, p. 75, cat. no. 42, 374, 26;Addenda 26; Paralip. G 115 Louvre (ARV2 and 26 74; 434, Paralip.375, 74; 143); pls. Addenda 237; Buitron-Oliver,p. 80, cat. no. 119, pls. 71 and 146); 239; Vatican 16545 (ARV2437, 116; Paralip.375, 116; Addenda Buitron-Oliver, p. 82, cat. no. 156, pl. 92). 34 Berlin 2285 (ARV2431, 48; Parahlip. 237; 374, 48; Addenda Buitron-Oliver,Douris,p. 78, cat. no. 88, pl. 58); London, B.M. GR 1843.11-3.15 = E 49 and Rome,Villa Giulia(ARV2432, 52; Addenda 237; CVA,London9 [GreatBritain 17], pl. 29 [805]: on p. 35 the plate numberis incorrectlycited as 49; Buitron-Oliver, p. 78, cat. no. 96, pl. 62) and GR 1892.5-18.1 = E 50 (ARV2443, 240; CVA,pl. 34 [810]); Buitron227; Paralip.375, 227; Addenda Oliver,p. 79, cat. no. 102, pl. 64); Christchurch,N.Z. AR 430 p. 87, cat. no. E, 12, pl. 126:here (ARV2438, 138;Buitron-Oliver, givento the Painterof LondonE 55; see p. 86). 35 Vatican,no no. (ARV2427, 2; Paralip.374, 2; Addenda 235;

Buitron-Oliver,Douris,pp. 72-73, cat. no. 8, pl. 5). One cannot helpwonderingif the sceneson thiscup mightbe Douris'response to the lively,drunkenpartythe BrygosPainterdepictedon his cup in Wtirzburg(note 19 above). 36 This cup hascoral-redon the surface,whichwouldnormally be coveredwith blackglaze. This is perhapsthe place to mention Douris, P 10271(ARV2442, 213; Paralip. 375, 213; Buitron-Oliver, p. 73, cat. no. 10; pls. 6 and 146), for it has a similarscheme of decorationbut lacks coral-red,which may originallyhave been intended. P 10271 is not included in this study because it was foundin one of the graveson LenormantStreetwell to the north and westof the Agoraboundary,and thereforeit is not fromthese excavations. For these graves and their pottery,see C. Boulter, "Gravesin LenormantStreet,"Hesperia 32, 1963, pp. 113-137. 37 CB p. 9. ii, 38 Athens,N.M. 15375 (note 28 above).

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her on the other, the names inscribed.39 This skyphos also has the signature of Hieron, whose name appears many times and is the only potter for whom Makronworked, chiefly as a decorator of cups.40 "There are no trulybad vases by Makron."41His drawingmay not be quite as elegant as that of Onesimos or of Douris when he is at his best or as refined as that of the Brygos Painter,but it is always very expressive and accomplished. Makron'scompositions are usually full of lively, fast-moving figures who have no idea how to stand still and keep quiet. In particular,one may mention the joyous, sparklingrevel on a cup in Brussels,where the long locks of both satyrs and maenads fly out behind them as they dance wildly and uninhibitedly,or the frenzied maenads on a cup in Berlinwho swirl around the image of Dionysos.42 These are strong, aggressivemaenads, far removed in spirit and temperament from the ethereal creature that inhabits the tondo of the Munich cup by the Brygos Painter. Even relatively quiet figures, such as Peitho on the Boston skyphos or the man seated before a boy in the tondo of a cup in London, have a certain vibrant liveliness: Peitho's skirt flounces behind her, and the man gesticulates with his right hand, each finger expressive.43 Makron'schoice of subjects,like that of his colleagues, is fairlybroad,44and some of his best pictures come from the mythologicalworld, where at times his selection of a specific scene and his manner of depicting it seem very much his own. Good examples are the scene of the Judgment of Paris on a cup in Berlin, where the youthful shepherd sits on a rock surrounded by his flock as Hermes approaches with the three goddesses; the abbreviatedRansom of Hektor in the tondo of a cup in Pariswith the figure of Achilleus so alert that one sees at once he knows Priam is about to arrive; and two fragmentary cups from the Akropolis:in the tondo of one, Herakles attacks the Hydra, which is coiled up in the right half of the circle ready to spring while the annoying crab sent by Hera nips at the hero's left ankle, and on the outside of this cup Zeus brings the infant Dionysos to his nurses, a rare theme, especiallywith the leading role played by Zeus; on the outside of the other Akropoliscup, in the presence of Olympians, Peleus delivershis son to Chiron for his education.45 The one small Agora fragment by Makron, 1424 (P1. 133), belongs here. It shows a man striding to right, left arm outstretched. Beazley suggested that the theme is the Gigantomachy and thought the figure might be Zeus, presumablybecause of the wavy red lines that could be interpreted as flames from the thunderbolt. For reasons given in the catalogue, an identification as Hephaistos seems preferable. OTHER LATE ARCHAIC CUP PAINTERS

The work of several Late Archaic red-figurecup painters may be placed under this heading, but in the Agora excavationsthe workof only two, the TriptolemosPainterand the Ashby Painter, has been recovered. 39 Boston, M.EA. 13.186 (ARV2458, 1; Paralip.377, 1; Ad- Vdila Giulia (ARV2462, 48; Paralip.377, 48; Addenda 244; Reeder, denda243). Forthe painter:ARV2458-481; Paralip.377-379; AdPandora, pp. 383-385, cat. no. 123). 43 Boston, M.EA. 13.186 (note 39 above). London, B.M. denda243-247; D. Williams,CVA,London 9 [GreatBritain 17], p. 46. Especiallyrelevantare these two references:J. D. BeazGR 1843.11-3.44 = E 62 (ARV2471, 194; CVA,London9 [Great ley, "Makron,"a lecture deliveredin Cambridge(1955) and in Britain17], pl. 52 [828]:b). 44 For a pertinentdiscussionof them, see Bothmer(note 39 Basel(1956),now publishedin GreekVases: Lectures byj. D. Beazley, D. C. Kurtz, ed., Oxford 1989, pp. 84-97, and D. von Bothmer, above),pp. 32-43. 4 Berlin 2291 (ARV2459, 4; Paralip.377, "Noteson Makron,"in TheEyeof Greece: Studiesin theArtofAthens, 4; Addenda 244); D. C. Kurtz and B. Sparkes,eds., Cambridge1982, pp. 29-52. LouvreG 153 (ARV2460, 14;Addenda 244);Akropolis325 (ARV2 Forhis inscriptions,see Immerwahr,AtticScript,pp. 89-90. 460, 20; Paralip. 244; for this cup, see particularly 377, 20; Addenda 40 Fora good discussionof the Beazley'sdescription["Makron"(note 39 above),pp. 92-93]oof signatures,see Bothmer(note39 ~~~~~~~~~~~~~eazlysdsri p 9-93i n [ "(oe3-bv) Ap M k o the unusual featuresof the scene on the exterior);Akropolis328 aoove),pp.45-4/. 1 Ibid., p.252. (ARV2460, 19;Addenda 244). 42 BrusselsR 247 (ARV2462, 41). Berlin 2290 and Rome,

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The Triptolemos Painter is an accomplished, versatile artist who starts out as a cup painter but later turns his attention to decorating a variety of different shapes.46 These are among his best pieces, and most often they are decorated with mythological themes. His namepiece is one of these, a stamnos in the Louvre, where the theme of the Eleusinian deities unfolds around the vase.47 Others that deserve mention are the scenes of Danae on the St. Petersburg calyx-krater,the Trojan episodes on the Basel stamnos, and those of Triptolemos on one side and Theseus with Poseidon on the other of the Copenhagen pelike.48 The pots attributed to him are not, so far,associated with any potter; with his cups, it isjust the opposite, for they can be linked with Euphronios, Brygos, Python, and Hieron,49 indicating that he was not attached to a single workshop. Some of these cups, like his pots, are his best works, with carefully arranged compositions and adeptly drawn figures.50 In the Agora, only two small fragments have been attributed to the Triptolemos Painter, 1341 (PI. 125), a cup-skyphos, and 1543 (PI. 145), a cup. 1420 (PI. 132), also a cup, seems akin to him. Each preservesthe head of a youth. The last painter in this section is the Ashby Painter,whose namepiece was once in Castle Ashby and is now in the Metropolitan Museum.51 The Ashby Painter'soutput is small, especially when compared with that of the cup painters discussed above. It consists chiefly of drinking cups that are often decorated with athletes or symposia, occasionally with Herakles or Theseus. 1340 (P1. 125), his only cup-skyphos, belongs with his mythological themes, for it shows a carefully rendered illustrationof Herakles attacking the Hydra, assisted by Iolaos, with Athena an encouraging presence. EARLY CLASSICAL PAINTERS OF LARGE POTS There is a great deal of variation in the style of these painters whose work belongs in the second quarter of the 5th century. Some, especially the Mannerists,have their roots in the Late Archaic idiom, although their versions of this style are very individual. Other artists embrace the new spirit that takes hold in the years following the Persiandefeat. HERMONAX

Hermonax is a sound and capable if not remarkablepainter. His early work is influenced by the late work of the Berlin Painter, and he was very likely a pupil of the older artist. The style of drawing on his cups and on a few other vases, however,indicates a debt to Makron, and Hermonax may even have decorated unsigned cups potted by Hieron.1 Hermonax' preferred shapes are stamnoi, pelikai, and neck-amphorae as well as loutrophoroi; in addition, he has also left several oinochoai and lekythoi. At times his style of drawing tends toward that of the Mannerists, but his best work reflects the new mood of the Early Classical, with its emphasis 46 For the painter, ARV2 360-367; Paralip. 364-365; Addenda 222-223; D. Williams,CVA,London9 [GreatBritain17], desTriptolemosmalers p. 30; also E. Knauer,Ein Skyphos [125 Wincder ArchaologischenGesellschaftzu Berlin], kelmannsprogramm Berlin 1973. For a summaryof his collaborationwith the Flying Angel Painterand his workshopconnectionwith the Pan Painter, see M. Robertson,GreekVases inthej. PaulGetyMuseum 2 [OPA3], [pp. 71-90], pp. 77-78. 47 Louvre G 187 222; (ARV2361, 2; Paralip.364, 2; Addenda Denoyelle,Chefsd'oeuvre...Louvre, pp. 130-131, cat. no. 60). 48 St. 364, 1; Petersburg637 = St. 1723 (ARV2360, 1; Paralip. Addenda 222; Reeder, Pandora, pp. 269-270, cat. no. 74). Basel, Antikenmuseumund SammlungLudwigBS 477 (ARV2361, 7; Addenda 222; CVA,Basel 3 [Schweiz 7], pls. 22, 23 [334, 335]). Copenhagen, Ny Carlsberg2695 (ARV2362, 19; Addenda 222;

Knauer [note 46 above],figs. 19-20). 49 Fora summary,see Knauer(note46 above),pp. 17-18 and p. 26 note 91 for the list. None of these bearsa signature. 50 E.g., Berlin2295, linkedwith Euphronios(ARV2364, 145; Addenda 223) or Vaticanno no. with Brygos(ARV2364, 49; Addenda223; Knauer [note 46 above],figs. 14-16). 51 New York,M.M.A. 1993.11.5 (ARV2455, 8; Addenda 242). The painter:ARV2454-455; Addenda 242-243. 1 Hermonax:ARV2483-492; Paralip. 247379-380; Addenda 249; H. LangenfaB,"Hermonax:Untersuchungenzur Chronologie"(Inauguraldiss.,Munich1972). Pupilofthe BerlinPainter,see ARV2483. Forthe Makronconnection,see particularlyC. IslerKer6nyi,AK 27, 1984 [pp. 54-57], p. 57 and for the cups,AK27, 1984,pp. 154-165.

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on dignified calm and somber reflection that "looksbackward or forward to the crisis."2 Good examples are the two representationsof Theseus and the Minotaur: on one, the hero is about to dispatch the monster, who looks out helplessly at the viewer, far removed in spirit from the heroic strugglepreferredby earlierrenderersof this theme; in the other,the Minotaurlies dead on the ground; another example is the scene of the Theban Sphinx on the signed pelike in Vienna.3 In the Agora material presented here, three pieces by Hermonax himself have been found.4 The most interestingis 36 (P1.11), a pelike that shows BoreaspursuingOreithyia,a theme popular in Athens at this time. Much of the glaze on 36 has flaked, but the "ghosts"of the drawn lines make clear that this was a fine piece. 35 (P1.11), also a pelike, preservesjust the face of a youth, and 77 (PI. 15)is the neck of a loutrophoros-hydriadecoratedwith three women. Two other vases belong in this section. 9 (PI.6) is an amphora near Hermonax or by his follower,the Painterof the Birth of Athena.5 It depicts Athena, but the specific context is unclear. The most interesting is 623 (P1.67), an oinochoe that shows a theatrical scene with actors and a boy holding a tragic mask. It is connected in style with the Painter of Munich 2413, whose namepiece was once thought to be by Hermonax himself.6 OTHER EARLYCLASSICALPAINTERSOF LARGEPOTS

The first of these is the Painter of the Yale Oinochoe, whose namepiece, which depicts Poseidon and Theseus, Beazley judged rather harshly as "one of his least unpleasing works."7 1223 (P1.115), a shallowkalathoidwith the figureddecorationcontinuing aroundthe vase without interruption,is a good piece in his manner and depicts two separatemythologicalpursuits:Boreas and Oreithyia;Peleus and Thetis. The latter pair is missing,but the presence of Nereids holding dolphins confirms the subject. 266 (P1. 36), two fragments of a calyx-krater,may be by the Aegisthus Painter, a forceful artist whose name vase is a handsome column-kraterthat shows Orestes avenging the murderof his father.8 266 preservespart of the rim with addorsed palmette ornament, and drapery,probably of a woman. Three fragmentary vases from the Agora are attributed to the Mykonos Painter, so called after a lebes gamikos found in the Rheneia deposit.9 He has left us less than two dozen vases, but among them there are a good many differentshapes, and the Agora pieces reflect this diversity.3 (P1. 1) is a full-sized amphora; 70 (P1. 14), a fragment of a small amphora or pelike; and 548 (PI.57), a bell-krater.The scenes seem to be of daily life. 29 (P1.10), a fragment of a small pelike with framed pictures, belongs to the Orchard Painter, a medium talent whose best vase is the eponymous column-kraterthat shows a pleasing scene of women picking fruit in an orchard.10A painter of considerably higher caliber than those just discussed is the Alkimachos Painter,who l1 He prefers to decorate gets his name from the kalos inscriptionson two small neck-amphorae. neck-amphoraeand column-kraters,but he has also left some splendidlekythoi.12A newcomer to these and surely one of this painter's best pieces is the one on loan to Basel, which shows Ajax Robertson,HGA,p. 252. 3 ArgosC 909 (ARV2485, 23 and 1655;Addenda 248);St. Petersburgb 804 (ARV2484, 16; Paralip.512, 16); Vienna 3728 248). (ARV2485, 24; Addenda 4 Oakley adds four from the deposit excavatedin 1972: two bell-kraters,P 30017 (Hesperia Suppl. XXV, p. 75, cat. no. 42, pl. 18) and P 30019 (p. 76, cat. no. 48,pls. 20, 21); a lekythos, P 30065 (p. 89, cat. no. 103, pl. 34);and a kalpis,P 30134 (p. 93, cat. no. 121, pl. 39). 5 Forthispainter,seeARV2494-495; 250. 380;Addenda Paralip. 6 ARV2495; 380;Addenda 250. Paralip. 7 inAmerica, Beazley,Vases p. 61. The namepiece:New Haven, Yale 1913.143 (ARV2503, 25; Addenda 251). The painter:ARV2 2

151. 501-503; Paralip. 381; Addenda 8 252). The Bologna230 (ARV2504, 8; Paralip. 381, 8;Addenda 252. painter:ARV2504-508; Paralip. 381-382; Addenda 9 Mykonos (ARV2514, 1). The painter: ARV2514-516; 253. 382;Addenda Paralip. 10 New York,M.M.A. 07.286.74 254). (ARV2523, 1; Addenda 383; Addenda The painter:ARV2522-528; Paralip. 254. 1 Munich2325 (ARV2530, 19; Paralip.383, 19;Addenda 254) and London, B.M. E 318 (ARV2530, 20; Paralip.383, 20; Addenda254). In general:ARV2529-535; Parali. 383-384; Addenda254-255; also, K. Shefold, AK 19, 1976, pp. 71-78, esp. pp. 75-76. 12 See particularlyBeazley,VasesinAmerica,pp. 134136.

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kneeling on the ground invoking the gods, moments before he throws himself upon his sword,13 a quiet, tense picture that capturesperfectlythe spiritof the Early Classicalperiod. 262 (P1.36), a fragment of a calyx-kraterwhose style is related to the painter, preserves the upper parts of a woman to right. The last three painters in this section form a group. They are the Boreas Painter and the Florence Painter,who are sometimes difficultto tell apart, and a slightly younger colleague, the Painter of London E 489.14 The Boreas Painter,as his name suggests, is called after the subject that appears on a fine volute-krater.15His preferredshape is the column-krater,although his best piece is probably the big volute-kraterfrom Spina that depicts Neoptolemos leaving Skyros,16 an intense scene with little outward movement that is close in spirit to the East Pediment of the Temple of Zeus at Olympia.17 But he can also depict scenes of considerable energy, such as the one on a column-kraterthat shows Zeus pursuing Aigina,18 perhaps also the subject of 183 (P1.27), which is by either the Boreas Painter or the Florence Painter,probably the former. The Boreas Painter's drawing is rather simple and understated, even in his large, ambitious compositions, and he ranks among the more interestingpersonalities who embrace the restraint of the Early Classical style. 4 (P1.2), a large, well-preservedone-piece amphora, illustratesthis feature very well. 78 (PI. 15), a fragment of a loutrophoros-hydria,shows a representation of this shape held by a woman, and is near the Boreas Painter if not by him. The Florence Painteris named aftera column-kraterin Florence with a big Centauromachy,19 a theme that relates to the West Pediment of the Temple of Zeus at Olympia.20 Here, some of the figures are cut off by the side frames, suggesting a debt to a larger composition. The Florence Painter'sfavorite shape is the column-krater,no doubt because its framed panel offered him the format he needed for his compositions. His Agora column-krater,182 (P1.27), is too fragmentary to make this clear. 5 (PI. 3), a one-piece amphora that shows on one side a quiet scene of a man profferinga lyre to a youth, is close to the Florence Painter,if not by him, and also reflects the artistic spirit of this period. The last painter in this section, the Painter of London E 489, also specializes in column-kraters,although he has left single examples of other types of pots, such as 125 (PI. 21), a fragment of a lebes gamikos.21 THE PAPAN PAINTER

The most admirable talent of this time is the Pan Painter, a truly exquisite artist who was probably a pupil of Myson.22 He is named after the scene on one side of the bell-kraterin Boston where the lascivious goat-god pursues a frightened shepherd boy who flees in terror, clutching his chiton tightly around him.23 On the other side, a dispassionate Artemis coolly observes Aktaion'shounds attack and devour their master,a scene that Beazley described as "perhapsthe most finished group in all vase-painting:the lean, surprising,devilishly elegant figures carry the 13 Basel, Antikenmuseumund Sammlung Ludwig (AK 19, 1976, pl. 15). The attributionis Schefold's(note 11 above). 14 The Boreas Painter: ARV2 536-540; Paralip. 384; Addenda 255-256. The Florence Painter:ARV2540-546; Para256. The Painterof London E 489: ARV2546lip.385; Addenda 256. 549; Paralip. 385-386; Addenda 15 Bologna273 (ARV2536, 2; Addenda 255). 16 Ferrara47701 = T.18 C VP (ARV2536, 4; Paralip.384, 4; Addenda 255). 17 See particularlythe descriptionof the pedimentby B. AshandSculptor in Classical London 1972,pp. 27mole, Architect Greece, 40; also, M.-L. Saflund, TheEastPediment of theTemple of Zeusat Olympia (Studiesin MediterraneanArchaeologyXXVII),Goteborg 1970, pp. 97-124. 18 New York,M.M.A. 96.19.1 536, 5; Addenda 255). 19 Florence 81268 = 3997 (ARV2 (ARV2541, 1; Paralip.385, 1; Ad-

denda256; Espositoand de Tommaso,Vasiattici,p. 63, fig.96). 20 Again, see Ashmole(note 17 above),pp. 42-59. 21 Oakleyadds a bell-krater,the firstattributedto thispainter, P 30013 and P 30014 b (Hesperia Suppl.XXV, p. 70, cat. no. 36, pls. 10, 11). 22 PupilofMyson:ARV2550, withearlierbibliography.In general:ARV2550-561; Paralip. 386-389; Addenda 256-259; M. Robertson,"TwoPelikaiby the Pan Painter,"GreekVasesin thej. Paul GettyMuseum2 [OPA 3], pp. 71-90. Perhapsone should also includeJ. D. Beazley,The PanPainter,Mainz 1974 (the original Englishmanuscripttranslatedinto German by P.Jacobsthaland publishedin Berlin 1931;rev. 1944 and 1947). 23 Boston, M.F.A. 10.185 (ARV2 550, 1; Paralip.386, 1; Addenda256).

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mind far away from Greece."24 The Pan Painter decorates a full range of shapes, pots as well as small vessels. The relation between his compositions and the shapes they decorate is superb, rivaling the magnificent achievements of the Pioneers, the Kleophrades Painter,and, especially, the Berlin Painter. The Pan Painter'sdrawingis distinctive,sure, purposeful, and he demonstratesa true gift for the telling gesture. He paints a wide range of themes, both mythological and daily life, and often these are imaginative and innovative, sometimes witty and amusing. Besides the scenes on the namepiece, one may cite these examples that illustratehis versatility:the rare theme of Marpessa, which appears on the Munich psykter,an early work; Perseus on the London hydria, casting a glance back at the collapsing Medusa as he flees with the severed head stuffedinto his kibisis,and Athena coming in, "a novel treatmentof an old subject";25Heraklesusing Busirisas a human club against the Pharaoh'smen, who put up fierce resistance,a representationthat has both comic and serious elements; the trio of wine-making satyrs in the presence of Dionysos; the quiet, graceful scene of a hunter, who may be Kephalos, accompanied by his elegant hound; and the successful fishermen on the Vienna pelike, a charming scene of daily life.26 "The [Pan] painter begins as a mannerist, and ends as a mannerist. Between, he is more,"27an assessment confirmed by these and many other works. In the Agora, two small fragments were attributed by Beazley to the Pan Painter. 1654 (P1. 155), a fragment of a closed vase and the better drawn, shows the head and shouldersof a maenad to right;in time it is probablyclose to the namepiece. 69 (PI. 14), from an amphora or a pelike, depicts a pursuit,possiblyEos and Kephalos, because what remains is similar to the scene of the same subject on the fragmentaryskyphosfrom the Akropolis.28 EARLIERMANNERISTS

This group of painters is contemporarywith the Pan Painter,but the drawing is considerably inferior to his. They specialize in decorating column-kraters,pelikai, and hydriai, and the Agora pieces reflect this preference. Their drawing may be rather hasty looking, and the drapery is bulkywithout much understandingof the figurebeneath it. Often these painters are fond of lively action, and a favorite figure is one who moves quickly in one direction while looking back. In many cases, their compositions look a little forced. The most productive painters from the group of Earlier Mannerists are the Pig Painter and his "brother"the Leningrad Painter, also the Agrigento Painter.29 A pelike in Cambridge that probably depicts Odysseus and Eumaios with two swine gives the Pig Painter his name, an artist who "continues the style of Myson."30 None of the vases in this study is by the Pig Painter himself, but three fragmentarycolumn-kratersare in his manner. 177 (PI. 26) depicts two centaurs pounding Kaineus into the ground, and the centaurs on the other side indicate that the subject continued on the reverse; 196 (PI. 29) has an "Anacreontic"komos; and 223 (P1.31) shows a youth standing opposite a woman. 19 (Pls. 7-8), a neck-amphora, shows kinship with him. Two very fragmentary column-kratersare by the Leningrad Painter, who is named after an amphora Type B in the Hermitage that depicts a kithara-playerand listeners.31His most 24 25 26

Beazley,VasesinAmerica, p. 113. (note 22 above),p. 2. Beazley,PanPainter Munich2417 (ARV2556,101;Paralip. 258; 387, 101;Addenda ... Agrigento, pp. 122-123, cat. no. 18); London, B.M. Necropoli E 181 (ARV2555, 96; Addenda 258); Athens, N.M. 9683 (ARV2 554, 82; Paralip.386, 82; Addenda 258); Aleria 2094 attributedby 58, 1972 [pp. 25-41], esp.pp. 30-35); Boston, L.Jehasse(MonPiot M.F.A. 13.198 (ARV2557, 113; Paralip.387, 113; Addenda 259); Vienna 3727 (ARV2555, 88; Addenda 258). 27 Beazley,PanPainter (note 22 above),p. 8. 28 Akropolis469 a (ARV2559, 144). 29 The Pig Painter:ARV2 562-566; Paralip.389-390; Ad-

denda260-261. The LeningradPainter:ARV2567-574; Para261-262; as the "brother"of the Pig Painter, lip.390-391; Addenda ARV2567. The AgrigentoPainter:ARV2574-579; Paralip.391262. Oakley(Hesperia 392; Addenda Suppl. XXV, p. 71) suggests thattwo bell-kraterswere made and sold as a pair:P 30002 by the LeningradPainter(p. 71, cat. no. 37, pls. 12, 13) and P 30011 a-o by the AgrigentoPainter(p. 72, cat. no. 38, pls. 14, 15). He also adds to the workof the Pig Paintera pelike,P 30056 (p. 91, cat. no. 115, pl. 36). 30 ARV2562. The namepiece:Cambridge9.17 (ARV2564, 27; Addenda 260). 31 St. Petersburgb 2228 (ARV2570, 70; Paralip. 513; 70).

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interesting vase is unquestionably the hydria in Milan that shows vase painters at work.32 224 (PI. 31) depicts a woman playing the aulos; 178 (P1.27), a komos. The Agrigento Painter takes his name from a calyx-kraterfound at Agrigento with a scene of Herakles rescuing Deianeira from Nessos.33 263 (P1.36), a small fragment of a calyx-krater, depicts the head of a warrior. 297 (P1.40) is a fragmentof a bell-kraterby him that shows the head of an 'Anacreontic" komast. The work of one other named painter from this group has been found in the Agora excavations. 37 and 38 (PI. 12) are fragments of two pelikai by the Perseus Painter,whose name vase shows Athena and Perseus.3437 (PI. 12) depicts Dionysos on one side, a satyr on the other, and 38 (PI. 12) shows a frightened woman. The rest of the Agora pieces in this section, a pelike (67: P1. 14), two column-kraters(179: P1. 27 and 225: P1. 31), the latter added here, a bell-krater (550: P1. 57), and a hydria (593: P1. 64), are not by named painters, but are part of a large, rather loose group working in the early mannerist style. The themes of three are worth mentioning. 67 (PI. 14) depicts Athena with Hephaistos and may come from a representation of the Wedding of Peleus. 179 (P1.27) very likely showed the departure of a chariot, a subject very popular in black figurebut much less so in red. 593 (P1.64) comes from an amusing illustrationof pygmies fighting cranes. THE NIOBIDPAINTERAND His GROUP

The painters of this group, in particular the Altamura Painter and his slightly younger colleague, the Niobid Painter,are the most important of their time. Their early work still shows signs of the Late Archaic artist'slove of ornament combined with crisp, sure line. Not only does their mature and later work bring us to the threshold of the High Classical period, but more importantly it offers innovations in drawing and composition that reflect a break with the past that will change vase painting forever. Some of the finest, if extremelyfragmentary,vases found in the Agora excavations are attributedto these painters. A large volute-kraterfound at Altamura in Apulia gives the Altamura Painter his name.35 He is a productive artist, active in the years ca.470-460 and perhaps slightlybeyond. His favorite shapes are the volute-krater,the calyx-krater,the bell-krater,and the stamnos. All his Agora pieces in this study are kraters,except for two fragmentsin his manner, 72 (P1.15), which is an amphora or a pelike, and 597 (P1.64), a hydria.36 His early to middle vases have simple compositions without much significant overlapping of the figures. Good examples are the volute-krater in Ferrarawhere Zeus presents the infant Dionysos to the Muses and the volute-kraterin Rome that shows Dionysos leading Ariadne away.37 His mature and late works show his preference for larger,more complicated scenes, such as the Gigantomachyon his namepiece or the Iliupersis on the Boston calyx-krater.38 The Altamura Painter's figures, whether standing still or in active poses, are somewhat slender, and instead of the woolen peplos, his women wear the linen chiton, which was coming back into fashion at this time. Surely, one of the best vases by the Altamura Painter is 238 (Pls. 32-33), once a very large volute-krater,now reduced to four fragments. It shows Triptolemos accompanied not only by Demeter and Persephone but also by Athena and Zeus. 32 Milan, H.A., C 278 (ARV2571, 73; Paralip.390, 73; Addenda261; M. Venit, "The Caputi Hydriaand WorkingWomen in ClassicalAthens,"ClassicalWorld81, 1988, pp. 265-272). 33 Agrigento (ARV2577, 55). The painter:ARV2574-579; 262. Paralip.391-392; Addenda 34 Berlin2377 (ARV2582, 16). The painter:ARV2581-582; 263. 392; Addenda Paralip. 35 London,B.M. E 469 (ARV2589, 1;Addenda 264). In general: ARV2589-597; Paraip.393-394; Addenda 264-265; Prange,AJVbidenmaler, pp. 18-22 and pp. 115-119, where is it suggestedthat

this workshopinitiallydescendsfrom that of the Berlin Painter, but is indebtedto otherslateron. 36 The loutrophorosadded by Oakley is the painter's first known:P 30057 (Hesperia Suppl.XXV, p. 91, cat. no. 114,pl. 37). 37 Ferrara2737 = T.381 (ARV2589, 3; Paralip.393, 3; Addenda264; Prange, Nobidenmaler p. 157, cat. no. A 3). Vatican 17886(ARV2590, 5; Paralip. 393, 5; Prange,p. 159, cat. no. A I11). 38 London,B.M. E 469 (note35 above).Boston,M.E.A.59.178 (ARV2590, 11;Paral. 394, 11;Addenda 264; Prange, Nobidenmalr, p. 161, cat. no. A 21).

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The names of Zeus and Demeter are inscribed, and presumablythose of the other participants were as well. Triptolemos was a favorite subject of the Altamura Painter, and this was a particularlymagnificent rendering, as the remaining scraps make clear. The other Agora vases by this painter, although very worthy fragments, are not quite up to this standard. Two are calyx-kraters. 264 (P1. 36) preserves drapery of a woman, a frieze of riders galloping to left decorating the lower edge of the overfold; 265 (PI. 36) shows the face of a woman. Three others are bell-kraters. 551 (PI. 57) is the most interesting, for it depicts part of a pursuit, but exactly which one is difficult to say. 298 (P1.40) shows the face of a man to left, who is probably seated. 554 (PI. 57), in the painter's manner, preserves the head of a long-haired youth to left, whose identity still awaits explanation. The Niobid Painteris named after a scene on the reverseof a calyx-kraterin the Louvre that depicts Apollo and Artemis slaughteringthe childrenof Niobe.39 Called by Beazley "the 'younger brother' of the Altamura Painter,"40the Niobid Painter may have started his career slightly later than the Altamura Painter,and it seems to have lasted well into the 440's. His preferred shapes are volute-kraters,calyx-kraters,and bell-kraters,also amphorae, pelikai, and hydriai. The three Agora pieces attributed to the Niobid Painter himself, 300 (P1.41), 552, and 553 (PI. 57), are bell-kraters; those in his manner (see below) are more varied in shape. The Niobid Painter seems most attracted to painting fairly large, ambitious compositions. Sometimes these are full of intense action, such as the two big Amazonomachies, one in Palermo, the other in Naples, or the Iliupersis on a calyx-kraterin Ferrara;41at other times, a somber mood prevails, good examples being the departurescenes on two volute-kraters,one in Ferrara,the other in Boston, or the Muses on a calyx-kraterin London.42 The Niobid Painter'sdrawingis accomplished and sure but looser and a bit softer than that of his immediate predecessors,and it reflects his interest not only in complicated foreshortenedposes but also in renderingentire figuresin three-quarterview, which is best observed on his namepiece.43 The obverse of the Niobid Painter'snamepiece shows a heroic scene with Heraklesand others in the presence of Athena, a subject that has tantalized scholars for decades.44 Not only is this kraterimportant in the history of Greek painting and in the development of the Niobid Painter, but it also presents a complete break with the past. For the first time in vase painting, the figures do not share a common ground line; instead, on each side, there are multiple levels so that the figuresappear up and down over the surface of the vase. Such a composition is well known from Pausanias'descriptionsof the wall paintingsin the Knidian Lesche at Delphi, and the inception of this kind of composition in vase painting,where it really alters the fine balance between shape and 39 LouvreG 341 (ARV2601, 22; Paralip. 266; 395, 22; Addenda p. 186,cat. no. N 25; Denoyelle,Chefsd'oeuvre Prange, wobidenmaler, ... Louvre, pp. 138-139, cat. no. 64: sideA). In general:ARV2598265-268; Prange,passim.Fromthe 394-396; Addenda 612; Paralip. depositexcavatedin 1972, Oakleyadds two vases to the painter himself:P 30041 a, b, a bell-krater(Hesperia Suppl. XXV, p. 73, cat. no. 39, pl. 32), and an oinochoe,P 30062 and P 31532 (p. 86, cat. no. 89, pl. 15);also a neck-amphorain his manner,P 30060 (p. 90, cat. no. 110, pl. 35). 40 ARV2 598.

41 PalermoG 1283 (ARV2599, 2; Paralip. 266; 394, 2; Addenda p. 180,cat.no. N 2). Naples2421 (ARV2600, Prange,JVobidenmaler, 266; Prange,p. 183, cat. no. N 14). 13; Paralip.395, 13; Addenda Ferrara2895 = T.936(ARV2601, 18;Paralip. 266; 395, 18;Addenda Prange,p. 185, cat. no. N 22). 42 Ferrara2652 = T.740 (ARV2599, 6; Paralip.394, 6; Addenda266; Prange, .Mobidenmaler, p. 181, cat. no. N 7). Boston,

M.F.A.33.56 (ARV2600, 12;Paralip. 266; Prange, 395, 12;Addenda p. 183,cat. no. N 13). London,B.M. E 461 (ARV2601, 20; Prange, p. 185, cat. no. N 23). 43 Fora foreshortenedpose, see, e.g., the Greekdown on one knee in back view in the big Amazonomachyon Ferrara2895 = T.936 (note 41 above). On the name vase, the figure often identifiedas Perithoos,who clasps his bent right leg with both hands,is the bestexampleof a figurein three-quarterview(note39 above). A particularlygood, easily accessibleillustrationof this figureis in the articleby E. B. Harrison,ArtBull54, 1972,p. 395, fig. 10. The firstexamplesof the face drawnin three-quarterview seem to be the ones by the KleophradesPainter(Robertson,AVP, 188). p. 66): London,B.M. E 441 (ARV2187, 57; Addenda 44 Forthe variousinterpretations,beginningwith Helbig and Robertin 1882,see the listcompiledby E. SimoninAJA67, 1963, p. 102. See also pp. 61-62; updated by Prange, VMobidenmaler, pp. 28-29, notes 16-17 above.

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figures, has always been linked with monumental wall painting, with the Niobid kraterreceiving the lion's share of the attention.45 Compositions with multiple ground lines may not have been the Niobid Painter's only innovation, for, slightly earlier, he seems to have been the first to decorate a calyx-kraterwith two rows of figures.46 Like the multiple ground line, this system also disrupts the relationship between composition and shape. 286 (PI. 38), in the manner of the Niobid Painter, is the only Agora calyx-krater from his workshop decorated according to this scheme. The upper zone shows a fight, the lower one a king, but one cannot be more specific as to the subject. The three Agora fragmentsby the Niobid Painterhimself, all bell-kraters,seem to be from quiet scenes: 300 (PI. 41), a woman with a cradle kithara; 552 (PI. 57), the head of Apollo; and 553 (P1.57), a woman standing to left. More interesting, perhaps, are the vases from the Agora excavations attributedto the painter'smanner. 28 (PI. 10), an amphora of uncertain type, has a youth with his hand holding the brim of his petasos (about to doff it?), a gesture that is difficultto parallel. 226 (PI. 31), a column-krater,preservesthe tattooed arm and a bit of drapery of a Thracian woman. 268 (P1.36), a calyx-krater,probably depicted a youth leaving home. The most importantAgora piece is 303 (PI.41), a bell-kraterthat shows the Recovery of Helen in the presence of Apollo and Aphrodite, with Eros flying toward Helen; it seems to be the only example where figures stand between the advancing Menelaos and the flying Eros, in this case Apollo and Helen. 598 (P1.64), a hydria, depicts a woman and was probably an interior scene. A very rare myth, Odysseus at Troy disguised as a beggar, appears on 689 (P1.73), a fragment of a chous. 241 (P1.33), from a volute-krater,depicts Apollo and Artemis. Two other painters from this workshop, the Painter of the Woolly Satyrs, whose name vase is in Syracuse, and the Painter of the Berlin Hydria, continue the Niobid Painter's interest in complicated poses and multiple ground lines.47 Worth mentioning is the Amazonomachy on the calyx-kraterin New Yorkby the Painter of the Ber lin Hydria, on which a mounted Amazon gallops straightout at the viewer.48The painter has not gotten the foreshorteningquite right, but one applauds his bold effort. THE VILLA GIULIA PAINTERAND His GROUP

In this small group, the most important artists are the Villa Giulia Painter, his follower, the Chicago Painter,and the Methyse Painter.Just the first two will be discussed here, because only their work has been found in the Agora excavations. The Villa Giulia Painter,named after a calyx-kraterfound at Falerii,is a contemporaryof the artistsjust discussed,but he is quite differentfrom them in temperament.49He is less interestedin large compositions with active figures rushing about; "he offers instead quiet and harmonious pictures, drawn with fine equable lines."50 The Villa Giulia Painter likes restful scenes without too much overlapping of the figures, and often his choice of subjects is an unusual one, such as the satyr family on the Karlsruhe volute-krater, Polydeukes and Kastor as horsemen on a 45 For Pausanias'descriptionof the paintingsat Delphi, see Book 10.25-31. This is not the place to discussthis phenomenon, becausenoneof the Agoravasesassociatedwiththe NiobidPainter can be related to wall painting For a general assessment,see Robertson,HGA,pp. 240-270; in less detail, AVP,pp. 180-185; Prange, Mobidnmalr,pp. 87-108, with special considerationof vases by this painterand theirpossiblerelationto wall painting. 46 See 28 above. This scheme of decoration has been fully p. studied byJ. Oakley (AGRPAmsterdam, pp. 119-127), who gives primacyto the Niobid Painter(p. 119). 47 Syracuse23508 (ARV2613, 6; Paralp.397, 6; Addenda 269).

In general:ARV2613-614; Paralip. 397; Addenda 268-269; Prange, Vobidenmaler, pp. 25-26. The Painterof the BerlinHydria:ARV2 615-617; Paralip. 397-398; Addenda 269; Prange,pp. 24-25. 48 New York,M.M.A. 07.286.86 (ARV2616, 3; Parakp. 397, 3; Addenda 269). 49 Villa Giulia909 (ARV2618, 1; Paralip. 398, 1;Addenda 270). In general:ARV2618-627; Paralip.398-399; Addenda 270-271; Prange, Mobidenmalr, pp. 120-121. 50 Beazley,Vases p. 153. inAmerica,

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POTTERS,PAINTERS,GROUPS,and CLASSES

bell-krater,also in Karlsruhe, or Perseusstealing up on the sleeping Medusa, one of the earliest representationsof this episode and a remarkableillustrationof stealth.51The Villa Giulia Painter decorates a good variety of pots but also smaller shapes, such as lekythoi, alabastra, and cups, and this is where the Agora piece by the painter belongs. 985 (PI. 95), a rather badly preserved white-ground alabastron,shows two women engaged in wool-working.52Probablyby the painter is 586 (P1.62), a fragmentof a stand with two warriors. 1433 (PI. 134) is a small fragmentof a cup near the Villa Giulia Painter that shows a komast playing the aulos. The last vase in this section is 793 (PI. 81), an oinochoe with twisted handles that seems to be from the workshop of the Chicago Painter, a follower of the Villa Giulia Painter, whose namepiece is a stamnos in Chicago.53 On occasion, the Chicago Painter can be quite grand, as on his volute-kraterfrom Spina that shows the departureof a warrior.54On others, he depicts rare themes, such as Polyneices and Eriphyle on his pelike in Lecce,55 and this is where 793 belongs, for it shows an Anodos with a goat-man named Skirton.

EARLY CLASSICAL PAINTERS OF SMALLER POTS Active between ca. 480 and 450, these painters decorated the considerable number of mid-size vases required by the local market and equally sought after abroad, particularlyin Etruria. The most talented is the Providence Painter,whose name vase is a handsome amphora with twisted handles.1 Probably a pupil of the Berlin Painter,2he reflects his teacher's interest in decorating Nolan amphorae and standardlekythoi, although he has left us examples of a good many other shapes as well, including 120 (PI.21), his only known example of a lebes gamikos. Like the Berlin Painter'scompositions, those by the ProvidencePainterusuallyconsist of one or two figures,often calm and dignified, and the two Agora vases by him have such compositions. 120 shows Athena and Zeus offeringa libation in the presence of another god, perhaps Poseidon, and 830 (P1.86), a fragment of a very handsome lekythos, preserves only the face of a woman or youth to right. 835 (P1.86), thought by Beazley to be by the Achilles Painter,is more likely by the Providence Painter. It shows Nike flying to right. Like the Providence Painter,the Painter of the Yale Lekythos decorates pots as well as small vessels, all in a variety of shapes. He favorsthe lekythosin both its standardform and secondary variant;a few of the latter are in white ground.3 His namepiece in New Haven shows an intimate scene of a woman putting clothes into a chest, one of those illustrations from daily life that become increasingly more frequent from now on.4 Two of his works have been found in the Agora excavations. 624 (P1.67), his only known chous, shows Nike flying to left, holding out a fillet and a chous; 1150 (P1.109), an askos,preservestwo sirens. 625 (PI.67), a full-size chous, is by the Zannoni Painter,who is named after the scholar who published two of his column-kraters in Bologna.5 625 shows a scene of sacrificewith a well-preservedrepresentationof a kanoun. 51 Karlsruhe208 (ARV2618, 3; Addenda 270). Karlsruhe209 = B 40 (ARV2619, 15; Addenda 270). London, B.M. E 493 (ARV2 619, 18). 52 To the otherwhite-groundworkby the Villa GiuliaPainter, a newcomer,a cup attributedby Bothmer,shouldbe mentioned: I1 (whiteground),Hera;A-B (red New York,M.M.A. 1979.11.15: figure),Eos pursuingTithonos,the latter'sname inscribed(MMA AnnualReport1978-1979, p. 33, ill.). Besides985, P 30009 a-c, P 30040, and P 31539 shouldbe mentioned,a fragmentarybellkraterattributedby Oakley(Hesperia Suppl.XXV,p. 73, cat.no.40, pl. 16), as well as a fragmentthat may come from a stamnos, P 31521 (p. 95, cat. no. 128,pl. 41). 53 Chicago 1889.22 (ARV2628, 4; Addenda 272). The painter:

272. ARV2628-632; Paralip. 399-400; Addenda 54 Ferrara45685= T.9 C VP (ARV2628, 1; Parap. 399, 1; Addenda 272). 55 Lecce 570 (ARV2629, 23; Paralip. 399, 23; Addenda 272). Providence15.005(ARV2635, 1;Addenda 273). The painter: ARV2635-646; Paralip. 273-275. 400-402; Addenda 2 ARV2635. 3 ARV2657-662; Paralip. Addenda 277. 403-404; .. . _ - _ 4 New Haven,Yale 1913.146(ARV2658, 30;Addenda 277). 5 Bologna224 (ARV2672, 1)and Bologna 195 (ARV2673, 2). 278. The painter:ARV2672-674; Paralip. 404-405; Addenda

POTS EARLYCLASSICALPAINTERSOF SMALT.TER

11

The remaining painters in this section confine themselvesto small vases, in particularlekythoi and Nolan amphorae, the latter being an export shape. All these artists are of modest talent but not without a certain appeal, as vases by some of them found in the Agora illustrate rather well. For the most part, women are the preferredsubjects. The Bowdoin Painter has a long period of activity, beginning in the Late Archaic period and extending into the early third quarter of the 5th century.6 Lekythoi and, to a much lesser extent, oinochoai are his preferred shapes. All the Agora pieces are lekythoi and, although very fragmentary,they give a good idea of his temperament. Four,including 834 (PI.86) in his manner, are standard lekythoi; 831 (P1.86) depicts Nike to right; 832 (PI. 86) is an interior scene with a woman; 833 (P1.86) preserves a discus decorated with an owl in black silhouette surrounded by widely spaced dots, a trademarkof the painter. 888 (P1.89), decorated in white ground and an early example of the technique in this study,is a secondary type. 983 (PI. 95), by the Painter of Prague 774,7 is an alabastron with a woman on each side; 864 (P1.88), a lekythos by the Icarus Painter named after the subject on a lekythos in New York;8 and 900 (P1.90), a squat lekythos in his manner. The former depicts a maenad, the latter a woman. The two Agora lekythoi by the Seireniske Painter,9870 and 871 (PI. 88), the latter added here, also show women, one of whom may be Nike, although, as his name implies, this painter'sfavoritesubjectis a siren. Women appear on two of our lekythoiby the Aischines Painter, r a kalos inscription on an alabastronin Boston;10869 (PI.88), 867 and 868 (P1.88), named also by him, shows a youth. 898 (PI.90), a white-groundlekythosdecorated with a youth standing between side palmettes, should be by the Painterof Copenhagen 3830.11 The Nike Nike flying to right on 865 (PI. 88) is by the Beth Pelet Painter the thIsraeli provenance of a lekythos in Oxford.12 Two pieces are by the Carlsruhe Painter,13a lekythos, 866 (PI. 88), and a stemless cup, 1369 (P1. 127). Three are name vases: 902 (P1.90), a squat lekythos, for the Painter of Agora P 7561; 1149 (P1. 109), an askos, for the Group of Agora P 5562; and 1008 (P1.97), a pyxis, for the Painter of Agora P 14384.14 805 (PI. 82), an oinochoe, belongs to the Group of Athens 10452, whose only other known piece is the name vase.15 During this period, production of the fine white-ground lekythoi decorated in outline technique begins: these elegant vases reach an apogee during the third quarter of the 5th century, particularlyin the workshopof the Achilles Painter,and they continue te made down to ca.400. The two attributedexamples from the Agora are modest pieces: 890 and 891 (P1.89), both from the workshop of the Tymbos Painter.16 Finally,because of its importance, one should mention the workshop of the potter Sotades, who produced many elegant pieces, some of them light in make or rare in shape, with his chief painter,the Sotades Painter,named after the potter.17Unfortunately,nothing from this workshop has appeared so far in the Agora excavations. P 10410, a stemless cup in the manner of the Sotades Painter,is from outside the Agora grid.18

6 The namepieces:Bowdoin 20.1 (ARV2684, 143) and 13.5 (ARV2685, 170). The painter:ARV2677-689; Paralip. 405-407; Addenda 279-280. 7 ARV2695. 8 New York,M.M.A. 24.97.37 (ARV2696, 1; Addenda 280). The painter:ARV2696-701; Paralip. 280-281. 407-408; Addenda 9 ARV2701-704; Paralip. 408; Addenda 281. 10

Boston,M.EA.01.8122(ARV2717,222).

The painter: ARV2

281-282. 709-722; Paralip. 408-410; Addenda " ARV2723-724; 282. 410-411; Addenda Paralip. 12 Oxford 1930.550 (ARV2729, 4). The painter:ARV2728-

41 1;Addenda 283. 729; Paralip. 13 ARV2730-739; Paralip. 411-412; Addenda 283-284. 14 The Painterof Agora P 7561: ARV2742; Paralip. 413. The Groupof AgoraP 5562:ARV2776-777; Addenda 288. The Painter of AgoraP 14384:ARV2777; Paralip. 288. 416; Addenda 15 ARV2779. 16 ARV2 753-762; Paralip. 414-415; Addenda 285-286. 17 ARV2 763-773; 415: Addenda286-287. Paralip. 18 C.Boulter, Hesperia32,1963[pp. 113-137],p. 132 cat.no. 17 and pl. 50: a miscellaneousfind from the graveson Lenormant Street;ARV2770, 1.

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EARLYCLASSICALPAINTERSOF CUPS and SKYPHOI The quantity of preservedmaterial from the second quarter of the 5th century makes it possible to recognize specialization among workshops. Beazley establishedclassifications,but it is always importantto rememberthat all these artistswere workingconcurrently.Thus, while the Altamura and Niobid Painterswere makinglarge vessels, the most prominent workshopspecializingin cups was that of the Penthesilea Painter, followed by that of the Pistoxenos Painter. Before we look at the vases from these workshopsfound in the Agora excavations, we shall consider the vases attributedto the followers of Douris and to artistsso far not connected with a specific workshop. OFDOURIS;OTHERCUP PAINTERS FOLLOWERS

Several painters were identified by Beazley as followersof Douris. Most prolific among them is the Euaion Painter,named after the kalos inscriptionwritten on a cup in the Louvre.1 Although chiefly a cup painter,the Euaion Painterhas left examples of other small shapes. He is a graceful and pleasing if not very imaginativeartist,whose favoritesubjectsare athletes and komasts,satyrs and maenads, also quite a few women. There is not much overlapping of the figures in his compositions, and the ground line in the tondi of his cups is often placed rather high, resulting in a large undecorated exergue, either reserved or glazed. 1347 (PI. 125), a stemless cup, and 1435 (PI. 134), a cup, depict komasts; 1668 (P1. 156), a fragment, shows a nude girl. These are by the Euaion Painter himself. 1436 (Pl. 134), in his manner, preserves a woman running to right, probablylooking back. 804 (PI.82), a mug, has an athlete. Two other stemless cups with athletes belong here: 1359 (PI. 126), which may be compared with two cups by the Borden Wood Painter,and 1371 (P1.127), by an unascribedfollower of Douris.2 Among other painters belonging in this section of ARV2,3the work of only three has been found in the Agora. 1525 (PI. 144), which depicts a youth, probably one of two, is by the Painter of Louvre G 456, whom Beazley once included with the School of Makron4but then removed.5 1569 (PI. 148) is a cup Type C by the Boot Painter,who gets his name from his figuresof women holding boots or putting them on.6 1569 shows athletes. 1309 (PI. 122), a skyphos,with a youth on each side, belongs to the LyandrosPainter,whose best workis his namepiece, a cup in Florence that has a white-groundtondo with a seated figureof Aphrodite attended by two hovering Erotes; on side A, the name Lyandrosis inscribed.7 ANDHis GROUP PAINTER THE PISTOXENOS

A skyphos in Schwerin signed by the potter Pistoxenos is the eponymous vase of the Pistoxenos Painter, an artist whose style solidly embraces the spirit of the second quarter of the 5th century.8 Although his work is for the most part in red figure, the Pistoxenos Painter'sbest work occurs on white-ground cups, one of which still bears the potting signatureof Euphronios.9 His masterpiece, and indeed one of the grandest vases, is the white-ground cup in London that shows Aphrodite borne skywardon the back of a goose.10 It is a silent, effortless ascent, made even more so by the delicate drawing in dilute glaze. No less majestic is the figure of Orpheus 1 LouvreG 401 (ARV2789, 5). The painter:ARV2789-800; Espositoand de Tommaso,Vasiattci,p. 67, fig. 103). The painter: 295. ARV2 422; Addenda 835; Paralip. 289-291. Addenda 418-419; Paralip. 8 Schwerin708 (ARV2862, 30; Parali. 425, 30; Addenda 2 The Borden Wood Painter:ARV2788-789; Addenda 289. 298). 298-299. The painter:ARV2859-865; Paralip. 425-426; Addenda Followersof Douris,III:Unascribed:ARV2800-806; Paralp.4199 Berlin2282 (ARV2859, 1; Addenda 291. 420; Addenda 298). Two others pre3 serve the verb but not the name:Akropolis439 (ARV2860, 2; Pa293-295. Paralip. Addenda ARV2 421-423; 821-836; 5 4 ARV' 547-548. ARV2 and Taranto(ARV2860, 3; Paralip. 425, 425, 2; Addenda 298) 294. 824-826; Para4ip.421 3; Aralip. -4t22; A deda 298). To these, deda Beazleyrestoresthe name Euphronios. 5 ARV2824-826; 294. 3;Addenda 298). To these, Beazleyrestoresthe name Euphronios. 421-422; Addenda Paralip. 10 London, B.M. D 2 (ARV2862, 22; Paraip.425, 22; Ad6 ARV2 293-294. 421; Addenda 821823; Paralip. 7 Florence75409 (ARV2835, 1; Paralip. denda 298). 295; 422, 1; Addenda

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trying to defend himself against the assault of a Thracian woman, a scene on the inside of his cup in Athens. The Pistoxenos Painter'scompositions are ratherloose, and he is fond of including landscape or architecturalelements for locale. He is also a keen observerof human detail, as the wrinkled face of Geropso, Herakles' aged Thracian nurse on the namepiece, makes clear. In the Agora excavations, no piece may be firmly attributedto the Pistoxenos Painterhimself, but 1428 (P1. 134), a cup, is in his manner. On the inside a youthful warriorstands quietly; on the outside there is a fight that may have been similarto one by the painter himselfon a cup in Berlin.1 1429 (PI. 134), a cup added here, at least recalls him. The tondo showed a rider, the exterior a horse race. What remains of the horses on the outside agrees rather well with those by the Pistoxenos Painter,who favored somewhat heavy-boned, long-bodied horses with large, coarse heads.12 The only other painter from this workshop whose vases have been found in the Agora excavationsis the TarquiniaPainter,and he is the most prolificof the group.13 Like the Pistoxenos Painter,he too is known to decorate on white ground, the evidence being the white-ground cup in London with the rare theme of Anesidora, her name inscribed.14 The Tarquinia Painter's best drawing is clean and fluid, and his favorite subject is the youth, a preference that three of the Agora pieces reflect: 1239 (P1. 117), and 1430 and 1431 (PI. 134), a skyphos and two cups, respectively. More enigmatic is 1432 (PI. 134), a cup fragment added here. The tondo preservesonly the head of a man, probablyseated; the exterior,a warrioror an Amazon kneeling on the ground. If the latter, it would be one of his few mythological scenes. 616 (PI. 67), a chous with very little decoration remaining, has the same combination of ornament as others by the Tarquinia Painter and thus is added here, but with some hesitation. Ti

PENTHESILEA PAINTER ANDHis WORKSHOP

Quite a few painters were members of this large workshop, and the work of a good many has been found in the Agora. Among the Penthesileans,qualityvaries dramatically,ranging from famous masterpieces to the "drearyspectacle of talent commercialized."15 Cups are the main shape decorated by these painters, but there are also skyphoi, pyxides, and askoi as well as a few other shapes; often there are collaborations.16The favorite themes are women, youths and men, athletes, and, occasionally,horsemen; other than satyrsand maenads, mythological themes are rather infrequent, but those that have come down to us are often impressive. One supreme example is the namepiece of the workshop, the famous cup in Munich that depicts Achilleus plunging his sword into the chest of Penthesilea,17a composition that takes up the entire tondo, as does the one of Apollo and Tityos on another cup in Munich.18 Also by the PenthesileaPainter is the largestof all cups known thus far,the splendid example in Ferrara that shows the Deeds of Theseus around the tondo on the inside and Trojan episodes on the outside.19 The PenthesileaPainteralso decorated white-groundvases, as a pyxis and two bobbins make clear.20These pieces rank among his best, for the drawing is careful, the figuresexpressive, alert, and full of character. The Agora worksbelong among his more modest efforts. The drawing is rather coarse and hasty. 1440 (P1. 135) shows a man or youth standing behind a rider, and 1631 (PI. 153), which is added here and is probably by the PenthesileaPainter himself, preserves " Berlin inv. 4982.19 (ARV2860, 5; CVA,Berlin3 [Deutschland 22], pl. 104 [1033]). 12 Good examples:LouvreG 108 (ARV2860, 9; Addenda 298); the mount in the tondo of LouvreC 235 (ARV2862, 24). 13 ARV2 299-300. 866-873; Paralip. 426-427; Addenda 14 London, B.M. GR 1885.1-28.1 = D 4 (ARV2869, 55; Paralip.426, 55; Addenda299; Reeder, Pandora,pp. 279-281, cat. no. 279). 15 inAmerica, Beazley,Vases p. 131. 16 Fora list, see ARV2877-879. 17 Munich 2628 (ARV2879, 1; Paralip.428, 1; Addenda 300).

The painter:ARV2879-891; Paralip. 428-429; Addenda 300-302. 18 Munich2689 (ARV2879, 2; Paralip. 428, 2; Addenda 301). 19 Ferrara44885 = T.18 C VP (ARV2882, 35; 428, 35; Paralip. Addenda 301). Widthwith handles:0.72 m.; diameter0.566 m.; height 0.277-0.302 m. (forthe measurements,see N. Alfieriand P.Arias,Spina,Munich 1958, p. 49). 20 Pyxis:New York,M.M.A. 07.286.36 (ARV2890. 173; Paralip.428, 173; Addenda 302). Bobbins:New York,M.M.A. 28.167 (ARV2890, 175;Addenda 302) and Kerameikos1961 (ARV2890, 176;Addenda 302).

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only the drapery of a youth or man. It is important for its shape, which may be an Acrocup (see sub1631). The vases attributedto other members of the workshopare, for the most part, slight pieces. The namepiece of the Veii Painter was found at Veii and is now in the Villa Giulia.21 Three of his works have been found in the Agora: two pyxides, 988 and 989 (PI. 96), each depicting women, and an askos, 1151 (P1. 109), with two seated youths. Of more interest, perhaps, is 1442 (PI. 135), the only sure example from the Agora of a collaboration. The figures in the tondo and on the outside, which are women and youths, are by the Painter of Bologna 417; the zone around the tondo, which depicts Eos and Kephalos with others, is by the Painter of London E 777.22 So far, this seems to be the only documented collaboration between these two painters. 1443 (P1. 136) is also by the Painter of Bologna 417, whose most interesting piece is the cup showing Aesop and the Fox.23 1446 (PI. 136)is attributedto the Painterof London E 777. Two small fragments, each depicting part of a youth, belong to the Painter of Brussels R 330: his namepiece is a collaboration with the Painter of Bologna 417, who decorated the outside of this cup.24 626 (P1.67) is an oinochoe; 1444 (P1. 136), a cup. 1360 (P1. 126), a stemless cup, is the namepiece of the Painter of Agora P 5192; two other cups by him, 1361 (P1. 126) and 1630 (P1. 152), are also from the Agora.25 Each shows a youth. Two youths appear in the tondo of 1445 (PI. 136), a cup by the Painter of Orvieto 191 A,26 one of four painters within the Group of London E 777, designatedby Beazley as "a sub-groupwithin the Penthesileans."27The others are the Painter of Heidelberg 211, whose work is so close in style to that of the Painter of London E 777 as to be in his manner, and the Koropi Painter, whose namepiece, a cup in Oxford, was found at Koropi, not far from Athens.28 The work of both has been found in the Agora. Two skyphoi, 1245 (PI. 118)and 1246 (PI. 118), and three cups, 1447-1449 (PI. 136), are by the Painterof Heidelberg 211, and 1451 (P1.137) is near him. 1450 (P1.137) may be by him or by the Painter of London E 777. The Agora cup by the Koropi Painter, 1452 (P1. 137), is of slightly higher quality than these last. 1362 (PI. 127), a stemless cup, was compared by Beazley with a skyphos near the Koropi Painter. Youths appear on all of these except for the tondo of 1449 (P1.136), which may show a comic actor. Among the other Penthesilean painters, the work of only two has been found in the Agora. 875 (P1.88), a small lekythos with a woman depicted on it, is by the Comacchio Painter, who takes his name from three column-kratersfound at Spina, modern Comacchio.29 Many different shapes other than cups are by him. The second painter is the Painterof London D 12.30 Although chiefly a cup painter,he also decorated a good variety of differentshapes, and the Agora pieces by him reflectthis. 990 (P1.96) is a pyxis; 1152 (P1.109), an askos; 1199 (P1.113), a small plate with a figure of Eros; 1324 (PI. 123), a skyphos of Corinthian type, a somewhat finer piece than the others; 1453 (P1.137) and 1549 (P1.146) are cups. 1247 (P1.118), a rim fragment decorated with 21 Vifla Giulia (ARV2905, 82). The painter:ARV2900-907; 303-304. 429-430; Addenda Paralip. 22 The Painterof Bologna 417: ARV2907-918; Paralip.430; Addenda 304; D. von Bothmer,'A Cup in Berne,"HASB7, 1981, pp. 37-43. The Painterof London E 777: ARV2939-944; Para306-307. The namepiecesare a cup (ARV2907, lip.432; Addenda 307), respectively. 1)and a pyxis(ARV2944, 79;Addenda 23 Vatican 16552 (ARV2916, 183; Paralip.430, 183; Addenda304). 24 BrusselsR 330 (ARV2929, 78). The painter:ARV2925-931; 306. Paralp.431; Addenda 25 The painter:ARV2936; Paralip. 306. 432; Addenda 26 The painter:ARV2937-939; Paralip. 306. 432; Addenda 27 ARV2 936.

28 The Painterof Heidelberg211:ARV2944-918; Paralp.432307. His namepiece:ARV2944, 12. The Koropi 433; Addenda 307. The namePainter:ARV2948-951; Paralip.433; Addenda piece: Oxford 1936.615(ARV2949, 6). 29 Ferrara2807 = T375 (ARV2957, 60; Paralip.433, 60; Addenda307);FerraraT.736 (ARV2957, 61);FerraraT.66 (ARV2958, 307433-434; Addenda 63). The painter:ARV2955-958; Paralip. 308. 30 His namepieceis a white-groundpyxis (ARV2963, 96; Addenda308). The painter:ARV2959-965; Paralip.434-435; Addenda308.

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115

a myrtle wreath, must have once been an elegant skyphos and is connected rather distantly with the painter. Lastly,there are some pieces that belong to the PenthesileaWorkshop,but so far have not been attributedto a painter.31The most accomplished is 1005 (PI.97), the ornamented lid of a pyxis Type A that surely had figureson its body. The rest are cups: 1441 (PI. 135); 1454-1456 (P1.137), the last once thought by Beazley to be from this workshop(sub1456) but not included in ARV2.From what remains, it seems Penthesilean. PAINTERS OFSKYPHOI

Quite a few painters specialize in skyphoi, but the work of very few has been found in the Agora. Most important is the Lewis Painter, named after a skyphos in the Lewis Collection at Corpus Christi College in Cambridge.32Two of his skyphoi also bear the name Polygnotos, not to be confused with the pot painter of the same name (pp. 117-119 below).33 All but one of the Lewis Painter's known vases are skyphoi; the exception is a fragmentary kantharos found in the Agora in 1972.34 Our single well-preservedskyphosfrom this time, 1248 (P1.118), is by the Akridion Painter, who is named after the graffito incised on a skyphos found in the Cabirion at Thebes.35 On each side of 1248 a man or a youth stands before a woman. 1228 (PI. 116) should belong to the Class of the CzartoryskiKantharos, but this is a potting connection, and so far the youth on each side has not been attributed to a painter. Several of the Agora skyphoi, 1312-1322 (Pls. 122-123), belong to the Group of the Owl-Skyphoi, a group that lasts until the end of the century and has been dealt with in the shape study (p. 64 above), as have the Agora Saint-ValentinVases, 1230-1236 (P1.117) (pp. 61-62 above). CLASSICAL POT PAINTERS The painters in this section are active largely during the third quarterof the 5th century,although the work of some of them begins a little earlier and that of others lasts a little longer. The range in output and qualityvaries greatly,from masterpiecesto rote work. The best artistsof this period are the Achilles Painter and his pupil, the Phiale Painter, and Polygnotos and his group, which includes the Kleophon Painter and his pupil, the Dinos Painter. Workby all of these, and quite a lot more besides, has been found in the Agora. THE ACHILLES PAINTER AND THE PHIALE PAINTER

Certainly one of the great masters of Greek vase painting is the Achilles Painter, who is named after the image of the best of the Achaeans on the famous amphora in the Vatican. He was a pupil of the Berlin Painter when the older painter was nearing the end of his career.1 The Achilles Painterdecorates many shapes, both large and small, but he prefersNolan amphorae and lekythoi. He is especially renowned for his white-ground lekythoi and was the leading decorator of them in his day. This is where his best workis to be found, for his temperamentseems especially 31 In

308. general:ARV2965-970; Paralip. 435; Addenda Cambridge, Corpus Christi College (ARV2973, 15; Addenda309). The painter:ARV2972-976; Paralip.435-436; Addenda309-310. 33 University,Mississippi,Univ. of Miss. (ARV2974, 26; Addenda309). Tilbingen 1600 = E 106 (ARV2974, 27; Addenda 309). 34 P 30042 andP 30141 (Hesperia Suppl.XXV,p. 67, cat.no. 21, pl. 6). 35 Athens,N.M. 10478 (ARV2980,-, 2). The painter:ARV2 310. Fortwo new additions,see J. Oak980; Paralip. 437; Addenda 32

ley in Hesperia Suppl.XXV, p. 65 subcat. no. 13: Agora P 30048 (P. 4) and ChicagoArt Market,1990. 1 ARV2986. The namepiece: Vatican 16571 (ARV2 987, 1; Paralip.437, 1; Adnda 311). The painter:ARV2986-1004; 437-439; Addenda 311-313; Oakley,PhialePainter, Paralip. pp. 5863 with other bibliography;J. Oakley,TheAchillesPainter(Mainz 1996) [the last arrived too late for individualreferencesto be incorporated]. For his inscriptions,see Immerwahr,AtticScript, pp. 109-112.

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well suited to the specialized subjects painted on these handsome vases. The Achilles Painter prefers solemn scenes, most often greetings, departures,or arrivals,and usually his compositions consist of only two, or at most three, figures standing still or sitting quietly, with telling glance and calm gesture, ratherthan exuberantaction, setting the mood. The Achilles Painter'sdrawing is exquisite and fluid, restrained and lean without unnecessary embellishment, and his figures possess a noble dignity. As Beazley so aptlyput it, the Achilles Painter"achievesgrandeur,but it is a quiet grandeur; and grace, but a sober grace."2 Nowhere, perhaps, is this more evident than on the namepiece and on the lekythoi. Of the latter,one may mention only three. Two have been well known for a long time, the one in Munich that shows two Muses on Mount Helikon, the other in Athens where a youthful warrior holding out his helmet stands before a seated woman whose right arm hangs casually over the back of her chair, both pictures the perfect embodiment of Classical serenity.3The third is a relativenewcomer to the oeuvre of the Achilles Painter,a large lekythos in Berlin that presents an entirely new side to his work, a high degree of realism.4 The scene shows a youthful warrior who stands to the right of a tall grave stele looking intently at his father, a dignified old man whose facial expression displays his deepest grief at the loss of his son, an image that is difficult to parallel elsewhere in Greek vase painting. This mourner is the counterpart of the one on the small lekythos in the Akropolis Museum who has wrapped himself in his himation and covers his face with his right hand.5 The Achilles Painter'sinterestin facial expressionmay be seen elsewherein his work, although admittedly on a less emotional scale. 23 (PI. 10), a Panathenaic amphora fragment, depicts the face of a youth who is under stress, indicated by a line of glaze drawn across his forehead.6 The subject of this scene, and therefore the cause of the tension, is unknown. Our other vase by the Achilles Painteris more straightforward.629 (P1.68), a chous, shows a small satyrstandingbefore Dionysos. Also to be mentioned here is 908 (P1.90), a small squat lekythos showing the head of Athena, which belongs to the White-Line Class of Squat Lekythoi, a class assigned by Beazley to the same workshopas those decorated by the Achilles Painter.7 An artistvery differentin spiritand temperamentfrom his teacher,the Achilles Painter,is the Phiale Painter, whose namepiece, one of the rarest of all shapes in figured pottery, is a phiale in Boston that shows a visit to a music school.8 For the most part, his period of activity in the Athenian Kerameikosoverlapsthat of his teacher,although he begins a little later and goes on for somewhat longer. The Phiale Painter is a graceful artist whom Beazley described as "an artist of true charm, and, in his largerworks,nobility."9Like the Achilles Painter,he prefersto decorate Nolan amphorae and lekythoi but also a range of other shapes, both large and small. Unlike the Achilles Painter,who is the master of stately reserve and precise drawing, the Phiale Painter enjoyspainting scenes with active figuresrenderedwith sketchybut fluid lines. He, too, decorates white-ground vases, the best being the calyx-kraterin Rome showing Hermes presenting the infant Dionysos to Papposilenos and the exquisite white-ground lekythos in Munich, on which Hermes Psychopomposbeckons to a woman that it is time to leave.10 The Phiale Painter is very 2 Beazley,VasesinAmerica, Addenda p. 163. 316; Oakley,PhialePainter, p. 90. cat. no. 146, pl. 120:a, 3 Munich, ex von Schoen (ARV2997, 155; Paralip. 315440-441; Addenda 438, 155; b). The painter:ARV21014-1026;Parahlp. 317. See, especially,the comprehensivemonographby Oakley, Addenda 312). Athens, N.M. 1818 (ARV2998, 161; Paralip.438, PhialePainter.For the Phiale Painteras a pupil of the Achilles 161;Addenda 313). 4 Berlin 1983.1 (I. Wehgartner,Ein Grabbild desAchilleusmalers Painter,the evidencehas now been carefullypresentedby Oakley, der ArchaologischenGesellschaftzu pp. 60-63. [129 Wmckelmannsprogram 9 ARV21014. Berlin],Berlin 1985,passim). 5 Akropolis6473 (Wehgartner[note 4 above],p. 29, figs. 23, 10 Vatican16586(ARV21017,54;Paralip. 315; 440,54; Addenda p. 75, cat. no. 54, pl. 38). Munich 6248= Oakley,PhialePainter, 24; for the attribution,see p. 30). 6 For the furrowedbrow as an indication of tension, see 2797 (ARV21022, 138; Paralip.441, 138; Addenda 316; Oakley, p. 88, cat. no. 138, pl. 109). L. Caskeyin CB i, p. 46. Elsewherein the workof the Achilles see the comparandasub23. Painter, 7 ARV21009-1010; 314. 439;Addenda Paralip. 8 Boston, M.F.A.97.371 (ARV21023, 146; Paralip. 441, 146;

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interested in mythological representations,and often they are rare and unusual; he has also left numerous scenes from daily life, many of them new and noteworthy. Iconographically,he is the most inventivepainter of his time.1 In the Agora, three, possibly four,vases by the Phiale Painter have been found, but unfortunatelythey do not illustratevery well his skill and versatility. 272 (P1.37), a small calyx-krater,shows a satyr moving to right, probably toward a maenad. 329 (P1.43), a bell-krater,depicts the departure of a warrior,but whether mythological or from daily life one cannot say for sure. 1326 (PI. 123), a skyphos of Corinthian shape, preserves part of a youth as well as a bit of a tree and is probably a scene of daily life.12 ANDHIS GROUP POLYGNOTOS

Polygnotosis the leading painter of a large group of very capable artists,and, besides Polygnotos himself, the work of two from his immediate circle, the Peleus Painterand the Christie Painter, has been found in the Agora. In addition, several vases belong to the wider circle of Polygnotos; they are decorated by artistswhose work has yet to be differentiatedinto separate hands. The signature of Polygnotos as painter appears on several vases, but not all are by him.13 Polygnotos himself seems to come "from the school of the Niobid Painter."14 Like the latter, Polygnotos prefers to decorate large shapes, and he is the first to appreciate the broad surface presented by the bell-krater,a shape that becomes increasinglypopularfrom now on. Although he enjoyslarge compositions, oftenwith considerableactivity,he seems to have little interestin placing figures on multiple ground lines, although on occasion he decorates in two zones.15 Polygnotos' compositions are carefully planned to suit the space available, there is no overcrowding, and his drawing has a simple, quiet assurednesswith little embellishment. Among his very varied subject matter,whether from the mythological world or from daily life, these are good examples: Kaineus on the stamnos in Brussels;Peleus and Thetis on a hydria in Ferrara;the stately figures in the wedding scene on the Toronto loutrophoros; or the sacrifice at an altar on a stamnos in London, on which the curved oxtail provides a good omen.16 273 (PI. 37), the single Agora fragmentby Polygnotoshimself, is evidence of his interestin mythologicalsubjectsthat are unusual themes or well-known ones treated somewhat differently.To the depiction of Theseus killing the Minotaur,he adds an Athenian youth holding a lyre, a component difficultto parallel, for usually the onlookers are empty-handed or hold less specific objects. 572 (P1.59), a calyx-krateror a bell-kraterin his manner, preservesonly the head of a youth. The Peleus Painter is named for the wedding scene with the names inscribed that is painted on a calyx-kraterfrom Spina.17 On a series of handsome vessels, he paints scenes in which the figures are calm and still and a kind of hushed silence prevails. In most of his pictures, the event l l The mythologicalanddaily-lifesubjectsof the PhialePainter are thoroughlydiscussedby Oakley in PhialePainter,pp. 17-46, with a briefsummaryon pp. 45-46. 12 The fourthAgoravaseis 904 (P1.90), a squatlekythos,which Beazleyconcludedwas "notcertainlyby the painter"(ARV21678, p. 81, cat. no. 89, concursbut does not 89). Oakley,PhialePainter, give an explanation. Fromwhat remainson this small fragment, it is difficultto find telling and sure grounds for retaining the attribution,althoughthe generalstylerecallsthe PhialePainter. 13 See ARV2 1027 for the breakdown:- "PolygnotosII" = the LewisPainter(p. 115 above);anotheris the manneristartistcalled the Nausicaa Painterafter the subjecton a stamnosin Munich, 2322 (ARV21107, 2; Paralip. 452, 2; Addenda 329). His vase signed by Polygnotosis an amphorain London,B.M. 284 (ARV21107, 7; 330). For Polygnotos:ARV21027-1033; Paralip.452, 7; Addenda 442; Addenda 317-318; Matheson,Polygnotos, Paralip. passim. 14 ARV2 1027;in detail, Matheson,Polygnotos, ch. 1. 15 A good, if very fragmentary,example is his calyx-krater

in Vienna, 505 (ARV21030, 33; Paralip.442, 33; Addenda 317; Matheson,Polygnotos, p. 354, cat. no. P 38, pl. 62). 16 BrusselsA 134 (ARV21027, 1; Addenda317; Matheson, Polygnotos, p. 345, cat. no. P 1, pl. 19); Ferrara3058 = T.271 (ARV21032, 58; Paralip. 442, 58; Addenda 318; Matheson,p. 359, cat. no. P 63, pl. 28); Toronto929.22.3 = 635 (ARV21031, 51; Addenda 317; Matheson, p. 358, cat. no. P 56, pl. 56); London, B.M. GR 1839.2-14.68 = E 455 (ARV21028, 9; Addenda 317; Matheson,p. 347, cat. no. P 8, pl. 35). Forthe oxtailon the altar,see M. Jameson, "Sophocles'Antigone1005-1022: An Illustration," in GreekTragedy andIts Legacy:EssaysPresented to D. j Conacher, M. Cropp, E. Fantham,and S. E. Scully, eds., Calgary 1986, pp. 59-65; more recently,Straten,HieraKald,pp. 118-144. 17 Ferrara2893 = T.617 (ARV21038, 1; Paralip.443, 41; Addenda 319; Reeder,Pandora, pp.349-351, cat.no. 110;Matheson, Polygnotos, p. 436, cat. no. PE 1, pl. 91). The painter:ARV210381041;Paralip. 443; Addenda 319-320; Matheson,ch. 2, passim,esp. pp. 108-115.

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seems about to happen. The Peleus Painteris one of many artistsworkingduring the years when the Parthenon was being built and embellished; his work reflects very much the spirit of that sculpture,especially the frieze.18The Peleus Painter'sdrawing consists of simple, clean lines that define the contours of his figures, and their garments enhance them so that the result is very three-dimensionaland sculptural. 7 (Pls. 3-4), the one Agora vase firmly attributedto the Peleus Painter is, so far,his only known one-piece amphora, a shape that by this time is ratherrare. It is a large handsome work that on one side shows Nike with the victor in a chariot race, perhaps at the Panathenaia,and on the other Nike standingbefore a king, the two sides related thematically.19 8 (P1.5) is another one-piece amphora, but less well preserved than 7, and on each side it depicts a musical contest in the presence of Nike and a mortal, either the judge or an observer. 8 does not seem to be by the Peleus Painter himself but may be by a painter working in his manner.20 Of even more interestthan these last two vases is the Agora louterion, a very rare shape in red figure. 584 (Pls.59-60) was placed by Beazley near the Peleus Painter and near the Curti Painter the latter named after the provenance of a stamnos at Harvard.21 Although very fragmentary today, 584 must have once been a most impressivevase, and thanks to Shefton's perceptive and painstakinglycarefulaccount of each fragment,we may not only be assuredof the subjecton each side but also acquire a good idea of the compositions.22 The obverse depicts Herakles and the Bull, the reverse the Centauromachyat the Wedding of Perithoos, with the groom and Theseus prominent in the fight. The last Polygnotan painter whose personality and identity have been established is the Christie Painter, named after the owner of a bell-krater,23his preferred shape, although he has left quite a few hydriai. He is less talented than the painters just discussed, for his figures do not achieve such quiet grandeur, and the drawing is softer and less definitive. On occasion he can be very fine, good examples being the Return of Hephaistos on a bell-kraterin the Louvre and the women making music on one in Wiirzburg.24Other than Dionysos, the Christie Painter is not much interested in the personages of myth, preferring instead the komos and scenes in the women's quarter. In the Agora excavations,three fragments are by the Christie Painter,two bell-kratersand a hydria. 310 (PI.42), the most interesting,depicts a pursuit, but exactly which one is uncertain because not enough of the pursuer remains. 311 (PI. 42) may show part of a maenad. 599 (PI. 64) also preserves a woman, but not enough of the composition remains to determine the context. 312 (PI. 42), a bell-kraterthat seems to recall the Christie Painter, is similar in this respect. The rest of the Polygnotan vases from the Agora excavations are not attributed to specific artistsbut belong to the general Group of Polygnotos.25More than 150 vases, all pots, have been attributedto this group, and, when studied together,they contribute much to our understanding of the workshop. Among these vases, there are some very good ones that may be admired not only 18 See the briefremarksby Matheson,Polygnotos, pp. 108-110. 19 In ARV2 1040, 18, Beazley'sdescriptionsof this vase are separatedby a semicolon, a point of punctuationhe uses when he thinksthe subjectson each side are related(seeARV2,p.xlvi). 20 Contra:Y. Korshak,"Der Peleusmalerund sein Geflhrte, AK23, 1980[pp. 124-135], p. 132andnote42, derHektormaler," who believes8 is contemporarywith the PeleusPainterbut not relatedto his style. Matheson,Polygnotos, p. 445, cat. no. PEM 14: mannerof the PeleusPainter. 21 Harvard1925.30.40(ARV21042,-, 1;Addenda 320; Matheson, Polygnotos, p. 378, cat. no. CUR 1, pl. 117). The painter: ARV21042-1043; Addenda 320; M. Halm-Tisserant,"Le peintre 86, 1984, pp. 135-170, who de Curti,"RevuedesEtudesAnciennes proposesfouradditionsto the painterhimselfand two to his man-

ner (pp. 152-154 for a list and brief description):she considers, and probablycorrectly,584 to be closerto the PeleusPainterthan to the CurtiPainter(p. 141, note 27);Matheson,pp. 129-134. 22 B. B. Shefton, "Heraklesand Theseus on a Red-Figured 31, 1962, pp. 330-368, esp. pp. 335-344. Louterion,"Hesperia 23 LondonMarket,Christie's,ex TapleyPark,Christie(ARV2 1047, 19; Addenda320; Matheson, Polygnotos, p. 369, cat. no. CHR 20, pl. 109). The painter:ARV21046-1049; Paralip.444; Addenda 320-321; Matheson,ch. 2, passim,esp. pp. 122-128. 24 LouvreG 404 320; Matheson,Poly(ARV21046, 6; Addenda gnotos,p. 366, cat. no. CHR 6). Wtlrzburg521 (ARV21046, 7; Addenda 320; Matheson,p. 366, cat. no. CHR 7). 25 ARV21050-1062; Paralip. 441 146; Addenda 321-323; Mach. 2. theson,Polygnotos,

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for the quality of drawing but also for the choice of subject. Good examples are the stamnos in London that shows Diomedes sacrificinga curved oxtail on the altar and Nike hovering above it; the big volute-kraterin Ferrarawith a priestess and votaries before a seated god and goddess, who may be Sabazios and Kybele; the calyx-kraterin Bologna that depicts Phaon on one side and Prometheus fire-lighter on the other; or the calyx-kraterin Tarquinia, on which Dionysos visits the Basilinna.26 All but two of the Agora vases from the Group of Polygnotos are kraters, three calyx and five bell.27 The best preserved is 274 (P1. 37), which shows Dionysos with a satyr and maenad on one side, three youths on the other. The Dionysiac theme recurs on several others: 315 and 316 (PI.42) and 561 (PI.58) each preservepart of a satyr,one of them youthful, playing the aulos; 317 (P1.42) and 318 (P1.42), which is added here, are both Dionysiac; and on the most interesting calyx-kraterof the group, 287 (Pis. 38-39), an extremely fragmentary piece with the figured decoration in two zones, Dionysos appears with a retinue of satyrs and maenads in the entire upper zone; they recur on Side A of the lower one as well. 275 (P1.37) preserves part of a chariot team with a bit of a figure who may be Nike, and, if so, the subject may be the victor in a chariot race. The last two Agora fragments may come from stamnoi, but since this is uncertain, they are placed in the fragment category. 1677 (P1. 156) shows the head and shoulders of a kalathiskosdancer; 1678 (P1.156), the face of a somber-lookingyouth. THE KLEOPHON PAINTER AND THE DINos PAINTER

The Kleophon Painter is a "younger member of the Polygnotan Group (p. 1027),"28and in the Agora quite a few vases by him and his pupil, the Dinos Painter,have been found. A kalos name written on a stamnos in St. Petersburggives the Kleophon Painter his name.29 He is one of the best artistsof this period, a painter who demonstratesconsiderableflexibilitywith regardto the differentshapes that he decorates and the various subjectshe chooses for them. His drawingis graceful, simple, and ratherspare, although sometimes it may be uneven in execution. His figures are sturdy,ratherwell built, and their draperyflows loosely around them. Perhapsmore than any other artist, the Kleophon Painter seems to draw inspiration from the Parthenon Frieze. The scene of youths leading bulls for sacrifice to Apollo on the big volute-kraterfrom Spina seems particularlyParthenonian, though the bulls have been given a mischievous look. In this context, one may also mention the youthful warrior on the stamnos in Munich, who displays the same somber spirit as many Parthenon figures.30 The Kleophon Painter is perhaps better known for his scenes of daily life than of myth, although he painted a memorable Return of Hephaistos, the tipsy god supported by a none-too-steady satyr with Dionysos looking on and a satyr and

26 LondonB.M. GR 1839.2-14.1-4 = E 456 denda334; Peredolskaya,pls. 140, 141; Matheson, Polygnotos, (ARV21051, 17; Addenda 321; Matheson, Polygnotos, p. 347, cat. no. P 9, pl. 36: p. 407, cat. no. KL 7, pl. 127). The painter:ARV21143-1151; PaPolygnotos;for the oxtail, see note 16 above). Ferrara2897 = ralip.455-457; Addenda 334-335; Matheson,pp. 135-147. Other T.128 VT (ARV21052, 25; Paralip.444, 25; Addenda studiesare G. Gualandi,"Le ceramichedel pittore di Kleophon 322; HalmTisserant[note 21 above]reattributes[pp. 153-154] thiskraterto rinvenutea Spina,"ArteAnt.eMod.19, 1962, pp. 227-258 and "II the CurtiPainterbut withoutcompellingreasons:it seemsslightly Pittoredi Kleophon,"ArteAnt.e Mod.20, 1962, pp. 341-383. See ambitiousfor this painter; Matheson, p. 379, cat. no. CUR 7, also the briefsketchof the painter:J. Hemelrijk,"The Six Donapl. 116: accepts the attributionto the Curti Painter). Bologna tion in the AllardPiersonMuseum,"BABesch 45, 1970,pp. 50-67, 17358 = Pell. 288 bis (ARV21056, 86; Addenda 322; Matheson, esp.pp. 60-67; pp. 57-59 offera concordancebetweenARV2and p. 353, cat. no. P 35, pls. 57 and 157: Polygnotos). Tarquinia Gualandi'ssecond article. RC 4197 (ARV21057, 96; Paralip. 30 Ferrara44894 = T.57 C VP (ARV21143, 1; Paralip.455, 1; 445, 96;Addenda 322; Matheson, p. 467, cat. no. PGU 106, pl. 141). Addenda 334; Matheson,Polygnotos, p. 406, cat. no. KL 1, pl. 125). 27 Oakley has added P 30197, a column-krater(Hesperia Comparethis scene with the one on Slab 38 of the South Frieze Suppl.XXV, p. 81, cat. no. 70, pls. 26, 27). Mainz 1977,pl. 153). Munich2415 (F.Brommer,DerParthenonfries, 28 ARV2 1143. (ARV21143, 2; Paralip.455, 2; Addenda 334; Matheson, p. 406, 29 St. Petersburg810 (ARV21144, 7; Paralip.455, 7; Adcat. no. KL 2, pl. 125).

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maenad making merry.31One may also mention the scene of Athena crowning Herakles in the presence of two spectators,a man and an old man, a subjectmore popular earlier.32Basically,the Kleophon Painter prefers scenes of departure or sacrifice, like those mentioned above, also the komos, women at various activities,and music making. To a certain extent, the Agora vases by him reflect this preference. Two are by the Kleophon Painter himself; several others are by him or in his manner. 279 (P1.37), a calyx-krater,depicts a youth, who may be Dionysos, with two women. A warrior wearing a white pilos appears on 95 (P1.17),probablyfrom a battle loutrophoroslike the one by the painter in Athens.33 These two are by the Kleophon Painter himself. 576 (PI. 59), a fragment of a calyx-krateror a bel-krater preservingthe head of Dionysos, may also be by him, but too little remainsto be certain. 15 (P1.7), an amphora in his manner, shows an aulos player,perhaps a contest, and 1 (PI. 1), the amphora added here, depicts Nike crowning the winner of a musical contest. A scene in the women's quarters on 603 (P1.65), a well-preservedhydria in his manner, shows one woman holding the kolpos of her chiton between her teeth. 338 (P1.44) is a bell-krateralso in the painter's manner that preserves the head of a youth. Aphrodite (her name inscribed) appears with Eros and a woman on 991 (PI. 96), a pyxis Type A, the only example of this shape known so far by the Kleophon Painter or those in his manner. The Dinos Painter is named after the dinos in Berlin that depicts Dionysos reclining comfortablyin the presence of satyrsand maenads, the latter carryingtraysof cakes.34He is a pupil of the Kleophon Painter and continues the style of his master35but is quite different from him in mood and temperament. The Dinos Painter'sdrawing is not quite as smooth as his teacher's; his figures enjoy greater freedom of movement, and their voluminous garments have many more folds. Occasionally, a serious situation is depicted, as in the scene of Meleager and his son Parthenopaios,which appears on a calyx-kraterin the Kanellopoulos Collection, or the warrior, perhaps Pandion, leaving home, on a bell-kraterin Syracuse,36both of these quiet and solemn. More often, however,the Dinos Painterdepicts action, such as the Dionysiac revel, and in some of these representationshe makes creativeuse of the multiple ground line, a good example being his big volute-kraterin Bologna.37 In the Agora severalvases by the Dinos Painter or in his manner have been recovered, all pots. 42 (PI. 12) is a pelike with a youth holding two spears. Much more interesting is 358 (P1.46), a bell-kraterthat Beazley suggested might depict a komos in the Sanctuaryof Dionysos. It preservesa komastapproachinga house and accompanied by a woman who plays the aulos.38 Two other fragmentsby the Dinos Painter,565 (PI.58), a bell-krater,and 577 (PI. 59), a bell-krateror a calyx-krater,show a woman and a youth, respectively. Several interesting pieces are in the manner of the Dinos Painter. 361 (PI. 46), a rather well preserved bell-krater,depicts a scene of Dionysos reclining, similar to the one on the painter's namepiece. 362 (P1.46), also a bell-krater,shows a noisy scene of maenads, one of them with cymbals. Others 31 Munich2361 (ARV21145, 36; Paralip. 456, 36;Addenda 335; Matheson,Polygnotos, p. 414, cat. no. KL 42, pl. 124). The subject also recurson side B of the Ferraravolute-krater(note 26 above). 32 Palermo2162 = 616 (ARV2 456, 38; Adden1145, 38; Paralip. da335; Matheson,Polygnotos, p. 415, cat. no. KL 44). 33 Athens, N.M. 1700 (ARV21146, 50; Paralip.456, 50; Adp. 417, cat. no. KL 56). Here, denda335; Matheson, Polygnotos, too, there is a youthfulwarriorwearing a pilos, but there is no fighting;rather,the scene is a gatheringat two tombs. 34 Berlin2402 (ARV21152, 3; Addenda 336; Matheson,Polygnotos,p. 381, cat. no. D 3, pl. 135). The painter:ARV21151-1158; 336-367; Matheson,pp. 147-161. For 457-458; Addenda Paralip. his inscriptions,see Immerwahr,AtticScript,p. 112. 35 ARJV2 1151. 36 Athens,Kanellopoulos2500 (ARV21152, 7 bisr, Addenda 336;

Matheson,Polygnotos, p. 382, cat. no. D 8, pl. 170). Syracuse30747 (ARV21153, 17; Addenda 336; Matheson, p. 384, cat. no. D 18, pl. 132). 37 Bologna283 (ARV21151, 1;Paralip. 336;Ma457, 1;Addenda theson, Polygnotos, p. 381, cat. no. D 1, pls. 138, 139). In this context, one may also mention the spiritedmaenadswho dance aroundthe imageof Dionysos,a representationof the Lenaiathat 457, appearson the Naplesstamnos,2419 (ARV21151, 2; Paralip. 336; Matheson,p. 381, cat. no. D 2, pl. 136). 2; Addenda 38 The house on 358 (PI. 46) recalls the one on the right of the love-makingscene on London, B.M. F 65 (ARV21154, 35; Addenda 336; Matheson, Polygnotos, p. 388, cat. no. D 37). This scenehas been linkedwith the secondday of the Anthesteria.See OttoJ. Brendal: P.H. von Blanckenhagen,"Puerila,"In Memoriam Mainz 1976, pp. 37-41. andtheHumanities, EssaysinArchaeology

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are more mundane: the youths on 280 (PI. 38), on 364 (PI. 46), which is added here and may be by the painter himself or in his manner, and on 363, which is related to the painter. 567 (P1.58), a bell-kraterin the painter'smanner, depicts women at a laver. Three others are either by the Dinos Painter or in his manner. 604 (P1.65), a hydria, shows two youths. The other two are added here: 12 (P1.6), a mouth fragment of an amphora, is decorated with an ivy wreath that finds its best parallel on one by the Dinos Painter; the same may be said for the maenad holding a metallic-looking kantharos on 564 (PI. 58), a bell-krater. Our last piece is the most interesting, 118 (Pils.20-21), a stamnoid. Related by Beazley to the Dinos Painter, it depicts the sacrificeof a bull after a torch race and may be the earliest known example of the subject. OTHER CLASSICALPOT PAINrERS

The artistsin this section do not form a group, but for the most part they are contemporaries of those just discussed, with a few of them active as late as the beginning of the last quarter of the 5th century. The Barclay Painter, who is named after the former owner of a pelike found at Megara, is an accomplished artist whose preferred shape is the pelike,39 although he has left examples of others. He paints a number of different scenes from both the mythological world and daily life. One of his favorites is the departure of a youth, who may be a warrior, as on 11 (P1.6), which so far seems to be his only amphora. A small fragment, 112 (P1. 18), very likely from a stamnos, may be by the Eupolis Painter, an artist linked with the Villa Giulia Painter and his Group and called after the youthful satyr of that name who holds a torch on a bell-krater in Vienna.40 112 (PI. 18) preservesthe lower draperyof a woman and seems to find its best stylistic comparisons with this painter. Two bell-kraterfragments, 313 (P1.42) and 314 (P1.42), belong to the Danae Painter,who, as his name implies, is called after a representationof the subject.41In many of his scenes, there is little action, as on the two Agora fragments, each of which shows a departure. Two other bell-kratersare by the Painter of London E 494, whom Beazley likened "in spirit akin to the Achilles Painter and the Persephone Painter"and whose name vase, also a bell-krater,shows Herakles sacrificingto Chryse on his way to Troy.42327 (P1.43) preservesonly the face of a woman, and one cannot determine the subject. 328 (P1.43) depicts the departure of a youthfulwarrior. 905 (PI.90), which may show the wreathed head of Zeus, is a fragmentof a squat lekythos compared by Beazley with the painter. A bell-krater in Kassel, which shows a woman playing the lyre in the presence of Eros and a youth, gives the next painter his name.43 The Cassel Painter has left more vases (almost40) than the artistsjust discussed, and he decorates a variety of shapes, with some preference given to the hydria, including 601 (P1.65), which shows the head of a woman and a fillet hanging on the wall. 563 (P1.58) is more interesting, for it depicts a race of Erotes and may be the earliest known example of this subject. There are a number of paintersworkingduringthis time who specialize in decoratingcolumnkraters, and the work of three has been found in the Agora excavations. The first of these is the most prolific, having left well over one hundred vases. He is called the Painter of the Louvre Centauromachy,whose "hand is that of a tolerable artist."44 The four Agora vases attributed to him are bell-kraters,two of them ratherwell preserved(330 and 331). In subject, 330 (PI.44) is the more interesting, for it depicts Orpheus seated on a rock with his lyre, flanked by two 39 The namepiece: Oxford 1925.138 (ARV21067, 5). The 325. painter:ARV21066-1068; Parali. 447; Addenda 40 Vienna 1772 (ARV21072, 1; Addenda 325). The painter: ARV21072-1074; Paralip. 325-326. 448; Addenda 41 Boston, M.F.A. 03.792 (ARV21076, 13; Paralip.449, 13; Addenda 326). The painter:ARV2 1074-1076; Paralip.449; Addenda326.

42 ARV21079. The name vase:ARV2 326. 1079, 3; Addenda

The painter:ARV21079-1080; Paralip. 326. 449; Addenda 43 The namepiece:KasselT 435 (ARV21083, 1;Addenda 327). The painter:ARV21083-1086; Addenda 327. 44 Beazley, Vasesin America, p. 158. The namepiece:Louvre G 367 (ARV21088, 1; Paralip. 449, 1). The painter:ARV210881096;Paralip. 449-450; Addenda 327-328.

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Thracians, each armed with a spear. 331 (P1.44) shows the departureof a youthfulwarriorin the presence of two women. The reversesof these have the usual trio of youths. 333, with the head of one youth and the face of another, also belongs to the reverse. 332 (P1.44), which preserves only the head of a woman, may also be from a departurescene, and 334 (P1.44), also a bell-krater with youths, probablykomasts,should perhaps be mentioned in this context, for Beazley thought it might be a very late work of the painter. The second painter in this group specializing in column-kratersis the Naples Painter,whose namepiece also depicts a centauromachy.45In the Agora material, only one vase is firmly attributed to him, 130 (P1. 22), the stand of a lebes gamikos with two pairs of women. It conveys well the rather hurried brushworkof this painter. 102 (PI. 17), a loutrophoros,is tentativelyadded here. Two small fragmentsbelong to the Painter of London 1923, a somewhat more talented artistthan the previoustwo and whose name vase is a loutrophoros.46 602 (PI. 65) and 839 (PI. 86) are a hydria and a lekythos, respectively. Each shows women, one seated, the other holding a box or chest. Fourvases from the Agora excavations,a pelike and three bell-kraters,are placed by Beazley in his section on Later Mannerists, a loosely connected group of painters who continue the mannerist style of the second quarterof the 5th century. The Later Mannerists are active mostly in the third quarter of the century,but one or two practice the style well into the last quarter.47 The best of these paintersare the Nausicaa Painter,named after the subjecton a neck-amphorain Munich, and the Hephaistos Painter, called after the scene of the god's return to Olympos on a bell-kraterin Naples.48 None of the Agora pieces is by either of these painters. 319 (PI. 43), a bell-kraterdepicting Dionysos and a satyrplaying the aulos, recalls the Orestes Painter,who has much in common with the two just mentioned and who is named after the scene of Orestes at Delphi on a column-kraterin London.49 30 (PI. 10), a pelike that showsjust the lower drapery and feet of a man leaning on a stick, is given to the Mannerist Group but not to a specific painter. The last two from the Agora, 381 and 382, are by the Academy Painter, a man of decidedly meager talent, whose name vase comes from the Academyjust outside Athens.5? 381 (PI.48) and 382 (P1.48) depict youths. The Washing Painter, so called for his scenes on small hydriai that show women washing, is best known as a decorator of lebetes gamikoi and loutrophoroi.51 The drawing on his large vases reveals that he can be quite a good painter,especially in some of his scenes of the women's quarters,where elegantly attiredAthenian ladies interact with one another. His work on smaller vases is quite another matter,being sketchyand rather graceless. Unfortunately,the Agora vases attributed to him reflect this side of his activity. 49 (P1. 13) is a pelike preserving the head of a woman; 86 (P1. 16) and 103 (PI. 17) are loutrophoroi. Each shows hastily drawn women. 1187 (P1.112), a fragmentof a plate showing a seated woman, is added here and is either by the painter himself or akin to him. An artist near the Washing Painter in style is the Hasselmann Painter, named after the former owner of a kantharosonce in Munich.52 The Hasselmann Painterfavors pelikai and hydriaibut also decoratesother shapes, large as well as small. His favoritesubjectsare youths and women, and the resultshave a certain charm. 1161 (P1. 110), an askoswith two flying Erotes, recalls the Hasselmann Painter. 45 Naples3351 (ARV21096,1). The painter:ARV21096-1102; 328-329. 450-451; Addenda Paralip. 46 London,B.M. GR 1923.1-18.1 (ARV21103,1). The paint329. er:ARV21103;Paralip. 451; Addenda 47 See the remarksin ARV21106. 48 Munich 2322 (ARV21107, 2; Paralip. 452, 2; Addenda 329). 329The painter:ARV21106-1111; Paralip.451, 452; Addenda 330. Naples 2412 (ARV21114, 1; Paralip.452, 1). The painter: 330-331. ARV21113-1117; Paralip. 452-453; Addenda 49 London,B.M.GR 1923.10-16.1 (ARV21112,5;Paralip. 452,

5; Addenda 330). The painter:ARV21112-1113; Paralip.452; Addenda330. 50 Athens, N.M. 15882 (ARV21124, 1). The painter:ARV2 332. 1124-1125;Paralip. 453;Addenda 51 The painter:ARV2 1126-1135; Paralip.453-454; Addenda332-333. 52 Once Munich,Preyss,exHasselmann(ARV21138,50). The 333. painter:ARV21135-1140; Paralip. 454-455; Addenda

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The work of three more Classicalpot painters has been found in the Agora excavations. The first is the Painter of Munich 2335, whose eponymous neck-amphora depicts Dionysos and a maenad; of him Beazley remarked:"There is a shocking differencebetween this artist'sbest and his worst."53 The five Agora vases attributedto him demonstrate this disparity quite well. 566 (P1.58), a bell-krater,is the best, depicting most of Poseidonwith his trident. The maenad on 372 (P1.47), also a bell-krater,is a little less careful. The three remaining,50 (P1.13), a pelike, and 373 and 374, two bell-kraters,are carelesspieces showing youths. The Kadmos Painter and the Pothos Painter go together. As the name implies, a scene of Kadmos and the dragon gives the first his name.54 The vase is a fine hydriawith many carefully drawn figures taking part in the scene. The Kadmos Painter often creates compositions with multiple ground lines that enable him to include many figureswithout overcrowding. He enjoys painting mythological scenes, some of them unusual and rare, such as Leda and the Egg on a bell-kraterin Vienna or Herakles on Oita, which appears on a pelike in Munich.55 375 (PI.47), a bell-kraterthat is the only Agora vase attributedto the Kadmos Painter,does not depict scenes from myth but ratherfrom daily life, a komos on one side, youths on the other. 376 (PI.47), also a bell-krater,is added here, but somewhat hesitantly. What remains on this fragment compares favorablywith a fragmentaryhydriafrom the Pnyx that was linked by Talcott and Philippakiwith a pelike in the manner of the Kadmos Painter. 630 (P1.68), a fragment of an oinochoe with part of Nike preserved,somewhat resemblesthe painter. 1 17 (PI. 19), a stamnoid depicting Apollo and Marsyas with Muses, is the only Agora vase by the Pothos Painter,the "brother"of the Kadmos Painterbut not quite as talented, whose namepiece is a bell-kraterin Providence.56Nearly all of his vases are bell-kraters,and his selection of subjectsshows a decided interestin Apollo and Dionysos.

CLASSICAL PAINTERS OF SMALLER POTS The work of a good many of these painters has been found in the Agora, if only in a few examples, and each will be touched upon briefly.In the Agora material, the most importantpainters belong to the workshopsof the EretriaPainter and of the Marlay Painter and his Group. The first Agora vase is a fragment of a white-ground lekythos that may be compared with the Selinus Painter,whose namepiece is in Palermo.1 842 (PI.86) shows part of a woman seated to right. In the Agora only three other white-ground lekythoi from this time may be attributed. 847 (PI. 87) seems to be from the Bird Group, and 848 (P1.87) bears some resemblance.2 847 preservesonly the shoulder pattern but compares favorablywith three from this group, including two from a grave on Lenormant Street. The third lekythos is 849, tentatively attributed here to the Painter of Wiirzburg566.3 A small lekythos, 879 (P1.89), is by the Painter of the Palermo Owl.4 As his name suggests, each of his few vases is decorated with an owl between an olive sprig, similar to that on the Group of the Owl-Skyphoi.5 Two oinochoai are by the Painter of 53 ARV21161. The namepiece:ARV21161, 3. The painter: ARV2 1161-1170; Paralip.458-459; Addenda 337-338; Tiverios, IIeplxXcto,passim.This smallmonographaddsa significantwork to this painter,a calyx-kraterfound at Larisain the ancient city and decoratedin two zones. Its subjectsseem to be connected with the Panathenaia.P 25394, a fragmentarypyxislid attributed to the painterby Boulter,is a miscellaneousfind fromthe graves on LenormantStreet, outside the Agora boundary(C. Boulter, 32, 1963 [pp. 113-137],p. 133,cat. no. 20, pl. 51; Addenda Hesperia andCorrigenda, p. 2559, 61 bis,not in ARV2or Paralip.). 54 Berlin 2634 (ARV21187, 33; Addenda 341). The painter: ARV21184-1188; Paralip. 340-341. 460-461; Addenda 55 Vienna 869 (ARV21185, 10; Addenda 341). Munich 2360

(ARV21186, 30; Addenda 341). 56 Providence 23.324 (ARV21188, 1; Addenda341). The painter:ARV21188-1191; Paralip.461; Addenda 341-342; for his iconography,see A. Queyrel, "Scenes apollinienneset dionysiaquesdu Peintrede Pothos,"BCH 108, 1984, pp. 123-159. 1 Palermo,no no. (ARV21201, 3). The painter:ARV21200343. 1201;Addenda 2 ARV21231-1235; Paralip. 252. 467; Addenda 3 ARV21245-1246. 4 ARV21201. 5 The 311. Group:ARV2982-984; Paralip. 437; Addenda

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the EdinburghOinochoe, whose namepiece is an oinochoe of Shape 10, a rare variant.6 827 and 828 (PI. 84), which show women, may also be Shape 10, but without the mouth, they could also be of Shape 1. The next Agora painter,the Well Painter,brings us closer to home for he is named after a well in the Agora.7 He favors the squat lekythos, and all the Agora examples, including those near the painter or perhaps by him, are of this shape. 920 (PI. 91) shows a maenad at an altar;921 (P1.91) and 922 (P1.91), as well as 924 (P1.92) and 925 (P1.92), which are near him, depict Nike; 923 (PI. 91), which may be by him, shows a woman and her maid. His figures are quite active and the drawing slightly sketchy,the line rather heavy. A small pyxis Type A, 993 (P1.96), is by the Drouot Painter, called after the Hotel Drouot in Paris.8 It shows very sketchily drawn women running and hurrying about. 994 (P1.97), which was compared with the Drouot Group in ARV', was not included in ARV2but should be mentioned here. It is also a pyxis Type A, the variantpreferredby this painter,and it shows Erotes and women. Fragments of epinetra belong here, two depicting a woman and a male, the third a woman's head. 1644 (P1. 154) is by the Painter of Berlin 2624, 1645 (P1. 154) is by or near him, and 1646 (PI. 154) is near him.9 All his known pieces are epinetra. The most accomplished and versatile artist in this section is the Eretria Painter, whose namepiece is the well-known and very elegant epinetron from Eretria.10 The Eretria Painter decorated cups more than any other shape, but his most memorable work, other than the namepiece, occurs on other shapes, good examples being the squat lekythos in Berlin with Dionysos, maenads, and satyrs,names inscribed;the tall lekythosin New Yorkwith three zones of pictures, the middle one on white ground showing Achilleus Mourning for Patroklos,a touching scene of grief that rivalsthe best of the white-groundlekythoi;and the amphoriskosin Oxford that depicts a seated woman with a mirroron one side and a standing one on the other, holding a fillet and a small box, perhaps a bride and her mother.l The Eretria Painter'svases have a certain charm, and his scenes are populated for the most part by gentle people enjoying pleasant lives. His drawing is often economical, with a minimum of embellishment; always it is well suited to the shape it decorates. In the Agora, none of the pieces in this study is by the Eretria Painter himself,12but 1201 (P1. 113), a plate that is a try- or test-piece (the background is not glazed), is near the painter and shows part of a youth. 639 (P1.69), an oinochoe, may be by him, but if not it is surely close. 698 (PI. 74), fragments of an oinochoe preserving a bit of a warrior pursuing a woman, seems to have links with the painter, but so little remains that one cannot be certain. A close companion of the Eretria Painter, and on one occasion a collaborator, is the Calliope Painter,who is named after the inscribed figure of this Muse on two of his vases.13 He paints mainly cups but has left a series of small pelikai as well as a few examples of other shapes, and the five Agora fragmentsattributedto him reflect this versatility.He is not as talented as the Eretria Painter, for his drawing is rather sketchy and imprecise, and some of his scenes are repetitious. He is particularlyfond of depicting women and youths, and they appear on all the Agora fragments: 46 (P1. 12), a small pelike; 836 (P1.86), a shouldered lekythos that shows a 6 Edinburgh1881.44.20 (ARV21217, 6; Addenda 348). The 344. 464; Addenda painter:ARV21216-1217; Paralip. 7 See deposit G 12:21 (p. 363 below). The painter:ARV2 349. 1220-1221;Addenda 8 ARV2 349-350. 466; Addenda 1223;Paralip. 9 ARV21225. 10 Athens, N.M. 1629 (ARV21250, 34; Paralip.469, 34; Addenda354; Lezzi-Hafter,Eretria-Maler, pp. 347-348, cat. no. 257, 469-470; pls. 168, 169). The painter:ARV21247-1257; Paralip. Addenda 353-355; Lezzi-Hafter,passim. For his inscriptions,see Immerwahr,AtticScript,pp. 114-115. 1 Once Berlin2471 (ARV21247,1;Paralip. 353; 469, 1;Addenda Lezzi-Hafter,Eretria-Maler, pp. 342-343, cat. no. 234, pls. 143:d,

469, 144,145);NewYork,M.M.A.31.11.13(ARV2 1248,9; Paralip. 9; Addenda 353; Lezzi-Hafter,pp. 343-344, cat. no. 239, pls. 150155); Oxford G 303 = V 537 (ARV21248, 10; Paralip.469, 10; Addenda 353; Lezzi-Hafter,p. 345, cat. no. 248, pl. 160). 12 Froma depositexcavatedin 1972 a cup fragment,P 30047, may be added(Hesperia Suppl.XXV, p. 67, cat. no. 20, pl. 6). 13 London, Victoria and Albert Museum 666.1864 (ARV2 1259, 4; Addenda 355; Lezzi-Hafter,Eretria-Makr, pp. 326-327, cat. no. 123, pl. 84) and New York, M.M.A. 12.229.12 (ARV2 1259, 3; Lezzi-Hafter,p. 327, cat. no. 126, pl. 85:g, h). The painter:ARV2 1259, 1264; Paralip.470-471; Addenda 355-356; Lezzi-Hafter,passim,esp. pp. 48-57 for style.

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woman holding the end of her kolpos between her teeth, as on 603 (P1.65), in the manner of the Kleophon Painter;914 (PI.91), a squat lekythos; 1470 (P1.138) and 1471 (P1.138), two cups. The next two artists are the Marlay Painter and his colleague, the Lid Painter, with whom he collaborated in the decoration of a pyxis. The latter decorated the lid of this pyxis, hence his name; the Marlay Painteris so called after the former owner of a calyx-kraterin Cambridge.14 He decorates cups more than any other shape, but he has left good examples of other shapes, including various kratersas well as lebetes gamikoi and loutrophoroi. The Marlay Painter is at home painting scenes both of daily life and of myth. Among the latter,one of the most interesting is the pyxis from Spina that shows the Delian triad with a personification of Delos (inscribed) and Hermes.15 The Marlay Painter's drawing is competent but rather plain, with little or no embellishment of either figures or drapery. Several vases by him have been found in the Agora excavations, and taken together they give a good idea of his range. 152 (PI. 24) is a mended but reasonably well preserved lebes gamikos with women. Four are bell-kraters. 368 (P1.47), added here, is an importantnewcomer to the painter'sknown work, for it is one of his better vases. It shows parts of two mounted youths galloping to left and finds its best comparisons with the horsemen on the namepiece and on a column-kraterin New York. 369-371 (PI. 47) come from reverses and preserve parts of sketchilydrawn youths. 1327 (P1.124) is a skyphos of Corinthian type, which depicts Apollo and a Muse. A decorativefeatureworthy of note is the lozenge pattern combined with cross-hatchingbelow the handles. The last Agora piece by the Marlay Painter is 1469 (P1.138), a cup fragment that preservespart of a youth to left. The only vase by the Lid Painter found in the Agora excavationsis 1374 (PI. 127), a stemless cup that depicts a symposion in the tondo, with a zone of incised tongues around it.16 1383 (P1. 128), a stemless cup, is by the Painter of Orvieto 1047,17a cup painter near the Lid Painter. The cups by the FauvelPainter are a "continuation of the Lid Painter's cups."18 He is named after the owner of a cup once in Athens that belonged to F. S. Fauvel, the French vice-consul in Athens from 1803 to 1821.19 FourAgora vases are attributedto him. 1270 (P1.120) is a skyphoswith only the head of a woman remaining; 1482 (P1. 140), the nicest, is a cup depicting youths leaving home; 1480 (PI. 139), preserving much of the ornament at one handle, is also a cup, as is the fourth, 1481 (P1. 139), which shows youths. The remaining cups from the Agora attributed to Classical cup painters are by minor artistsand mayjust be listed: 1473 (Pls. 137-138), which depicts a komos, is near the Painterof London E 105; 1375 (P1.127), with a woman sitting in a chair,belongs to the Painterof London E 122; and 1384 (P1.128), preservingpart of an athlete holding a strigil, is by the Painter of London E 113.20 The last painters in this section specialize in skyphoi. The most important is the Penelope Painter, named after the scene on a skyphos in Chiusi that shows Penelope and Telemachos on one side and Odysseus recognized by his nurse on the other.21The Penelope Painter is a skillful artist who is interested in unusual themes, such as Odysseus slaying the suitors, which appears

14

Cambridge4.12 (ARV21276, 3). The painter:ARV21276357-358. The LidPainter'sname1282;Paralip. 472-473; Addenda piece: London, B.M. 1920.12-21.1 (ARV21282, 1; Addenda 358). The painter:ARV21282-1284; Paralip. 358. 473; Addenda 15 Ferrara20298 = T.27 C VP (ARV21277, 22;Addenda 357). 16 P 25396 (ARV21283, 15) is not part of this study because it comes from one of the graveson LenormantStreet;thus it is from outside the Agora grid. See C. Boulter,Hesperia 32, 1963 [pp. 113-137], p. 132, cat. no. 19, pl. 51. 17 ARV21284-1285. 18 ARV21285. 19 Once Athens, Fauvel(ARV21285, 3). The painter:ARV2 358. Fauvel'shouse stood within the Agora 1285-1286; Addenda

grid (see AgoraXII, p. 395 subN 10:1)and was destroyedduring the GreekWarof Independence(E. B. Harrison,Hesperia 25, 1956 [pp. 25-45], p. 27); a charmingpainting of Fauvel among his antiquitieswas painted in Athens by L. Dupr6 (see Hesperia 25, 1956, pl. 9:a;P.Tournikiotis[gen. ed.], TheParthenon andItsImpact in ModernTimes,Athens 1994, p. 300, fig. 35). I wish to thank RobertBridgesfor providingme with Fauvel'stitle and the dates he held office. 20 ThePainterofLondonE105:ARV21293-1294;Addenda359. The PainterofLondonE 122:ARV21297-1298; Addenda 360. The Painterof LondonE 113:ARV21299. 21 Chiusi 1831 (ARV21300, 2; Paralip.475, 2; Addenda 360). The painter:ARV21300-1303; Paralip. 360. 475; Addenda

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on a skyphos in Berlin, the building of the Akropolis wall on a skyphos in the Louvre, or the Tomb of Agamemnon on another in Copenhagen.22 1328 (P1. 124), with the head of a youth, is connected with the Penelope Painter. The final Agora skyphoiare namepieces. 1253 (PI. 118), with a woman on one side, a man on the other,is the namepiece of the Painterof Agora 1073, and 1274 (P1.120), which preservesa youth, is the namepiece of the Painter of Agora 18953.23 LATE-FIFIH-CENTURY POT PAINTERS THE MEIDIAS PAINTER AND HIS CIRCLE

This workshopis the largestone active in Athens duringthe last two decades of the 5th century, and while less than 40 vases are attributed to the Meidias Painter himself, more than 100 are in his manner,some of them, such as 657 (PI.71) and 711 (PI.75), close enough to the painter that they might well be his, as is suggested below. Many others are generally Meidian, but slightly removed from the painter; his influence was widespreadamong his contemporaries. The namepiece of the Meidias Painteris a large, well-preservedhydriain the BritishMuseum signed by the potter Meidias, his only signatureknown thus far.1The Meidias Painterdecorated a varietyof shapes, and, while many of his smallerworksare exquisite,such as the women perfuming clothing on the chous in New York,2his grandest work appears on hydriai, and his namepiece is surely his greatest accomplishment. Here, the figured decoration is divided into two separate zones, with painstakingcare given to the arrangementof the figuresover the surfaceof the vase in order to achieve a fine balance between shape and composition.3 The Meidias Painter'sdrawing is distinctive,especially his drapery,with its many thin folds enlivened by floral patterns that may cling softly to the body or swirlout behind it in an exaggeratedflourish. Sometimes the garments have a thick black border for greaterarticulation. His women'shairstylesare often elaborate,with their luxuriant tressesheld carefullyin place by a decorative sphendone or diadem. The Meidias Painter is a lyrical artist with a distinct preference for scenes of women, music, love, weddings, gardens, or other moments in daily life. His figures usually inhabit a world of bright sunshine and gentle breezes, far removed from violence and destruction, although once in a while, as on the Kerameikoshydriathat shows in the upper zone the preparationsfor Helen's wedding to Paris and in the lower the Death of Pentheus,the subjectsmay be violent or may foreshadowa troubled future.4 Quite a lot of Meidian red figure has been found in the Agora excavations; not only do these vases reflect the preferred themes of the painters belonging to this workshop, but also they present a wide range in quality. Most of the Agora pieces were attributed by Beazley; a few are added here, if tentatively. Three small fragmentsare included by Beazley in his section of ARV2on the Meidias Painter himself, and each is firm testimony to the painter's artistry. Two show only parts of the heads 22 Berlin 2588 (ARV21300, 1; Paralip. 360). 475, 1; Addenda Louvre G 372 (ARV21300, 4; Addenda360). Copenhagen, N.M. 597 (ARV21301,5; Paralip. 475, 5;Addenda 360). 23 The Painterof Agora P 1073:ARV21304. The Painterof AgoraP 18953:ARV21304.

1 London, B.M. E 224 (ARV21313, 5; Paralip.477, 5; Addenda361; Reeder, Pandora, pp. 79-80, figs. 5-6). The painter: 361-362; Burn, Meidias ARV21312-1315; Paralip.477; Addenda Painter.Burn illustratesthe namepiece in pls. 1-9 and includes the portraitby SirJoshuaReynoldsof Sir WilliamHamiltonwith this hydriain the rightforeground(pl. l:b). Other bibliography: A. Schone,"Die Hydriades Meidias-Malersim Kerameikos:Zur

Ikonographieder Bildfriese,"AM 105, 1990, pp. 163-178. For his inscriptions,see Immerwahr,AtticScript,pp. 116-117. 2 New 477, 11; York,M.M.A. 75.2.11 (ARV21313, 11;Paralip. Addenda 362; Burn,MeidiasPainter, p. 98, cat. no. M 12, pl. 52:b). 3 See particularlythe descriptionby Burn, MeidiasPainter, pp. 15-19. 4 Forthe themes,see particularlyBurn,MeidiasPainter, passim. Forthe Kerameikoshydria,inv.2712 (ARV21313, 6; Addenda 362; Burn, p. 97, cat. no. M 6, pls. 44, 45) and for the darkerside of his nature,see Schone (note 1 above),esp. 176-178. See also the Kerameikoschous, inv. 4290, attributedby U. Knigge (AM 90, 1975, pp. 123-143, esp. p. 135 for this aspect of the Meidias Painter).

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of women with fancy headdresses decorated with the familiar lozenge pattern: 606 (PI. 65), a kalpis, and 1679 (P1.157), a fragmentwhose shape is not clear. 710 (PI.75), a small chous, shows Eros flying to right, holding a ball or a stone in his raised right hand. Two other choes, 657 (P1. 71) and 711 (P1. 75), originally considered by Beazley to be in the manner of the Meidias Painter,were upgraded in ARV2to be probably from his hand. 711, which preserves the top of a woman's head, accords well with 1679; and 657, with a woman dancing, has much in common with some of the figures on his hydria in Florence.5 Many more of the Meidian vases from the Agora are in the section on the painter's manner designated "Sundry"by Beazley,6and they are mostly fragments from an assortment of shapes, both large and small. Most of these depict women in a context that cannot be identified, and they may only be listed here: a loutrophoros, 105 (P1. 17); a bell-krater,383 (P1.48); two kalpides, 607, 608 (P1. 65); a chous, 658 (P1. 70); lid of a lekanis, 1069 (P1. 102); stemless cup, 1386 (P1. 128); uncertain closed, 1660 (P1. 155) and 1661 (PI. 155). On the last, a woman holds a large fan. 136 (P1.23), the stand of a lebes gamikos, is added here, as is 1662 (P1.155), which may come from an acorn lekythos. 659 (P1.70) seems Meidian. Other pieces are more interesting. 17 (PI. 7), an amphora tentatively added here, depicts an Eleusinian initiate holding a bakchos, one of the most careful representationsof this object. The next two are loutrophoroi. 106 (PI. 18) shows a wedding procession; this was a fine, large vase. 107 (PI. 18), added here, also preservespart of a wedding procession, but for reasons given in the catalogue (sub107) is not from the same vase as 106. Perhaps the two were a pair. Next are two choes. 656 (PI. 70) shows a splendid tripod between two Nikai, and 712 (PI. 75), the preparation for a symposion. 986 (PI. 96), one of the two Agora aryballoi, illustrates an easy scene of Dionysos and his maenads. All the Agora fragments mentioned above are of very good if not the highest quality. Two loutrophoros-hydriai,79 (P1. 15) and 80 (P1. 16), neck fragments showing women, present the negative aspect of vases attributed to the manner of the Meidias Painter. Here, the drawing is rather coarse, faces are not very articulate, and the drapery folds are repetitious. One more attributed vase belongs here. 1027 (P1.99), a pyxis lid, is near the Painter of Athens 1243, a minor member of the Meidias Painter'scircle.7 This section concludes with 137 (P1.23) and 153 (P1.24), fragments of coarse lebetes gamikoi that have as their closest comparison two others in Madrid said by Beazley to "continue the tradition of vases like Athens 1681 (p. 1322, no. 16), but can no longer be counted Meidian."8 OTHERLATE-FIFTH-CENTURY POTPAINTERS Other painters who are contemporary with the Meidias Painter and his followers are represented in the Agora by fragments. The Nikias Painter'snamepiece is a bell-kraterin the British Museum that bears the potter's signature on its foot.9 The Nikias Painter favors the bell-krater and the hydria; his style of drawing can sometimes be rather florid, at others somewhat simple, especially on the reverses,where often less care is taken. Three fragments by the Nikias Painter have been found in the Agora. Two are bell-kraters.384 (PI.48) preservespart of a symposion, a subject he painted on more than one occasion. 385 (P1.48) shows part of a youth, very likely 5 Florence81948 nda36 (ARV21312, 1; Paralip. 477, 1;Adde 5). The painter: ARV2 1333-1335; Paralip.480; AdBurn,MeidiasPainter, denda365. Add to the painter'soeuvre the calyx-kraterin Richp. 97, cat. no. M 1, pls. 22-24, esp. pl. 22:b; Espositoand de Tommaso, Vasiattici,p. 79, fig. 132). mond,Virginia,attributedby I. McPhee,thatshowson its obverse 6 ARV21321-1329; 363-365. the Birthof Erechthoniosand on its reverseEos pursuingKepha478-479; Addenda Paralip. 7 ARV21319-20; Addenda 363. los: Richmond81.70 (J. Oakley,'"ACalyx-Kraterin Virginiaby 8 ARV21332. the NikiasPainterwith the Birthof Erechthonios,"AK 30, 1987, 9 London,B.M. 98.7-16.6 (ARV21333, 1; Paralip. 480, 1;Adpp. 123-130).

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one of a trio. Of better quality is 246 (PI. 33), a volute-kraterthat shows the back of a woman's head, her hair bound in a sakkosdecorated with a lozenge pattern similar to that of Aphrodite on the painter'shydria found at Camiros.10 Some of the best pieces in this section are by the Talos Painter,whose namepiece is the big volute-kraterin the Jatta Collection that depicts the Death of Talos, the strong man of Crete.11 Not many vases by the Talos Painter have survived, but those that have are vivid reminders of the freedom of drawing and the love of embellishment enjoyed by painters working in the late 5th century. One fragmentfrom the Agora was attributedby Corbett to this artist, 388 (PI.48), a small fragment of a large bell-kraterthat shows the face of a youth and part of a column. Other fragmentsmay be added. 389 (P1.48), also a bell-krater,depicts a scene with an altar that may representthe Death of Priam, but without more to go on, it is difficultto be certain. Conceivably, it could be from the same bell-krateras 388, but one cannot be sure, and the two are best kept apart. 247 (PI. 33), a fragment of a large volute-kraterpreservingpart of the wreathed head of a youth holding a neck-amphoraand the top of the head of a worried-lookingman in a pilos, is at least very close to the Talos Painter, if not by him, for it shares several details of drawing with the namepiece as well as with other works. Two more fragments are added here. 390 (PI. 49), another bell-krater,preserves the top of the wreathed head of Triptolemos, his name inscribed above his head in neat white letters. 90 (P1. 16), a fragment of a battle loutrophoros, finds its closest parallel with one that is divided between Athens and Berlin (see comparanda sub90). Two other attributedfragments,both bell-kraters,belong here. 386 (P1.48), preservingpart of a big composition with Apollo seated in the presence of women, was connected by Beazley with the Semele Painter,named after a hydriain Berkeleydepicting the Birth ofDionysos from Semele, and less closely with the Suessula Painter, named for the site where four of his neck-amphorae were found.12 His most famous vase is the large neck-amphorafrom Melos with the impressive Gigantomachy,13 a distant reflection, perhaps, of the Gigantomachy painted on the inside of the shield of the Athena Parthenos. 387 (P1.48), a bell-kraterfragment preserving the top of a woman's head and a bit of the laurel wreath on the rim, was compared by Beazley with the Suessula Painter. PAINTERSOF SMALLPOTS LATE-FIFTH-CENTURY

For the most part, the painters in this section are secondary artistswhose drawing is careless and somewhat sloppy. Their known oeuvres are small, making attribution difficult. This short section focuses upon examples from the Agora withjust a word or two about the painters to whom they are attributed. 945 (PI. 93) is a squat lekythos with two women, one holding a large alabastron. It is by the Bull Painter,named after two youths leading a bull to sacrificeon an oinochoe found at Spina.14 The next three painters are closely related and specialize in squat lekythoi. 964 (PI. 94), with a sphinx seated to right, is from the Group of Bonn 94 but is also compared by Beazley with the Painterof the Mayence Sphinx, who painted 963 (PI.94); 965 (P1.94) is near him and shows a 10 Rhodesno no. 365). (ARV21335, 31; Addenda 11 366). Ruvo,Jatta 1501(ARV21338,1;Paralip.481, l;Addenda 481;Addenda366-367;also, Thepainter:ARV21338-1340;Paralip. G. Greco, "Un crateredel pittore di Talos da Serra di Vaglio," e Storiadell'Arte 8-9, 1985Rivistadell'Istituto Nazionakd'Archeologia 1986 [1987], pp. 5-35. 12 Berkeley8.3316 (ARV21343, -, 1; Addenda 367). The

367. The Suessula Semele Painter:ARV2 1343-1344; Addenda 367-368. Painter:ARV21344-1346; Paralip. 482; Addenda 13 Louvre S 1677 (ARV21344, -, 1; Paralip.482, 1; Ad... Louvre,pp. 154-155, denda367; Denoyelle, Chefsd'oeuvre cat. no. 72). 14 Ferrara2510 = T.734 (ARV21349, 1; Addenda 368). The 368-369. painter:ARV21349-1351; Paralip. 483; Addenda

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sphinx. 946 (PI. 93), with a seated woman, is from the Group of Carlsruhe 280.15 956 (PI. 94), with Nike flying to right, is the namepiece of the Painter of Agora P 16879, and his only other known vase also depicts Nike.16 943 (P1.93) shows a maid bending over and is by the L. M. Painter (short for the Painter of the Louvre Maid), who is called after two squat lekythoi in the Louvre, each of which portrays a maid.17 In the late 5th century many painters specialize in the decoration of white-ground lekythoi, but the work of only two, the Reed Painterand the TriglyphPainter,has been found in the Agora. The Reed Painter is named for the reeds that appear in many of his scenes.18 854 (PI.87) shows the head of a woman to right. The Triglyph Painter gets his name from the groups of three vertical lines that occasionally appear on his painted stelae.19 855 (P1. 87) shows the head of a pensive-lookingwoman. The largestnumber of attributedvases in this section belong to the Sub-Meidian Cup-Group. In general, these are worksinferiorto anythingtrulyMeidian. Most of the decoration appears on cups, now and then on other shapes, such as the oinochoe or pyxis. A few hands have been distinguished, the most prolific being the Painter of London E 106.20 1487 (PI. 140), a cup fragment that shows part of Nike, is by him; 1486 (P1. 140) may be his; and 799 (PI. 82), a fragment of a mug that preserves the head of a youth, is closely related. In ARV' 860-861, Beazley distinguisheda Mouret Painter,whom he placed close to the Painterof London E 106. In ARV21391, he merged the two, retaining an "M" after those once by the Mouret Painter. 1489 (Pls. 140-141) belongs here and ought to take with it 1488 (PI. 140) as well as 1490 (P1.141), both added here. 1491 (P1. 141), a cup of somewhat better quality than those just mentioned, finds its place in a more miscellaneous category within the group. It depicts a youth leaving home. 1492 (P1. 141) should probably be added here. 1493 (P1. 141) is by the Painter of Bonn 1645, the last attributedcup in the subgroup.21 The work of only three other late-5th-century painters has been found in the Agora. The first is the Millin Painter, named after a skyphos in the Louvre published by A. L. Millin.22 He is a decorator of skyphoi, as are his two vases from the Agora. 1278 (PI. 120) shows a symposion on one side and two athletes on the other; 1279 (P1. 121) preserves only one side and depicts athletes similar to those on 1278. 399 (Pls. 49-50) is a bell-krater,unusual for these painters who concentrate on smaller vases. It is compared by Beazley with the Painter of Athens 13908, whose namepiece is a cup.23 The last attributed Agora vase in this section is 1275 (P1. 120), a modest skyphos given to the Painter of the Frontal Warrior,whose other known works are cups.24

FOURTH-CENTURY PAINTERS These painters do not form an artistic group but are merely contemporary with one another, working during the first half of the 4th century and even slightly later. The quality of their work 15

The Groupof Bonn 94: ARV21361-1362; Paralip. 484. The Painterof the Mayence Sphinx:ARV21363-1364. The Group of Carlsruhe280: ARV21362-1363; Paralip. 370. 484; Addenda 16 StuttgartMarket(ARV21364, 1). The painter:ARV21364. 17 LouvreMN 762 and 763 (ARV21364,6 and 8). The painter: ARV21364-1365;Addenda 370. 18 The painter'sname:ARV21376. The painter:ARV21376371. 1382; Paralip. 485-486; Addenda 19 The painter: ARV2 1384-1387; Paralip.486-487; Adden-

da372. 20 The namepiece:ARV21391, 1. The painter:ARV21391373. 1397;Paralip. 487; Addenda 21 The painter:ARV2 373. 1398-1399; Paralip. 488; Addenda 22 Louvre G 559 (ARV21401, 2). The painter: ARV21401373. 1402;Addenda 23 The painter:ARV21404;Addenda 374. 24 The painter:ARV2 374. 1404-1405;Addenda

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ranges from quite competent to utterly abominable, and a good many of the Agora fragments bear out this somewhat harshjudgment. The Meleager Painter is a capable artistwho is named for the figure of the Kalydonian hero appearing on three of his vases.1 He decorates a variety of shapes and shows a certain preference for figuresin Oriental dress,which resultsin an ornate effect. Two fragmentarybell-kratersfrom the Agora excavations may be by the Meleager Painter. Bellerophon on 443 (P1.52) finds its best comparisons with his work and the man with shaggy hair on 444 (PI. 52) bears a certain resemblance to two youths on a bell-kraterin Vienna. Two fragments,473 (P1.53), from a bellkrater,and 978 (PI.95), a squat lekythos,are by the Telos Painter,whose name vase was found on Telos, a small islandwest of Rhodes.2 The Telos Painterprefersto decoratebell-kraters,to a lesser extent calyx-kraters,and, like many of his contemporaries,he makesliberaluse of accessorywhite. 473 (PI.53), which depicts a symposion, and 978 (PI.95), with Dionysos and a maenad, bear this out. An equally colorful painter of bell-kratersis the Painter of the Oxford Grypomachy,named for a subject that finds favor in the late 5th and the 4th centuries.3 450 (P1.53), a bell-krater,was once attributedto this painter by Beazley but later removed. It depicts satyrsand maenads. 451 (PI.53), also a bell-krater,is tentativelyattributedto the painterhere. The next three fragments,all bell-kraters,are also added here. 452 (P1.53), with the head and shoulder of a satyr,finds its best comparisonswith the Oinomaos Painter,whose name derives from the subject on a bell-kraterin Naples; 487 (P1.54), preservingpart of a sketchilydrawn youth, may be by the Painter of Louvre G 521; and McPhee added 520, a wretchedly drawn youth, to the YorkReverse Group.4 492 (PI. 54), a bell-kraterdepicting a symposion on one side and youths on the other, is by the Toya Painter,named after the provenenceof two bell-kratersin Madrid.5 His style of drawingis sketchy and rough, but his themes have certain interest. In particular,one might mention the scene on his bell-kraterin Florence, which shows initiates on foot and on horseback,each holding a bakchos.6 Much the same may be said for the Filottrano Painter,who decorates bell-kraters,two found at Filottranobeing his namepieces.7 524 (PI.56) and 525 are by him; 526 is near him. 524 (PI.56), preservingpart of Eros, Pan, and a satyr,was thoughtby Beazley to be from a scene of Dionysos on a panther;he suggestedthat 525 might representthe Dioskouroi. 526 shows satyrsand maenads dancing. The paintersof Group G (forgriffin)decoratepelikaiand bell-kratersin a style of drawing that is rathercoarse.8 In the Agora, a pelike, 62 (P1.13), attributedhere, and two bell-kraters,515 (PI. 55) and 539 (P1.56), belong to Group G, while 63 (P1. 13), a pelike, is not far from it. 62 (P1.13) depicts Eros on horseback;539 (P1.56), a fierce Grypomachy;63 and 515 show youths. The next two fragments are much, much better drawn than those just discussed. 1666 (P1. 155) was compared by Beazley with the Marsyas Painter, so called after the subject on a pelike in St. Petersburg.9Not many vases by the Marsyas Painter are known, but those we have include "most of the masterpiecesof Attic fourth-centuryvase-painting."10 His figuresare fleshy, perhaps a little heavy, and his women are always dressed in elegant garments. The drawing is sure, sometimes even economical, a pertinent example being the Nereid who runs away,drawn in 374); Athens, N.M. l Vienna 158 (ARV21408, 1; Addenda 15113 (ARV21411, 39; Addenda 374); Toronto 919.5.35 = 388 374). The painter:ARV21408-1415; Pa(ARV21411, 40;Addenda 374-375; L. Burn,"ADinoid Volute-Kraterby ralip.490; Addenda the MeleagerPainter:An AtticVasein the SouthItalianManner," 5 [OPA7], pp. 107-130. Vasesin theJ. PaulGettyMuseum Greek 2 London, B.M. F 4 (ARV21425, 1; Paralip.490, 1). The 376. 490-491; Addenda painter:ARV21425-1427; Paralip. 3 The namepiece:Oxford1917.61(ARV21428, 1;Paralip. 491, 1; Addenda376). The painter:ARV2 1428-1429; Paralip.491; Addenda 376. 4 The Oinomaos Painter: ARV2 1440; Paralip.492; Ad-

denda377. The Painter of Louvre G 521: ARV2 1441-1442; 378. The YorkReverse Group:ARV2 1450-1451; AdAddenda denda379. 5 Madrid32713 and 32709 (ARV21448, 2-3; Addenda 379). 379. The painter:ARV21448-1449; Paralip. 492; Addenda 6 Florence4051 (ARV21448, 12;Addenda 379). 7 Both are in Ancona (ARV21453, 1 and 14; Addenda 379). 379. The painter:ARV21453-1455;Addenda 8 ARV21462-1471; Paralip. 380. 494-495; Addenda 9 St. Petersburg,St. 1795 (ARV21475, 3; Addenda 381). The 381. 495;Addenda painter:ARV21474-1476; Paralip. 10 ARV21475.

FOURTH-CENTURY PAINTERS

131

three-quarterview, on his pelike in London.11 1666, a small fragment, depicts only the face and shoulders of a woman, but it is one of the best 4th-century pieces found in the Agora. Another worthyfragment is 1139 (P1.108), the lid of a lekanispreservingthe helmeted head of Athena and part of a nude youth. The shape of Athena's helmet is very similarto that worn by the goddess on a pelike in St. Petersburgthat is the namepiece of the Eleusinian Painter,12and 1139 may well by by him. 538 (P1.56), a fragmentarybell-krater,is by the Painter of Athens 1472, an artist whose figuressometimes recall the MarsyasPainter.13Three vases are by the Amazon Painter,an inept painter named after his preference for this subject.14 The two pelikai, 64 (PI. 14) and 65 (PI. 14), have exactly the same subjects on each side and were probably made as a pair. 521 (P1.55), a bell-krater,depicts a Grypomachy,one of very many by this painter. The three Agora vases demonstrate very well the Amazon Painter'scareless, sloppy drawing and his penchant for repetitiveness. The same may be said for the work of the E B. Group (F. B. standing for "Fat Boy"),which probably includes several hands.15The largest number of attributionsof oinochoai of Shape 2 are to this group, but there are also a good many skyphoi of Attic type, including 1303-1305 (PI. 122). On all the drawingis wretched. Akin to the E B. Group, but not belonging to it, is the Kalymnos Painter, named after a skyphos found on Kalymnos, an island north of Kos.16 His known output is very small and consists of skyphoi Type A, including 1301 (P1.121), which shows two youths on each side. Two more groups remain to be considered in this section, painterswho specialize in lekanides and those who prefer cups. Prominent among those who decorate lekanides are painters of the Otchet Group, which is named after a journal published in St. Petersburgduring the very late 19th century and the early years of the 20th.17 Though by no means refined, the drawing of this group is not nearly as careless as that just discussed. On all the lids of these lekanides, the subject is the same: a seated woman with Eros, a seated woman and her maid, another seated woman and a maid running to right looking back. Taken together,Agora fragments 1095-1101 (Pls. 104-105) illustrate the composition and style fairly well. Linked with the lekanides of the Otchet Group are the Nuptial Lekanides,which are by varioushands and vary in quality as well as elaboration.18 On these, the seated woman may be the bride, as indicated by the presence of nuptial vessels, the lebes gamikos and the loutrophoros-hydria.19Four of the Agora lekanides, 1102-1105 (Pls. 105-106), were included by Beazley in this group, even though none preserves the bridal vases, and 1106-1107 (P1. 106) are added here. Other 4th-century lekanides from the Agora excavations that have been attributedare these: 1118 (P1.107), which is by or near the Painter of Salonkia 34.1 and shows women and Erotes; 1122 (P1. 107), with a woman's head, belongs to the Painterof the Reading Lekanis;three reversibles,1125-1127 (P1.107), added here, are decorated with animals and may be from the Group of the Vienna Lekanis; 1123 (P1. 107), with the head of an Arimasp,is compared with this Group; 1130 (P1.108) providesthe namepiece for the Painter of Agora P 17562 and takes with it 1131 (PI. 108), also 1132 (PI. 108), which is comparable.20All are modest pieces, as is the miniature lebes gamikos 149 (P1.24), attributed to the Painter of Athens 1256.21

II London, B.M. E 424 (ARV21475, 4; Paralip.495, 4; Addenda381). 12 St. Petersburg,St. 1792 (ARV21476, -, 1; Paralip.496, 1; Addenda381). The painter:ARV2 1476-1477; Paralip.496; Addenda 381. 13 Athens, N.M. 1472 (ARV21477, 1; Paralip.496, 1). The 381. 496; Addenda painter:ARV21477;Paralip. 14 ARV2 381-382. 1478-1480; Paralip. 496-497; Addenda 15 ARV21484-1495; Paralip. 382. 497-498; Addenda 16 Brussels A 1729 (ARV2 1494, -,

1). The painter: ARV2

1494. 17 ARV21496-1499; Paralip. 382. 499; Addenda 18 ARV2 383. 1498-1499; Paralip. 499; Addenda 19 ARV21498. 20 The Painterof Salonika34.1:ARV2 1500-1501. The Painter of the ReadingLekanis:ARV21501. The Group of the Vienna Lekanis:ARV21501-1502. The Painterof AgoraP 17562:ARV2 1502. 21 ARV21506.

132

POTTERS, PAINTERS, GROUPS, and CLASSES

And lastly, the cup painters. The first is the Jena Painter,named after the University where a large number of his fragmentsreside.22While he is primarilya cup painter,he also decorated a plate, a pelike, and a hydria. At his best, he can be an elegant, carefulpainter. If our attributionof 1090 (PI. 104), the lid of a lekanis, is correct, it adds another shape to his repertoire. A less able contemporary of the Jena Painter is the Q Painter, who often uses stamped impressions on the insides of his cups.23 1357 (P1. 126) has such stamped palmettes. The remaining Agora fragments,except for one, belong in Beazley'schapterentitled "The Last Cups and Stemlesses."24 The first is Group YZ, including the Painter of Vienna 155, to whom 1111 (PI. 106), the lid of a lekaniswith a seated youth, is added here, and the Painterof Vienna 202, to whom 1511 (P1.143) belongs. 1512 is attributedto GroupYZ at large.25The rest of the Agora cups are stemlessesfrom the Group of Vienna 116, 1353-1355 (P1. 126), the last added here, and 1396-1397 (P1. 129), the latter near the group.26 Each shows youths, the favoritesubject of the group. The last Agora piece is a fragmentof an early-4th-centuryfish plate, 1215 (P1.114), attributed to the Alcacer do Sal Painter.27 22 ARV2 1510-1516; Paralip. 499-500; Addenda 383-384; Paul-Zinserling, Jena-Maler,passim. 23 ARV2 1518-1521; Paralip.500-501; Addenda384. The artist seems to have been named byA. D. Ure,J7HS64,1944[pp. 67-77], pp. 70-75.

24 ARV2 1522. 25 ARV2 1522-1525; Paralip.501; Addenda384-385. ARV2 1526-1527; Paralip.501. 27 For the painter, see McPhee and Trendall, Fish-Plates, pp. 38-39. 26

CATALOGUE ONE-PIECE AMPHORAE 1-17 PICTURES FRAMED

1 P1. 1

1

P17573 C20:2 Thirteen non-joining wall fragmentswith thin reddishwash on inside. Mended in antiquity (part of lead repair in b; hole in d). Glaze pitted and abraded here and there. P.H. a) 0.14; max. dim. a) 0.281, b) 0.14, c)0.94, d)0.112, e) 0.145, f) 0.076, g) 0.125, h) 0.07, i) 0.15, j) 0.05, k) 0.046, 1)0.036, m) 0.069. A, Nike crowning the winner of a musical contest. Fragment d (illustrated)shows the end of the goddess's wing and horizontal drapery as she flies to right. At the lower left is a bit of reserve that separates the black backgroundfrom the framing ornament. Fragment e preserves the lower left corner of this panel with the chevron side frame and stopped-maeander pattern below, and f gives more of the latter pattern. Fragment b (illustrated)shows the feet and lower drapery (chiton under a himation) of the musician, who stands frontally on a platform, probably with head turned to right. Fragment a (illustrated)gives the lower right corner of this panel with the two patterns (the chevron frame and the stopped-maeander with saltire-square), as well as a bit of drapery (chiton and himation) worn by someone moving rapidly to left and at the far left a bit of reserve that may represent the heel of one foot of this figure. Fragment k has a little of the chevron pattern from this side of the panel and, at the left break, contour outline and reserve that is probably more drapery. B, musical contest? Fragment a (illustrated) preserves the lower left corner of this panel, with a reserved line for the frame and a stopped-maeander pattern below, as well as the lower part of a himation and the right heel of a man or youth standing to right. Fragmentg shows more of the reservedline and also some of the upper part of this figure. Fragment h (illustrated)preserves the lower part of the head of a youth to right, his bare right shoulder, and a few folds of his himation. The vertical curve of this fragment and the lines of the wash on the inside indicate that it is part of the return; thus the youth must stand on a platform, for otherwise he would tower above those behind and in front of him. Fragment i (illustrated) shows the shaft of a column and to the right of it a youth (lower face, upper part of body) wrapped in a himation, to left. At the upper left of this fragment is an object that looks like the end of an aulos, presumably played by the youth on fragment h. Fragment c (illustrated)preservesthe middle part of a woman standing in three-quarter view to left, dressed in a chiton and himation. To judge by the lines of glaze on the inside, she stood behind the youth on fragment i and was probably the rightmost figure on this side. Fragmentsj-l preserve too little of the decoration to place (they seem to show drapery); m is without decoration. Preliminary sketch. Relief contour for neck of youth on h. Dilute glaze: lines

Pls. 1-7 on feathers of wings. Red: band below panel that continued around the vase. For better-preserved examples of this subject, see these two, both contemporary with 1: the pelike in Plovdiv by the Epimedes Painter (ARV21044, 9; Addenda320; M. Reho, La ceramica atticaafigureneree rossenellatraciaBulgara[Archaeologica 86], Rome 1990, pl. 31) and the pelike in Leyden, Ro II 60 by the Cassel Painter (ARV21084, 16; Addenda327). Perhapsby the Kleophon Painter. For the manner of wrapping the himation as on fragment i, cf. Ferrara44894 = T.57 C VP, the youth leading the bull (ARV21143, 1; Paralip.455, 1; Addenda334; Matheson, Polygnotos, p. 406, cat. no. KL 1, pl. 125), Munich 2415, the middle youth on side B (ARV21143, 2; Paralip.455, 2; Addenda 334; Matheson, p. 406, cat. no. KL 2, pl. 121), or Oxford 1922.8 (ARV21145, 34; Paralip.456, 34; Addenda335; Matheson, p. 413, cat. no. KL 39); for the outer contour of the himation on fragment c, cf. Munich 2414, the aulos-player(ARV21143, 6; Paralip.455, 6; Addenda 334; Matheson, p. 407, cat. no. KL 6, pl. 126), Minneapolis 09.6 (ARV2 1144, 10, Addenda334; Matheson, p. 408, cat. no. KL 11), St. Petersburg 774 = St. 1636 (ARV21144, 14; Paralip.456, 14; Addenda334; Matheson, p. 409, cat. no. KL 15, pl. 129), or Brunswick556 (ARV21145, 32; Paralip.456, 32; Matheson, p. 413, cat. no. KL 37); for the tip of the draperyon fragmenta, cf. Ferrara44894 = T.57 C VP, the youth behind the woman with the basket on her head, Munich 2414, the aulos-player, or Copenhagen, inv. 13817, second man after aulist (ARV2 1145, 35; Paralip.456, 35; Addenda335; Matheson, Polygnotos, p. 414, cat. no. KL 41, pl. 120); for the foreshortened feet with the toes and the nail of the big toe carefully drawn as on fragment b, cf. Ferrara44894 = T.57 C VP, Munich 2415, or Munich 2361 (ARV21145, 36; Paralip.456, 36; Addenda335; Matheson, p. 414, cat. no. KL 42, pl. 124);and for the decoration on the himation on fragment b, rather rare for the painter, cf. Copenhagen, inv. 13817, or Florence 4006, a stamnos close to him that shows a youthful kitharode about to be crowned by two Nikai (ARV21062, -, 1; Paralip.446, 1; Addenda323; Matheson, p. 449, cat. no. PGU 20: Group of Polygnotos: Undetermined). Ca. 440 B.C. PICTURES NOT FRAMED

2 Fig. 1; Pl. I

2-8

P 389 and P 24017

G 13:1 G 13

Two non-joining fragments, P 389 of shoulder with start of neck; P 24017 of wall. Thin reddish brown glaze on inside. Glaze dull on outside. Decoration in matte-red pigment over black glaze. Max. dim. P 389: 0.052, P 24017: 0.067. Discus thrower,to right. P 389 preserves his right forearm and hand, which holds the discus. At the bottom of the discus,

134

CATALOGUE the same way as the one on A. Below the figures on each side, stopped-maeander pattern with cross-squares. Tongue pattern around the root of each handle. Relief contour: A, profile of each figure, man's left wrist, scepter; B, throat and neck. White: fillets. Closest in shape to Kyoto, Hashimoto, an unattributed amphora (CVA,Japan 1, pl. 1 [1]:1). The Boreas Painter (ARV2539, 41). Ca. 460-450 B.C.

5 PI. 3

FIG. 1. Amphora 2 (P 389 and P 24017). Scale 2:1

the thumb of his left hand indicated by incision. P 24017 gives his torso and start of arms. Interior drawing incised. Six's technique. For Six's technique, see most recentlyJ. Grossman, "Six's Technique at the Getty,"GreekVasesin theJ. PaulGettyMusewn5 [OPA 7], Malibu 1991, pp. 13-26 (2 is on p. 23, cat. no. 53) and L. HUnnekens,"Eine attische Vasengruppein Karlsruhe: KunstSechs Lekythen in Six-Technik,"JahrbuchderStaatlichen in Baden-Wiirttemberg 28, 1991, pp. 7-21. Not from sammlungen a stamnos, pacePhilippaki,Stamnos,p. 28, cat. no. 2: re:P 389. Probablyearly 5th century B.C. 3 P1. 1

P 24141

Q8

Five non-joining fragments of neck and wall, two (a and d) with start of handle. Streaky red glaze on inside. Much of the glaze fired red on outside. Max. dim. a) 0.269, b) 0.156, c) 0.092, d) 0.16, e) 0.012. A, youth leaving home? Fragment a (illustrated)shows the head, shoulders, and right arm of the youth to left wearing a petasos and a chlamys fastened at the right shoulder. In his right hand he holds two spears (their heads omitted because they would overlapthe ornament). Above, laurelwreath to left with berries. B (fragment b),Nike (part of wing) flying to left. Fragment c preservesa bit more of the laurel; d shows part of the tongue pattern around the root of the preserved handle; e is without decoration. The Mykonos Painter (ARV2515, 10). Ca.470-460 B.C. 4 PI. 2

P 21859

P 21289

N7:3

Four non-joining wall fragments, b with part of neck, c with start of one handle; a and b strengthened with plaster and painted. Thin brownish glaze on inside. Max. dim. a) 0.298, b) 0.279, c) 0.161, d) 0.152. C. Boulter, Hesperia22, 1953, pl. 22:4. A, man profferinga lyre to a youth. Fragment a (part illustrated)preservesmost of the man (backof head, back missing) standing to right, clad in a himation, a wreath around his head. He holds the lyre in his right hand; tucked under his left arm is a walking stick that does not touch the ground. Of the youth (not illustrated),all that remains is the middle part of his torso clad in a himation (its lower part) and his feet. He stands frontally, presumably with his head facing the man. Below, maeander pattern with saltire-squares. B, probably the like. Fragment b (illustrated)preserves the upper half of a youth dressed in a himation, looking to left but standing frontally (the preliminary sketch indicates this position), his right arm outstretched, his left grasping a walking stick (both hands missing). Around his head is a fillet. Fragment d preserves the lower right corner of this scene with part of the maeander pattern below the figures and the end of the youth's stick. Fragment c is undecorated. Above the panel, laurel wreath to left. Preliminary sketch. White (flaked):fillet; vine of wreath. Added clay(?):leaves of man's wreath. "It reminds me of the Florence Painter":Beazley duringhis visit to the Agora in the summer of 1953. Although 5 is not listed in ARV2,there are certain parallelswith this painter that may be cited, in particular the loose drawing of the himatia with many of the folds not relating to the figure beneath them and the lower border only partly outlined with a thick black line. Cf. Louvre Cp 10751 (ARV2541, 2); Louvre G 360 (ARV2 541, 8); Louvre G 350 (ARV2542, 22); Rennes D.863.1.26 = 716 (ARV2543, 39 bis;Addenda 256); and London, B.M. E 353 (ARV2544, 63). If not by the Florence Painter,5 is surely close to him. Ca. 460-450 B.C.

N 7:3

Mended with the missing pieces restored in plaster and painted, notably much of the lower part of the body and most of the floor. Glaze abraded and misfired on mouth; abraded on neck on Side B. Rest. H. 0.60; diam. of mouth 0.315; max. diam. 0.44. C. Boulter, Hesperia22, 1953, pl. 21:1; C. Boulter, 10, 1957, p. 191. Archaeology A, man pursuing a woman, to right. He wears a himation and holds a scepter in his left hand; his right is outstretched. The woman looks back as she flees. She is clad in a chiton with a himation over it and wears a necklace. Around the head of each is a fillet. B, woman fleeing to right looking back, dressed

6 PI. 3

P 16976

A-B 21-22:1

Two non-joining fragments,a of mouth, one handle, startof shoulder;b from lower part of wall just above the foot. Thinly glazed on inside. Glaze much abraded. Chips in rim. PH. a) 0.26; diam. of mouth 0.289; max. dim. b) 0.22. A, warrior (crestand top of helmet) to left, holding a spear (point) over his shoulder. The drawing is barely legible. B (illustrated),Nike (wing)flying to right. On neck, laurel wreath to left. Below handle, inverted palmette. Ca. 460-450 B.C.

135

ONE-PIECE AMPHORAE P 9486

7 Pls. 3-4

F 5:3

Mended with missing pieces restoredin plasterand painted, notably sections of the lower part of the body. Glaze abraded around handle B/A. H. 0.563; rest. diam. 0.415. T. L. Shear, 19, Hesperia7, 1938, p. 345, fig. 28; R. R. Holloway,Archaeology andPolis, 1966, p. 115, fig.4; Beck,Album,pl. 47:256 (A);Goddess p. 440, cat. no. PE 22, p. 50, fig. 31 (A);Matheson, Polygnotos, pl. 88. A, chariot team to left and Nike (victor at the Panathenaia). The charioteer (head, part of arms missing), dressed in a long chiton, leans forward, holding the reins in both hands as well as a goad in his right. Most of the chariot is missing, also parts of the horses, chiefly their muzzles and foreparts. The outstretched position of their hind legs and tails makes clear that they are galloping. On the right-hand side of the team, Nike, dressed in a long chiton with a sakkoson her head, flies towardthe victor,holding out a Panathenaicamphora. Above, a chain of upright lotuses and encircled palmettes; below, stopped-maeander pattern with saltire-squares. B, king and Nike. The goddess, dressed in a long chiton with a himation over it, stands to right, holding a phiale in her outstretched right hand. Most of her face, the lower part of her body and legs, and a bit of her wings are missing. The king faces her, wearing a himation, and he holds a scepter in his outstretched right hand. Part of his body and his lower legs are lost. Above, a zone of diagonally addorsed palmettes; below, maeander pattern (part of one unit). On side of mouth, ivy (reserved)with berries. Around the root of each handle, tongue pattern. Relief contour on Side A. White (flaked):stems and berriesof ivy vine. For the ivy on the mouth of a one-piece amphora, see the one in Kos (RM 93, 1986, pl. 40; JdI 102, 1987, p. 117, fig. 39; Hayashi, Triptolemosbildes, pl. 7); also 12. The Peleus Painter (ARV' 687, 12; ARV2 1040, 18; Addenda319). Ca. 440-430

8 P1.5

B.C.

P 27349

S 16:1

Lower half of body, all of torus foot, start of handle B/A. Strengthened with plaster. Thin reddish glaze on inside. Misfired reddish in places on outside. Pitted here and there. P.H. 0.035. R. R. Holloway, Archaeology 19, 1966, p. 113, figs. 1-3, p. 114, fig. 6; Beck, Album,pl. 44:237, 238; Goddess andPolis,fig. 38; Matheson, Polygnotos, p. 445, cat. no. PEM 14. A, musical contest. At the left, Nike (draperyfrom the knees down, feet) flies to right toward a musician (lowerpart of chiton with a decorated robe over it, feet) who stands to right on a two-stepped platform playing the kithara (the ends of its sash hang down in front of him). He faces a man (head, shoulders missing)who sits on a klismos dressed in a himation and holds a staff. He is the judge, although originally the artist intended him to hold a lyre but changed his mind and turned the arm of the lyre into a staff. B, the like. At the left, Nike (lower part of himation and chiton, feet) flies to right toward a musician (head, shoulders missing) who plays the aulos (most of each pipe). He stands to right wearing a long decorated chiton and faces a man dressed in a himation who stands frontallyholding a staff in his right hand. His head was probably turned to left. Below the figures on each side, maeander pattern with saltire-squares. Fora fullerkitharodescene than 8, see London, B.M. E 460, a calyx-kraterin the manner of the Peleus Painter(ARV21041, 2; Addenda319; Matheson, p. 442, cat. no. PEM 3). There, the

moment shown is a slightlyearlierone, for the musicianmounts the bema. A standing Nike faces him, a small one flies in from the left, holding two stacked phialai in her left hand. On the right sits the judge, balanced on the left by a seated woman holding a spear. For the two scenes reflecting musical contests at the Greater Panathenaia,see R. R. Holloway, "Music at the Panathenaic Festival,"Archaeology 19, 1966, pp. 112-119. Manner of the Peleus Painter. Although said by Holloway to be by the Peleus Painter himself (Hesperia35, 1966, p. 83; 19, 1966, p. 115), 8 seems closer to his manner. Archaeology The drawing is not as crisp and as sure as it is on vases by the Peleus Painter himself, and the drapery does not relate as well to the figures. Compare, e.g., Terpsichore on London, B.M. E 271 (ARV21039, 13; Paralip.443, 13; Addenda319; Matheson, p. 439, cat. no. PE 16, pl. 95) and Kalliope on 319; Matheson, Paris,Petit Palais 308 (ARV21040, 22; Addenda p. 441, cat. no. PE 26) with the seated judge on Side A: the manner in which the himation is pulled across the lower legs is, by comparison, rather mechanically rendered on 8. Also, the drawing of the ankle bone is more carefully articulatedon vases by the painter:e.g., the namepiece, Ferrara2893 = T.617 (ARV21038, 1; Paralip.443, 1; Addenda319; Reeder, Pandora, pp. 349-351, cat. no. 110; Matheson, p. 436, cat. no. PE 1, pl. 91). Compare also the man announcing the victories in a contest for boy athletes on Taranto 52368 (ARV21040, 15; Addenda319; Matheson, p. 439, cat. no. PE 19) with the judge on Side B of 8. The drawing of the Agora figure is much sketchier by comparison. Finally, the ornament below the figures: the Peleus Painter and for the most part those decorating vases in his manner prefer the stopped-maeander pattern with saltire-squares. For two or three continuous units with saltire-squares,see Syracuse 44291, a bell-krater in his manner (ARV21041, 9; Addenda319; Matheson, p. 444, cat. no. PEM 10, pl. 155). Ca. 440-430 B.C. NOT KNOWN IF PICTURES FRAMED ORUNFRAMED 9-17

9 P1.6

P 25015

0 16

Wall fragment with return. Thin reddish brown glaze on inside. Glaze fired greenish on outside. Max. dim. 0.122. Athena (most of head, upper torso) standing frontally,head in profileto right, her hair bound with a fillet. Her right arm is outstretchedand bent, holding a spear (a little of the shaft and part of her fingers appear at the far left). She wears a peplos with the aegis over it. Above, reserved line marking the top of the figured zone and, at the very top, a little bit of reserve, indicating that there was a zone of ornament. Dilute glaze: border of aegis. Near Hermonax and his follower, the Painter of the Birth of Athena (ARV2494, top: the number incorrectly given as P 25105). Ca. 460 B.C.

10 P1.6

P 21402

N7:3

Fournon-joining wall fragments, a and d with start of neck. Thin reddish glaze on inside. Glaze thin in places. Max. dim. a) 0.08, b) 0.17, c) 0.06, d) 0.065. C. Boulter,Hesperia22, 1953, pl. 22:2; I. Scheibler,JdI 102, 1987, p. 74, fig. 11. Fragmentb (illustrated)preservespart of a figure(himation), probably a man, standing to right, holding a staff. In front of him is most of the body and one handle of a one-piece amphora

136

CATALOGUE

decorated in silhouette technique with a nude man to right, looking back, his right arm outstretched, a staff in his left. He stands on a black ground line; above his head is a row of dots with a line above and below. Fragment d (illustrated) may come from either side of the vase. It shows the back of the crowned head of a woman to right. Above, a zone of diagonally addorsed palmettes. Fragmenta gives a little more of this pattern but from the other side because it is slightly wider; fragment c preserves the frontal toes of a figure and a bit of the stopped-maeanderpattern below. Red: two lines on neck above pattern on a. The amphora on fragmentbwas probablyheld by someone, now missing,who stood at the right, facingto left. Fora parallel (butwith the figuresreversed),see each side of LouvreCA 1852, an amphora Type B near the Boreas Painter (ARV2540, 4; Addenda256). The two amphorae on this vase are without decoration. Scheibler (JdI 102, 1987 [pp. 57-118], p. 75) thinks that the figure partly preserved on fragment b held the amphora, but on the vasejust cited the bottom of the amphora points toward its holder, and presumably the one on 10 did too. For a crown similar to the one on fragment d, cf. that of the woman (Helen[?]) on Ferrara2739 = T.749 by the Boreas Painter (ARV2536, 1; Paralip.384, -, 1;Addenda255). Not from the same amphora as 11 or 12: the glaze on the outside of 10 is duller than on 11; on the inside it is reddish;the heartsof the palmettes are differentlytreated. Also, fragmenta has two red lines above the pattern. What remainsof the glaze on the inside of 10 indicates that it does not come from the same amphora as 12. Ca. 450 B.C.

11 P1.6

P 21403

N7:3

Wall fragment with return and start of mouth at very top. Thin brownishblackglaze on inside. Glaze pitted and abraded in places. P.H. 0.22; P.W. 0.219. H. A. Thompson, Hesperia 21, 1952, pl. 30:c; C. Boulter, Hesperia22, 1953, pl. 22:3; J. M. Cook, JHS 72, 1952, pl. 7:1; H. Gallet de Santerre, BCH 76, 1952, p. 214, fig. 13; E. Blegen, AJA56, 1952, pl. 9:D; H. A. Thompson, AA, 1952, p. 167, fig. 10; C. Boulter,Archaeology10, 1957, p. 194; H. A. Thompson, Fastiarch.6, 1951, p. 144, fig. 42; E. Paribeni, EAA 1, 1958, p. 980, fig. 1236. Warriorleaving home. The youthfulwarriorstandsto right, holding a phiale in his outstretchedright hand. Preservedare his head protectedby a Chalcidian helmet with the cheekpieces turned up, part of his shoulders with a cloak, and his right forearm and hand. In his left hand, now missing, he held a spear (its shaft extends through the ornament above). A snake decorates the cheekpiece of the helmet. Above, diagonally addorsed palmettes. The position of the warriorsuggeststhat he stoodjust to the left of the center, probably facing a woman. Not from the same amphora as 10: see sub10. The Barclay Painter (ARV21068, 17). Ca. 450-440 B.C.

12 P1.6

P 23834

Q 15:2

Mouth fragment with start of neck. Mouth flares slightly, flat and glazed on top. Glazed on inside. Much of the glaze fired red; abraded in places. Max. dim. 0.122. On side of mouth, ivy wreath with berries, the leaves reserved, the vine and berries in added white (flaked). Not from the same amphora as 10: see sub10.

Perhapsby the Dinos Painter. Cf. the mouth of his amphora Type B in the Geroulanos Collection (ARV2 1154, 38 bis, JdI 102, 1987, p. 69, fig. 5; Matheson, Polygnotos,p. 389, cat. no. D 43). The drawing of the ivy in particular seems similar. For ivy on the side of the mouth, see also 7. Ca. 440-430 B.C. 13 PI. 6

P 3032

K-L 6-8

Wall fragment. Max. dim. 0.06. Horse (top of neck and mane, ear, forelock, a bit of forehead and cheek), probably a mount, to right. Preliminary sketch. Relief contour. Dilute glaze: muscles. White: studs on cheekstrapof bridle. If this is a chariot horse, it has to be the right-hand pole horse; if it were a trace horse, one would expect to see the neck and head of the pole horse where there is black glaze. See the team on Ferrara 1685 = T.308 by the Painter of Bologna 228 (ARV2511, 5; Paralip.382, 5; Addenda252). Ca.440-430 B.C. 14 P1.6

P 12374

H 12:6

Wall fragment with thinnish dull red glaze on inside. Max. dim. 0.11. Chariot scene. The charioteer (preserved from the waist down, dressed in a long chiton) drives to right, holding the reins (loop overlapping the breastwork)and a goad. Of the chariot there is all its rail and box (decoratedwith spirals),part of its breastworkand wheel. Preliminarysketch. Rim of wheel incised (compass-drawn).Relief line on interior of figuresand chariot fired brownish red in many places. Red (flaked):trace lines. Ca.430 B.C. P 7912

15 P1.7

E 6:3

Shoulder fragment with return. Glaze pitted. Surface flaked in places. PH. 0.125; P.W.0.184; Matheson, Polygnotos, p. 429, cat. no. KLM 40. At the left, a youth (fromthe waist up) dressedin a himation, a wreath around his head, stands to right playing the aulos. Behind him at head level and at waist level, the poorly drawn hands of someone who holds a wreath. In front of him, a boy (top of wreathed head, part of himation) also to right. Both face a man (end of beard, chest with himation, right hand) who holds a staff. Preliminarysketch. Red or white (flaked): wreaths. Manner of the Kleophon Painter (ARV21150, 30). Ca. 430 B.C.

P 26249

16

L-M 17

Shoulder fragment. Glaze rather abraded; dull on outside. Max. dim. 0.094. Horse (head and neck) to right; then a column (top of shaft, capital) surmounted by a figure (indicated by lower part of drapery). Ca.430-420

B.C.

H 15 P 27777 17 Fig. 2; P. 7 Wall fragment with thin matte glaze on inside. Thickens slightly at top. Max. dim. 0.094. Youth (forehead, much of legs missing) standing to right, looking back, a himation draped around his waist and over his left forearm. Around his head is a myrtle wreath. In his left hand he holds a bakchos, which rests against his left shoulder.

137

NECK-AMPHORAE

/ / /

/ /

I I

N

1%

FIG. 2. Amphora 17 (P 27777). Scale 1:1

Behind the youth are a large rock and some vines. At the far right there is a bit of relief contour and reserve for an object, perhaps something leafy such as the end of a branch of a small tree. There is also something above the youth's head, but it is unclear;it might be the end of a staffheld by someone standing on a higher level. Relief contour. Dilute glaze: muscles; hair. White: contour lines below rock. The bakchos was carried by initiates in the rites of the Eleusinian Mysteries. It could be a single branch of myrtle or severalheld together at intervalsby rings. Forthe two types, see surl'imagerie H. Metzger, Recherches atheniee, Paris 1965, p. 24, note 4 with bibliography;the most comprehensive discussion

ser. 6, is J. D. Beazley, "Bakchos-Rings,"NwnismaticChronicle, 1, 1941, pp. 1-7; more recently,E. Simon, Festivals,pp. 28, 32. 17 may be by an artist working in the manner of the Meidias Painter. The initiate and the bakchos are similar to the ones on the fragmentarystamnos in Boston by the Painter of the Carlsruhe Paris (Boston, M.F.A. 03.842: ARV2 1315, 2; Paralip.477, 2; Addenda362; Burn, MeidiasPainter,p. 101, cat. no. C 2, pl. 47:a), but the drawing on 17 does not seem to be quite the same. Eleusinian subjectsare not very common among painters of the Meidian group (Burn, p. 73), and if the assignment of 17 is correct, it adds another example. Ca. 410 B.C.

NECK-AMPHORAE 18, 19 18 PI. 7

P5114

H6:5

Mended with missingpieces restoredin plasterand painted. Foot entirely restored. Dull glaze, much abraded. P.H. 0.206; diam. 0.167. L. Talcott, Hesperia5, 1936, p. 336, fig. 3. A (illustrated),woman wearing a chiton and a himation moving to right, looking back. B, woman (lowerhalf of chiton, feet) moving to left. Ca. 470 B.C. 19 Pls. 7-8

P 27851

H 13:5

Two non-joining body fragments, a strengthenedwith plaster and painted. Start of handle at far left of fragmenta. Good glaze, slightly brownish on b. PH. a) 0.18, b) 0.112; max. dim. a) 0.223, b) 0.162. A, Nike (partsof wings missing)flying to right, looking back, holding in her left hand a tripod upside down (a little ofone ring

Pls. 7-8 missing), in her right an oinochoe (neck and mouth missing). She is dressed in a long chiton. Around her head is a wreath. B, woman and man. The woman (partof head, drapery,raised arms) stands to right dressed in a chiton. The position of her arms suggests that she plays the aulos (although what looks like the end of the aulos itself at the break is a chip in the surface). In front of her is a man (head, lower legs, and feet missing)to right, part of an object in his right hand that looks like a wineskin, and a storage amphora (the preliminarysketch makes this clear), decorated with horizontal lines, crooked in his left arm. Over his right shoulder and left forearm is a cloak. Preliminary sketch. Dilute glaze: stripes on vessel, muscles; cover feathersof wing. Red (mostlyflaked):wreath;line below figuresthat continues around the vase. For a wineskin with a loop similar to the loop seen on 19, cf. Munich 2343 by the Alkimachos Painter (ARV2531, 27).

138

CATALOGUE

For an amphora with somewhat similar decoration, see the pair carried by Herakles on Berlin 4027 by the Pan Painter (ARV2551, 5); the horizontal lines on the fishermen'sbaskets on Vienna 3727 also by the Pan Painter (ARV2555, 88; Addenda258) and the stripes on the baskets held by the man on the Pig Painter'snamepiece, Cambridge 9.17 (ARV2564, 27; Addenda 260). Probablyby a painter from the group of EarlierMannerists. Besides the comparison with the Pig Painterjust cited, one

may add two others: in general, the figures of Prokrousteson side A and to a lesser extent the winged goddess on side B of 260). Cambridge GR 22.1937 = 37.22 (ARV2565, 36; Addenda What remainsof the head of the aulos-playeron 19 bearssome resemblance to that of the one on Lecce 572 (ARV2564, 21; 260). Paralip.389, 21; Addenda Ca.470 B.C.

PANATHENAICAMPHORAE 20-23 PICTURESNOT FRAMED

20 Pls. 7-8

20-22 P 7257

D 7:2

Three non-joining wall fragments with dull glaze on the inside. Glaze misfiredgreenish in places. Also belonging: four unlettered wall fragments, one preserving the tongue pattern around the root of the handle, and a handle fragment. Max. dim. a) 0.245, b) 0.163, c) 0.069. A, victor with tripod. Fragment a shows most of the torso, the start of the thighs, and the outstretched left arm of the victor, his hand tightly gripping one leg of the tripod. He stands to right, body frontal, and is infibulated. A fillet is tied around the upper part of his right thigh. B, Nike flyingto right. Fragment b preserves her lower drapery and feet; fragment c (not illustrated)gives more drapery. Preliminarysketch. Relief contour. Dilute glaze: muscles;drapery folds. White: fillet. The Copenhagen Painter (ARV' 193, 3; ARV2256, 3). Ca. 480-470 B.C.

21 P1.8

P 23815

Q 15:2

Neck, both handles, and shoulder with start of body. Ring on neck at level of handles. PH. to top of handles 0.225. All that remains of the figured decoration is the top of the wreathed head of a man or youth standing to left on the far right of one side. Above the figures at the junction with the neck, tongue pattern. Below each handle, inverted palmette with spiral tendrils. On neck, laurel or olive wreath (part of one leaf) to left. Ca.430 B.C. 22 PI. 9

P 10554

B 15:1

Mended from many fragments with the missing pieces restored in plaster and painted, notably much of the wall under each handle and much of Side B. Ring on neck. Neck glazed on inside. Glaze abraded here and there. Chips on side of foot. H. 0.525; rest. diam. 0.125; diam. of mouth 0.172, of foot 0.125. P. E. Corbett, Hesperia18, 1949, pls. 73, 74. A-B, procession of youths, each wearing an olive wreath around his head and clad in a himation. On Side A, they walk past an olive tree. Figure 1 is completely preserved. The forearms,hands, and middle of figure 2 are missing. He looks back at 1, and the two carry a tray at hip level. Between figures 2 and 3 is the olive tree with fruit. All that remains of 3 is the top of his head, drapery over his right arm, lower drapery, and feet. He is an aulos-player (see below). Then

Pls. 7-10 comes a gap, where there was probably a fourth youth to balance the composition on this side. Side B preservesparts of three youths. The first (much of body and legs missing) moves to right, looking back, supporting a large amphora of Panathenaic shape on his left shoulder and steadying it with his right hand. Only the head of the next youth and the head and upper torso of the third remain. On side of mouth, olive sprig with fruit. At handle root, two addorsed palmettes. Below the figures, stopped-maeanderpattern with checkerboard-squares.Inscribed on A, startingjust above the forehead of the first youth: j O F'EY?

above the head of the third: x F'Y on B, above the amphora: EYP oPP [oi

Partial dilute glaze for hair. White (flaked):inscriptions;fruit of tree, wreaths and sprig. Fora discussionof the inscriptionsand subject, see P.E. Corbett, Hesperia18, 1949 [pp. 298-351], pp. 306-308. J. Binder recognized that the third figure on Side A is a flute-player;she restored K PY

as Xpuooyovoq and identified him as the flute-playerof Alkibiades (informationconveyedbyJohn Traillto Homer Thompson in a letterof February13, 1986). Forthe name, see W.PapeBenseler, Wirterbuchder griechischenEigennamen,Brunswick 1911, p. 1694:1:Xpu6oyovo?; Kirchner in RE III, col. 2512, s.v. Xpuao6yovo 2 (Chrysogonos). For two youths carrying a tray on a Panathenaic amphora, see the pair on the obverse of Newcastle-upon-Tyne, Univ. no no. from the Group of Polygnotos (Paralip.445, 128 bis, Matheson, Polygnotos, p. 476, cat. no. PGU 150). Corbett saw that the drawing on 22 resembled that of the Talos Painter, but he concluded from the treatment of the hair and drapery that it is by another, less talented artist, a conclusion that seems correct, although one should mention specific similarities that draw 22 closer to the Talos Painter than to his contemporaries. For the furrowed brows of the youths, cf. Polydeukos on both sides of the Talos Painter's namepiece, Ruvo,Jatta 1501 (ARV21338, -, 1; Paralip.481, 1; Addenda 366). Forthe double median line on the right youth on Side B, cf. Poseidonand the Boreads on the namepiece and the two youthfulwarriorson Amsterdaminv. 2474 (ARV21339, 4;

AMPHORAE: TYPE UNCERTAIN Addenda367). For the profiles of our youths, cf. especially that of Athena on a fragment near the painter in Boston, M.FA. 03.845 (ARV21340, 7). Ca. 410 B.C. NOT KNOWN IF PICTURESFRAMEDOR UNFRAMED 23

23 P1. 10

P 17434

A-B 19-20:2

Shoulder fragment with return. Max. dim. 0.061. Youth (face) to right, head bent downward slightly. Above, tongue pattern. J. Oakley, The AchillesPainter(Mainz 1996), cat. no. 163, pl. 88D.

139

The line across the forehead, indicating worry,concern, or tension, appears occasionally on other figures by the Achilles Painter. See the figure of Euphorbos on Cab. Med. 372 (ARV2 987, 4; Paralip.437, 4; Addenda311); the Theban Sphinx on Boston, M.F.A. 06.2447 (ARV2989, 26; Addenda311); and the warriorwith the shaggy hair on New York,M.M.A. 07.286.81 (ARV2991, 61; Paralip.437, 61; Addenda311). Elsewhere, this feature is best known from several figures on the namepiece of

the Niobid Painter,Louvre G 341 (ARV2601, 22; Paralip.395, 22; Addenda266). The Achilles Painter (ARV2994, 115). Ca. 450-440 B.C.

AMPHORAE:TYPEUNCERTAIN 24-28 PI. 10 24 PI. 10

P 18012 B 19 Wall fragment from below greatest diameter. Wash on reservedsurface. Max. dim. 0.059. Herakles (thighs, part of hind legs of lionskin, ends of folds of short chiton) striding to right. Preliminary sketch. Relief contour. The scale of Herakles is comparable to the figure of him on New York,M.M.A. 63.11.6 by the Andokides Painter himself (ARV2 1617, 2 bis; Paralit.320, 2 bis; Addenda149), but the wall of 24 is probablytoo thin (0.0035-0.005) to come from an amphora Type A. Recalls the Andokides Painter more or less vividly (ARV25, -, 4). Ca. 530-520 B.C. 25 P1. 10

P 15963 F 19:4 Wall fragment with turn of shoulder and no indication of return. Max. dim. 0.096. Satyr (head, legs, most of right forearm, and hand missing) to right, carrying a large pointed amphora (mouth and neck missing). The bit of reserve below the toe of the amphora is the tip of the satyr'spenis. Relief contour: left side of satyr. For the pose, cf. the satyron Louvre Cp 10788 by the Syleus Painter (ARV2250, 11). Ca. 480-470 B.C. 26 P1. 10

P 23662 P-Q8 Wall fragment with thin reddish brown glaze on inside. Max. dim. 0.031. Man (lower part of head, neck, start of beard, a bit of right shoulder) to right. Preliminarysketch. Relief contour. Relief dots forcurlsat nape and at end of beard. Dilute glaze:muscles.

During his visit to the Agora in the summer of 1953, Beazley suggested that the figure might be Herakles. Probablymid-5th century B.C.or slightly earlier. 27 PI. 10 P 19016 A-D 16-23 Lower part of handle, round in section except for two deep grooves along sides on outside. Much of the glaze has flaked. Max. dim. 0.057. At base of handle, between grooves, upright palmette. Probably mid-5th century B.C. 28 P1. 10

P 10176 R17 Two non-joining fragments, a of wall with start of return, b of handle, round in section. Thin glaze on inside of a. Surface pitted. Max. dim. a) 0.059, b) 0.115. Prange, M.tobidenmaler, p. 216, cat. no. GN 60. Fragmenta preservesthe head of a youth, perhaps Hermes, to left, wearing a petasos, part of his right forearm with the hand touching the brim (about to doff it[?]). On fragment b, at the root of the handle, there is part of an upright palmette. Preliminarysketch. Relief contour. Perhapssimilar in composition to that on side A of a pelike in the manner of the Niobid Painteronce in the Athens Market (ARV2610, 25), now in a Berlin private collection (Paralip.396, 25; Addenda 268; Prange,INobidenmaler, p. 213, cat. no. GN 40). There, however, the youth does not touch the brim of his petasos. This is an odd gesture that I have not been able to parallel with a figure wearing a petasos, but compare the warrior on a lekythos by the Terpaulos Painter who puts his hand to the visor of his helmet (Agrigento 23: ARV2308, 5; Paralip.357, 5; Addenda212). Manner of the Niobid Painter(ARV'960, 27 bis;ARV2612, 45). Ca.450-440 B.C.

140

CATALOGUE

PELIKAI Pls. 10-14 FRAMED 29, 30 PICTURES

29 P1. 10

P 15086

R 20

Fragment of shoulder and start of neck with upper left corner of panel. Neck glazed on inside. Max. dim. 0.053. Man (head with himation brought up over the back of it) to right, holding a bird (head). Around his head is a fillet with berriesor flowers(dots). Above, maeander pattern;at side, dot band. White (mostlyflaked):fillet. The Orchard Painter (ARV2527, 72). Ca.450 B.C. D 17:10 P 20867 Wall fragment from lower part of vase. Dull glaze. Max. dim. 0.108. Man (lower part of drapery,feet) to left, leaning on a stick (part). Behind him, at the break, traces of the side frame. Broad band (0.007) below figures. Preliminarysketch. Red: line below reserved band. Later Mannerists,II: (ii) Undetermined (ARV21123, 4). Ca.450-440 B.C. 30 P1. 10

287, 27; Addenda209). For phallos-birds in the work of the Geras Painter,see Louvre G 224, where one perches on the tip of Zeus' staff (ARV2285, 1; Addenda209), and Lausanne 3250, where it stands on a laver (Paralip.355). Ca.480470 B.C. 33 PI. 11

R 20:4 Wallfragmentwith return. Thin glaze on inside. Max. dim. 0.055. Youth(head)to left, with head thrown back. Relief contour: chin. Dilute glaze: muscles. The position of the youth'shead and his open mouth suggest that he is singing, perhapsaccompanying himself on the barbiton. Cf. the youth on side B of Munich 2346 by the Pig Painter (ARV2565, 32 bis). Another possibility is the cradle-kithara as played by the komast on Harvard 1959.188 in the manner of the Pig Painter (ARV2566, 8; Addenda261). It is not likely that he plays the standardkithara,for if he did, his face would overlap one arm of the instrument. Ca.480-470 B.C.

34 Pl. 11 PICTURES NOT FRAMED 31-65

31 Pl. 10

P4875

H 7:1

Fragment of shoulder with start of neck. Neck glazed on inside. Start of handle on far right (slightoutward turn). Max. dim. 0.089. Youth (most of filleted head) to left. Ca. 480 B.C.

32 PI. 11

P 27396

I 13

Mended with small missing pieces restored in plaster and painted. Lower part of body, all of foot missing. Thin glaze, reddish in places, abraded in others. PH. 0.23; max. diam. 0.235; diam. of mouth 0.135. M. Lang, Graffitiin theAthenianAgora(Agora Picture Book 14), rev. ed., Princeton 1988, Cambridge,Mass., p. 30, fig. 29; K. Dover, Greek Homosexuality, 1978, p. 216, R 416; R. Lamberton and S. Rotroff, Birdsof theAthenianAgora(Agora Picture Book 22), Princeton 1985, und Lotusblute Symbole: p. 23, fig. 43; G. Koch-Harnach, Erotische MantelaufantikenVasen,Berlin 1989, p. 167, fig. 34; gemeinsame M. Kilmer, GreekEroticaonAtticRed-Figure Vases,London 1993, cat. no. R 416. A (illustrated),woman (feet missing)in a chiton leaning over to right arms outstretched toward a phallos-bird standing to rightwith head turned back. B (part illustrated),woman in chiton, probablyrunning to right, head turned back. Red (mostly flaked):line below figuresthat continued around the vase. For phallos-birds, see J. Boardman, "The Phallos-Bird in Archaic and Classical Greek Art," RA, 1992, pp. 227-242; 32 is cat. no. 12 on p. 230. Probablyby the Geras Painter. For the draperyfolds drawn in straight lines without reference to the figure beneath them, see Vienna 728 (ARV2286, 11;Addenda 209); Vienna 905 (ARV2 286, 12); Cab. Med. 391, the skirt of Dionysos' chiton (ARV2 286, 15; Addenda209); New York, M.M.A. 01.8.8, Dionysos' chiton (ARV2286, 19);Munich 2382, Herakles' chiton (ARV2

P 25933

P 15866

C 9:6

Shoulder and neck fragment, glazed on inside. Glaze on outside fired red; inside greenish. Max. dim. 0.068. W. B. Dinsmoor, HesperiaSuppl. V, p. 136, fig. 63:19. Man (head with fillet) to left. Preliminary sketch. Red or white (flaked):fillet. "Remindsme of the SyriskosPainter":J. D. Beazley during his visit to the Agora in the summer of 1953. Not in ARV2. 34 bears some resemblance to those figures on the painter's pelike in Greifswald, 344 (ARV2262, 35), but not enough is preservedto be sure of an attribution. Ca.470-460 B.C. 35 P1. 11

P 25357

S-U 19-21

Wall fragment fromjust below start of return. Thin reddish brown glaze on inside. Max. dim. 0.038. Man or youth (face, top of head with woolen fillet),perhaps a komast, to right. At the far right, a small reserved area that preservesa bit of his staff(?).Preliminarysketch. Dilute glaze: contour of fillet. Hermonax (ARV2483, 4; 491, 131). Ca.470-460 B.C. 36 PI. 11

P8959

F 14:4

Fragmentof torus mouth, neck, and start of shoulder,part of body on each side. Neck glazed on inside. Glaze misfired reddish brown;abraded in places, especially on mouth and on Boreas. PH. 0.14; diam. of mouth 0.155. N. Weil, BCH 86, ournal61, 1962, pp. 83-85, figs. 12-14; W. R. Agard, Classical7 pp. 791965, p. 242, fig. 2 (part of A); U. Kron, Phylenheroen, 80, 257, cat. no. E 59; Becker, FormenattischerPeliken,p. 82, cat. no. 235; Kaempf-Dimitriadou, Liebeder Gotter,p. 106, derWinde cat. no. 357; K. Neuser,Anemoi:StudienzurDarstellung Rome 1982, p. 62, cat. no. B 44; in derAntike, undWzndgottheiten LIMC III, 1986, p. 136, no. 32, sv. Boreas; IMC IV, 1988, p. 938, no. 61, sv. Erechtheus.

141

PELIKAI A, Boreas (wreathed head, upper body, wings) to right dressed in a chiton, pursuing Oreithyia (missing). B, Erechtheus (top of wreathed head, right hand with palm outward) seated to left and a woman (upper half) to right facing him, wearing a chiton and himation, a wreath around her head. The relative position of the two heads makes clear that Erechtheus is seated. Between the two is an olive tree. Above the figures on each side, a laurel wreath to right. Red: vine of Boreas' wreath; all of Erechtheus'. Forthe subjectof Boreus and Oreithyia, see LIMCIII, 1986, pp. 133-142, s.v.Boreas(S. Kaempf-Dimitriadou);for the presence of Erechtheus in this scene, see LLMCIV, 1988, pp. 937938, s.v. Erechtheus(U. Kron);also, Neuser, Anemoi,pp. 61-65, 77-87. The composition on each side of 36 was probably a simplerversion of those on the pelike in the Villa Giulia signed by Hermonax (ARV2485, 33; Paralip.379, 33; Addenda248). Beazley (ARV2486, 34) suggested that the woman on Side B of 36 is either Herse or Aglauros, most likely on the strength of two representations of this subject where their names are inscribed, both by the Oreithyia Painter: Berlin 2165 (ARV2 496, 1; Paralip.380, 1) and Munich 2345 (ARV2496, 2; Paralip.380, 2; Addenda250; Reeder, Pandora,p. 40, figs. 2-3 and p. 75, fig. 2). Kron (Phylenheroen, p. 257, cat. no. E 59) simply calls her a companion of Oreithyia. The presence of the olive tree indicates that the representation on this side of the vase takes place on the Akropolis (Weil, p. 85; Kron, p. 81), and the position of Erechtheus' right hand with the palm outward suggests that he has already heard the bad news. Hermonax (ARV'318, 26; ARV2486, 34; 1655; Paralip.379, 34). Ca.460 B.C. 37 P1. 12

P 17001

B19

Mouth, neck with start of handles, shoulder. Mouth and neck glazed on inside. Much of glaze abraded. PH. 0.077. Becker,Formenattischer Peliken,p. 112, note 178. A, Dionysos (head) to right with thyrsos (tip);B, satyr (most of head) to left. Earlier Mannerists,vi: The Perseus Painter (ARV2581, 5). Ca. 460 B.C. 38 PI. 12

P 17137 A 20:6 Shoulder fragment with start of return. Neck glazed on inside. Max. dim. 0.075. R. Young, Hesperia20, 1951, pl. 66:a. Woman (head with sakkosand most of right hand raised in alarm) probably running to right, looking back. Above, frieze of upright lotuses and encircled palmettes (bottom of one unit of each pattern). Preliminarysketch. EarlierMannerists,vi: The PerseusPainter (ARV2582, 20). Ca.460 B.C.

of hind legs are those of the trace horse; the other, one of the pole horses. Ca. 450 B.C.

40 P1. 12 P 10581 L-N 16-18 Wall fragment with return. Much of the glaze abraded at level of ornament and on inside. Misfired brownish on inside. Max. dim. 0.11. Frieze of upright lotuses and encircled palmettes stopped at right for start of handle. Red: line above ornament. Ca.450 B.C. 41 P1. 12

P 18411

42 P1. 12 P 21534 P8:2 Shoulder fragment with return, glazed on inside. Max. dim. 0.096. H. A. Thompson, Hesperia21, 1952, pl. 31:b; AgoraXXVII, p. 171, cat. no. 37, pl. 35; Matheson, Polygnotos, p. 390, cat. no. D 48. Youth(wreathedhead, right forearm, and hand holding two spears) standing to right. Above, egg pattern interrupted by the shafts of the spears. Relief contour. The Dinos Painter (ARV21155, 43). Ca.440-430 B.C. 43 Fig. 3; PI. 12 P 23203 M-N 15:1 Wall fragment from return with start of neck. Glaze fired red on inside of neck. Pitted on outside. Max. dim. 0.066. Uncertain subject. What remains is the top of a scepter crowned by a finial in the shape of a lotus flower, and at the lower break there is a form that looks like the thumb of a right hand, but it is not, because there are no fingers below it. At the right is a tree with branches and fruit (fruitin added clay). Between the trunk of the tree and the shaft of the scepter, at the break, there is a bit of relief contour,but it is not clear what it represents. Relief contour. White: fruit. Third quarterof the 5th century B.C.? .'

I

39 P1. 12

P 7303

B 12:6

Wall fragment. Max. dim. 0.188. Chariot team (legs of horses), a triga to right. Below, maeander pattern. Preliminarysketch. Dilute glaze: muscles. Fora triga, only to left, see the one driven by Nike on Ferrara 2892 = T.300 in the manner of the Peleus Painter(ARV21041, 6; Paralip.443, 6; Addenda319; Matheson, Polygnotos, p. 443, cat. no. PEM 7, pl. 153). On 39, the rightmost forelegsbelong to the trace horse; the others to the pole horses. The first pair

cC19

Wall fragmentwith return and start of neck, which is glazed on the inside. Glaze has a brownish cast. Max. dim. 0.055. Uncertain subject. What remains in the lower right looks like the bald forehead and snub nose of a satyr to left. The reserved area in front of him might be a wineskin slung over his shoulder. Dilute glaze: hair line and profile. Not from the same vase as 67 because P 18411 a has no glaze on the inside and comes from a comparable position in the vase. Probablymid-5th century B.C.

I

-

II I

I0

I

FiiI. 3. Pelike 43 (P 23203). Scale 1:1

CATALOGUE

142 P12524

44 Pl. 12

024

Fragmentof shoulderwith startof handles. Dull blackglaze. PH. 0.08; P.W.0.109. On the left, the forehead of a youth to right facing another (head, part of himation over shoulder:illustrated).Above, egg pattern with dots. Ca. 440 B.C.

P778

45 P1.12

G 16:1

Fragment of neck and wall. Glaze much abraded on right. Neck glazed on inside. Max. dim. 0.114. Apollo (wreathed head, shoulders) to left, his cloak over his left shoulder,a laurel branch in his left hand (now missing). On the right at the break, traces of Hermes (headwith petasos) to left, and between the two just above the break, the top of his kerykeion. The object in front of Apollo's face is unclear. Above, laurel wreath to left. Ca. 430 B.C.

P 16992

46 P1. 12

B21

Mouth, neck with start of handles, part of shoulder. Glaze firedreddishin places. PH. 0.09; diam. ofmouth 0.115. Lezzipp. 354-355, cat. no. 308, pl. 189:a, b, Hafter, Eretria-Maler, 105. fig. A (detailillustration),youth (filletedhead, shoulders),frontal with head to right. Over his left shoulder is a cloak. Hanging on the wall are the loop for a sponge and an aryballos. Above him:

Above the figures on each side, egg pattern with dots. White (flaked):inscriptions. The Calliope Painter (ARV21262, 62). Ca.430 B.C. P 24267

Q7

Shoulder fragmentwith startof return. Thin reddishbrown glaze on inside. Glaze has a greenishcast on outside. Scratches on surface. Max. dim. 0.085. AgoraXXVII, p. 171, cat. no. 38, pl. 35. Woman (head with sakkosand wreath)to left, bearing a low tray (part at left supported by her right hand). Relief contour. Dilute glaze: contour of hair; tray. White: two dots on hair. Ca.430-420 B.C. 48 P1. 13

P3791

F 13-14

Wall fragment with return. Max. dim. 0.041. Youth (most of head, part of chest with drapery)on horseback (top of neck and head of mount) to right. Ca. 430-420 B.C.

49 P1. 13

51 P1.13

P 24148

P 19310

B 19

Shoulder fragment with start of neck and of handle at left. Glaze cracked in places. Max. dim. 0.102. Woman (head with fillet, start of himation) to left. Fillet hanging on wall behind her. Above, egg pattern. White (flaked):fillet. The Washing Painter (ARV21129, 132). Ca. 420 B.C.

G13

P457

Wall fragment with fairly strong curve in both directions. Splash of glaze on inside. Max. dim. 0.07. Eros (head, wings missing) to left, facing a curved object. Behind him, the back of a woman's head with her hair tied up, and in the upper right, part of a chest. Added clay: contour of object before Eros;dot on top of chest. White: flesh of Eros. Dilute glaze: hair; drawing on white. Late 5th century B.C. 52

P 23829

Q15:2

Wall fragment. Max. dim. 0.066. Lower parts of two draped figures, the left perhapswearing boots. The drapery is decorated with dot clusters. Below, egg pattern. Late 5th century B.C. P314

53 P1. 13

KiCAo:

B, writing tablet on wall. At the far left, a bit of reserve that looks like a sponge. Above:

47

Q 15:2 Two non-joining fragmentsof neck and wall, a with start of handle. Dull black glaze, misfired red in places. Max. dim. a) 0.135, b) 0.102. Fragmenta shows the top of a head to left; fragmentb (detail illustration)most of the head of a youth to right (fromthe other side because the border above is narrower). Above the figures on each side, laurel wreath to right. The Painter of Munich 2335 (ARV21162, 23). Ca.420 B.C. 50 P1. 13

G5

Shoulder and neck fragment. Max. dim. 0.08. Eros (head with spiked fillet, start of left shoulder, most of wing) to left. Above, egg-and-dart pattern, then a zone of egg pattern. Relief contour: profile. White: fillet. Late 5th or early 4th century B.C. 54 P1. 13

P 16383

F 19:2 (L)

Wall fragment with part of return and handle root. Max. dim. 0.075. Woman(backof hair, much of body)dressedin a long chiton, leaning to right. Behind her is part of the handle ornament. The position of the woman suggests that she may be a charioteer. For a contemporary parallel, see the one on a bell-kraterassociated with the Walters-Dresden Painter, Los 377). Angeles 50.8.38 = A 5933.50.44 (ARV21438, -; Addenda Probablyearly 4th century B.C. 55 P. 13

P440

H17

Shoulderfragmentwith startof neck. Neck glazed on inside; thin glaze on shoulder,then thereseems to be more glaze. Max. dim. 0.058. Youth (Dionysos[?]) and a woman (most of wreathed head of Dionysos; most of head, part of chest of woman) facing, with Eros (body, left arm, legs to knees) between them in a threequarter view to right. White: Eros; woman's flesh. Dilute glaze: drawing on white; surface between locks of youth's hair. Probablyearly 4th century B.C. 56 P1. 13

P6210

G 11:4

Shoulder fragmentwith start of neck. Max. dim. 0.071. Youth (head, shoulders, start of outstretched arms) in a cloak, to right. Behind him, a woman (part of filleted head) to left. It is uncertain what the bit of reserve at the far right

PELIKAI

143

represents, perhaps something held by the youth. White: woman's flesh. Probablyearly 4th century B.C.

12258 (ARV21466, 93); FerraraT.166 A VP (ARV21466, 94). I have seen photographs of only the first two. Third quarter of the 4th century B.C.

57

63 PI. 13

P6192

D 15:3

Mouth, neck, and shoulder fragment with start of handles. Glaze fired red; flaked in places. H. 0.104. A, top of head of figure standing to right. B, no certain identifiable traces of figure. Above figures and on side of mouth, egg pattern with dots. First half of the 4th century B.C. 58 P1. 13

P 20572

R 10:3

Wall fragment. Dull brownish black glaze on inside, thin in places. Max. dim. 0.08. Male (one foot, part of drapery)seated to right. Behind him, a tree; plants at ground line (large leaves). Below, stoppedmaeander pattern with checkerboard-squares.White (mostly flaked):branches and their leaves. Probablyfirst half of the 4th century B.C. 59 P1. 13

P 20352

D 17:12

Neck, shoulder, and body fragment, with both handles. Glaze abraded and flaked in many places. Very sloppy drawing. P.H. 0.12. A (illustrated),Amazon (top of head) to right with Persian headdress. At right, head of a horse; behind her,head and neck of a griffin. B, two youths (upper parts) facing, each wearing a himation. Above, on each side, egg pattern with dots. For the subject of Side A, a Grypomachy,see 64. In Addendaand Corrigenda, p. 1842, no. 2, 59 is attributedto the Group of Athens 1449, whose only other known work is the namepiece. Neither appears in ARV' or in ARV2. Second quarter of the 4th century B.C. 60

P 23168

I12

Shoulder and neck fragment. Max. dim. 0.063. Youth (head and shoulders) to left, wearing a himation. Above, egg pattern. Second quarter of the 4th century B.C. 61 P1. 13

P757 117 Shoulder and neck fragment. Thin glaze on inside. Max. dim. 0.05. Woman (head with sakkos, shoulders, upper part of left arm, raised right arm and hand) frontal, head turned to right. Preliminary sketch. White: flesh. Dilute glaze: drawing on white. The woman's garment was once colored, but no trace remains. Second quarter of the 4th century B.C. 62 Pl. 13

P 17279

K6:2

Shoulder fragment with start of neck. Glazed on inside. Max. dim. 0.062. Eros (head, startofwing, shoulders,right arm) on horseback (head, neck of horse) to right. In front of him, a woman (part). Above, reserved line. White: flesh of Eros. Group G [McPhee]. 62 probably goes with the following, all of which show on side A, Eros on horseback preceded by a woman: St. Petersburg St. 1936 (ARV21466, 89); St. Petersburg St. 1939 (ARV21466, 90); Plymouth, Eng., no no. (ARV2 1466, 91); St. Petersburg,no no. (ARV21466,92);Athens, N.M.

P2416

Jll Shoulder and neck fragment. Dull glaze, fired brownishon upper right. Max. dim. 0.081. Youth (lower parts missing) standing to left, dressed in a himation, looking at a round object in front of him, probablya discus or a tympanon. Above, egg pattern with dots. Not far from Group G [McPhee]. 63 comes from Side B and was probably similar to the Group G pelike in Leyden, KvB 57 (ARV21467, 122; Addenda380). Third quarterof the 4th century B.C. 64 Pl. 14

P1104 H 16:3 Mended with the missing pieces restored in plaster and painted, notably much of the rim, neck, and a bit of the body on Side A. Much of the glaze fired red, otherwise dull. Surface pitted in places. H. 0.28; diam. 0.168. H. A. Thompson, Hesperia3, 1934, p. 333, fig. 13. A (illustrated), head of horse, head of Amazon, head of griffin to right (top of griffin and horse, most of Amazon missing). B, two youths facing, each wearing a himation. Between them, an object that looks like a fan. Above and below the figures, egg pattern with dots; same on rim. White (much flaked):bridle;flesh of women; griffin. For the subject of Side A, a Grypomachy, see Metzger, Repr6sentations, pp. 327-332. The Amazon Painter (ARV21479, 20). Third quarterof the 4th century B.C. 65 P1. 14

P 1105 H16:3 Mended with missingpieces restoredin plasterand painted. Much of the glaze misfired. Surfacevery pitted. H. 0.28; diam. 0.168. H. A. Thompson, Hesperia3, 1934, p. 334, fig. 14 and p. 428, fig. 114. A, head of griffin, head of Amazon, head of horse (parts of each missing). B (illustrated),two youths facing, each clad in a himation. The right one holds an object that looks like a fan. Above and below the figures on each side and on overhang of rim, egg pattern with dots. For the subject of Side A, see 64. The Amazon Painter (ARV21479, 19). Third quarterof the 4th century B.C. NOT KNOWN IF PICTURES FRAMED OR UNFRAMED

66-68

66 P1. 14 P 25880 E 18 Wall fragment. Max. dim. 0.067. Warrior(back,startof right arm) seen from the back, part of round shield on left arm, probablyfalling to right. Preliminary sketch. Relief contour. Early 5th century B.C.?

67 Fig. 4; P1. 14 P 18411 a-b C 19 Two non-joining wall fragments, a with start of return, unglazed on inside. Max. dim. a) 0.104, b) 0.024. LIMC IV, 1988, p. 929, no. 5, s.v. Erechtheus.

144

CATALOGUE

FIG.4. Pelike 67 (P 18411 a). Scale 2:1

Athena and Hephaistos. Fragmenta preservesAthena (part of high-crestedhelmet, aegis, left forearmwith sleeve of chiton) and Hephaistos (most of wreathed head, body to hips clad in a chiton and himation, nearly all of right arm, upper part of left), each to left. The object just above the lower break and overlapping Hephaistos slightly is the blade of an axe held in his left hand (now missing). The horizontal lines of glaze painted across Athena's helmet crest are the lower border for the ornament above the figures. Fragment b preservesthe top of the forehead of a goddess to right, wearing a stephane. At the very top of this fragment is a horizontal relief line that indicates the beginning of the upper border. It is unclear if the two fragmentscome from the same side of the vase. Relief contour. White (flaked):four small spikes(?) projecting from rim of stephane. Brommer (Hephaistos,p. 23) raises the possibility that the theme on 67 is the Birth of Erechthonios, a scene in which

Hephaistosappears,but not with his double axe, an instrument better suited to the Birth of Athena. Rather, in illustrationsof the Birth of Erechthonioshe holds a phiale and tongs or sometimes just a staff or scepter (for the possibilities,see LIMC IV, 1988, pp. 928-931, s.v. Erechtheus [U. Kron]). In one scene, a fragmentarybell-kraterin Salonika, 272 (LIMCIV, p. 931, no. 17), where the identificationof the scene is not completely ascertained, although probable, Hephaistos holds out a crucible (best seen in AAA5, 1972, p. 453, fig. 2). Brommer's cautious suggestion that the figure on b is Gaia is untenable because in the 5th century, Gaia emerges from the earth and the figure on fragment b is too high in the composition (forthe iconographyof Gaia see L/MC IV, 1988, pp. 171-177, s.v. Ge [M. B. Moore], esp. pp. 173-176 for the 5th-century representations). A better possibility is that the subject may be the Weddingof Peleus and Thetis. Compare the two deities on the cup in Athens by Euphronios,Athens, N.M. 15214 = Akropocat. no. 44). The lis 176 (ARV217, 18;Addenda153; Euphronios, best illustrationof this detail is Brommer,Hephaistos, pl. 15:2. EarlierMannerists, viii: Undetermined (ARV2588, 87: the number incorrectlycited as P 13411). Ca.470-460 B.C. 68 P1.14

P14628

E2:3

Two non-joining wall fragments with return. Glaze pitted and cracked in places. Max. dim. a + c) 0.11, b) 0.047. Fragment a + c (illustrated)preservesthe top of a woman's wreathed head to left. Above: E lA Fragment b preservesthe end of an uncertain object. Above: El At the very top, contour line indicating the start of the ornament. Above the figures:frieze of upright encircled palmettes. Dilute glaze: lines on object on b. White (flaked):wreath; inscription. Fragment b comes from the other side of the vase because the lines of glaze are different. Ca.460 B.C.

AMPHORAE or PELIKAI 69-76 69 PI. 14

P6576

E-F 12-14

Wall fragment. Max. dim. 0.046. Woman or youth (lower part of face, left shoulder with chiton), probably moving to left, looking back. The hand of a pursuergrasps folds of the chiton. Relief contour: profile. Whether one calls the figure a woman or a youth depends on the identityof the pursuerif the scene is a mythologicalone. If it is, the figure would be Boreas if the pursued is a woman or Eos if it is a youth (Kephalos or Tithonos). Normally, either pursuit is from left to right, but in the work of the Pan Painter,an example of each subject occurs in which the action moves from right to left. For Boreas, see London, B.M. E 512 259). For Kephalos, (ARV2557, 125; Paralip.387, 125; Addenda see Akropolis 469 a (ARV2559, 144). What remains on 69 is particularlyclose to the latter composition and might tip

Pls. 14-15 the scale in favor of identifying the scene on 69 as Eos and Kephalos. The Pan Painter (ARV2558, 131). Ca.470 B.C. 70 P1. 14

P9464

C 9:6

Wall fragment with return. Max. dim. 0.033. W. B. Dinsmoor, HesperiaSuppl. V, p. 136, fig. 63:20. Woman (head with stephane, start of chiton) probably frontalwith head in profile to left. At the left, a little of her himation over her right shoulder. At the very top, a bit of the border (line) indicating the end of the figured zone. Preliminary sketch. Relief contour: chin and neck. Red: line above figure. The Mykonos Painter (ARV' 355, 11;ARV2516, 17). Ca.470-460 B.C.

145

LOUTROPHOROI G 19 P 14514 71 PI. 14 Wall fragment. Glaze pitted in places on outside. Max. dim. 0.076. Man (lower part of fringed garment, start of legs) pursuing a woman (drapery, right hand about to take hold of a fold) to right. Preliminary sketch. Relief contour. Dilute glaze: muscles;decoration on man's drapery;folds of woman's drapery. The subject is probably Boreas pursuing Oreithyia (see above 36). For the loose tunic without many folds, cf. Berlin 2186 by the Berlin Painter (ARV2208, 150; KaempfDimitriadou, LiebederGoter,p. 36, fig. 6); Naples, inv. 81529 = 3139 from the Circle of the Pan Painter (ARV2560, 3; Addenda259); two by the Euaion Painter, FrankfurtVF B 406 (ARV2796, 117; Addenda290) and Athens, N.M. 1586 (ARV2 798, 146;Addenda 290); Basel, Antikenmuseumund Sammlung Ludwig, LU 53, a stamnos attributedby Lullies to the Christie Painter (Kaempf-Dimitriadou, pl. 28:3; Matheson, Polygnotos, p. 373, cat. no. CHR 41). Ca. 460 B.C.

B 16 P 23214 72 Pl. 15 Wall fragment with return. Unglazed on inside. Max. dim. 0.044. Prange, .JNobidemnaler, p. 176, cat. no. A 100. God or king (most of head, right shoulder)to right, dressed in a chiton. Manner of the Altamura Painter (ARV2596, 10). Ca. 460-450 B.C. P 25348

73 P1. 15

Woman (part of right arm and torso), probably Demeter or Persephone,standing frontally,wearing a peplos over a chiton. In her right hand (now missing) she held a torch (shaft with start of flames). Dilute glaze: a few folds on overfoldof peplos; striationsof shaft. White: flame. Ca. 460-450 B.C.

P 20034

74 Pl. 15

C 17

Wall fragment. Max. dim. 0.057. Man (parts of legs) running to right. Preliminary sketch. Relief contour: back of leg. Dilute glaze: muscles. Second quarterof the 5th century B.C. 75 PI. 15

P 16921

A-B 21-22:1

Wall fragmentwith return. Streakyreddish brown glaze on inside. Max. dim. 0.078. Woman (most of head, part of neck, start of shoulder) to right. Above, reserved line at top of figured zone. Relief contour: profile. Ca. 430-420 B.C.

P 18999 N-P 7-13 76 P1. 15 Wall fragment with streaky glaze on inside. Max. dim. 0.046. Head and neck of dog to left, looking up at someone (traces at left). The dog overlapsthe shafts of two spears. Preliminary sketch. Relief contour. Ca. 430-420 B.C.

J 11-12

Shoulder fragment with start of return. Dull, grainy black glaze on inside. Max. dim. 0.106.

LOUTROPHOROI 77-110 HYDRLIA

77 P1. 15

77-84

P 25018

0 16

Fragment of flaring neck with start of vertical handle. P.H. 0.07. Three women (1 and 2 illustrated),one to right, two to left, all from about the waist up (missing:back of head of 2; most of head of 3). All wear himatia; 2 wears a chiton as well and raises her hand as if she is about to speak. The hair of 1 is tied up with a double fillet. Hermonax (ARV2488, 83). Ca. 460 B.C. 78 PI. 15

P 20682

R 10:6

Shoulder fragment with part of ring at junction with neck. Max. dim. 0.095. Woman (head with hair tied up with fillets) to left before a loutrophoros-hydria(mouth, start of vertical handle, top of neck). Sprigs of myrtle or ivy project from mouth of vessel. The woman may be tying fillets around the loutrophoros, for there seems to be part of her hand at the break between her and the vessel. Above, tongue pattern. Red: fillets on head; myrtle;two curved lines to either side of neck (fillet).

Pls. 15-18 The woman stands near the right handle, on the right of the composition, because the tongue pattern ends above her head. For sprigs or branches in representationsof loutrophoroi, see Ginouves, BalaneutikW, p. 273; M. Blech, Studienzum Kranzbei denGriechen [ReligionsgeschichtlicheVersucheund Vorarbeiten 38], Berlin 1982, pp. 442-443 (combined with examples of lebetes gamikoi, an amphora, and hydriai); most recently, Lezzi-Hafter,Eretria-Maler, p. 260, note 467. In almost all the examples that I have been able to find of loutrophoroi painted on well-preserved loutrophoroi, the painted type is the same as the potted, i.e., loutrophoroiamphorae appear on loutrophoroi-amphorae and the same for the hydria variety. Amphora type: Karlsruhe 69.78, near the Naples Painter (ARV21102, -, 2; Paralip.451, 2; Addenda329; AGRPCopenhagen, pp. 654-659); Athens, N.M. 1453 the Painter Washing (ARV2 1127, 18; Paralip.453, 18; by Addenda332); two unattributed: Sarajevo 419 + 422 (CVA, Sarajevo 1 [Yougoslavie4], pl. 29 [156]:2) and Sarajevo 418 (CVA,pl. 31 [158]:1, 2). Hydria type: Houston 37.10 by the Pan Painter (ARV2554, 79; Addenda258); London, B.M. GR 1931.1-14.3 by the WashingPainter(ARV21127, 9); Eleusis 635 by the Painter of the Naples Hydriskai(ARV21266, 1); Athens, N.M. 12540, near the Eretria Painter (ARV21256, ... Athens,p. 71, fig. 39). By 11; Oakley and Sinos, Wedding

CATALOGUE

146

analogy, 78 and 81, each of which shows a representationof a loutrophoros-hydria,ought to come from this variant and 85, which shows a loutrophoros-amphora,from this type. A fragment in Tubingen, S./10 1640 = E 110, by the Painter of London E 183 preservespart of a loutrophoros,but one cannot be certain which type (ARV21191, 2; Addenda 342). This is also the case for an unattributedlate-5th-centuryloutrophoros unditalischenVasen: in Essen (H. Froning, Katalogdergriechischen MuseumFolkwang Essen,Essen 1982, p. 209). The spoiler may be an unattributed fragmentary loutrophoros-amphora,Oxford 1966.888, which shows Eros holding two loutrophoroi, a 1967-1968, p. 59, no. 67, hydria,and an amphora (ArchReports pp. 168-169, cat. no. 25). fig. 19; Reeder, Pandora, Near the Boreas Painter (ARV2540, 6). Ca. 450 B.C.

79 P1. 15

P 23053

N 16

Neck fragment with start of handle preserved at the back. Neck glazed on inside to 0.04 below break. PH. 0.11. Burn, MeidiasPainter,p. 108, cat. no. MM 44. Two women (lower parts missing), each wearing a chiton and himation. The left one carriesa large alabastron;the right (illustrated)holds a scarf. Hanging on the wall is a sakkos. Red: lines on alabastron(stringsfor suspension[?]). White: ribbons of sakkos;dots on right woman's hair (fillet[?]). Manner of the Meidias Painter, xii: Sundry (ARV21323, 32 bis). Ca. 410-400 B.C.

80 P1. 16

P 24037

G-K 13-16

Neckfragmentwith startof handle. PH. 0.10. Burn, Meidias Painter,p. 108, cat. no. MM 45. Two woman (lower drapery,feet missing) facing, the right holding a mirror. Each wears a chiton and himation and has a fillet around her head. White: fillets. Manner of the Meidias Painter,xii: Sundry (ARV21323, 32 ter).

Miniature vase that was broken off from something larger: perhaps it was the knob of a lid. Undersurface of bottom is smooth and slightly concave. Probablyearly 4th century B.C. K 14:1

P3924

83

Most of body, start of stem, a bit of one shoulder handle (double, upright). Trace of vertical handle. P.H. 0.054. Two winged women (head of left missing)facing with a box and hanging sash. Behind them, the lower parts (drapery)of another. Below, rays. White: lines on drapery and wing of left woman. 4th century B.C. D 11 Neck with start of handle. Background not glazed. A bit of the glaze on the drapery fired red. P.H. 0.045. Cloaked figure standing to right. P 6870

84

4th century B.C. AMPHORAE 85-92

S16 P 27322 85 Fig. 5; PI. 16 Wall fragment. Max. dim. 0.059. At the left, someone carrying a loutrophoros-amphorain the crook of his left arm (upperpart of arm; part of body, neck and one handle, start of other at far left, of vessel) and before him the right forearm and hand of someone grasping a staff. Around the neck of the vessel is a fillet. Relief contour (except for staff and arm). Red: fillet. If the loutrophoros held were of the hydria variety, one would expect to see part of the upright handle on the shoulder. For loutrophoroi painted on loutrophoroi as a means of identifyingthe type when only a fragment remains, see 78. Probablythird quarterof the 5th century B.C.

Ca. 410-400 B.C.

81 P1. 16

P 15139

K-L 18-20:1

Wall fragment with start of handle at top. Glaze cracked in places. PH. 0.16; max. dim. 0.167. Woman (part of arms, legs) seated to right, holding a loutrophoros-hydriain her lap. Branches project from the vessel. Above her, a band of egg pattern at the same level as the handle root. Before her stands a woman (back of head, lower legs missing), her right arm extended, her left at hip level. Around her right wrist is a bracelet. On the far right, upper arm of another figure. Relief contour: loutrophoros. Added clay: branches;bracelet. For sprigs or branches in loutrophoroiand for loutrophoroi painted on loutrophoroi,see 78. Probablylate 5th or early 4th century B.C. 82 P1. 15

P 23848

Q 15:2

Mouth, neck, and handles missing. H. 0.042; diam. 0.025. Woman's head to right; palmette below stub of vertical handle. Above, tongue pattern; below, rays. Dilute glaze: decoration on sakkos.

I

I

/

\

FIG.5. Loutrophoros85 (P 27322). Scale 1:1

86 P1. 16

P23297

N 16

Neck fragment with reserved areas at handles, flaring mouth, slightly concave on top, two grooves on underside at start of neck. Bands of glaze on top side of mouth and on inside of neck. Glaze pitted in places. PH. 0.05; P.W.0.075.

147

LOUTROPHOROI On each side, a woman (head with sakkos, shoulders wrapped in a himation) to left. The Washing Painter (ARV21128, 95). Ca.420 B.C. 87 P1.16

P5860

O-P 12-13

Neck and shoulder fragment. Roots of handles preserved. Groove at junction of neck and shoulder. P.H. 0.18. A-B, women (heads, shoulders missing),frontal, foot of one to right (illustrated),the other to left, each clad in a chiton and himation. Below, maeander pattern. On the shoulder, at the junction with the neck, tongue pattern. A very small amount of the figured decoration on the body remains (top of head of someone to right). Ca. 420 B.C.

P 21452

91

J10 Neck fragment, upper part with attachment of handles and a little of projecting mouth. Glaze flaked in many places. P.H. 0.095. A-B, woman (lowerpart missing)standing to right, wearing a himation. Late 5th century B.C. P 22207

92

K 9-10:1

Neck fragment from near top with part of mouth and each handle. Glaze much flaked and pitted. P.H. 0.066. A-B, woman (upperhalf) to right wrapped in a himation. First half of the 4th century B.C. TYPE UNCERTAIN 93-110

P 27687 P 14:3 Shoulder fragment from near junction of neck. Max. dim. 0.037. Woman (a little of face, fingers of right hand) to right before a Doric column (capital, a little of shaft at break). Above, tongue pattern. Relief contour. 93

88 P1. 16

P 20202

Q8-9

Neck fragmentwith two ringsbetween figuresand ornament below. Glaze pitted and abraded in places. PH. 0.125. Two women (lower drapery,feet of each) facing, each wearing a chiton, the left holding a fringed scarf. Below, on front: upright encircled palmettes (one-half, one, one-half); on back, invertedrays. White: fringe. For the combination of palmettes on one side of the neck and inverted rays on the other, see Vienna 2027 by the Washing Painter (ARV2 1127, 11; Addenda332) and Tubingen S./10 1543 (CVA,Tubingen 4 [Deutschland 52], pl. 5 [2522]:4-6) attributed by Bohr (CVA,pp. 22-23) to the Painterof Louvre MN 558. 88 is contemporarywith these but seems to be by another hand. Ca. 420 B.C.

89 P1. 16

P 22867

H-K 12-14

Neck fragment from near junction of mouth. Ridge at top. P.H. 0.092; max. diam. 0.04. Encircled palmette flanked by lotus flowers and concentric circles. At the back, three reservedvertical panels, each with a row of dots. Late 5th century B.C. 90 P1. 16

P 18287 B 19:12 Wall fragment from lower part. PH. 0.209; P.W.0.155. Warriors(part of legs of each): lowerpartof short chiton and round shield (seen in three-quarterview) of left, part of chlamys of right, who also wears sandalslaced high. Preliminarysketch. 90 is best compared with the large loutrophorosAthens (ex Schliemann)-Berlin 3209, publishedby G. Bakalakisin AK 14, 1971, pp. 74-83. It, like 90, representsthe departureof a warrior for battle. The strikingpoints of similarityare the departing warrior and his companion (AK 14, 1971, pl. 28:3) and the lacings of the boots of the warriorwho standsbehind the horseman (pl. 25:3). Beazley,in an oral communication reportedby Bakalakis (AK 14, 1971, p. 76), saw the stylistic relationship with the Talos Painter,and Bakalakis(p. 77) pointed to specific details on the namepiece and on 388. Cf. also Amsterdaminv. 2474, a fragmentaryloutrophorosby the Talos Painter (ARV2 1339, 4; Addenda367). Not from the same loutrophorosas 109. See below. Ca. 400 B.C.

Ca. 470-460 B.C.

94 PI. 17

P 22164

P 16

Wall fragment. Max. dim. 0.07. Two figures,perhapswomen (part of himation and chiton of left; a few folds of himation of right),both to right. Preliminary sketch. Probablymid-5th century B.C. 95 P1.17

P6672

K10

Wall fragment. Max. dim. 0.032. Matheson, Polygnotos, p. 418, cat. no. KL 64. Warrior (most of head with pilos and left shoulder) to left, the shaft of a spear belonging to his opponent crossinghis face. Relief contour. Dilute glaze: lines on pilos. White: pilos. For the white pilos, there is a good parallel on Tubingen S/10 1568 i = E 162, a fragmentary loutrophoros by the Kleophon Painter (ARV21147, 55; Addenda335; Matheson, p. 418, cat. no. KL 62). Bohr (CVA,Tubingen 4 [Deutschland 52], p. 27) suggests that the use of white indicates a pilos made of bronze, the white presumablyindicating the gleaming surface. This is an attractiveidea but may not be correct, since a young rider on another loutrophorosfragment in Tabingen wears a white petasos, a hat that surelywas not made of metal (S/10 1649 = E 168: CVA,pl. 7 [2524]:5). Manner of the Kleophon Painter (ARV' 788, 12); the Kleophon Painter (ARV21147, 57). Ca. 440-430 B.C. 96 P1. 17

P 17111

A20-21:1

Shoulder fragment with start of handle. Max. dim. 0.073. Weddingprocession. At the left, part of the shaft of a torch. On the right, the heads of two horses, probably the two trace horses of a chariot team to left. Most of the right head is missing;the left is preservedbut for the muzzle. The angular bit of glaze at the lower right is a bit burr. Preliminarysketch. Relief contour. Dilute glaze: muscles;lines on torch. The bit burrwas a small metal plate with spikeson the inside that pressedagainstthe sides of the horse'smouth and provided

148

CATALOGUE

greater control and perhaps assisted in turning. For bit burrs, see J. K. Anderson, AncientGreekHorsemanship, Berkeley 1961, pp. 48-49, pls. 20-22; P. Vigneron, Le chevaldans I'antiquiti Nancy 1968, p. 65, pls. 18, 20:c. greco-romaine, The horses on 96 bear some resemblance to those drawing Apollo's chariot on Polion's namepiece, New York, M.M.A. 27.122.8 (ARV21171, 2;Addenda339). Ca.430-420 B.C. P 5221 a+P 5236

97 PI. 17

N 10:1

Wall fragment. Glaze firedbrownish;flakedand abraded in places. Max. dim. 0.256. The fragment shows a woman (part of head, left hand, right forearm and right foot missing) standing frontally in a peplos, looking back at another (right hand holding a scarf). The first woman holds an alabastron in her right hand and in her now missing left, a box (lowerleft corner preserved)that rested on her shoulder. In front of her another woman (part of drapery, right arm) to right. Preliminary sketch. Below: stopped-maeanderpattern with cross-squares. Not from the same vase as 98 and 99. The curve and thickness of the wall put fragments b and d together and separate them from a as well as from c. Ca. 430-420 B.C.

N10:1 P5221b,d Two non-joining wall fragments. Max. dim. b) 0.14, d) 0.096. Fragment b preserves parts of two women (drapery), the right one holding a scarf. Fragmentd gives a bit of drapery. Not from the same vase as 97 (see above). 98

Ca. 430-420 B.C.

P5221 c

99

N 10:1

Wall fragment. Max. dim. 0.11. The fragment preserves a bit of drapery, probably of two standing women. Not from the same vase as 97 (see above). Ca.430-420 B.C. P 24701

100 P1.17

P17

Wall fragment. Max. dim. 0.075. Wedding scene. At the left is the bride (mostly preserved from shoulders to knees), dressed in a himation, being led by the groom (right arm, his hand clasping her left wrist, side with himation), she to right, he frontal, probablylooking back at her. Preliminarysketch. For the composition of the pair, cf. Amsterdam inv. 3495 by the SabouroffPainter (ARV2841, 76); Toronto 929.22.3 = 635 by Polygnotos (ARV21031, 51; Addenda317; Matheson, p. 358, cat. no. P 56, pl. 56); once London Market Polygnotos, by the Naples Painter(ARV21099, 46 bis),which seems closest to 100; Eriangen 301 near the Naples Painter (ARV21102, 3); two by the Washing Painter:Vienna 2027 (ARV21127, 11; 332; Addenda 332) and Houston 37.12 (ARV21127, 13;Addenda no. cat. 163-165, 23). Reeder, Pandora, pp. Ca. 430-420

101 P1. 17

B.C.

P27351

S 16:1

Wall fragment. Max. dim. 0.10. Nike (part of body and legs, wings)clad in a chiton, flying to left. Behind her, a woman (drapery)to left, and behind her,

a bit of an object that may be a box; it looks like it is decorated with ivy. Preliminarysketch. Compare the composition of Nike and a woman on the loutrophoros-hydriain Houston, 37.12, by the Washing Painter(ARV21127, 13;Addenda 332; Reeder,Pandora, pp. 163165, cat. no. 23). Ca.430-420 B.C. P 16575

102 P1. 17

K-N 19-21

Fragment from lower part of wall with start of stem above foot. P.H. 0.075. Women (lowerparts of chitons and himatia of three)to right (illustrated)and man (lower part of himation, feet) standing frontally. Next to him are the traces of an uncertain object with relief line; it looks like drapery and a foot. Below, egg pattern with dots, a black band, then a zone of rays above the foot. Preliminarysketch. Probablyby or near the Naples Painter:cf. Cleveland 24.533 by the painter himself (ARV21097,10; Addenda328); Athens, N.M. 1250 in his manner (ARV21102, 5); Erlangen 301 near the Naples Painter (ARV21102, 3). Ca. 430-420

103 P1. 17

B.C.

P 24796

P 17

Neck and mouth fragment. P.H. 0.06. Woman (head, shoulders with himation) to left, holding a kalathos(upperright corner at left break). Above, egg pattern. White (flaked):line at top edge of kalathos. The Washing Painter (ARV21128, 94). Ca.420 B.C. 104 P1. 17

P27346

S 16:1

Two non-joining wall fragments. Max. dim. a) 0.064, 0.052. b) Male seated to left, with two spears. Fragment a shows his right thigh and knee, his left knee with the left hand resting on it. Above and to the left are the ends of a fillet hanging from something or held by someone. At the far left a narrow,thin object and at the lower break a bit of something overlappedby it. Fragment b, which almost joins a, preserves the lower part of his legs, a bit of drapery,and high-laced boots. Preliminary sketch. Relief contour. Dilute glaze: boots. White: fillet; area to right of spears and to right of boots (flaked). Ca.420-410 B.C. 105 P1. 17

P 27335 and P 27390

I 13:2

P 27335: rim fragment, grooved and ridged on underside, with start of neck. P 27390: two non-joining fragments of shoulder and wall. Ring at junction of neck and shoulder. Joins on a strengthened with plaster. Max. dim. P 27335: 0.174; est. diam. 0.265; P 27390 a) 0.10, b) 0.045. T. L. Shear Jr., Hesperia39, 1970, pl. 57: D 2; Burn, MeidiasPainter,p. 107, cat. no. MM 31. On top side of rim, startingfrom the outer edge: egg pattern, laurel wreath to right, then a bit of what looks like a wave pattern. FragmentP 27390 a preservesthe slightlyraised head of a woman to left, probably seated. A small Eros (forelock, right forearm) flies toward her, holding out a necklace. The woman'shair is tied up by a broad fillet with projectingleaves. She also wears an earring and a necklace. At the far right there is a bit of reserve that belongs to a figure behind her. Above, egg-and-dart pattern. On shoulder, tongue pattern.

149

LOUTROPHOROI Fragment b preservessome drapery,probablypart of a chiton, and a sash. Added clay:jewelry; leaves. Manner of the Meidias Painter, xii: Sundry (Paralip.479, 20 bis;Addenda363). Ca. 410-400 B.C.

106 PI. 18

P5220 N10:1 Wall fragment with turn of shoulder. Glaze misfired in places. Max. dim. 0.221. Wedding procession. At the left, the bride and groom. All that remains of her is a little bit of drapery and her left arm around his neck, resting on his shoulder, a ring on the third finger of her hand. The lower part of the groom's head and much of his himation are preserved. Next comes a woman (head with diadem, shoulders, and chest), wearing a chiton, a necklace, and an earring. She holds a torch in her right hand (now missing), and on her left forearm (also missing), a chest decorated with concentric circles (only two corners of it remain). To her left comes another woman (lowerpart of face, chest, raised right arm) dressed as her companion and holding a plemochoe in her right hand. Above the figures,wreath with berries. Preliminarysketch. Relief contour except for arm of right woman. Dilute glaze: eyes; lines on torch. Added clay: jewelry; berries. White: dots on diadem. Not from the same loutrophoros as 107 (see below). In ARV' 835, 12, Beazley suggested that the wedded pair are standing in a chariot. This would explain their high position in the composition and why they overlap the ornament on the shoulder. Manner of the Meidias Painter, perhaps an early work by the painter himself (ARV' 835, 12; not in ARV2).

those on the namepiece, London, B.M. E 224 (ARV21313, 5; Paralip.477, 5; Addenda361; Burn, MeidiasPainter,p. 97, cat. no. M 5, pl. 5:a, b; Reeder, Pandora,p. 79, fig. 5). The drapery is similar to that of very many Meidian women; the heavy black border is unusual but may be seen on Athens, N.M. 1681 (ARV21322, 16; Burn, p. 106, cat. no. MM 26) and on Berlin 2373 (ARV21322, 20; Burn, p. 107, cat. no. MM 30), a lebes gamikosand a loutrophoros,respectively,in his manner. Ca. 410-400 B.C.

108 Fig. 6; PI. 18 P 5222 d N 10:1 Wall fragment. Glaze flaked in places. Max. dim. 0.10. The fragmentis difficultto read. In about the middle, there appears to be part of the legs of a man (the right is frontal, left in profile),and hanging down alongside his right thigh are two folds of his chlamys, which has a thick, black border. At the far right, part of a garment with a spiky border and a black object that looks like a thickfillet lying acrossthe lap of a seated figure. Between the legs of the man, at knee level, is a form that looks like the ankle and heel of a raised foot. At the far left a bit of reserve (uncertainwhat). Preliminary sketch. Relief contour. Red: streamersof fillet. Not from the same vase as 107 because the scale of the figureson 108 is larger and the inside is coarser. Late 5th century B.C.

Ca. 410-400 B.C.

107 P1.18

P5222a-c N10:1 Three non-joining wall fragments, a with turn of shoulder and start of handle. Max. dim. a) 0.128, b) 0.097, c) 0.046. Wedding procession. Fragment a (illustrated)preservesthe heads of two trace horses and the right hand of a man steadying them. Both animals have bit burrs. On the right-hand side of the team are the shaft and capital of an Ionic column. Above, a wreath, similarto the one on 106 but without the centralleaf of each unit. On the shoulder at the junction with the neck, tongue pattern; below, an egg pattern. Fragmentb (illustrated) preserves the chest, lap, and left arm of a woman seated in three-quarterview to left, dressed in a chiton with a decorated himation draped across her lap. On the right, the fingers of a figure behind her, probably standing. Fragment c preserves similar drapery and part of a left arm bent sharply at the elbow. Preliminarysketch. Relief contour. Dilute glaze: some anatomy. White (flaked):stem and berries of wreath. For bit burrs, see 96. Not from the same loutrophorosas 106: the thicknessof the wall at the level of the wreath is different; on 107, the leaves are longer and spaced farther apart, each unit of the wreath has two leaves, and the band is slightly wider; the figures on 107 seem a bit larger in scale than those on 106, and the ornamental patterns are less finely drawn. There is something Meidian about the style of drawing on 107, and these fragments very likely belong somewhere within the group, although probably not by the painter himself. The horses, from what remains, compare favorablywith

FIG.6. Loutrophoros108 (P 5222 d). Scale 2:1 109 P1. 18

P3561 G 12 Wall fragment. Max. dim. 0.098. Warrior (fingers and thumb of left hand holding the grip of a round shield seen from the inside) to right. At the left, a bit of decorated drapery,probably covering his shoulder. In front of him, the upper part of the body and the ends of locks of hair of another, standing frontally, head turned to right. He wears a chiton. Rim of shield incised (compass-drawn). Preliminarysketch. Dilute glaze: decoration of first warrior's garment. Not from the same loutrophorosas 90, for the potting lines on the inside of 109 are smooth and they are not on 90. Ca. 410-400 B.C.

110 P1. 18

P 15190

C-D 19

Two non-joining wall fragments,one (a)with startof handle. Glaze much pitted, especially on a; deep scratches on surface of a. Max. dim. a) 0.14, b) 0.12. Fragmenta (illustrated)shows a woman (preservedfrom the hips up) standing to right in a long chiton and himation, a fillet around her head, and adorned with an earring and a necklace. She holds a necklace in both hands. She is preceded by another woman (as indicated by the drapery)and between the two, Eros flies to right. At the far left, a narrow,vertical

CATALOGUE

150

reserved area that looks like part of a staff. Fragment b shows a little of the drapery of a figure (lap) seated to right, facing another (part of right arm, left elbow, chiton and himation) who stands. A bit of reserve at right (figure[?]). Preliminary

sketch. Added clay: fillet,jewelry on left woman; Eros. White: necklace held by left woman. Early4th century B.C.

STAMNOI and STAMNOIDS 111-118 STAMNOI111-116 111 P1. 18

P 20675

M8

Shoulder fragment with start of neck, glazed on inside. Groove at junction of shoulder and neck. Max. dim. 0.055. Dionysos or maenad (back of wreathed head, a little of himation) standing to left, a thyrsosover left his shoulder. Ca. 470 B.C. 112 P1. 18

P 24293

G 10

Wall fragment from lower part of figured zone. Grainy black glaze on inside, streaked in places. Glaze on outside fired reddish brown. Max. dim. 0.113. Woman (lowerpart of chiton and himation, feet) standingto left. On the far right, a bit of reserve that is part of handle ornament. Below, stopped-maeanderpattern with cross-square. Preliminarysketch. Dilute glaze: folds of himation. Perhaps by the Eupolis Painter. For the broad folds of the himation with slightly dark contours combined with very thin folds of the chiton, cf. Vienna 1772 (ARV2 1072, 1; Addenda325); Syracuse 22886 (ARV2 1073, 3); Adolphseck 40 (ARV2 1073, 11; Addenda326); Villa Giulia 3582 (ARV2 1073, 12). Ca. 460 B.C.

113

P 20036

C 17

Shoulder fragment with start of neck on inside. Max. dim. 0.045. Nike(?). The fragment preservespart of a spread wing (bow and feathers). Dilute glaze: decoration on bow and feathers. Probablymid-5th century B.C. 114 Pl. 19

P 21396

07

Wall fragment from near turn of shoulder. Grainy black glaze on inside, streakedin places. Max. dim. 0.062. On the left, a bit of the handle ornament (part of palmette frond and spiral). On the right, a trefoil oinochoe held by someone (a bit of drapery in lower right). Relief contour. Dilute glaze: oinochoe. The figure is probably a woman standing frontally,head to right with the handle ornament at the left. Probablymid-5th century B.C. 115 P1. 19

P 25486

No grid

Shoulder fragment with start of neck. Grainy glaze on inside. Max. dim. 0.10. Return of Hephaistos. The fragment shows the slightly bowed head of Hephaistos (withivy wreath)and the upper part of the head and neck of his mule or donkey. Above, tongue pattern at junction of neck. Relief contour: profile and nape.

Pls. 18-21 For the subject, see Brommer, Hephaistos,pp. 10-16 and 201-202 for a list of representationsin Attic red figure; more recently,LIMC IV, 1988, pp. 637-645, 652-654, s.v.Hephaistos (A. Hermary);also 288. Ca. 440 B.C.

116 P1.19

P20239

D 16

Wall fragment. Max. dim. 0.064. Partof torso of a man or youth wearing a himation, standing to right. The short horizontal line of glaze at the very top of lower contour of his upper right arm at the the fragment is dithe shoulder,and the line at the right break is the elbow, indicating that his arm was outstretched. Perhaps he was leaning on a stick (the orientation of the fragment suggests this). Behind him, a bit of another (drapery). Preliminary sketch. Relief contour. Ca. 440-430 B.C. STAMNOIDS 117, 118

117 P1. 19

P 1052

I-J 18:1

Two non-joining fragments, a preserving the shoulder, as well as the very low speira base. Fragment a is mended from many fragments, with the missing pieces restored in plaster and painted. Streaky,grainy glaze on inside. Glaze crackedin places on outside. P.H. a) 0.21; max. dim. a) 0.26, b) 0.159. K. Schauenburg,RM 65, 1958, pl. 34:1, 2 (fragmenta); Philippaki, Stamnos,pl. 61:3 (fragment a); A. Queyrel, BCH 108, 1984, pp. 126-127, fig. 5:a-c (fragment a); LIMC VI, 1992, p. 669, no. 104, pl. 399, s.v.Muses. Apollo and Marsyas. On the left of fragment a is a Muse (head, a bit of drapery)standing to right, reading from a tablet she holds in her hands. Around her head is a reserved fillet with leaves. In front of her, Marsyas (top of wreathed head, legs, and tail) sits to right on a stone, probably playing the aulos (now missing). Before him Apollo (most of his wreathed head, left shoulder and forearm, right leg with himation, right foot in profile and raised heel of left) stands frontally,his head turned toward Marsyas,a laurel branch in his left hand. Then come two more Muses (head, shoulders, raised right arm of one, her left foot) standing frontally,head turned toward her companion (part of torso missing). Each wears a chiton; the second a himation as well. 1 has a wreath; 2 a fillet with leaves and a sakkos. 1 holds a plektron with its cord in her right hand. Presumably she held the lyre in her left (now missing). Behind 2 is part of a lotus-palmette configuration. Fragment b (part illustrated)shows on the left more tendrils from this configuration, then the lower drapery and feet of a Muse, who rests her left foot on a stone. The lines of glaze

LEBETES GAMIKOI on the inside as well as the spacing of the units of maeander indicate that the figureon fragment bcannot be the same Muse as the one at the far left of fragment a who reads from a tablet. On the shoulder,tongue pattern. Below the figures, maeander pattern with saltire-squares.There is an odd maeander below the right Muse on fragment a, indicating where the drawing of the pattern began and ended. Preliminary sketch. Relief contour:flesh. White: leaves of wreaths;berriesof laurel;pairs of dots in field on A; cord of plektron. This vase was without handles. The lotus-palmette configuration appeared between the right Muse on fragment a and the one on fragment b, and thus, when the vase was complete, the ornament was about opposite the figures of Apollo and Marsyas. For the subject, see Froning, Dithyrambos, pp. 29-44 (117 is no. 14 in the list of representations on pp. 41-44); more recently and more specificallyin relation to the Pothos Painter, A. Queyrel, BCH 108, 1984, pp. 144-147. Near the Pothos Painter (ARV'803, -); the Pothos Painter (ARV21190, 32; 1686; Addenda342). Ca. 425-420 B.C. 118 Pls. 20-21

P 10542

B 15:1

Two non-joining fragments. Fragment a comes from the lower part of the vase; fragment b is a shoulder fragment. Glaze on b is slightly abraded; streaky and pitted on inside. PH. a) 0.175; max. dim. b) 0.108. P. E. Corbett, Hesperia18, 1949, pls. 78, 79; Philippaki, Stamnos,pl. 61:4; Straten, Hiera Kald,p. 204, cat. no. V 60. Sacrifice of a bull in celebration of a victory in a torch race, the figures continuing around the vase without interruption. At the far left of fragment a, a youth (torso,legs)restrainsa bull (head, part of rump missing) as it charges to right, preceded by a woman preserved from the waist down, also moving to right. She wears a chiton and himation and holds a torch with a hand shield in her outstretchedleft hand (most of the shaft of the torch and the flames are missing). Fragment b shows the

151

left hand of the youth, which is gripping the bull's horn, and the face and outstretchedright arm of the woman. Next on the main fragmentis the altar,mounted on two steps with its crown molding decorated with an egg-and-dot pattern, below which is a frieze decorated with esses. A youth (legs, left forearm)to left rests his right foot on the second step of the altar. He holds a torch in his left hand, as does the youth behind him (head, shoulders,right arm missing),who stands beside an ithyphallic herm decoratedwith a kerykeion. At the very top, on the left, is the startof an arm. Afterthiscomes a tree and fouryouths (part of body,rightarm, legs of one running; legs of anotherrunning; legs of two standing) to right. The fourth youth is directly behind the bull. Below the figures, egg pattern with dots. On shoulder at junction of neck, tongue pattern. Preliminary sketch. Dilute glaze: hair around horn of bull; muscles. For the subject, see Corbett, Hesperia18, 1949, pp. 346351, who quite plausibly suggests that the torch race depicted on 118 may be the one that took place at the Panathenaia. The sacrifice of a bull at the end of a torch race is not known from many examples, and Corbett has dealt with most of them (pp. 346-351). They are: Bologna 328 (Metzger,Representations, pl. 46:2); Mannheim Cg 123 (ARV21435, -: side B connected with the Painter of Athens 12255, side A unattributed;Addenda377); Vienna 706 (Metzger, pl. 46:5); Leipzig T 958 (Metzger, pl. 46:1). Metzger (p. 355) adds two: a lekythos in Boston, no no. (p. 355, no. 27: Nike leading a bull to sacrifice) and a small oinochoe, St. Petersburg, St. 2070 (p. 355, cat. no. 28: a women holding a lyre is followed by Nike, who leads a bull, and a runner who carries a torch). All these vases are dated in the early fourth century (Metzger, p. 354); thus, 118 seems to be one of the earliest if not the earliest example of this subject. The torch race on the bell-kraterby the KekropsPainter,mentioned by Corbett (pp. 347-348), is now New York,M.M.A. 56.171.49 (ARV21347, 3). Fora discussion of the torch race, see Froning,Dithyrambos, pp. 78-81. Somewhat recalls the Dinos Painter (ARV21190, 32; 1686). Ca.420 B.C.

LEBETES GAMIKOI 119-163 TYPE1

119-150

119 P1.21

P 23302

M-N15:1

Wall fragment of stand with bands of glaze on inside. Max. dim. 0.06. Kithara-player. All that remains is part of his instrument: the tip of one arm, a bit of the support; half of the crosspiece with the start of four strings and their tuning knobs. Relief contour. Dilute glaze: rows of dots on arm support. Ca. 480-470 B.C.

120 P1.21 P4841 a H7:1 Wall fragment of stand. Glaze pitted and flaked in places. PH. a) 0.175, b) 0.086. E. Papoutsaki-Serbeti, 'O Zcoypacpo; T?; Providence, Athens 1983, pl. 33; K. Arafat, ClassicalZeus, Oxford 1990, pl. 31.

Pls. 21-24 Zeus, Athena, and a god (Poseidon[?]). Zeus (preserved to waist) stands to right, wearing a chiton and himation. He holds his scepter in his left hand while pouring a libation from the phiale held in his right. Around his head is a fillet. Athena stands before him, pouring wine from the oinochoe she holds in her outstretchedright hand. The stream of liquid flows alongside Zeus' wrist, not into the phiale. She wears a long chiton and ependytes, her aegis over both shoulders, her spear held lightly in her left hand. Around her head is a stephane; she also has an earring. The back of her head and her feet are missing; the surface of her face is scratched and pitted. Behind her is the next god (head with fillet, right shoulder, and outstretched arm), standing to left, dressed in a long chiton. Above the figures, a zone of rosettes drawn in silhouette. Preliminary sketch. Relief contour. Dilute glaze: folds on chitons and ependytes; scales on aegis. Red: fillets;wine.

CATALOGUE

152

In ARV' 434, 48, Beazley identified the third deity as Poseidon; in ARV2639, 61, as Hermes. The absence of a petasos and chlamys favors an identificationas Poseidon. The Providence Painter (ARV14, 48; ARV2639, 61; Addenda274). Ca. 470 B.C. 121

P4841b

H7:1

Wall fragment of stand. Max. dim. 0.086. All that remains of the figures is part of their drapery. Not from the same stand as 120 because the wall is too thin and the size seems slightly smaller. Ca. 470 B.C.

D 12:1 P21113 Fragment of slightly domed lid, from near center. Max. dim. 0.09. Top side, from center out: ends of rays; black band; egg pattern with dots; black band. At the right break on a black band there is a little relief contour, which looks like the leaves of an ivy wreath, all that remains of the figured decoration. On underside, part of incised whirligig,then black glaze. For figures on the lids of lebetes gamikoi, see Mykonos 970 204). by Syriskos(ARV2261, 19; Addenda Probablysecond quarter of the 5th century B.C. 122 P1.21

123 PI. 21

P472

F 16:6

Wall fragment of stand from near top. Groove below pattern. P.H. 0.095; P.W.0.09. Two women (faceof left, head and shouldersof rightwearing a himation) facing. Between them is a round shield (starburst for device) seen in three-quarter view. Behind the second woman is a rectangular reserved area that looks like a box. Above, egg pattern with dots. Second quarter of the 5th century B.C. 124 P1.21

P 20199

Q8-9

Wall fragment of stand with part of black band on inside. Glaze flakedhere and there. Max. dim. 0.082. LIMCII, 1984, p. 200, no. 85, s.v.Apollon. Apollo. The fragmentpreservesthe chin, neck, long locks of hair,and shouldersof the god standingfrontally,head in profile to left, dressed in a chiton with a himation over it. At the right, part of one arm and a little of the sound box of his kithara. Preliminarysketch. Relief contour. Dilute glaze: sound box. The figure of Apollo probably looked very much like the representationon the column-kraterin Ferrara1685 = T.308, by the Painter of Bologna 228 (ARV2511, 5; Paralip.382, 5; Addenda 252). Ca. 460-450 B.C. P-Q 16-17 Shoulder fragment of lebes with start of neck. Max. dim. 0.055. Two women (face, shoulder of one; back of hair of other) both to right. Around each head is a fillet. Above, tongue pattern. White: fillets. The Painter of London E 489 (ARV2549, 59). Ca. 460-450 B.C. 125 P1.21

126 PI. 21

P 23863

P 3029

K6

Wall fragment of stand from near top. Max. dim. 0.047.

Warrior (most of helmeted head) looking to left. Wreath around helmet. At the bottom, a little of the rim of his shield decoratedwith chevrons. Above, egg pattern with dots. Relief contour. Ca. 440 B.C.

P 27208 D-E 28-29 Three non-joiningwall fragmentsof stand, a with bottom of lebes. Stand pierced (hole in a and c). Torus between lebes and stand. Much of the glaze fired brownish; flaked in many places; abraded on torus. P.H. a) 0.023, b) 0.151, c) 0.13. Fragment a preserves some of the rays at the bottom of the lebes, then the three bands of ornament at the top of the stand (egg and dart, double lotus-palmette chain, a laurel wreath to right with berries)and the upper part of the figured decoration. What remains is the wreathed and filleted head of a bearded man to left, the fillet overlappingthe wreath. Above his head: E 1A0/E In front of him: 127 P1.22

The front edge of Skeparnos'wreath appears at the far leftjust at the break. Fragmentb shows the wreathed and filleted head (slightly bent) and shoulders of a youth to right, a chlamys fastened on his right shoulder, a petasos hanging down his back. In his left hand he holds two spears (there are three heads, one of them in black glaze). He faces a woman (now missing)who holds a phiale in her right hand, the vessel and hand overlappingthe shaft of a Doric column (part of its capital appears above to the left of the break). Behind the youth is an olive tree with fruit. Above, part of the laurel wreath and the leaf of a lotus. Fragmentc (not illustrated)gives more of the pattern above the figures. Dilute glaze: hair. Added clay: dots (berries)of wreaths;fillet. For the name Exexo4pvoq,see the departing warrior on the Lykaon Painter'spelike in the Vatican 16574 (ARV21045, 4; Matheson, Polygnotos, p. 431, cat. no. L 4, pl. 67). Ca.440-430 B.C. 128 P1.22

P57

H5

Wallfragmentof stand from near top with startof projecting rim. Black bands on inside. Glaze abraded in places. P.H. 0.085. Upper parts of two Doric columns, one column slightly behind the other. Each column has a necking ring decorated with an egg pattern. Above, laurel wreath to right, then a zone of upright encircled palmettes and lotuses. Relief contour. Dilute glaze: flutes of right column. For the columns, the closest parallel seems to be Ferrara 44894 = T.57 C VP by the Kleophon Painter (ARV21143, p. 406, 1; Paralip.455, 1; Addenda334; Matheson, Polygnotos, cat. no. KL 1, pl. 125). Each has necking rings decorated with an egg pattern and flutes with distinct arrises. On 128, each flute is rounded at the top; on Ferrara44894 = T.57 C VP, each is squared off at the top. For the palmettes and lotuses, see Palermo 2162 = 616 (ARV21145, 38; Paralip.456, 38; Addenda335; Matheson, p. 415, cat. no. KL 44). 128 may be by the Kleophon Painter,but without more to go on, it is difficultto be certain. Ca.440-430 B.C.

153

LEBETES GAMIKOI 129

P 24776

N 16

Lid fragment of brim with flange on underside. Max. dim. 0.093; P.H. 0.034; est. diam. 0.24. On interior of top side: diagonally addorsed encircled palmettes (most of one) and tendrils. At outer edge of brim, in black glaze, frieze of solid rosettes with vertical dots (three in each row) between. For the pattern on the brim, cf. the lebes-gamikos lid from Delos, Mykonos 98 (DelosXXI, pl. 47:98). Ca.430 B.C. 130 PI. 22 P 15207 G 18:1 (U) Stand mended from many fragments, with the missing pieces restored in plaster and painted. Bottom of lebes preserved. Glaze pitted in places. P.H. 0.232; diam. of base 0.162. Two pairs of women facing, each dressed in a chiton and himation, her hair tied up with a fillet. The left one of the first pair holds up a wool basket; her companion carries a fillet, as does the next woman, who faces one holding an alabastron in her outstretchedright hand. Above the figures,zone of solid circles alternating with vertical rows of three dots. Below the figures, inverted rays. At bottom of lebes, rays. Red or white (flaked):fillets. The Naples Painter (ARV' 706, 29 bis-,ARV21098, 37). Ca. 430-420 B.C. 131 PI. 22

P 22353

Q17

Fragment of upper part of stand with projection at top. Glaze abraded a little on projection. P.H. 0.074. Woman (back of filleted head, start of shoulder) to left. Behind her, the capital and shaft of a Doric column and hanging on the wall a scarf or fillet. To the right of the column, part of another figure (drapery and arm?). Above, zone of rosettes in silhouette technique. White: woman's fillet. The solid rosettes in black glaze recall the solid circles at the top of two stands of lebetes gamikoi by the Naples Painter: KarlsruheB 3078, ii (ARV21098, 36) and 130. 131 is probably close to the Naples Painter,but so little of the figures remains that it is difficult to be certain if the hand is his. Ca.430-420 B.C. 132 Pls. 22-23

P 10540 B 15:1 Fournon-joining fragments:a shoulderand wall fragmentof lebes with start of handle; b + c, and e of stand, d of foot. Stand strengthened with plaster and painted. Glaze fired brownish on lebes; flaked in places on stand. Stand completely glazed on inside. Max. dim. a) 0.122, d) 0.165, e) 0.059; P.H. of stand 0.164; diam. of foot 0.17. P. E. Corbett, Hesperia18, 1949, pl. 81:7; E. Brummer,JdI 100, 1985, p. 65, fig. 21:a (fragmenta). Fragmenta (fromthe lebes) preservesthe upper parts of two women to right, each wearing an elaborate headband and a peplos. Each has an earring; the right one has a necklace as well. The woman on the left carries a chest ornamented with two rows of egg-and-dot pattern, a scarf draped over her right hand. The right woman holds a similar chest (a little bit of it remains at the right break). At the far left, a bit of drapery (sakkos hanging on the wall[?]). Above the chest, tongue pattern between handle roots. On the stand (fragmentsb + c), women. 1 (back of head, feet missing)moves to right, carrying

a long sash and a chest decorated with vertical stripes and a zone of esses. She wears a peplos and faces 2 (part of himation and chiton), who stands frontally holding a plemochoe in her right hand with a long sash hanging below. In her left (now missing)she held an object, perhaps a chest (part of one corner remains), with a long sash hanging down. Between the two, a sakkos hangs on the wall. Next there is a stool with a striped cushion, then the last woman, 3, who stands to left, wearing a himation (head, feet missing) and holding a mirror in her outstretchedright hand. Above the mirror,a rectangular object (part) hanging on the wall. Fragmentd (not illustrated) preservesthe end of the sash held by 1 and the zone of inverted rays above the base. Fragment e (not illustrated)shows a little of the feet of 2 and a bit of her drapery, as well as more of the rays. Above the figures, stopped-maeander pattern with checkerboard-squares.Dilute glaze: folds of himation of 3. 132 seemsclosest to these three in the manner of the Meidias Painter: Athens, N.M. 1681 (ARV21322, 16; Burn, Meidias Painter,p. 106, cat. no. MM 26); Ferrara2721 = T.1166 VT (ARV21322, 18; Paralip.478, 18; Addenda363; Burn, p. 107, cat. no. MM 28, pl. 48:a-c); and Berlin 2373 (ARV21322, 20; Burn, p. 107, cat. no. MM 30). Ca.410 B.C. 133 P1.23

P 10571

B 15:1

Stand. Base, upper part lost. Much of the glaze flaked and abraded above wool basket. Surface pitted. P.H. 0.16; diam. at top 0.13. P. E. Corbett, Hesperia18, 1949, p. 313, cat. no. 8. Parts of two pairs of women (preserved from the shoulders down)dressedin chitons. One (illustrated)holds out something in her left hand (a bird[?]). On the ground between the other pair is a wool basket. Below the figures, egg pattern, then a zone of inverted rays. Some preliminary sketch. Ca. 410 B.C.

134 P1.22

P 7256

F7

Wall and torus base fragment of stand. Glaze chipped here and there. P.H. 0.10; P.W.0.172; est. diam. of base 0.29. Two women (lower drapery of each) one to right, the other frontal, each wearing a long chiton. Behind the left one, something solid that looks architectural, perhaps the lower shaft of a column. Below, stopped-maeander pattern with saltire-squares,then inverted rays. Preliminarysketch. Ca.410 B.C. 135 P1.23

P4547 N 10:1 Wall fragment of stand. Glaze pitted in places. P.H. 0.103; max. dim. 0.143. Man (head, right hand, and foot missing) standing to right, wrapped in a himation. Behind him, the lower drapery of another figure,perhaps a woman. Preliminarysketch. Ca. 410 B.C.

136 P1.23

P 14385 N 10:1 Wall fragment of stand. Glaze fired brownish. P.H. 0.067; max. dim. 0.08. Woman(torso, rightarm)standingto right, wearinga peplos and holding a box on her left forearm. Preliminarysketch. Probablyfrom the Sundry Group of Paintersin the Manner of the Meidias Painter. Cf., e.g., Athens, N.M. 1659 (ARV2

154

CATALOGUE

1322, 11; Burn, MeidiasPainter,p. 106, cat. no. MM 18); the standing woman on Berkeley 8.48 (ARV21322, 13; Burn, p. 106, cat. no. MM 21); and Ferrara 2721 = T.1166 VT (ARV21322, 18; Paralip.478, 18; Addenda363; Burn, p. 107, cat. no. MM 28, pl. 48:a-c). Ca. 410 B.C.

137 P1.23

P 22498

P 17

Three non-joining wall fragmentsof stand, a from near top, b and c preserving part of the torus foot. Much of the surface pitted on a; glaze abraded on foot. PH. a) 0.11, b) 0.073, c) 0.05. Fragment a (illustrated)preserves a woman (neck to midthigh, upper arms) standing frontally,head to left. She wears a peplos. At the upper left, chest (carried by her[?]). At the upper right, the lower left corner of another chest and at the lower right, part of a sash, probablyhanging from her left arm. Fragmentbseems to preservethe lower draperyof a figureand at the right, the end of a sash. Below,egg pattern, then inverted rays. Fragment c gives more of the two patterns. 137 seems to be by the same hand as the lebetes gamikoi in Madrid that Beazley says continue the tradition of Athens, N.M. 1681 in the manner of the Meidias Painter but are no longer Meidian: Madrid 11264 (ARV21332, 2) and Madrid 11263 (ARV21332, 3). The drapery of each figure has the thick, black border applied freely without a framingline at the edge of the cloth, and at the bottom of the stand there are rays above the torus foot that end in long, narrowtips drawn in thin glaze. Ca. 410 B.C.

138

P 22567

E 2:3

Wall fragment of stand. Max. dim. 0.10. Woman (most of body) wearing a peplos, standing frontally. At the right, part of her left arm, the elbow bent with the forearm projecting. At the upper left, the fingers of her right hand holding an alabastron(bottom). Preliminarysketch. For a woman holding an alabastron, see, e.g., 130; 145; 151; or a fragmentof a lebes gamikosin Mykonosrelatedto the Washing Painter (ARV21135, -, 1); also the right woman on the obverse of Ferrara2721 = T. 1166 VT in the manner of the Meidias Painter (ARV21322, 18; Paralip.478, 18;Addenda 363; Burn, MeidiasPainter,p. 107, cat. no. MM 28, pl. 48:a, b). Ca.410 B.C. 139 PI. 23

P 27786

H 15

Wallfragmentof stand. Glaze firedgreenish in places. Max. dim. 0.053. Woman (head with sakkos,start of shoulders)to right, head bent downward somewhat. Preliminary sketch. Relief contour. Ca. 410 B.C.

140 P1.23

P 15733

K-N 9-12

Wall fragment from top of stand with molding and bottom of lebes. Glaze abraded along edge of rim. P.H. 0.09. Woman (most of head with sakkos)to right. Behind her, traces of an object, perhaps a chest or a wool basket. Above, egg pattern. For a chest held at this height, see Athens, N.M. 1659 from the Sundry Group of Paintersin the Manner of the Meidias Painter (ARV21322, 11; Burn, MeidiasPainter,p. 106,

cat. no. MM 18);for a kalathos,see the one on the unattributed lebes gamikos from Rheneia, now in Mykonos, 95 (DdlosXXI, pl. 39). Ca.410-400 B.C. 141 Pl. 23

P 22912

H-K 12-14

Wall fragment of stand. Glaze fired somewhat greenish. P.H. 0.068; P.W.0.054. Woman (most of head, body to hips, part of each arm) standing frontally,looking to left. She wears a peplos. At the right, a chest (part), held on her left hand, and at the far left, traces of another chest. Ca. 410-400 B.C.

142 P1.23

J 13

P 1445

Two non-joining wall fragments of stand. Glaze flaked in places. Max. dim. a) 0.07, b) 0.068. Fragment a shows most of the head and part of the left shoulderof a woman to left. Around her head is an ivy wreath with streamers; she also wears a necklace. Fragment b gives most of the face, chest, and raised left arm of a woman to right. Over her chiton she wears a cross girdle, and she is adorned further with an earring and necklace. Preliminary sketch. Addedclay:wreath;dot at end of streamers;necklaces;earring; cross-girdle.Dilute glaze: surface between locks of hair. The horizontal curve of these two fragments indicates that fragment a was high in the composition, probablyjust below the molding at the join with the lebes, and that fragment b was considerably lower. Thus, the woman on b was probably seated, the one on a, standing. Not from the same stand as 143. The surface of 142 is smoother on both inside and outside. They are probably by the same hand and they take with them the unattributedstand of a lebes gamikos, Athens, N.M. 12894 (BCH 66-67, 19421943, pl. 13). I wish to thank M. Sgourou for drawing my attention to this parallel. Late 5th or early 4th century B.C. P 20203 Q.8-9 Wall fragment of stand. P.H. 0.07; P.W.0.10. Woman (torsowith chiton and much of left arm and hand; bracelet on wrist) to left. Cross-girdleon upper body. At the far left, a bit of reserve that may represent the arm of another figure. Preliminarysketch. Added clay: cross-girdle;bracelet. Not from the same stand as 142 (see above). Late 5th or early 4th century B.C. 143 P1.23

144 PI. 24

P 135

H5

Wallfragmentof stand with streakyblackglaze on inside. At the very top on the inside there is a slight incurving to indicate the bottom of the lebes. H. 0.044; W 0.05. Nike(?)or Eros(?)(head with fillet, bow of wing, right hand holding a beaded necklace) to left. Above, stopped-maeander pattern. White (mostly flaked): necklace; feathers. Dilute glaze: surface between locks of hair. Added clay: fillet. Late 5th or early 4th century B.C. 145 P1.24

P 25488

No grid

Six non-joining fragments,a with turn of shoulder and only the startof the handle at the upper right, e of neck and shoulder with ring at junction, and f of base. Max. dim. a) 0.108,

LEBETES GAMIKOI b) 0.05, c) 0.031, d) 0.025, f) 0.07; est. diam. of base 0.16; P.H. of e) 0.085. Women. Fragment a (illustrated)shows a woman (most of head with fillet or sakkos, left half of body to hip) standing frontally, head to right, holding Eros on the palm of her outstretched left hand. He has a fillet around his head and holds out a beaded necklace. Below the woman's hand, a sash. At the right, a similar woman (filleted head, most of body) stands to left, holding a large alabastron on the palm of her outstretchedright hand. Before her hangs a beaded streamer. Below her arm, part of another sash(?). Each woman wears a peplos, necklace, earring, and bracelet. At the upper right is the lower right corner of the tongue pattern on the shoulder. Fragmentsb and c show drapery;d seems to preservepart of an arm. Preliminarysketch. Added clay:jewelry; Eros' fillet and feathers;dots on right woman's fillet; beads of streamer. Probablyearly 4th century B.C. 146 P1.24

P 19694

C 19:13

Wall fragment of stand with projecting moulding at top. Glaze scratched and abraded. P.H. 0.092. AgoraXXI, pl. 30: G 8. Woman (head with sakkos) to right. Above, egg pattern. On top of rim, tongues(?) sloppily applied. Graffito between pattern and rim. Early 4th century B.C. 147

P 256

F 16

About half of lower part of lebes, all of stand. Molding between lebes and stand. Glaze misfired red. P.H. 0.104; diam. of foot 0.058. On lebes, from left to right: back legs of klismos(?),wool basket with balls of wool, then some kind of stand(?),next, a woman seated to right (drapery). On stand: woman clad in a peplos, standing frontally,head to left, holding a chest with a sash in her outstretched right hand. Then comes another figure, similarlyclad, who appears to be holding a chest with a sash below. Above foot, inverted rays. White: balls of wool. First half of the 4th century B.C. 148

P 17901

C 19

Wall fragment of stand. P.H. 0.151. Partsof fourwomen: back of head, draperyof 1 to left;head, shoulders of 2 wrapped in a himation to right; 3 (legs missing), also to right, nude but for a girdle and bracelets;4 (raisedright arm, right thigh), to left, also nude. White: flesh of 3 and 4. Added clay: girdle and bracelet. First half of the 4th century B.C. 149 P1.24

P 22118

J11:1

Fragment of miniature stand. Glaze fired brownish in places. P.H. 0.063. Woman to right, carrying a box with a sash. Then comes another woman (illustrated)to right, looking back and wearing a short chiton. Between the two, on the ground, is a tympanon. Above, egg-and-dot pattern. White: second woman. For a list of other miniature lebetes gamikoi, see F HarlSchaller, JOAI Beiblatt 50, 1972-1975 [cols. 151-170], col. 166, note 58. Add: 154, the miniature lebes gamikos of Type 2. The Painter of Athens 1256 (ARV21506, 2). First half of the 4th century B.C.

155 P 16220

150

N21:4

Wall fragment of stand. Max. dim. 0.058. Partoffigure (legs)to left. In the upper right, a bit of reserve. White: legs. Dilute (faint):muscles. Probablysecond quarter of the 4th century B.C. TYPE 2

151-154

151 PI. 24

P 17946

B 19:7

Mended from several fragments,with the missing pieces restored in plaster and painted. Mouth completely restored. H. to top of handle 0.135; rest. diam. of body 0.118. R. S. Young, Hesperia20, 1951, pl. 72:1. Under handle B/A Nike (fromthe waist up except for arms and end of wings)to right,wearing a peplos. Side A (illustrated) depicts a woman dressed in a peplos, standing frontally,both arms outstretched, an alabastronin her right hand. She looks toward the next woman similarly dressed, who sits on a chair holding a chest in the palm of her right hand. Part of her back is missing. Of the next woman only her lower drapery and feet remain. She faces left. Under handle A/B, Nike (head, part of wings, and drapery)flying to left. Between each Nike and the woman in front of her hangs a fillet. A small floating fragment preservesthe end of the firstNike's wing and part of the woman in back of her (drapery)who would be on the right of the composition on Side B. Tongue pattern on shoulder at junction with neck. Relief contour: profiles and napes. and CorriPerhaps by the Painter of Munich 2335 (Addenda genda,p. 1685 to ARV' 779-783; not in ARV2). Ca. 430 B.C. 152 P1.24

P 10539

B 15:1

Mended with the missing pieces restored in plaster and painted. Handles, except for one stub, and all of foot restored. Rest. H. 0.133; rest. diam. 0.139. P. E. Corbett, Hesperia18, 1949, pl. 80:6. A, woman (lower drapery,feet) seated on a chair (part) to right, facing another (head, shoulders, lower drapery, feet) who stands. Each wears a chiton and himation. Behind the seated one, beneath the handle is a door; behind the standing one, next to the handle is a Doric column and beneath the handle, a palm tree. B (illustrated),two women (all of one on right; drapery of other) facing, each in a chiton and himation. Between the two is a Doric column. Hanging on the wall behind the woman on the right is a sakkos;next to the column, part of a rectangularobject, also on the wall. Tongue pattern on the shoulder at junction with the neck. The Marlay Painter (ARV' 766, 10; ARV21277, 14). Ca. 430-420 B.C.

153 P1.24

P3891

K 14:1

Three non-joining fragments:a, the lower part of the body and flaring ring foot with a groove, mended from many fragments and strengthenedwith plaster;b, of mouth with grooved top side, neck and shoulder,the start of one handle; c, shoulder fragment. Glaze much pitted on a; badly abraded on b and c. PH. a) 0.107; max. dim. b) 0.138, c) 0.078. A, women. Fragment a shows two women (from the chest down, dressed in peploi), standing frontally. Between them, sashes. Fragment c (illustrated)preserves the head of the one to right, who holds an alabastron. She faces one who carriesa

156

CATALOGUE

chest. These are probably the two on Side A of fragment a. B, Nikai. Fragment a depicts two Nikai (head, arms, start of wing of left missing; all of the other lost except for a bit of drapery) back to back, flying toward the women on Side A. Each wears a chiton. Above the figures(fragmentb),two rows of ornament: egg pattern;above, tongue pattern. Probably by the same hand as the two lebetes gamikoi in Madrid that Beazley says continue the tradition of Athens, N.M. 1681 in the manner of the Meidias Painter but are no longer Meidian: Madrid 11264 (ARV21332, 2) and Madrid 11263 (ARV21332, 3). Ca. 410 B.C. 154

P 23820

Q 15:2

Miniature. Handles missing. Glaze flaked in many places. H. 0.033; diam. 0.032. A, head of woman with sakkos and earring, to left. B, upright palmette. On shoulder,tongue pattern. For other miniaturelebetes gamikoi, see 149. Late 5th century B.C. TYPE UNCERTAIN

155-163

155 P1.24

Ca. 420 B.C.

0 19:4 (L) Shoulder fragment with start of handle at left. Max. dim. 0.042. Nike (head, shoulder, start of wings) frontal, with head in profile to left. She wears a peplos. P 12634

Late 5th century B.C.

157 PI. 24

P 68

H6

Wall fragment of lebes with turn of shoulder. Glaze fired a little brownish. Max. dim. 0.047. Woman (head, chest, upper part of right arm) standing to right, dressed in a peplos and adorned with a necklace, an earring, and two ornaments in her hair. In front of her is the upper left corner of a box she probably holds on her left forearm. Above, a little of the egg pattern with dots. Added clay:jewelry and ornaments. Early 4th century B.C. 158 P1.24

P 23088

I 14

Wall fragment with turn of shoulder. Max. dim. 0.049. Woman (head with dotted fillet and earring, a little of one forearm at lower left break) facing to left. In front of her, a chest (righthalf). Added clay: dots of fillet, earring. Early 4th century B.C.

P 19458

B 18-19

Three non-joininglebes fragments,a with shoulderand start of handle at upper right. Max. dim. a) 0.124, b) 0.09, c) 0.03. Fragment a preserves parts of two women. The left one (head with sakkos, left arm, a bit of drapery) stands to right, holding a crouching Eros in the palm of her outstretched left hand from which hangs a sash. Eros holds out a beaded necklace. The second woman (face, chest, arms) faces her, holding a chest. Above, tongue pattern. Fragments b and c preserve drapery. White: Eros' fillet. Added clay: bracelet of left woman; beads of necklace; feathers. Second quarter of the 4th century B.C. 160 P1.24

P 20219

D 16:8

Wall fragmentof lebes with turn of shoulder. Glaze abraded on shoulder. Max. dim. 0.044. Woman (most of head with beaded fillet) to right. Behind and in front of her, Eros (wing tip). Above, egg pattern with dots. Dilute glaze: hair. Added clay: beads. Second quarter of the 4th century B.C. 161

P 23933

Q,15:2 Wall fragment of lebes. Glaze fired reddish brown. Max. dim. 0.06. Woman (most of left arm, top of thigh) seated to right, opening a chest that restson her lap. At the right, one finger of someone standingbeforeher, holdinga wreath. Reliefcontour: hand, box, and finger. Red or white (flaked):wreath. 156

159

P 6658

O-P 8-9

Wall fragment from rather low down. Max. dim. 0.08. Two women (lower drapery of each) to right, the ends of a large sash hanging between them. Probablysecond quarter of the 4th century B.C. 162 P1.24

P 25712

P7-12

Wall fragmentwith turn of shoulder. Max. dim. 0.098. Eros (head missing) flying to left, holding out a fillet. In front of him is the back of the head and the left shoulder of a woman to left. Behind him, face, top of head with spiked fillet of a woman also to left. A bit of her drapery appears below, at the break. Below Eros, three spikes,probablythe top of a tripod. Above the figures, egg pattern with dots. Dilute glaze: hair. White: left woman's garment. Added clay: Eros, fillet held by him; bead on woman's shoulder; spikes of fillet and spikes of tripod. Traces of gilding on Eros' left shoulder. Fora representationof such a tripod, although painted, not in added clay, see Bologna 303 by the Kadmos Painter (ARV2 1184, 6; Paralip.460, 6; Addenda341). Probablysecond quarter of the 4th century B.C. 163 P1.24

P 19017

A-D 16-23

Shoulder fragment. Max. dim. 0.078. Eros(shoulders,partof rightarm, both wings)flyingto right. Above, two zones of egg pattern with dots, with a narrowblack band between; then tongue pattern above. Added clay: Eros; dot on each egg; dots on black band; dot at end of each line separatingtongues. Fora similarpattern on the shoulder of a lebes gamikos, but only just one zone of egg pattern, see the Type 2 lebes, Berlin inv. 4982 (Schefold, U., pl. 15:2). Probablymid-4th century B.C.

COLUMN-KRATERS

157

COLUMN-KRATERS 164-233 FRAMED 164-186 PICTURES

164 P1.25

P 14948

F 19:5

Two non-joining fragments,a of neck and shoulder,b of rim, neck and shoulder. Max. dim. a) 0.095, b) 0.085. Fragment a preserves the filleted head of a man and the head of a muzzled horse, both to right. Above, tongue pattern at the junction with the neck. Fragment b gives more of the tongue pattern and below it the top of the head of a figure to right, who seems to wear a garment drawn up over the top of his or her head. On top side of rim, lotus buds with dots in the interstices. Relief contour. Incised line for hair of each figure and forcontour of horse'smane. Red:fillet;mane; two splashes below the head of the horse; band on insidejust below rim. The presence of a horse wearing a muzzle suggests that the scene on fragment a is the harnessing of a chariot team. If so, this would be one of the trace horses, for the standard composition shows both pole horses alreadyharnessedand one or both of the trace horses being led up. For the subject, see M. B. Moore, AK 29, 1986, pp. 107-114. One should not, however,completely rule out the possibility that this horse is a mount. Harnessing scenes are very rare in red figure;the only ones known to me thus far are: Munich 2420 from the Pezzino Group (ARV232, 3; CVA,5 [Deutschland 20], pl. 221 [936]:3; Mind andBody,p. 312, no. 199; Addenda157); Vatican 16575 (506) by Epiktetos (ARV273, 27; Addenda168); and Louvre G 196 by the Troilos Painter (ARV2296, 2). If the subject on 164 is a harnessing scene, one would expect to see part of the rest of the team or perhaps a bit of the charioteer. Scenes that show horses being led appear fairlyfrequentlyin Late Archaic red figure, but in these the horse is not muzzled but already bridled. The only parallel known to me for a muzzled mount being led is the left horse on Psiax's amphora in Philadelphia 5399 (ARV27, 3). The other horse in this scene is bridled. Sundry Very Early Red-figure Pots by Various Painters (ARV' 14 '; ARV2 11, 6). Ca. 520

B.C.

165 P1.25

P 25957

L-M 7:1

Seven non-joining fragments,mostly of wall, a/e andf with shoulder,g of overhang of rim from near handle plate. Glaze rather dull on b and d. Max. dim. a/e) 0.107, b) 0.088, c) 0.073, d) 0.053, f) 0.06, g) 0.51, h) 0.064. H. A. Thompson, Hesperia27, 1958, pl. 42:n (fragment a); AgoraXIV, pl. 65:b; S. N. Koumanoudi, 'ApX'Epq1976, p. 214, fig. 1 (fragmentb); Langridge, "EucharidesPainter,"p. 348, cat. no. E 17. A, departurewith chariot(?).Fragment c (illustrated)shows a little of the right-handtrace horse, the yoke, yoke pad, end of the chariotpole, and partof the pole-stay,the team to right. On the left-hand side of the horses, the drapery (himation[?])of a figure and at the upper left, some relief lines that look like hair (end of a beard[?]). At the right, a wavy line that is a long lock of hair hanging over the left shoulder of this figure. Fragmentf shows the upper left corner of the panel and the crest of a warrior's helmet, probably one who stands in the chariot. Fragment h preserves the end of a fold of his drapery and the

Pls. 25-31 stopped-maeander pattern framing the panel. Fragment a/e (illustrated)shows the upper right corner of the panel, with the head and shoulders of a small boy, probably sitting on the shoulders of a man, the back of whose head appears at the left break. Above, tongue pattern on the shoulder at the junction with the neck; at right, stopped-maeander pattern for frame, and at the far right, the start of the tongue pattern around the handle root. B, Herakles. On the right of fragment b (illustrated)is the buttock, thigh, and calf of Herakles striding to right, wearing a lionskin (one leg). Overlapping the skin is part of an object that looks like the end of a quiver (the black part might be part of the bow, except that it is too straight). Behind him standsanother figure(indicatedby a little drapery), who holds a spear and a round shield seen from the inside (part of each with the end of a tassle inside the shield), presumably Athena. Fragmentd (illustrated)gives a little of his opponent: a bit of his right thigh and most of his right hand holding the pommel of a sword. At the left, drapery. On overhang of rim, fragment g, horizontal encircled palmettes in black glaze to right. Relief contour. Dilute glaze (very faint): muscles. Rim of shield incised (compass-drawn). The scene with Herakles is probably his combat with Kyknos, a theme far more popular in blackfigurethan in red figure. For the subject, see LIMCVII, 1994, pp. 970-991, s.v.Kyknos (A. Cambitoglou and S. Paspalos). If this identificationof the subject on 165 is correct, the composition showed Athena at the left preceded by Herakleswho stridesto right toward Ares, rushing in to assist his son. Something of a parallel would be the cup in London by Oltos, only here the friezelike format allows the inclusion of extra figures (B.M. E 8: ARV263, 88; Addenda165). The problem with this identification is the interpretationof the little bit of drapery at the left of fragmentd. In black figure, this figure would be Zeus, who either intervenes or, as Shapiro suggests (AJA88, 1984 [pp. 523-529], p. 526), encourages Herakles. For good examples, see Berlin 1732 by Lydos (ABV 110, 37; Paralip.44, 37; Addenda30) and London, B.M. GR 1861.4-25.50 = B 197 by the Painter of Berlin 1686 (ABV 296, 1; Paralip.128, 1; Addenda77). In the known red-figuredrepresentationsof Herakles in combat with Kyknos, Zeus is not present, although occasionally Athena is there, a good example being the calyx-kraterby Euphroniosin the Levy-White Collection (Euphronios, cat. no. 6). Still, since there is considerablevariation in the red-figuredcompositions of this theme and in the number of participants, one should perhaps not rule out the possibilitythat Zeus appeared on 165. The Eucharides Painter (ARV2230, 50; Addenda199). Ca.500-490 B.C. 166 Pl. 25

P2619 G6:3 Two non-joining wall fragments, one (a) with shoulder. Matte glaze on inside. Max. dim. a) 0.066, b) 0.033. Fragmenta comes from the upper right corner of the panel and shows part of a branch with leaves. Above, tongue pattern at thejunction with the neck. Framedat side by ivy. Fragmentb (illustrated) preserves most of the filleted head of a youth

158

CATALOGUE

I

. \x

FIG. 7. Column-krater169 (P 23173 c, d). Scale 2:1

looking downward to left. Relief contour. Dilute glaze: down on youth's cheek. Red: leaves of branch;fillet. Ca. 490 B.C. 167

P 16761

B22:4

Wallfragment fromleft edge of panel, with startof shoulder. Glaze streakyon inside; blisteredon outside. Max. dim. 0.072. G. Stamires and E. Vanderpool, Hesperia19, 1950, p. 388, no. 28, pl. 112; AgoraXXV, no. 571. At the left, part of the ivy framing the panel, then a raised right forearm, the hand (now missing) holding an object that looks like a fillet. Reused as an ostrakon for Kallixenos. Preliminarysketch. Red: fillet. For the ostracism of Kallixenos, probably in the 480's and perhaps in 483 B.C.,see AgoraXXV, p. 66 with bibliography. Early 5th century B.C. 168 P1.25

P 17751

L 19:3

Wall fragment with turn of shoulder. Max. dim. 0.055. Youth or komast (wreathed head, shoulders) frontal, head turned to left. Above, tongue pattern. Preliminary sketch. White: wreath. Manner of the Goettingen Painter (ARV2235, 10). Ca. 490-480 B.C.

H 12:15 P 23173 169 Fig. 7; Pls. 25-26 Five non-joining fragments of shoulder and wall. Glaze dull on outside. Surface of figuresrather abraded. Max. dim. a) 0.089, b) 0.077, c) 0.147, d) 0.102, e) 0.092. Athena and the Giant. Fragment a (illustrated)shows the back of the goddess' helmet, a tiny bit of her aegis, and the

upper contour of her right arm held out at shoulder level. She moves to right. Behind her head: oI Fragmentc (illustrated)preservesmost of the helmeted head of the giant and part of his raised right forearm. Between his face and forearm: Nr

Fragmentd (illustrated)shows most of a round shield seen in three-quarterview (device:tripod). The long, narrow,curved object is the tail of the giant's helmet crest overlapping the shield. At the break to the left of the shield:

jo and at the right, ivy. The giant was probablyrunningor falling to right, head turned back. Fragment e gives the upper right corner of this panel with the tongue pattern on the shoulderat the junction with the neck and more of the ivy pattern (this ivy is the same size as that on fragment d). Fragment b comes from the other side of the vase from the lower right part of the panel and looks like it preservesthe calf of a man. At the right, ivy that has smaller, more closely spaced leaves than that on fragmentsd and e. Between the leg and the border: Relief contour. White (flaked):inscriptions. What remains of Athena's right arm indicates that she held her spearat waist level; otherwise,her forearmand hand would appear to the left of her helmet, where the inscriptionis. This position of her spear would also account for the defensive gesture of her opponent, who appears slightly lower in the composition. For a parallel, see Athena and her giant in the representation of ca. 470 by the Altamura Painter, London,

COLUMN-KRATERS

159

B.M. E 469 (ARV2589, 1; Addenda264; Prange, Niobidenmaler, Myson (ARV2240, 31: 172 now separated from 209 [see below sub209]; 241, 60: P 7244 c). p. 157, cat. no. A 1, pl. 51, left). Ca.490-480 B.C. Perhapsby the Goettingen Painteror in his manner. Forthe helmet crest with three lines and a row of dots, also the eye D 7:2' P 7251 a-d, f, g 173 Fig. 8; PI. 26 with centered pupil, see the warriorson Harvard 1925.30.126 Six a of rim, neck, shoulder, and non-joining fragments, by the painter himself (ARV2234, 11) and New York,M.M.A. + of start one handle d b of shoulder with swelling for column, 91.1.462 in his manner (ARV2234, -, 1; Addenda 200). handle root and part of wall, c, f, and g of wall. Glaze dull Ca. 490-480 B.C. in places on outside; a bit abraded on topside of rim. Burned slightly on Side A. Est. diam. of rim: 0.32; W. of rim 0.04; P 7249 D 7:2 170 P1.26 PH. a) 0.138, max. dim. b) 0.213, c) 0.109, d) 0.132, f) 0.089, Shoulder and wall fragment, with start of handle at left. 0.05. g) Max. dim. 0.146. A, satyrsmaking wine. Fragment b + d (illustrated)shows a Komast (lower part of head, torso to waist, start of left (most of face, arms, torso, part of tail, and part of left satyr arm, most of right) to left, looking back, holding a stick in to leg) right, facing another (front of torso, right leg, start of his right hand. He is nude but for a wreath around his head. left thigh), who treads grapes in a large vat set inside another, Above, tongue pattern at the junction with the neck; ivy for probably one with a sieve in the bottom (see below). His side frames. Preliminary sketch. Relief contour: nape; right right arm was raised (a little bit of reserve at the break makes forearm. Dilute glaze: muscles (it is this feature that makes this clear), perhaps holding a loop or ring above his head as clear that his legs were in profile to left). in other such scenes. Fragment c (illustrated)preserves the Myson (ARV' 169, 8; ARV2239, 27). beard, most of the body, part of the legs, arms, and shaggy Ca. 490-480 B.C. tail of another satyr treading grapes. At the very bottom of the fragment is part of the trough or, more likely, the basket 171 Pl. 26 P 6890 C-D 6-7 (see below), and in the upper left there is the hand of a satyr Wall fragment with turn of shoulder. Max. dim. 0.043. holding a basketofgrapes he is about to dump into the treading Man, probably Dionysos (part of his face and wreathed basket. Fragmentg (illustrated)probablycomes from this side, head), to left. In front of him is an object that is probably but it is unclear what it preserves. To judge by the surface the rim of his drinking horn. Above, part of the tongue and the thickness of the wall, it comes from the part of the pattern at the junction with the neck. Relief contour. Red: composition about level with the thighs of the satyrs, and it ivy wreath. may be part of the satyr who is about to empty his basket of The figure is probably Dionysos, for most unidentifiable grapes. B, Komasts. Fragment a preserves on the far left the males in the work of Myson are youths. For an exception, see raised right arm and the back of the filleted head of a komastto the left komast on the column-krater once London Market, right and on the right, most of the filleted head and raised right ex Kusnacht, Hirschmann (Paralip.349, 29 bis; Addenda201; hand of one to left. Fragmentf gives the lower right corner of Cat.Sotheby's 9 Dec. 1993, no. 43). For Dionysos, see Wiirzburg this panel with the komast'sleft foot to right. Tongue pattern 526 (ARV2239, 19; Addenda201); Louvre Cp 10759 (ARV2 on the shoulder at the junction with the neck; ivy at sides of 239, 20); and New York, M.M.A. 07.286.73 (ARV2240, 45; each panel. Ivy on overhangof rim. Preliminarysketch. Relief Addenda201). contour. Dilute glaze: left satyr's beard on b + d. Red: line Myson (ARV' 169, 9; ARV2239, 29). on inside of rim; line below figures that continued around the Ca. 490-480 B.C. vase (fragment ); grapes; fillets. For the subject, see L.Jehasse, MonPiot58, 1972 [pp. 25172 P1.26 P 7244 c, e, j, a, X, D 7:2 41], pp. 36-41; J. Hemelrijk, BABesch49, 1974 [pp. 117Six non-joining wall fragments,c andj with turn of shoulder. 158], pp. 152-155; B. Sparkes, BABesch51, 1976, pp. 47Max. dim. c) 0.095, e) 0.129, j) 0.046, a) 0.062, X) 0.044, 56; also, the brief discussion by G. Hedreen, Silensin Attic Ann Arbor 1992, [i) 0.038. Vase-Painting: MythandPerformance, Black-Figure Symposion. Fragment e (illustrated)preservesa little of the pp. 85-88: here the focus is on vintage scenes as they relate couch and part of the table in front of it, with a branch hanging to Dionysos and Naxian wine. There are not very many redfrom it. Below is a foot stool. Fragment a gives part of the figured examples of satyrs making wine, and 173 seems to headpost of the couch, the mattress, and a bit of the drapery be one of the earliest, preceded slightly by the scene on a of the symposiast. Fragment c (illustrated)shows the wreathed bell-kraterin Basel, Antikenmuseumund Sammlung Ludwig, head, some ofthe chest, and rightarm of a youthfulsymposiast, BS 482, attributed to the Kleophrades Painter (ARV21632, who wears a himation (it is uncertain if he is the one whose 49 bis;Addenda188; CVA,Basel 3 [Schweiz 7], pl. 11 [323]:2, 4); drapery appears on P 7244 &:218) and P 7244 j preserves 173 seems to be the only example in which there are four satyrs the back of a similarlywreathed head but facing to right. At by themselves. Usually, Dionysos is present, as in the scene by the left of this fragment is the contour line for the framing the Cleveland Painter in New York(M.M.A. 41.162.10: ARV2 ornament. P 7244 X and tL seem to come from the other side: 516, 4; Paralip.382, 4; Addenda 253) or there may be three satyrs each preserves a little of the framing ivy and the drapery of by themselves (e.g., Lecce 602 by the Leningrad Painter:ARV2 a figure. The curve of E indicates that it should be positioned 569, 39; Paralip.390, 39; Addenda 261). at about the level of the heads on c andj. Preliminarysketch. 173 presents a number of problems concerning interpretaRelief contour: profile of youth; furniture. Dilute glaze: lines tion of details. Firstof all is the vat on fragmentb + d. Normally on mattress. Red: wreaths;branch and leaves. this is a simple, plain vessel without handles (e.g., Lecce 602;

160

CATALOGUE

FIG.

8. Column-krater173 (P 7251 b + d, c). Scale 2:1

Naples, Capodimonte 960 by the Pig Painter: ARV2563, 4; Paralip.389, 4; Addenda260). The one on 173 is clearly set inside another vessel and presumablyshould be thought of as having a sieve in the bottom (for such a vessel with a strainer or shallow dish set into it, but without a satyr standing in it, see Basel, Antikenmuseumund SammlungLudwig, Ka 420 by the Amasis Painter:Paralip.65; Addenda 43). The satyr on 173 must be thought of as standing in the vat; otherwise his legs would not be long enough to reach the ground (compare the length of the left satyr's leg). Furthermore, this satyr cannot be the one on fragment e, who is about to dump the basket of grapes, for in these scenes, the feet and head of such a figure face the trough, although one foot may be raised above the ground, as on Naples, Museo di Capodimonte 960, on which the satyr steadies the basket on his thigh. The left arm of our satyr on fragment c was probably bent rather sharply, cradling the basket; otherwise, given the amount of room in the composition, he would overlap considerably the grapetreading satyr behind him on fragment b + d; in these scenes there is not very much overlapping of the figures. In winemaking representationsin which the grapes are treaded in a wooden trough, there is always a basket with handles through which the grape juice is pressed. The woven character of this basket is usually indicated, but occasionally its surface is smooth, as on Lecce 602, where its rim is almost horizontal rather than curving upwardsomewhat sharply (cf. by contrast Naples, Museo di Capodimonte 960). This is very likely what the small reservedarea at the bottom of fragmentc represents. The trough itself would have to be rather deep, so that it will

not appear that the satyr'slegs are too short. A good parallel is the trough on Bologna 241 by the Orchard Painter (ARV2 524, 25; Paralip.383, 25; Addenda254) or Ferrara 42684 = T.254 C VP, a later work by the same artist (ARV2524, 26; Paralip.383, 26; Addenda254). In these scenes the satyr stands near the end of the trough opposite the spout and facing it; presumably ours did too. This would mean that the vat for catching the juice would probably overlap the legs of the satyr with the basket of grapes. For two reasons the trough cannot empty into the vat on fragment b + d. First of all, the curve of the fragmentsindicatesthat the beardsof the two satyrs appear at the same height in the composition; therefore,the rim of the vat on fragment b + d would be too high for the spout of the trough, even if it were a very shallow one, as on Lecce 602. Second, if the vat on fragment b + d were the receptacle for the juice pouring from the trough, the treading satyr on b + d and the basket-bearingsatyr on c would overlap considerably, resulting in a very crowded section of the composition, and in other representationsof this subject there is practically no overlapping of major parts of the figures. Furthermore, the trough would not empty its contents into a vat in which a satyr is treading grapes. Thus the composition of 173 appears to be a carefullybalanced one of two pairs of satyrsmakingwine: one satyr treads grapes in a vat, the other presses them in a trough. For a parallel, cf. Naples, Museo di Capodimonte 960 by the Pig Painter. Here, however,Dionysos presides over the wine-making,whereas on 173 there is, instead, a fourth satyr. The Flying Angel Painter (ARV' 184, 25; ARV2281, 30). Ca. 480 B.C.

161

COLUMN-KRATERS 174

P 7251 e

D7:2

Shoulder fragment with start of handle column at far right. Max. dim. 0.088. The fragment preserveswhat appears to be a bit of drapery and part of the ivy framing the panel. Not from the same column-krateras 173. The ivy is a bit wider on 174, and the start of the handle-column is placed farther from the framing ornament than it is on 173, which begins right next to the ivy in the upper left. If 174 were to belong, it would be the handle column to the right of the satyr on fragment c. Furthermore, since this satyr was the framing figure on the right of the composition, what remains of the figure on 174 does not seem to correspond to any part of the satyr. Ca. 480 B.C.

P 5094 E-F 12-14 175 PI. 26 Shoulder fragment with start of neck. Thin glaze on inside at bottom. Max. dim. 0.038. Youth (part of head) to right. Above, tongue pattern at the junction with the neck. Relief contour. The Tyszkiewicz Painter (ARV' 189, 72; ARV2295, 85). Ca. 480-470 B.C.

176 P1.26

P 17916

A 18-19:1

Shoulder fragment with start of neck. Dull black glaze. Max. dim. 0.13. Dionysos (head, shoulders with chiton), frontal with head turned to left; at the break appears his kantharosseen from the side, presumably held in his right hand by the stem or foot; in his left he holds a vine. At the far right the face of a satyr and his right hand holding a thyrsos (top). Tongue pattern on the shoulder at the junction with the neck. Relief contour. Ca. 470 B.C.

177 P1.26

P 7243

D 7:2

Four non-joining fragments of neck and shoulder. PH. a) 0.125; max. dim. b) 0.16, c) 0.11, d) 0.99. E. Laufer,Kaineus: Studienzur Ikonographie [Rivistadi archeologia Suppl. 1], Rome 1985, pl. 12:35. Centauromachy (Kaineus). At the left, fragment b (illustrated)gives the forelock and ear of a centaur to right and on the right, the head, chest, right forearm, and most of the left arm of another, facing to left. He carries a branch in both hands. Between the two, the ends of two plumes that decorate the helmet of Kaineus. Fragmenta comes from the other side of the krater(the potting and glaze lines do not match up with those on fragment b). It shows the head and raised left arm of a centaur to left with head turned back and, in the upper left corner of the panel, a branch he carries over his right shoulder. Tongue pattern on the shoulder at the junction with the neck; ivy framing panel; inverted lotus buds with dots in the interstices on neck. Fragments c and d give more of the lotus pattern, and probably one of them belongs above fragment b. Preliminarysketch. Relief contour. Red: leaves of branches. Forthe subject of Kaineus, see B. Cohen, "Paragone:Sculpture versus Painting, Kaineus and the Kleophrades Painter," AncientGreekArtandIconography, Warren Moon, ed., Madison, Wisc., 1983, pp. 171-192; E. Laufer,Kaineus, passim. From what remains of the Kaineus scene on Side A of 177, taken together with the curve of the krater'sshoulder,it is likely

that the composition was a symmetrical one, with the warrior flanked to left and right by a single centaur, similar to the one by the Pig Painterhimself, once in the Lucerne Market, now in a Swiss private collection (ARV2563, 7; Addenda 260). EarlierMannerists,i: Manner of the Pig Painter(ARV2566, 1;Addenda 261). Ca.470-460 B.C. 178 PI. 27

P 12511 0 19:4 (U) Shoulder fragment with start of neck. Glaze cracked in places, has a greenish cast in others. Max. dim. 0.175. Komos. Head, shoulders, right arm, and hand of a komast to left. Around his head is a wreath; over his left shoulder, a himation. His head is tilted back, and he holds a stick in his outstretchedright hand (just the curved grip remains). At the far left, part of the head of another (not illustrated),probably facing. Above, tongue pattern on the shoulder at the junction with the neck. Panel framed by ivy. Dilute glaze: moustache and loose locks of beard. Red: wreath. Not from the same column-krater as 224 which is also a shoulder fragment, but has glaze on the underside, while 178 does not. Also the clay of each is slightly different. Earlier Mannerists, ii: The Leningrad Painter (ARV' 374, 18; ARV2568, 23). Ca.470-460 B.C. 179 PI. 27

P 7259

D 7:2

Wall fragment. Max. dim. 0.164. Chariot scene to right. At the left, the drapery of someone mounting the vehicle; most of the wheel, the floor of the box, and part of the chariot pole. At the right, the ends of the tails of both pole horses, as well as two of their hind legs, one from below the hock, the other from below the fetlock, then a third hoof. On the left-hand side of the team, someone to right wearing a long chiton. Overlapping the garment is the end of the tail of one trace horse, probably the right-hand one. Preliminarysketch. Relief contour. Rim of wheel incised (compass-drawn). Earlier Mannerists, viii: Undetermined (ARV' 396, 18; ARV2584, 14). Ca.470-460 B.C. 180 PI. 27

P 6896

D 11:4

Wall fragmentwith turn of shoulder. Max. dim. 0.101. Maenad (head with sakkos, upper torso, start of right arm outstretched)to left, wearing a chiton with a himation over it. In her left hand (now missing) she held a thyrsos (most of tip, part of shaft) and a sprig of ivy, which may have been coiled around the shaft of the thyrsos. Behind her is an unexplained curved object. Above, tongue pattern at the junction with the neck. Preliminary sketch. Relief contour: chin, neck, right arm. Dilute glaze: anatomy. Red: ivy. The curved object has no relief contour,but the preliminary sketch makes clear that it tapers considerably. It looks a little like the frondof a palm branch, but if so one would expect to see part of a second. Yet compare a fragment from the Group of the Niobid Painterin the collection of Herbert Cahn, H.C. 166 (Prange, Miobidenmaler, p. 228, cat. no. GN 105, pl. 17). Ca. 470-460 B.C.

162

CATALOGUE P 27686

181

P 14:3

Shoulder fragment with start of neck on inside. Surface a bit worn. Max. dim. 0.068. Youth (head, part of shoulder with himation, right arm outstretched)to left. Tongue pattern at the junction with the neck. Ca. 470-460 B.C.

182 P1.27

P 17532

J 18:3

Shoulder fragment with start of neck. Glaze slightly dull in places. Max. dim. 0.142. Youth (filletedhead) to right (illustrated).At the far right, at the break, part of a thin reserved line, the hair contour of a facing figure. White (mostlyflaked):fillet. The large amount of spacing between the two figures suggests that 182 comes from the reverse. Cf. these by the Florence Painter:Louvre Cp 10751 (ARV2541, 2); Louvre G 350 (ARV2542, 22); Louvre Cp 10760 (ARV2542, 26); Louvre G 352 (ARV2542, 29); and Rennes D.863.1.26 = 716 (ARV2 543, 39 bis;Addenda256). Each of these shows three youths, and presumably 182 did also. The Florence Painter (ARV2544, 55). Ca. 460 B.C. P 19150 C 18:4 183 Fig. 9; P1.27 Wall fragment. Glaze thin in places on outside. Max. dim. 0.113. A, male pursuing a woman. Parts of three figures remain: at the left, a bit of the himation and chiton, and left foot of a woman running to left, then part of the legs and right toes of a man pursuinga woman (bottomof skirtof chiton, heel of one foot) who runs to right. Preliminarysketch. Relief contour: right leg. Dilute glaze (very faint): muscles. Red: line below figuresthat continued around the vase. Boreas comes to mind as the pursueron 183, but he should probably be ruled out because he always moves much faster (often flying)than the male on 183 does. This scene may represent Zeus pursuing Aigina, for in illustrationsof this subject Zeus is often nude except for a cloak over both shoulders, and he moves in much the same manner as the pursuer does on 183. For a good comparison, see a stamnos attributedto the Painter of the Birth of Athena, Kassel, Alg. 59 (ARV2495, 8; Addenda 250). For the subject, see LIMC I, 1981, pp. 367-371, s.v.Aigina (S. Kaempf-Dimitriadou).

The Florence Painter or the Boreas Painter (ARV2545, 1). The border of esses for the bottom of the woman's chiton is a distinctivepattern that appears in the work of both painters: the Boreas Painter:New York,M.M.A. 96.19.1 (ARV2536, 5; Addenda 255); the 255) and Munich 2375 (ARV2537, 9; Addenda Florence Painter: Syracuse 21189 (ARV2541, 4) and Louvre G 360 (ARV2541, 8). What remains on 183 suggests an ambitious composition, with considerable overlapping of the figuresand hence seems a bit closer to the Boreas Painterthan to the Florence Painter,who, except for the Centauromachy on his namepiece (Florence 81268 = 3997: ARV2 541, 1; Paralip.385, 1;Addenda 256), tends to preferquieter and simpler compositions. Ca. 460 B.C.

184 P1.27

P 19130

C 18:4

Shoulder and wall fragment from upper right corner of panel. Glaze rather dull. Max. dim. 0.087. Warrioror Amazon (part of helmet and crest, about half of round shield) to left. To judge from the outstretched position of the tail of the crest, he (or she) is moving swiftly. Above, end of tongue pattern on the shoulder at the junction with the neck; at right, ivy framing the panel. Relief contour. Dilute glaze: row of dots on helmet crest; horsehairs of crest. Shield rim incised (compass-drawn). For the horsehairs of the crest, see these two parallels: Philadelphia 48.30.3 by the Oreithyia Painter (ARV2496, 4) and the namepiece of the Painter of Syracuse 23510 (ARV2 510, 1). 184 is closer to the latter, but there is not enough preservedto be sure of an attribution. Second quarterof the 5th century B.C. 185 P1.27

P 19447

A-D 16-23

Shoulder fragment. Glaze dull, pitted, and reddish brown in places. Max. dim. 0.046. Youth (upper part of face and wreathed head) to left, his head protruding into the tongue pattern above. At the left, part of a rectangular object (capital of a column[?]). Relief contour:lower contour of object. Red: wreath. Ca. 460-450 B.C.

186

P 24831

N 10:1

Shoulder fragment. Scratch at far right. Max. dim. 0.049. Woman (part of filleted head, fingers of left hand) to right. Above, tongue pattern. Relief contour. Third quarterof the 5th century B.C. PICTURES NOTFRAMED 187-197

187 P1.27

FIG.9. Column-krater183 (P 19150). Scale 2:1

P1463

H 13

Shoulder fragment with start of neck. Contour and relief line fired reddish brown. Max. dim. 0.058. Satyr (most of face) to right. At the lower break, a bit of reserve,part of the satyr'soutstretchedleft arm, and on the far right, a trace of his hand, probably the thumb. Fillet around head, mostly flaked. Preliminarysketch. Not from the same column-krater as 228, which has no preliminarysketch and no traces of misfiring. This satyr,with his bald pate, bushy eyebrow,and tiny snub nose, seemsclosestto these:two by the Diogenes Painter,St. Pe202), tersburgII 1899.75 (ARV2248, 1; Paralip.350, 1;Addenda

163

COLUMN-KRATERS which also has no tongue pattern on the shoulder at the junction with the neck, and London, B.M. E 261 (ARV2248, 2; Addenda202); also Geneva, Ortiz, which may be by the Diogenes Painter (ARV21639 to p. 249, 3) or the Syleus Painter (ARV2249, 3; Addenda203); and Louvre G 223 by the Syleus Painter (ARV2250, 16). Ca. 500-490 B.C. P 7244 g D 7:2 Shoulder fragment. Glaze has a greenish cast. Max. dim. 0.095. The fragment preserves the right forearm and hand of someone standing to left pouring wine from an oinochoe. Relief contour. Red: wine. The glaze to the left of the oinochoe is applied vertically, indicating that the scene was unframed. 188

Ca. 490 B.C.

189 Pl. 27

P 11025 a-b

D 15:1

Two non-joining wall fragments,one (a)with turn of shoulder. Max. dim. a) 0.061, b) 0.082. A, discus thrower. Fragment a (illustrated)preserves the chest, left forearm, and hand of a youth holding a discus (about half). Fragment b gives his lower right calf. Below, two lines that continued around the vase. Preliminary sketch. Relief contour. Red: lines below figures. Manner of Myson (ARV' 172, 3); Myson (ARV2241, 53). The discus thrower probably looked similar to the one on Oxford 52 (19), in the manner of Myson (ARV2241, 52; Paralip.349, 52). Ca.470 B.C. 190 P1.28

P 10578

D 15:1

Mended, with missingpieces restoredin plasterand painted, specificallypart of the rim, one handle plate, parts of the body. H. 0.395; diam. 0.322. 0. Theophanopoulou, ApXatooXoytlt 45, 1992, pp. 6-13, figs. 1-9. A, komast playing the aulos. Part of his head and his legs fromjust below the knees are missing. He wears a short cloak. B, discus-thrower.A little of his torso, left thigh, and both feet are missing. On neck: A, hanging lotus buds; B, black. Relief contour: A, except for front of right leg below the knee; on B, only for profile of youth and discus. Manner of Myson (ARVl 172, 4); Myson (ARV2242, 70). Ca. 490-480 B.C. 191 P1.27

P 7244 a, b, , x D 7:2 Four non-joining wall fragments, a with shoulder and neck. Glaze a bit greenish on neck. P.H. a) 0.21; max. dim. a) 0.242, b) 0.034, e) 0.047, x) 0.049. Komasts. P 7244 a (illustrated)preservesthe wreathedhead, part of the torso and arms, start of legs of a komast moving to left, looking back, a skyphos (almost half) held in his raised left hand. Over his right shoulder is a himation. P 7244 b may preserve a bit of his left arm and more of the himation. P 7244 x shows a bit of the nude torso and himation of a similar komast, and P 7244 e gives part of a knobby walking stick. Preliminarysketch. Relief contour:profile. Red: wreath. Not from the same column-krateras 192: the neck is taller on 191. Myson (ARV2241, 58: a, b). Ca. 490-480 B.C.

192

P 7244 d

D 7:2

Neck and shoulder fragmentwith start of handle column on far right. Partof the glaze has a brownishcast. P.H. 0.16; max. dim. 0.23. Komast (leftforearmand hand)holding a skyphosseen from the side. Relief contour: skyphos. Not from the same column-krateras 191: see 191. Myson (ARV2241, 59). Ca. 490-480 B.C.

193 P1.27

P 7244 h

D 7:2

Shoulder fragment. Max. dim. 0.13. Komast or man (back of head with fillet and wreath, right shoulder with himation) to right. Preliminary sketch. Red: fillet and wreath. The figure stood at the left of the composition, because the glaze behind him is applied vertically. Myson (ARV2241, 61). Ca.490-480 B.C. 194 P1.28 P 7250 D 7:2 Three non-joining fragments of shoulder and wall, b with start of handle root. Glaze misfiredreddish in places on both outside and inside. Fragmentsb and c are without decoration. Max. dim. a) 0.18, b) 0.081, c) 0.093. Komast (folds of himation, torso seen from the back, left forearm, most of left leg) to left, looking back. He holds a black knobbystick in his left hand (mistakenlydrawn as a right hand);there is a reservedline around the stickwhere it overlaps the black background. Preliminarysketch. The glaze to the left of the komast was applied vertically; thus he is the leftmost figure in the composition. Manner of Myson (ARV' 172, 5); Myson (ARV2242, 69). Ca. 480 B.C. 195 P1.28

P 16819

G 13:1

Rim, both handles, neck, start of shoulder, with missing pieces restored in plaster and painted. Chipped in places. P.H. 0.155; diam. of rim 0.29. On Side A of neck, hanging lotus buds with dots in the interstices. On B (illustrated),top of filleted head, probably a maenad to right, holding a thyrsos (end). No decoration on rim or handle plates. Red: fillet. Some resemblance to the Harrow Painter:cf. Naples 3152 (ARV2275, 260; Addenda207), Vienna 3737 (ARV2275, 61; Addenda 207); also Frankfurt,St.V3 (ARV2274, 37; Paralip.353, 37; Addenda 207); Louvre G 208 (ARV2273, 14). Ca.470 B.C. 196 P1.29

D 7:2 P 7242 Two non-joining wall fragments, a with turn of shoulder. Max. dim. a) 0.20, b) 0.069. A (illustrated), komast ('Anacreontic") standing to right, playing the barbiton. Fragment a preserves the end of his beard, most of his chiton and himation, both hands, most of instrument except the tip of one arm and one end of the crossbar). From the lower arm of the instrument hang a flute case and mouthpiece-box. In his right hand he holds the plektron. The ends of the sash hang down in front of him. B, komast. Fragment b shows a little bit of a similar komast (lowertorso, start of thigh, right forearm and hand), nude but

164

CATALOGUE

for a cloak. In his right hand he holds the plektron. Before him is the end of the sash of his instrument. Preliminarysketch. Relief contour. Dilute glaze: upper folds of chiton. Red: cords of plektra;tuning knobs. Strings of barbiton in relief. For "Anacreontic,"see J. Boardman in D. C. Kurtz and "Booners," GreekVasesin theJ. Paul GettyMuBoardman, J. seum2 [OPA 3], Malibu 1986 [pp. 35-70], pp. 47-70. 196 is cat. no. 36 in Boardman's list on p. 49. For the barbiton, see D. Paquette, L'instrument de musiquedans la c6ramique de la Greceantique,Paris 1984, pp. 173-184; M. Maas andJ. Snyder, Instrwnents New Haven/London 1989, ofAncientGreece, Stringed pp. 113-138. The figureswere unframed, because the glaze in frontof the musician on Side A is applied vertically. Manner of Myson (ARV' 173, 12); Earlier Mannerists, i: Manner of the Pig Painter (ARV2566, 4). Ca. 470-460 B.C.

P 20231

197 PI. 28

D 16

Shoulder fragment with start of neck. Max. dim. 0.065. Man or youth (upperhalf of head) to left. Ca. 460 B.C. NOT KNOWNIF PICTURESFRAMEDOR UNFRAMED 198-233

H 11 P 3299 198 Fig. 10; PI. 28 Wall fragment. Max. dim. 0.067. Langridge, "Eucharides Painter,"p. 349, cat. no. E 20. Fight. At the left is the raised right foreleg of a horse to right, overlapping the lower edge of a short chiton worn by an Amazon moving to right and also the start of her thighs. At the right, the calf of the left leg of a figure fallen or falling to right and next to it, the blade of a sword. Preliminarysketch. Relief contour. Dilute glaze: muscles. The composition probably showed an Amazon dressed in a short chiton, stridingto right toward a Greekwho has fallen or is falling backward. She is accompanied by another on horseback. The Eucharides Painter (ARV' 156, 41; ARV2230, 60). Ca. 500490

B.C.

with grapes. Preliminarysketch. Relief contour. Grapes in relief glaze. Red: stem of grapes. Early 5th century B.C. 200 Pl. 29

P 4674 and P 4694 E-F 12-14 Two non-joining wall fragments,P 4674 with turn of shoulder. Thin glaze on inside. Max. dim. P 4674: 0.089, P 4694: 0.024. Komos. P 4674 shows a youth (wreathed head, body to waist, right arm) to right, holding a black skyphos in the palm of his right hand. In front of him is a drinkingcup with offset lip, held by someone who faces him. Behind his head: before: P 4694 preservesa youth (foreheadwith part of wreath and face) to left. Relief contour except for upper part of right arm of youth on P 4674. Dilute glaze: muscles. White: wreaths; inscription.

The Goettingen Painter (P 4674: ARV1 159, 6; ARV2234, 13; P 4694: ARV' 159, 7; ARV2234, 14). The composition was probably similar to the komos on the painter's column-krater in New York,M.M.A. 06.1021.97 (ARV2234, 10). Ca. 500-490 B.C.

P 19579 a-c, f A 18-19:1 201 P1.29 Four non-joining wall fragments. Glaze brownish and streakyon inside and stops 0.08 from top breakon fragmenta. Max. dim. a) 0.119, b) 0.069, c) 0.091, f) 0.04. Men or youths with horse or mule. Fragment a preserves the hind legs of the animal to right and a bit of the reserved ground line. Fragment b shows the outstretched right hand and a bit of the himation of a man or youth to left, facing another (drapery). Fragment c gives the bent left thigh and start of calf, a little of the right thigh, the left wrist and hand of a male to left, wearing a himation. The position of his legs suggests that he is a komast. Fragmentf (not illustrated)may preserve more of this figure'shimation. Dilute glaze: lines on bordersofhimatia; muscles(veryfaint). Red: line below figures that continued around the vase. The figure on fragment c was probably somewhat like the right komast on the Goettingen Painter's namepiece (ARV2 233, -, 1; Addenda200). Not from the same krater as 202. 201 has brownish glaze on the inside, 202, black. The presence of the ground line on fragment a would argue that the figureson 202 were framed, were it not for the similarground line on a contemporary column-kraterby Myson that has unframed figures on each side: Louvre CA 1947 (ARV2240, 44; 201). Paralip.349, 44; Addenda Recalls the Goettingen Painter (ARV2235, -). Ca. 490 B.C.

202 FIG. 10. Column-krater198 (P 3299). Scale 2:1

199 Pl. 29

P 31778

No grid

Shoulder fragment. Glaze a little cracked. Max. dim. 0.06. Dionysos (right hand gripping the handle of his kantharos: most of its body remains) to left. In the background, a vine

P 19579 d, e, g, h

A 18-19:1

Four non-joining wall fragments. Glaze a bit streaky on inside. Max. dim. d) 0.043, e) 0.53, g) 0.068, h) 0.074. Komasts(?). Fragmentg preserves the right knee and calf and fragment h the left knee, start of calf, and toes of a komast to right. Fragment d shows the start of the thighs and genitals of a male to left and at the left perhaps a bit of drapery. Fragmente gives a few folds of a himation. Dilute glaze (very faint):muscles.

165

COLUMN-KRATERS Not from the same column-krateras 201 (see above). Recalls the Goettingen Painter (ARV2235, -). Ca.490 B.C. 203 PI. 29

P4242

E14:11

Wall fragment from turn of shoulder. Glaze thin and dull on inside. Max. dim. 0.055. Satyr (part of face, beard, ear, and hair) to right, wearing a spotted feline skin. Overlappingthe locks of hair at the break is a thin, narrow object. Preliminary sketch. Red: two dots on object. It is unclear what the object is at the top of the fragment. It is too thin and in the wrong position to be the satyr'sear, and it is improperly placed for a fillet. It looks as though it might be an aulos, but it is too high in the composition to be played by anyone. Conceivably,it might be the tail of a serpent held high by a maenad. Cf., e.g., the maenad with the fawn skin over her chiton who holds both a thyrsos and a snake on Munich 8732 = 2344 by the Kleophrades Painter (ARV2182, 6; Paralip.340, 6; Addenda186); also the huge serpent held by Dionysos on Louvre Cp 10748, where the god attacksa falling giant (ARV2187, 55; Addenda188). There is something mildly Kleophradean about 203. Cf. esp. the aulos-playing satyr who wears a spotted pantherskin on Harvard 1960.236 (ARV2185, 31; Addenda187). Ca. 490 B.C. P 7244 n, 0 D 7:2 Two non-joining wall fragments. Glaze slightly brownish in places. Max. dim. 7)) 0.092; 0) 0.06. Fragment r) (illustrated)shows the thighs and the end of the tail of a satyr moving to right. Behind him is a bit of drapery belonging to a maenad and the top of her thyrsos. Fragment 0 preserves a bit of the drapery and the shaft of something. The size of the shaft would be about right for the thyrsos on 0, but the drapery on each fragment does not coordinate. Preliminarysketch. Relief contour. Ca. 490 B.C. 204 PI. 29

P 7244 D 7:2 205 PI. 29 Wall fragment. Max. dim. 0.043. Warrior (wrist and right hand gripping a sword) to right. Preliminarysketch. Relief contour. Ca.490 B.C. P 14621 E-F 2-3:2 206 P1.29 Two non-joining wall fragments, a convex. Glaze dull on outside. Max. dim. a) 0.131, b) 0.022. Fragment a (illustrated)shows a woman (drapery,left foot) moving to right, wearing a long chiton with a himation over it. Fragment b preservespart of the shaft of an object, a staff or a thyrsos. Preliminary sketch. Relief contour except for edge of drapery and foot. Dilute glaze: lines on broad folds of drapery. Red: line below ground line. Ca. 500-480 B.C. 207 P1.29

P 24268

P9

Wall fragment from slightly below maximum diameter. Max. dim. 0.075. AgoraXXVII, p. 167, cat. no. 2, pl. 31. Youth or man (torso, start of thighs, beginning of right arm) leaning far forward to right. Preliminarysketch. Relief contour. Dilute glaze: muscles.

The position of this figure suggests that he is a wrestler, except that one leg should be more forward for balance: cf. Philadelphia2444 in the manner of the Antiphon Painer(ARV2 344, 64; Addenda220) and Hamburg 1900.518 by the Briseis Painter(ARV2407, 11; Paralip.371, 11;Addenda 232). Conceivably, he might be a jumper in a position similar to that of the one on a skyphos in Salerno by the Triptolemos Painter, 1131 (ARV2367, 103). Another possibility is that he is kneeling and looked something like the left youth on side A of Villa Giulia 50430 by the Antiphon Painter(ARV2340, 62; Paralip.361, 62; Addenda 218). Ca.500-480 B.C. P 7244 y D 7:2 208 PI. 29 Wall fragmentfrom near turn of shoulder. Max. dim. 0.039. The fragmentpreservesthe long, shaggybeard and the chest of a komast or satyr to right. Preliminarysketch. The proper positioning of the fragment suggests that it preservespart of a komastreclining to left, with head turned back, perhaps similar to the youthful komast on Richmond 62.1.3 by the Leningrad Painter (ARV21659, 3 bis;Addenda 261). Perhaps from the same krateras 209, but without more to go on, they are best kept separate. Ca. 490-480 B.C.

P 7244 f, v D 7:2 209 PI. 30 Two non-joining wall fragments. Max. dim. f) 0.11, v) 0.068. Symposion. Fragmentf shows the top of one leg and part of the mattress of the couch, also a portion of the himation of the reclining symposiast. In front of the couch is a table with the end of a branch on it. Fragment v preservespart of a table as well as a branch with its leaves and, at the far left, a trace of drapery,probablybelonging to a flute girl. At the very top, just below the break, is a little bit of a couch. It probably comes from the other side of the vase, because the branches on each fragment do not seem to be part of the same branch and the spacing between the table parts is not quite the same. Preliminarysketch. Relief contour. Dilute glaze: two lines on mattress. Red: wavy line on black stripe on mattress;branch and leaves. Myson (ARV2240, 31: combined with 172, but the spacing between the various parts of the couch and table on the latter fragment is greater than it is on 209). Ca. 490-480

B.C.

P 14711 b 210 P1.29 G3:1 Wall fragment. Glaze rather dull. Max. dim. 0.051. LIMC III, 1986, p. 771, no. 230, s.v.Eos. Eos and Kephalos or Tithonos: outstretchedleft arm of Eos to right, adorned with a bracelet, a bit of the sleeve of her chiton on the left; below, forearm of Kephalos or Tithonos and the thumb of Eos' right hand about to grasp his wrist. Preliminarysketch. Relief contour: lower arm. Dilute glaze: drapery folds; muscles. Red: bracelet. Beazley (in a letter to Lucy Talcott dated August 10, 1939) identified the subject as Eos and Kephalos, but without part of his chlamys or hunting spear, the youth could just as well be Tithonos. The composition of 210 was probablysimilar to these two: Saint-Germaine-en-Laye,7565, by the Alkimachos Painter, which shows Kephalos (ARV2529, 8; Addenda254); Boston, M.F.A. 03.816, the namepiece of the Tithonos Painter

166

CATALOGUE

(ARV2309, 1; Paralip.357, 1; Addenda213). For Kephalos, see I.Jucker,AK Beiheft 9, 1973 [pp. 63-69], pp. 67-68. For Eos in pursuit scenes, see LIMC III, 1986, pp. 759-779,

s.v. Eos

(C. WeiB). Manner of Myson (ARV' 172, 4 bis);may be by the painter himself (ARV2240, 38). Ca. 490-480 B.C.

P 14711 a

211 P1.30

G3:1

Wall fragment with turn of shoulder. Glaze rather dull. Max. dim. 0.079. The fragmentshows most of the wreathedhead, right shoulder, chest, and start of the right arm of a youth to right. Below his arm, the left forearm and hand of another who seems to be grasping him, at least according to the little bit of preliminary sketch. The dilute glaze looks like a thumb that was not very well drawn. Preliminarysketch. Red: wreath. The subject is probably a komos, and this komast may have looked something like the middle one on Boston, M.FA. 108.63 and 1973.572 by Myson (Paralip.349, 23 bis; Addenda20 1). Not from the same column-krateras 210: 211 has very thin preliminarysketch lines, 210 has rather thick ones. Manner of Myson (ARV' 172, 4 bis);may be by the painter himself (ARV2240, 38). Ca. 490480

B.C.

212 P1.30

P5557

E 15

Wall fragmentwith turn of shoulder. Matte glaze on inside. Max. dim. 0.065. Komast (right arm, hand holding an oinochoe: pouring wine[?]) to left. In his other hand (now missing) he holds a knobby stick. Preliminary sketch. Relief contour. Dilute glaze: anatomy. Myson (ARV2240, 36). Ca.490-480 B.C. 213 PI. 30

P 11025 c

D 15:1

Wall fragment. Glaze abraded slightly on outside. Max. dim. 0.065. Athlete (small of back, buttock, right forearm and hand) to right, holding a jumping weight. For a jumping weight with squared-off ends instead of rounded ones, see the youthfuljumper on the obverse of Erlangen 292 in the manner of Myson (ARV2243, 2). Probablynot from the same column-krateras 189, for there is no preliminarysketch and no relief contour on 213. Ca. 490-480 B.C.

P 4245 a, f-h,j, 1 E 14:11 214 PI. 30 Six non-joining wall fragments. Max. dim. a) 0.053, f) 0.033, g) 0.022, h) 0.023, j) 0.021, 1)0.082. Dionysiac subject(?). The largest fragment, I (illustrated), shows the buttocks and tail of a satyr to left. Overlapping the top of his tail is the end of a thyrsosheld by someone to right of him. Between the tail and leg: Above the tail, at the break: Fragment a (illustrated)preserves most of the face and long beard of a goat to left and above it something that looks like the belly of an animal (perhaps the goat has its head turned

back sharply). At the lower left is part of a curved object whose meaning is uncertain, and at the far left is the trace of relief contour. In the field: The interpretationof the next three fragments is uncertain:f and j each seem to preserve a bit of a satyr; h (illustrated)is part of an object covered with dilute glaze. Fragmentg shows the band below the figured zone. Preliminarysketch. Relief contour. Dilute glaze: most of fragment h; band below figures. Red: inscriptions. Not from the same column-krateras 215. Not only is the background glaze different on each, but the wall of 214 is thicker than that of 215, and 215 has many potting lines on the exterior surface. Ca. 490-480 B.C.

215 PI. 30

E 14:11 P4245b-e,i,k Six non-joining wall fragments. Glaze rather dull on inside. Max. dim. b) 0.097, c) 0.063, d) 0.06, e) 0.022, i)0.042, k)0.028. Uncertain subject,perhaps Heraklesand satyrs. Fragmentb (illustrated)shows at the left part of the lower leg to right and a paw of the lionskin, then the calf and shin of his opponent as well as one paw of his feline skin. At the right, a bit of another figureand an objectthat might be the end of the tail ofthe feline skin. Fragmentc shows part of the left leg and foot of a figureto left and also the reservedband below the figures, and i shows the calf of a leg to left, perhaps the same person. Fragment d (illustrated)preservesa little bit of a satyr'stail overlappingan uncertain object, perhaps a foot raised well above the ground (the preliminary sketch suggests this interpretation). At the lower left there is part of a curved object, at the upper left, the end of something, probably a thyrsos. Fragment e preserves only and k is undecorated. Preliminary sketch. Relief contour. Dilute glaze: paw of lionskin. Red: inscription; two lines on reservedband. Ca.490-480 B.C. 216 P1.30

P 473

F 14:4

Wall fragment with turn of shoulder. Max. dim. 0.115. McK. Camp, Godsand Heroesin theAthenianAgora(Picture J. Book 19), Princeton 1980, p. 14, fig. 25. Dionysos (top of head, lower drapery, and feet missing) to right, looking back. He wears a wreath, a chiton, and a himation. In his right hand he holds his kantharos,in his left, an ivy branch. On the right, at the break, a bit of reserve (another figure: probably the tail of a satyr). Red: leaves of wreath; ivy. Ca.490-480 B.C. 217 P1.30

P72443

D 7:2

Wall fragmentwith turn of shoulder. Max. dim. 0.042. Man (end of beard, part of chest) to right. Preliminary sketch. Relief contour. Ca.490-480 B.c. 218 PI. 30

P7244

D 7:2

Wall fragment. Part of the glaze fired brownish. Max. dim. 0.067.

167

COLUMN-KRATERS The fragment preservesthe left forearm and hand of a man or youth to right, holding a stick. At the left, a bit of drapery. Preliminarysketch. Not the same sort of stickas 191, which has a knobbyinstead of a smooth surface. Ca. 480 B.C.

219

P 7244 t

D 7:2

Wall fragment. Max. dim. 0.053. Man or youth (part of lower legs) to right. Preliminary sketch. Relief contour: back of calf. Ca. 490-480 B.C. 220 PI. 30

P 1412

I 11

Wall fragment with turn of shoulder. Thin matte glaze on inside. Max. dim. 0.028. Satyr (face, long shaggy beard, left shoulder) to right. Preliminary sketch. The satyr seems closest to those by the Harrow Painter: Louvre G 208 (ARV2273, 14); Louvre G 207 bis (ARV2273, 15); Schwerin 727 = 1293 (ARV2273, 19; Addenda207); Caltanisetta 20371 (Paralip.354, 39 bis, Addenda207); and New York, M.M.A. 12.229.13 (ARV2276, 80). 220 may well be by him. Ca. 480 B.C. 221

P 15628

C 18:11

Wall fragment from lower part of figured zone. Surface slightly scratched. Max. dim. 0.038. AgoraXXV, cat. no. 857. All that remains of the figureddecoration are the toes of the left foot of a figure to left. Preliminarysketch: big toe. Red: line below figuresthat continued around the pot. Reused as an ostrakonfor Themistokles. Forthe ostracismof Themistoklesin the 480's and the 470's, see AgoraXXV, p. 102 with bibliography. First quarter of the 5th century B.C. E-F 12-14 P4757 222 PI. 30 Shoulder fragment. Dull glaze on inside. Reddish brown glaze near top on outside. Dent acrosswoman'sforearm. Max. dim. 0.083. Woman (part of face, outstretched right arm) to left or perhaps running to right, looking back (the hand gesture suggests this). She wears a chiton and a himation. At the far left, a little bit of an object or another figure (drapery[?]). Preliminary sketch. Dilute glaze: folds of chiton. Ca. 470 B.C. 223 P1.31

P9465

C 9:6

Wall fragment with start of shoulder. Glaze pitted in places on outside. Max. dim. 0.063. W. B. Dinsmoor, Hesperia Suppl. V, p. 136, fig. 63:15. At the right, the face of a woman or a youth and part of the right arm, all but the hand wrapped in a himation, to left facing a woman or a man (left hand holding a purse). Fillet around head. In the field: Preliminarysketch. Relief contour. Dilute glaze: purse. Red: fillet; inscription. Fora similarwrappingof the himation, see the youthholding a drinking cup on the obverse of Louvre CA 4704 by the Pig Painter (ARV2570, 55; Addenda261).

Earlier Mannerists, i: The Pig Painter (ARV' 372, 39); Manner of the Pig Painter (ARV2566, 11). Ca. 470-460 B.C.

224 PI. 31

P 19282

G-K 13-16

Shoulder fragment with black glaze on inside, streaked in places. Glaze fired greenish on outside. Max. dim. 0.061. H. A. Thompson, Hesperia18, 1949, pl. 45:4. A, symposion (or komos):woman (head with sakkos,shoulders and upper arms with chiton over them) to right, playing the aulos (a little of the instrument may be seen just below the join of the two fragments). Preliminarysketch. Relief contour. For a similar but better-preserved aulos-player, see these two by the Leningrad Painter: Trieste S 391 (ARV2567, 2; Paralip.390, 2; Addenda261); Brunswick 269 (ARV2569, 53). The former is a symposion, the latter,a komos. Earlier Mannerists, ii: The Leningrad Painter (ARV2567, 5). Ca.470-460 B.C. 225 Pl. 31

P 14662

G 3:1

Wall fragment. Max. dim. 0.102. Symposion (part of symposiast draped in a himation, reclining to left on a cushioned couch with a striped mattress). Dilute glaze: lines next to stripes on mattress; muscles (very faint). In Addendaand Corrigenda, p. 1939 (to ARV' p. 396), 225 is attributedto the group of Earlier Mannerists, Undetermined as 23 bis;not in ARV2. The mattress and pillow bear a vague resemblanceto those on Louvre G 355 by the Pig Painter(ARV2 563, 10; Addenda 260). Ca.470-460 B.C. 226 P1.31

P6985

C8

Wall fragment with very slight vertical curve. Glaze fired greenish on outside. Max. dim. 0.055. K. Zimmermann, p. 216, JdI 95, 1980, p. 179, fig. 15; Prange, ]Nobidenmaler, cat. no. GN 59. Part of outstretched right arm and drapery (peplos) of a Thracian woman, who has a tattoo on the inside of her forearm and a bit of another on her upper arm. Relief contour. For the subject, see K. Zimmermann, "Tatowierte ThrakerinnenaufgriechischenVasenbildern,"JdI 95, 1980, pp. 163196; HesperiaSuppl. XXV, p. 69 sub cat. no. 32, with further bibliography. Manner of the Niobid Painter (ARV2612, 44; Addenda 268). Ca.460-450 B.C. P 19577 227 Fig. 11; P. 31 A 18-19:1 Wall fragment. Max. dim. 0.096. The fragmentpreservesthe lower right leg, shown frontally, of someone wearing Thracian boots with fur tops, and moving to right, because in the lower right there is the heel of the left foot seen in profile. Red: narrow band below figures. Dilute glaze: lappets. It is uncertainwho the figure is, since quite a few individuals wear Thracian boots with fur tops. Here is just a sampling. Amazons: New York,M.M.A. 07.286.84 by the Painter of the Woolly Satyrs (ARV2613, 1; Paralip.397, 1; Addenda268); Ferrara 3089 = T.411 by Polygnotos (ARV21029, 21; Paralip.442, 21; Addenda317; Matheson, Polygnotos, p. 351, cat. no. P 23,

168

CATALOGUE For the subject, see Schwarz, Triptolemos, M. Vos, CVA, Leyden 3 [The Netherlands 5], pp. 28-29; Hayashi, Triptolemosbildes; S. Matheson, "The Mission of Triptolemos and the Politics of Athens," Greek,Roman,andByzantineStudies35, 1995, pp. 345-372. Dugas ("La mission de Triptoleme d'apresl'imagerieathenienne,"MelangesRome62, 1950, pp. 931 [reprinted in RecueilCharlesDugas, Paris 1960, pp. 123139]) recognized three categories of this theme in Greek art: (1)Demeter giving instructionsto Triptolemos, often with Kore present; (2) Triptolemos about to set off on his mission and a libation being poured; (3) Triptolemos and the Eleusinian divinities following his return to Eleusis. The first is known only in blackfigure from about 540 on; the second, in Late Archaic and Early Classical red figure;the third, in Classical and later. 229 is probably the second. Second quarterof the 5th century B.C.

FIG. 11. Column-krater227 (P 19577). Scale 2:1

pl. 51); Ferrara26902 = T. 1039 by the Eretria Painter (ARV2 1252, 51; Paralip.469, 51; Lezzi-Hafter, Eretria-Maler, p. 314, cat. no. 25, pl. 20). Dionysos: London, B.M. E 439, compared with the Hephaisteion Painter (ARV2298; Addenda 211); Boston, M.EA. 00.342 by the Blenheim Painter (ARV2598, 4; Addenda 265). Boreas:two by the Euaion Painter,Frankfurt VF P 406 (4RV2 796, 117; Paralip.522, 117; Addenda 290) and Athens, N.M. 1586 (ARV2798, 146; Addenda 290). Thamyras: two by the Phiale Painter, Vatican 16549 (ARV21020, 92; Paralip.441, 92; Addenda316; Oakley, PhialePainter,p. 81, cat. no. 92, pls. 72:a, 73:b) and Naples 81531 = 3143 (ARV2 1020, 93; Addenda316; Oakley, p. 81, cat. no. 93, pls. 72:b, 73:c). Satyrs: three cups by Makron, Brussels R 247 (ARV2 462, 41; Paralp.377, 41), Louvre G 144 (ARV2462, 43; Addenda244), and Berlin 2290 (ARV2462, 48; Paralip.377, 48; Addenda 244). Forthese boots worn by horsemen, see H. Cahn, "Dokimasia,"RA 1972, pp. 3-22, esp. p. 14, note 1 for ancient literaryreferencesand modern bibliography. Ca.460-450 B.C. 228 P1 31

P3573

230 Fig. 12; PI. 31 P 15962 F 19:4 Wall fragment. Red wash on surface. Max. dim. 0.13. Fight. In the middle, a nude warrior(most of legs) stridesto left, a scabbard hanging at his left side. Behind him the leg of another attacking to right; in front of him the bent leg of a fallen opponent and at the far left, the tip of the opponent's nose, his lips, most of beard, also the left side of his chest, and part of his raised arm bent sharply at the elbow. Blood flows from a wound, apparently in his shoulder or forehead. Relief contour. Dilute glaze (very faint):muscles. Red: blood. Second quarter of the 5th century B.C.

E 14:11

Wall fragment with thick, slightly matte glaze on inside. Max. dim. 0.046. Ithyphallicsatyr(genitals,startof thighs, right hand holding a drinkinghorn) to right, with an animal skin perhaps draped over his outstretchedleft arm (now missing). At the far right a bit of reserve that represents part of another figure; it is not more of the pelt because it is not covered with dilute glaze. Preliminarysketch. Relief contour. Dilute glaze: animal skin. Ca.460-450 B.C. 229 P1 31

P 23706

P9

Wall fragment from rather low on the vase. Max. dim. 0.093. Triptolemos (segment of wheel and wing of throne)to right. Relief contour. Rim of wheel incised (compass-drawn).Dilute glaze: decoration at far right. The two pairs of parallel lines at the far right are probably the divider between the long flight feathers of the wing and the shorter cover feathers. Cf. these contemporaryexamples: Munich 2383 by the Altamura Painter (ARV2591, 23; p. 163, cat. no. A 32, p1. 46) and New Prange, .Nobidenmaler, York,M.M.A. 41.162.98 by the Niobid Painter(ARV2606, 80; Prange, p. 201, cat. cat. no. no. N 99, 99, pl. pl. 47). 47). Prange, p. 201,

FIG. 12. Column-krater230 (P 15962). Scale 2:1

231 P1.31

P 7244o

D 7:2

Wall fragment with turn of shoulder. Max. dim. 0.064. Symposion. The fragment preservesthe beard, part of the left forearm and hand, two fingers of the right hand, as well as a little drapery (probably a himation and the neckline of his chiton) of a male aulos-playerto right, facing a symposiast (outstretchedright forearm and hand). Preliminary sketch. Relief contour. Normally the aulos-player is a standing girl; occasionally; the player is a youth, as on Richmond 62.1.3 by the Leningrad

VOLUTE-KRATERS Painter (ARV21659, 3 bis; Addenda261). For a man playing the aulos at a symposion, reclining not standing, see the one on an unattributedcolumn-kraterin Vienna from the second quarterof the 5th century (824: CVA,Vienna 2 [Osterreich2], pl. 89 [89]:1). It is uncertain whether the aulos-playeron 231 stands or sits at the foot of the couch. Later Mannerists, viii: Undetermined (ARV21120, 6: the inventory number omitted). Ca. 440 B.C.

169

The table on 232 appears to pass behind the leg of the couch. A good parallel for this is the table on Villa Giulia 3583 by the Nausicaa Painter,which shows a komast reclining to right and seen from the back (ARV21109, 27). The symposiast on 232 may also have reclined in a similar position. Third quarter of the 5th century B.C.?

P 14627 E 2:3 Rim and neck fragment with start of handle plate. Glaze abraded on top side of rim and at inner edge. P.H. 0.067; est. diam. of rim 0.032. On top side of rim, laurelwreathwith berries. On overhang, frieze of diagonally addorsed palmettes. On handle plate, part of encircled palmette. On neck, zone of egg pattern with dots. White: wreath on top side of rim. For the wreath, only in reserve, cf. Vienna 733 by the Meleager Painter (ARV21409, 2). Third quarter of the 5th century B.C. 233 PI. 31

C 15 P 25872 232 P1.31 Wall fragment, slightly convex. Max. dim. 0.051. Symposion. The fragment preservesthe top of the leg at the head of the couch with the volutes and ovules and a bit of the mattressand pillow. Near the bottom of the fragment is a little of the top of the table in front of the couch. The horizontal lines at the right break may be folds of drapery. Preliminary sketch. Relief contour. Dilute glaze: area below volutes. Normally, the table is set well in from the legs of the couch, so that there is some space between the two pieces of furniture.

VOLUTE-KRATERS 234-247 234 P1.32

P 25978 P 28759

Q20:1 Q20

Four non-joining fragments of rim and neck, P 25978 a preserving the spiral of one handle, P 28759 with start of shoulder. Two small fragments (P 25978 b and c) give a bit of the flange of a handle and part of the inside of the neck opposite the handle on P 25978 a. P.H. of P 25978 a to rim 0.107; to top of handle 0.17; est. diam. at rim 0.38; max. dim. b) 0.078, c) 0.087, P 28759: 0.145. H. A. Thompson, Hesperia27, 1958, pl. 45:b (fragment a); Schleiffenbaum, Volutenkrater, p. 324, cat. no. V 205; LIMC VII, 1994, p. 937, no. 185, s.v. Theseus. A, Theseus(?) and the Marathonian Bull. At the far left of P 25978 a, next to the handle zone, there is a Doric column, then in front of it a youth to right, wrapped in a cloak and holding a stick in his right hand, not quite sitting on a block stool. He looks at a youth, who is almost down on one knee to right, a cloak over his outstretched left arm and a spear in his lowered right hand. Then, separated by a tree, comes Theseus(?),who has a club made from a stout branch. Around the head of each figure is a wreath. The bull (hindquarters missing) is down on one knee to left. Above, on the right, another tree. On side of mouth, key pattern to left; on lower zone of neck, encircled palmettes in black glaze to right. Ivy on flanges of handles. P 28759 comes from Side B (the lines of glaze on the inside indicate this). It preservesa youth (head, left shoulder and arm, right knee and most of right foot missing), kneeling to left, torso in back view, a club in his right hand. On the right, the rim and bowl of a kraterstanding on the ground, overlapping a figure (drapery over lower legs, feet) seated to left. Below, more of the palmette pattern. Preliminarysketch. Relief contour. Incised line for hair contour. Dilute glaze: muscles; folds of flesh on bull's neck. Red: wreaths; leaves of

Pls. 32-33 trees; hearts of palmettes;edge of each handle flange; band on inside below rim and at bottom of neck, line at outer and inner edge of rim and top side of spiral. Whether the youth with the bull is Herakles or Theseus cannot be determined without an attribute. The stick held by the youth does not really resemble the club of Herakles, which normally tapers to a fine grip, its opposite end stout and heavy. The nudity of the youth seems more suitable for Theseus, although on many occasions Herakles appears nude, even in a scene where he captures the Cretan Bull (see Basel, Antikenmuseum und Sammlung Ludwig BS 488 by the Delos Painter, on which the hero's name is inscribed: ARV2 172, 4; Addenda184; there he restrains the beast as it leaps forward). The reason for opting to identify the youth on 234 tentatively as Theseus, as others have done (see below), is chiefly because Theseus and the Marathonian Bull is a far more popular subject in the late 6th and early 5th centuries than the correspondingexploit of Herakles. For the subject, see Heldensage3 254-257 (red-figured examples, where 234 is cat. no. 70);J. Neils, The Youthful Deedsof Theseus [Archaeologia 76], Rome 1987, passim, but esp. p. 154, cat. no. 9 and p. 56 for 234); and F. Brommer, Theseus: Die Tatendesgriechischen Heldenin derantikenKunstundLiteratur, Darmstadt 1982, pp. 27-34; LIMC VII, 1994, pp. 936-938, s.v. Theseus (J. Neils). For encircled palmettes on the necks of red-figuredvolutekraters,cf. the following, all in the upper zone and all in reserve, not black glaze: one by the Nikoxenos Painter, Munich 2381 (ARV2221, 14; Addenda198); another akin to him, Toronto 959.17.187 (ARV2223, -, 2; Paralip.346, 2); two by the Karkinos Painter:New York,M.M.A. 59.11.20 (ARV2224, 1) and New York,M.M.A. 21.88.74 (ARV2224, 2; Addenda198).

170

CATALOGUE

234 probably belongs among those vases akin to the Nikoxenos Painter rather than those by the painter himself or in his manner. The drawing of the figures and drapery is much simpler on the Agora vase when compared with figures by the Nikoxenos Painter, even smaller ones that are set in a frieze: e.g., Munich 2381; Oxford G. 136.36 and 40 (ARV2 221, 15);London, B.M. E 160 (ARV2222, 19);and Wiirzburg 531 (ARV2222, 25). The figures on 234 lack the double vertical line separating the pectoral muscles and the threedimensional drapery folds that are an essential part of the Nikoxenos Painter's style. The column with the top-heavy capital is best paralleled on Athens, N.M. 1425 (ARV2223, 6; Paralip.346, 6), which is akin to the painter.

FIG.13. Volute-krater236 (P 17462 b). Scale 2:1

Ca. 500-490 B.C.

235 PI. 32

P 358

G 5:1

Neck fragment. At the top either the start of the upper zone or the rim. Max. dim. 0.059. Langridge, "Eucharides Painter,"p. 448, cat. no. K 3. Woman (hands, lower parts missing) standing to right with arms outstretched. She is dressed in a himation and wears a stephane on her head. Behind her, the top of the head of a horse (right ear, a bit of its mane), also to right. On the very right, midway between her arm and the lower edge, at the break, a little bit of relief line, probably the draperyof the next figure. Preliminary sketch. Relief contour. Red: line at top of glaze. Compare the Karkinos Painter (ARV2224, -, the number wrongly given as P 368). Ca. 500-490 B.C.

P 17462 No grid 236 Fig. 13; P1.32 Five non-joining fragments, a and b of wall with turn of shoulder, c and d of rim and neck, e of handle and loop. Glaze slightly greenish on c. Matte on inside. Flaked a bit on b. Max. dim. a) 0.102, b) 0.081, c) 0.18, d) 0.073, e) 0.16. Schleiffenbaum, Volutenkrater, p. 323, cat. no. V 201. Fragmenta (illustrated)preservesthe head and shouldersof a woman to right, wearing a chiton. Aroundher head is a fillet. Behind her is a musician(crosspiecewith tuning knobs, strings, ends of arms of his barbiton). In the field, a vine with leaves and grapes, held by Dionysos(?).Above, tongue pattern at the junction with the neck. Fragmentbgives part of a chariotscene to right: the forearms and hands of the charioteer holding the reins and a goad as well as a bit of his chiton. On his left, the right forearm and hand of his passenger,who holds on to the breastworkof the chariot (just a little bit remains at the lower right break). Above the wrists of the charioteer there is a bit of reserve that probably representsthe left forearm of the passenger and the end of something held in his hand. On the side of the rim (fragments c [illustrated] and d) there is an egg pattern with dots; on upper zone of neck, diagonally addorsed palmettes. The area at the far left of fragment d is reserved, indicating the start of the handle zone. On flange of handle (fragmente), ivy. Tongue pattern at roots of handle loop. Preliminarysketch. Relief contour. Red: line atjunction of shoulder and neck; fillet;vine leaves and fruit. For the barbiton, see 196. The Group of Acropolis 787 (ARV2233, 2: called a columnkrater). The identification of 236 as a column-krater was made by Beazley before fragments of the neck and handle

were recoveredfrom the storage tin in 1955, and he probably never saw them. Ca. 500-490 B.C.

P 8533 C 9:6 237 Fig. 14; P1.32 Two non-joining fragments, a of wall, b of rim and neck with start of handle zone at far left. Glaze pitted on inside of a. Max. dim. a) 0.077, b) 0.14; W. of rim 0.025; H. of neck 0.063. W. B. Dinsmoor, HesperiaSuppl. V, p. 134, fig. 61:13; D. B. Thompson, GardenLoreof AncientAthens(Agora Picture Book 8), Princeton 1963, fig. 1; Schleiffenbaum, Volutenkrater, p. 322, cat. no. V 199. Fragment b, the rim and neck fragment: on side of rim, stopped-maeanderpattern with saltire-squares;on neck, double chain of lotuses and encircled palmettes. This is from near the handle zone, because there is no black backgroundnext to the palmetteson the left. Fragmenta shows a warrior(pteryges of his corslet, skirtof short chiton, scabbardat left side, left arm and hand with round shield seen from the inside, a bit of his left heel just above the lower break), falling to right, at least to judge from the position of the fragment, which comes from well below maximum diameter and from what remains of the figure. In the lower right, the end of a himation over a long chiton of another figure moving to right. Preliminarysketch. Relief contour. Rim of shield incised (compass-drawn).Dilute glaze: chitons; shield grip; decoration on border of himation. Red: in upper left corner of fragment, ends of a baldric or drops of blood from a wound. The small amount of the figured composition that is preserved suggests that the subject might be the duel between Achilleus and Hektor, a theme that enjoys a brief vogue in the first two decades of the 5th century (LIMCI, 1981, pp. 133138, sv. Achilleus [A. Kossatz-Deissmann]). If so, then the falling warriorwould be Hektor,who has just been speared by the avenging Achilleus, and the other figure, Apollo deserting him. Hektor may have looked something like his counterpart on the volute-kraterin London by the Berlin Painterthat names the figures (E 468: ARV2 206, 132; Paralip.343, 132; Addenda194) or the kalpis in the Vatican, H 545, by the Eucharides Painter (ARV2229, 38; Paralip.347, 38; Addenda199). For the composition, cf. also the giant attacked by Athena on London, B.M. E 165 by the Tyszkiewicz Painter (ARV2294, 62; Addenda211). The scene on 237 might also illustratethe fight between Diomedes and Aineas: cf. the namepiece of the TyszkiewiczPainter,Boston 97.368 (ARV2290, 1; Paralip.355, 1;Addenda 210), though this seems less likely. Forthis theme, cf. LIMC I, 1981, pp. 384-385, s.v.Aineias (F.Canciani).

171

VOLUTE-KRATERS The ornament on the side of the mouth and on the upper zone of the neck is best paralleled on two volute-kratersby the Berlin Painter,London, B.M. E 468 and Karlsruhe68.101 (Paralip.344, 131 bis; Addenda194). The manner in which the tendrils of the lotus flowers are overlappedby those of the palmettes is similarto that on the namepiece ofthe Tyszkiewicz Painter,Boston 97.368. But the drawing of the figureson 237 is weaker than that of these two painters. Ca. 480 B.C.

FIG. 14. Volute-krater237 (P 8533 a). Scale 2:1

238 Fig. 15; Pls. 32-33 P 14729 B 15 Four non-joining fragments, a-c of shoulder, d of neck. Glaze misfiredslightlyon tongue pattern on fragmenta. From a very large krater. Max. dim. a) 0.127, b) 0.15, c) 0.089, d) 0.093. G. Schwarz, Triptolemos, p. 42, cat. no. V 74, pl. 10, fig. 17:a, b (fragmentsa and b); Prange, Niobidenmaler, p. 157, cat. no. A 2; Schleiffenbaum, Volutenkrater, p. 323, cat. no. V 200; Hayashi, Triptolemosbildes, p. 142, cat. no. 59. Triptolemos. Fragment a preservesthe upper part of Zeus' face and wreathed head, the god facing to left. Above his head: I/[EY Before him are the flames of Demeter's torch, which she has shouldered, and to the left: LEJMETEP

Above, tongue pattern on the shoulder at thejunction with the neck. Fragment b shows most of the head, neck, and shoulders of Demeter, dressed in a chiton and standing to left. A straight line at the breakindicatesthat she wore a filletor a stephane. In frontof her is a bit of the scepter (shaft)and a smallbranch held in one hand by Triptolemos and part of the phiale held in the other,presumablythe right. Fragmentc comes from the farleft of the composition. It preserves a little of the tongue pattern around the handle root (these tongues are shaped differently from those on the shoulder at the junction with the neck) and a bit of an encircled palmette with its tendril. At the right, part of Athena's right shoulder and arm covered by the scaly aegis. Fragmentd (not illustrated),from the neck, preservesat the left part of one foot and the lower border of a chiton of a figure to right, then the shaft of something or perhaps the trunk of a tree(?). Preliminary sketch. Relief contour. Dilute glaze: muscles; hair over Zeus' forehead and temple. Red: flames of torch; inscriptions.

That fragment d is from the neck of the krater is shown by these features: its bottom surface is smooth where it sheared off from the shoulder; the leftmost tongue on fragment a is complete at the top, and the distance from it to the inside of the neck is comparable to the lower thickness of fragment d. For the subject, see 229. Of the three categories of this theme recognized by Dugas (Melanges Rome62, 1950, pp. 9-31, reprintedin RecaeilCharles Dugas,Paris 1960, pp. 123-139), the scene on 238 belongs in the second category (the departure for the mission) and is one of six by the Altamura Painter. For a brief discussion of these, see Schwarz, Triptolemos, pp. 114116; Prange, Nobidenmaler, p. 79. Schwarz (Triptolemos, p. 42, cat. no. V 74 and p. 116) has misunderstood fragments a and b and omits fragment c. She did not observe the inscription naming Zeus and thus calls him Triptolemos; nor did she notice the flames of Demeter's torch painted below her name; the goddess on fragment b is not identified and the scepter, branch, and phiale are not linked with Triptolemos but merely mentioned. For Demeter with the torch against her shoulder, see the figure of her in the Triptolemos scene on the calyxkraterin Lyons by the AltamuraPainter,E 120 (ARV2591, 24; Prange, Nwbidenmaler, p. 164, cat. no. A 33). 238 must have been one of the grandestof the Triptolemosscenes, resplendent with two Olympians who are almost never present in this mythological illustration. For Zeus, see the representation by Makron on his skyphos in London (B.M. E 140: ARV2459, 3; Paralip.377, 3; Addenda243), on which the god's name is inscribedjust as it is on 238; Athena appears in one of the very earliest examples, Reggio 4001, which is probably by Exekias himself, not in his manner (ARV2147, 6; Paralip.61, 6; Addenda 41; Schwarz, p. 29, cat. no. V 1). The Altamura Painter (ARV2589, 2). Ca.460 B.C. 239 P1.33

P 27374

I13

Three non-joining fragments of shoulder and wall, b and c with start of handle. Streaky glaze on inside. Max. dim. a) 0.135, b) 0.175, c) 0.086. Schleiffenbaum, Volutenkrater, p. 325, cat. no. V 208. Fragment a (illustrated)preserves most of the head of a woman wearing a sakkos and her shoulders wrapped in a himation. She standsto rightfacing someone who holds a torch in his or her right hand (on the far right, a little drapery). At the lower break,flames, presumablyfrom an altar. Fragmentb shows an outspreadwing of Nike, probablyflying to left. In the upper right, partof the palmette at the handle root. Fragmentc is without decoration. Dilute glaze: woman's hair; lines on torch; dots on wing cover. Red: flames. Ca.470-450 B.C.

240 P1.33 P 26613 T 19 Rim and neckfragment.Edgeof rimchipped.Max.dim. 0.09. Schleiffenbaum, Volutenkrater, p. 325, cat. no. V 207. Symposion. On the right, the top of the filleted head of a symposiast reclining to left. Above, an oinochoe hanging on the wall (originally,the artistintended it to face the other way). To the left of it, at the lower break, the start of something else, perhaps the end of one of a pair of krotala or the tip of the arm of a lyre. Above the youth's head: v

On side of rim, key pattern to right. Relief contour: youth's profile. White: inscription.

-

i/ !

!I

Nll7ll;b'J

FIG.

15. Volute-krater 238 (P 14729). Scale 1:1

173

VOLUTE-KRATERS The small amount of the symposion that remainsbears some resemblance to that on the neck of the volute-kraterthat is the namepiece ofthe Boreas Painter,which also has the key pattern to right on the side of the rim (Ferrara2739 = T.749: ARV2 536, 1; Paralip.384, 1; Addenda255). But there is not enough preserved on 240 to be sure of an attribution, though it does seem contemporary with this painter. Ca. 460-450 B.C. 241 P1.33

P 19174

C 18:7

Shoulder fragment with very thin red glaze on inside. Max. dim. 0.111. Prange,Niobidemmaler, p. 216, cat. no. G 57, pl. 21. Apollo and Artemis. At the left is the upper part of one arm and the end of the crosspiece of the god's kithara. Facing, on the right, is Artemis (most of head, her hair bound with a triple fillet)holding a branch of laurel. Above, tongue pattern. Preliminarysketch. Relief contour. Manner of the Niobid Painter (ARV2612, 41). Ca. 450 B.C. 242 P1.33

P 24784 Q17 of the underside Fragment flanged handle, indicating the curved surface of the loop. Glaze blistered in a few places. Max. dim. 0.117. Schleiffenbaum, Volutenkrater, p. 324, cat. no. V 204. On flange, spiralswith ivy leaves in the interstices. On back of handle (illustrated),olive with fruit. For spiralson the flange, see Louvre G 166 (joining Louvre Cp 10799) by the Berlin Painter (ARV2206, 129-130; Addenda194) and three by the Niobid Painter:Bologna 268 (ARV2 598, 1; Paralip.394, 1; Addenda265; Prange, .Mobidemnaler, p. 180, cat. no. N 1); Palermo G 1283 (ARV2599, 2; Paralip. 394, 2; Addenda266; Prange, p. 180, cat. no. N 2); on the reverse of Naples 2421 (ARV2600, 13; Paralip.395, 13; Addenda 266; Prange, p. 183, cat. no. N 14);also 243. For olive leaves on the back of the handle, see Naples 3240, the namepiece of the Pronomos Painter (ARV21336, 1; Paralip.480, 1; Addenda365). There, the laurel appears on the flanges of each handle and on the lower zone of the neck. Probably mid-5th century B.C. 243 P1.33

P 26550

Q 16-17

Fragment of flanged handle. Glaze chipped in many places. Max. dim. 0.14. Schleiffenbaum, Volutenkrater, p. 325, cat. no. V 206. On flange, spiralswith ivy leaves in the interstices. On back of handle, olive spray with fruit; below that a band of egg pattern with dots; then part of a floral. For spirals on the flanges as well as leaves, see 242. The tightness of the spirals on 243 and the carefully drawn ivy leaves in the interstices are similar to the examples on the handles of two volute-kratersby the Niobid Painter (see the comparanda for 242), and 243 may be by him. The three by the Niobid Painterlack decoration on the back of each handle. Not from the same volute-krater as 242: there, the leaves grow downward;on 243, they grow upward. Probably mid-5th century B.C. 244 P1.33

P 19152

C 18:4 Two non-joining rim and neck fragmentsfrom each side of the vase. Dull glaze, abraded on rim on b. PH. a) 0.055, b) 0.053; max. dim. a) 0.096, b) 0.089. Schleiffenbaum, Volutenkrater, p. 323, cat. no. V 202.

On side of rim, key pattern to right. Fragmenta comes from near the handle zone because there is a reserved area to the left of the ornament, a chain of upright lotuses and encircled palmettes. Fragmentb (fromthe other side) preservespart of a lotus-palmettefestoon. For an earlier example of the lotus-palmettefestoon on the neck of a volute-krater,see Louvre G 166 (joining Louvre Cp 10799)by the BerlinPainter(ARV2206, 129-130; Addenda 194). Probablymid-5th century B.C. 245 P1.33

P 23202

M-N 15:1

Neck fragment (upper zone). Max. dim. 0.06. On neck, chain of double lotuses and encircled palmettes of each zone). Schleiffenbaum, Volutenkrater, little (a p. 324, cat. no. V 203. The pattern seems to bear some resemblance to that on side A of Bologna 17190 = 269 by the Niobid Painter (ARV2 599, 8; Paralip.395, 8; Addenda266; Prange, .Nobidenmaler, p. 182, cat. no. N 9), only 245 is better drawn and slightly more ornate. Probably mid-5th century B.C. 246 P1.33 P6857 K 10 Shoulder fragment with start of handle at top. Max. dim. 0.08. Head of woman (hair with sakkos)to left. At top, next to start of handle, a bit of reservethat may indicate the beginning of a pattern on the shoulder at the junction with the neck. Relief contour. Dilute glaze: alternate lozenges of pattern on sakkos. The Nikias Painter (ARV2 1335, 37). For the hair and headdress,see the figureof Aphrodite on the hydriain Rhodes, which shows a bridal scene (ARV21335, 31; Addenda 365). Ca.410-400 B.C. 247 P1.33

P 7586 C 14:7 Shoulder fragment. Dull blackglaze on inside. Glaze pitted and abraded in places. Max. dim. 0.152. Schleiffenbaum, Volutenkrater, p. 322, cat. no. V 198. Youth (head with olive wreath, left shoulder with sleeve of chiton) standingfrontally,head turned to left. He holds a neckamphora, his right hand gripping one of its handles. Behind him, most of the head of a man with a wrinkled forehead who wears a pilos. His face is shown in three-quarterview. Between the two, a tree without leaves(?). Above, egg pattern with dots; then, tongue pattern. Preliminary sketch. Relief contour: nape of youth. Close to the Talos Painter,if not by him. Forlines acrossthe forehead of a figure in frontal or three-quarterview, a sign of stress,see Naples 2045 = 2883, connected with the Pronomos Painter and the Talos Painter: two giants, one stooping to pick up a big stone, the other hurling one (ARV21338, -; Paralip.481, -; Addenda366) and Tubingen S./10 1568 = E 160, near the Talos Painter (ARV21339, 1; Addenda367), now attributedto the painter himself (Paralip.481); several of the figureson Wirzburg H 5708, near the Talos Painter(ARV2 1339, 5). For the decoration on the shoulder of the youth's chiton, cf. Hera on the namepiece of the Talos Painter,Ruvo, Jatta 1501 (ARV21338, -, 1; Paralip.481, -, 1; Addenda 366). For the double line on the upper eyelid, cf. Herakles on New York,M.M.A. 12.229.15 (ARV21339, 2). Ca. 400 B.C.

174

CATALOGUE

CALYX-KRATERS 248-288 SINGLE REGISTER

251 Pl. 34

248-285

248 P1.34

P 22208

K9

Wall fragment. Max. dim. 0.042. Youth (most of head, start of right shoulder) to left. Preliminary sketch. Relief contour. Dilute glaze: down on cheek; muscles. Forelockseems to be incised. The Pioneer Group, Sundry (ARV233, 5: "Looks like an imitation of Euthymides"). Ca. 510-500 B.C.

249 P1.34

P 23358

H 12:15

Wall fragmentwith a little of projectingrim. Glaze misfired reddish brown in places on outside; a bit greenish on inside. Max. dim. 0.074. Fight(?).The fragment preservesthe raised, bent right arm of a figureto left, with hand holding a thin object, which may be the shaft of a spear (there are two parallel relief lines) with the glaze slopped over.Just next to the hand at the break is a relief line that might be the outer edge of a helmet crest. At the right, at the break, is part of the ornamental configurationabove the handle: a bit of the reserved line encircling a palmette, and below it two leaves of a lotus flower. On rim, ivy in blackglaze. Relief contour. For ivy on the rim, the closest parallels appear on the rims of these four calyx-kraters:Villa Giulia, no no. by Epiktetos (ARV277, 90; Addenda169); Copenhagen, N.M. 126 by the Troilos Painter (ARV2297, 11;Addenda 211); Louvre CA 5950, which may be by Psiax (p. 27, note 2 and p. 88, note 6 above); and Lecce, inv. 610 (CVA,Lecce 1 [Italia 4] pl. 10 [161]:1, 2). On these the vine is not as loosely drawn as it is on 249. Other more ornamental examples are Berlin 2180 by Euphronios cat. no. 1); (ARV213, 1; Paralip.321, 1;Addenda152; Euphronios, St. Petersburginv. 1843 by Phintias (ARV223, 5; Paralip.509, 5; Addenda155); Istanbul, from Xanthos A 34.2628 (ARV233, 1; Addenda157) and Oxford 1934.54 under Taranto 22868-9 (ARV233, 7; Addenda157) both by Sundry Members of the Pioneer Group. For an encircled palmette-and-lotus configuration at the handle, see Louvre G 48 + New York,M.M.A. 1978.429. l:a-v by the Kleophrades Painter (ARV2185, 33; Paralip.340, 33; Addenda187) and Basel, Cahn H.C. 537 by the Berlin Painter (Paralip.344, 116 bis; Addenda193); Louvre CA 5950; London Market (Cat. Sotheby's1 July, 1969, no. 93). The presence of traces of the handle configurationindicates that the warrior stood at the far right of the composition, perhaps as a back-up force to a fight taking place at the left. Ca. 510-500 B.C.

250 P1.34

Pls. 34-39

P 7646

F6

Wall fragment. Glaze grayish on outside (burned[?]).Max. dim. 0.071. Figure (himation, the leg of a pelt) to right. Relief contour. Dilute glaze: pelt. Late 6th century B.C.

P 19291

B 18:11

Wall fragment. Glaze fired greenish in places. Max. dim. 0.106. H. A. Thompson, Hesperia18, 1949, pl. 45:5; P.E. Corbett, JHS 85, 1965, pl. 1; Langridge, "EucharidesPainter," p. 345, cat. no. E 6. Boy (most of legs, left elbow, right hand missing) to right, looking back, presumablyat the horse he leads. In his lowered left hand he holds the reins and a goad; in his raised right hand he held the reins close to the horse'smuzzle. Preliminary sketch. Relief contour. Dilute glaze: muscles. Red (flaked): fillet around head of boy; reins. Fora boy, not a youth or a man, leading a horse, see Vienna, Univ. 501 by Onesimos (ARV2324, 64; Addenda 215) and side B ofFlorence PD 56 by the Dokimasia Painter(ARV24 12, 6; CVA, Firenze 4 [Italia 38], pl. 126 [1698]:1). The EucharidesPainter (ARV2227, 17; Paralip.347, 17). Ca. 500-490 B.C.

R 19 P 13366 P 22490 RIO P 30996 Q 12:3

252 PI. 34

Three non-joining fragments: P 22490 of rim and start of wall; P 30996 of rim; P 13366 of wall and cul with stub of handle. Reserved line at top of rim on inside. Max. dim. P 13366: 0.105, P 22490: 0.083, P 30996: 0.09. S. Roberts, Hesperia55, 1986, p. 32, no. 68, fig. 22, pl. 9 (P 30996). P 22490 gives part of the frieze of upright encircled palmettes in black glaze below the torus rim and two letters of an inscriptionon the wall:

JPo[ and P 30996 (not illustrated)preserves more of the palmette frieze. P 13366 shows the right leg from the knee down and a bit of the left leg of a man or youth to right, probably a youth, given his size in relation to the fragment. At the top of the cul, dot band; at handle, a few fronds of an encircled black palmette, probably part of a frieze. Relief contour. White: inscription. Encircled palmettes in black glaze on both the rim below the torus and on the cul of 252 do not seem to have a parallel on either black-figured or red-figured calyx-kraters. For black glazed palmettes on the rims of red-figured calyxkraters,see the following:two by the Kleophrades Painterdecorated early in his career: Louvre G 48 + New York,M.M.A. 1978.429.1:a-v: there one-half of the rim has horizontal blackglazed palmettes, the other half, upright palmettes in reserve (ARV2185, 33; Paralip.340, 33; Addenda187) and Tarquinia RC 4196, up-and-down palmettes (ARV2185, 35; Paralip.340, 35; Addenda187); two by the Eucharides Painter, both drawn horizontally and also early in his career: Louvre G 47 (ARV2 227, 11; Addenda199) and Louvre G 163 (ARV2227, 12; Paralip. 347, 12; Addenda199). 252 is closest to Louvre G 48. Black palmettes do not seem occur elsewhere on the culs of red-figuredcalyx-kraters,but they are known from two blackfiguredexamples, both related to the Antimenes Painter:Syracuse, where a single palmette at each handle frames the figured composition (ABV 281, 18) and Louvre F 316 (ABV281, 19). For the net pattern on the cul, though not reduced to a dot band as on 252, see Copenhagen, N.M. inv. 13365 by

CALYX-KRATERS the Kleophrades Painter (ARV2185,32; Paralip.340, 32; Addenda187) and Louvre G 47 by the Eucharides Painter; also Louvre CA 5950 (above, sub249). Ca. 500-490 B.C. P 24280 Q7 Rim fragment. Surfaceslightlygray (burned[?]).Max. dim. 0.055. AgoraXXVII, p. 167, cat. no. 3, pl. 31. On rim below torus, horizontal encircled palmettes in black glaze. For this pattern on the rim, cf. 252. Probably early 5th century B.C. 253 PI. 34

254 P1.34

P 20244

D 16

Two non-joining wall fragments. Max. dim. a) 0.055, 0.077. A. Ashmead, Hesperia35, 1966, pl. 8. b) Fragmenta preservesmost of the filleted head of an old man (Phoinix)to left, holding a spear or staff(shaft). In front of him, at the break: retrograde. Fragment b preserves the right arm and shoulder of a male, probablya youth, standing to right, wearing a chiton under a chlamys fastened at the right shoulder. Preliminary sketch. Relief contour. Dilute glaze: folds of chiton; iris of Phoinix' eye. Red: fillet; inscription. White: hair, moustache, and beard of Phoinix. The old man is probably Phoinix, as tentatively suggested 35, 1966, p. 24 and accepted by Beazley), by Ashmead (Hesperia and his image on Wiirzburg 508 comes immediately to mind (ARV2182, 5; Paralip.340, 5; Addenda 186). When the fragments are studied together and put on top of one another, it is clear that Phoinix should be seated. B. Dohle (Klio49, 1967 [pp. 63143], p. 105) thinks that 254 may come from a representation of the Mission to Achilleus, based in part by the presence of Phoinix in the same scene by the Kleophrades Painter on his hydria in Munich, inv. 8770 (Paralip.341, 73 bis-,Addenda189). In the Munich scene, however, he stands while Hermes and Achilleus sit, facing one another. Boardman (AK 19, 1976 [pp. 3-23], p. 5) includes 254 in his list of Mission scenes but with a question mark and I am inclined to do the same. The figure on fragment b may be Hermes or a herald (Ashmead, Hesperia35, 1966, p. 24) since he wears a chlamys, not a himation. He bears a particular resemblance to Hermes on the fragmentary vase in Chiusi (1847), once thought to be a stamnos (ARV2188, 64; Addenda188). The Kleophrades Painter (ARV2185, 38; Paralip.340, 38). Ca.490 B.C. 255 P1.34

P 17211 A 20 Wall fragmentfrom near rim. Glaze slightlydull on outside. Max. dim. 0.052. H. A. Thompson, Hesperia16, 1947, pl. 47:2; A. Ashmead, Hesperia35, 1966, pl. 8:2. Man (most of filleted head) to right. Above, a little of the reserved line at the top of the figured zone. Relief contour. Red: fillet. The man on 255 is not the same as the one on 256 (fragment P 19582 h) because on the latter,a bit of his lip appears above the lower break and on 255 the entire mouth is preserved. The Kleophrades Painter (ARV2186, 41; Paralip.340, 41). Ca. 490 B.C.

256 Fig 16; P1.35

175 P 6103 E 15:6 P 18278 no grid P 19582 A 18-19:1

Fifteen non-joining fragments of wall, P 18278 b-c and P 19582 a-d of torus rim with zone of ornament below. Glaze mottled here and there; has a greenish cast in places; abraded in part on rim. Max. dim. P 6103: 0.117; P 18278 a) 0.11, b) 0.111, c) 0.085, d) 0.069; P 19582 a) 0.136, b) 0.09, c) 0.078, d) 0.065, e) 0.083, f) 0.05, g) 0.033, h) 0.055, i) 0.072, j) 0.138. Est. diam. of rim 0.52. A. Ashmead, Hesperia35, 1966, pl. 9 (P 19582 j and P 6103); pl. 10: on this plate, a=P 19582 a; h=P 19582 h; g=P 19582 i; k=P 18278 d; m=P 19582 e; n=P 19582 f; I (mispoised)=P 18278 a); G. Neumann, Gesten undGebdrden in dergriechischen Kunst,Berlin 1965, p. 143, fig. 72 (P 6103, P 19582 a, c, and j); LIMC I, 1981, pp. 111-112, no. 462 and p. 127, no. 541a, both s.v. Achilleus (A. KossatzDeissmann). A, Achilleus Mourning. P 19582 j (illustrated)shows the filleted head of the hero bent downward, his right hand resting against his forehead, the elbow on his thigh. His eyeball has slipped up a little bit beneath the upper eyelid. Achilleuswears a himation, which is pulled up to cover the back of his head, then swingsdown acrosshis chest and aroundhis rightforearm. His left arm and hand are hidden beneath the garment, the hand probably clasping a bunch of the material (his covered fist overlaps his right elbow at the break);this would account for the fall of folds at the far left of P 6103 (see below). At the far right of P 18278 d (illustrated)there are drapery folds that ought to belong to the drapery that falls over the hero's knee. P 6103 (illustrated)preservespart of the klismos (a little of the seat and part of two legs) and a few folds of the himation. Near the bottom of the fragment there is the head of a spear pointed downward,not touching ground; at the very bottom is the ground line and start of the cul. The only other fragments that seem for certain to belong to this side are P 19582 g and i. Fragment i (illustrated)preserves the upper part of a woman to right wearing a long garment decorated with a lozenge pattern, the intersection of each lozenge being a dot of glaze, the rest in dilute. At the bottom right is the thumb of her right hand. Fragmentg (illustrated)probably gives the top part of her head with diadem and forelock, or that of another, perhaps Thetis (see below: discussion of composition and subject). B, fight. P 19582 e (illustrated)shows part of a bent right arm of a warriorabout to deliver a death blow to an opponentwhose helmet crestappearsabove the lower break. It is difficultto be certain from which side the rest of the figured fragments come and where they fit in the composition (see below). P 18278 a (illustrated)preservespart of a round shield seen in three-quarterview from the inside and the shaft of a spear. Confronted pairs of figuresplaced in metopes decorate the shield band, and above the band is a shield cord fromwhich the tassel hangs. P 19582 h (illustrated)shows the left shoulder draped with a himation and part of the chest of a man as well as his lower lip and the end of his beard. He stands frontally, head turned to right. P 19582 f, fromjust below the startof the rim, preservesa little bit of a curved object. The remaining six fragments(P 18278 b and c, P 19582 a-d) come from the rim with the frieze of upright encircled palmettes below the torus. Preliminarysketch. Relief contour. Dilute glaze: lozenges on woman's garment; inside of shield; muscles. Red: fillet.

176

CATALOGUE

FIG.16. Calyx-krater256 (P 19582 j, P 6103, P 18278 d). Scale 2:1 Corbett and Edwardsrecognized that P 18278 and P 19582 were from the same krater,and Shefton added P 6103. The character of the glaze and clay confirms this, but placing the fragmentsis problematic. It would seem obvious that the shield fragment, P 18278 a, should come from Side A, the shaft of the spear continuing on down to the spear point on P 6103. But there are objections to this. First of all, the thickness of the wall between the shield fragment and the two Achilleus fragments differs by one to two millimeters, a difference that does not seem much in print but is important if one considers that the thicknessof the wall of a well-potted calyx-krater,like this one, is usuallyconsistent horizontally,although it may vary considerablyfrom top to bottom. Secondly, if the positioning of P 18278 d as part of Achilleus' himation is correct, then the shield fragment would have to be placed quite high in the picture, about level with the hero's head. This would help with the thickness problem but would raise the question of how the shield, as well as the spear, was supported. One would like to imagine that the shield rested on the ground, steadied by the hand of a standing figure, perhaps the man on P 19582 h. But the thickness of the shield fragment as well as the glaze of the wall requires that it belong rather high in the composition. A technical feature links these two fragments with the fight fragment, P 19582 e, namely, the presence of very thin lines incised in the glaze on the inside,

a rather common occurrence on such vases, but which does not appear on the three fragments assigned to Side A (such lines do not alwayscontinue around the entire inside). Thus, it would appear that P 19582 h and P 18278 a come from Side B. P 19582 f may come from either side. Ashmead (Hesperia35, 1966, p. 26) thought it was the crest of a helmet, but the two incised concentric lines at the contour suggest instead the narrow rim of a shield. Perhaps it is one hanging on the wall above the head of Achilleus or slightly in front of him. The composition of Side A, from what remains, seems to be as follows: at the left, a woman, probably Thetis or a Nereid, standsto right, surelyholding something in her now missingleft hand, perhaps a helmet or a greave (see below). At the right, Achilleus sits dejectedly to left. Between the two, there has to be someone who holds the spear, the point of which appears on P 6103. He (or she) must hold it rather tightly,otherwise its point would touch ground. The woman on P 19582 i cannot hold the spear because, if she did, part of the shaft would appear in front of her, and here there is only black glaze (as already noted by Ashmead, Hesperia35, 1966, p. 29). If this arrangement is correct, it remains to determine the subject. What comes to mind immediately, of course, is the Achaeans'missionto Achilleusdescribedby Homer in Book IX of the Iliad and illustratedby the Kleophrades Painter on his hydriain Munich, inv. 8770 (Paralip.341, 73 bis,Addenda189).

177

CALYX-KRATERS The problemwith this identification,as others have recognized (see Ashmead, Hesperia35, 1966, p. 29; A. Kossatz-Deissmann in LlMC I, 1981, pp. 111-112, no. 462 where P 6103 is included with uncertain representationsof the Mission; P. Hellstrom, "Achillesin Retirement,"Medelhawsmuseet [The Museum of Mediterranean and Near Eastern Antiquities, Stockholm] 25, 1990, pp. 19-31), is that a woman should not be present, at least not as we know it from Homer and from the representations (see LIMC I, pp. 106-114). Occasionally, the Mission Scene is combined with a representation of the leading away of Briseis, as on the Louvre skyphos by Makron (G 146: ARV2 458, 2; Paralip.377, 2; Addenda 243; Denoyelle, Chefs-d'oeuvre... Louvre, pp. 132-133, cat. no. 61), but there each subjectappears on a differentside of the vase. On the namepiece of the Briseis Painter(London, B.M. GR 1843.11-3.92 = E 76:ARV2406, 1; 232; CVA,London 9 [Great Britain 17], Paralip.371, 1;Addenda 73 Briseis is led away while Achilleus sits in his tent [849]), pl. wrapped in his himation, but this is not comparable to 256 because the woman on 256 faces Achilleus and she does not wear travelingclothes, although this might not be necessaryfor movement from one tent to another within the Greek camp. A better possibility for the scene on Side A, although not without problems, is the Second Arming of Achilleus, a theme suggested by Ashmead (Hesperia35, 1966, pp. 29-30) but rejected by Boardman (AK 19, 1976, p. 4), chiefly because the subject is only popular in red figure somewhat later than 256. In red-figured representations of the second arming, Thetis and her sisters, the Nereids, present the new set of armor to Achilleus, a contradiction with Homer, who has Thetis act alone, but which may have been inspired by a different version. In the Nereids(fr. 237 = H. J. Mette, Der verlorene Aischylos,Berlin 1963, p. 118), Aischylos introduces a chorus of Nereids mounted on dolphins, and they bring Achilleus his new set of armor, but since the date of the trilogy ofwhich the Nereidswas the second play is not assured,it cannot be proven that the early-5th-centuryillustrationsof this story depend on the play. Fora discussion of the trilogy in relationto Attic vases, see B. Dohle, "Die 'Achilleis'des Aischylos in ihrer Auswirkungauf attischen Vasenmalerei des 5.Jahrhunderts," Klio 49, 1967, pp. 63-143, esp. pp. 125-136; more briefly, Kossatz-Deissmannin LIMCI, pp. 122-128, where on p. 127, no. 541 a, 256 is included as an uncertain example of the Second Arming: it is unclear to me how she arrivesat a date of 490 B.C. for the trilogy (p. 127). If the Second Arming is the correct identification of the scene on 256, then the woman on P 19582 i is a Nereid and stands at the left of the composition with someone (Thetis[?]) between her and Achilleus. It is tempting to suggest that she held a piece of Achilleus' armor in her right hand, of which only the thumb is preserved in the lower right of P 19582 i. But when one tries to reconstructany piece of the set (helmet, corslet, sheathed sword), part of the weapon or armor would have to appear in front of her, where all there is is black glaze. More likely, either her right hand was empty or a pair of greaves may have been suspended from her wrist, and her outstretchedleft hand held something else, perhaps the hero's helmet or his sword. Since the woman on P 19582 g wears a stephane,just as Thetis does on an unpublishedfragmentary stamnos in Malibu, the J. Paul Getty Museum, 81.AE.220.5 (only there the band is decorated with dots), this might argue for keeping this fragment separate from P 19582 i. (Iris

wears a similar headdress on Munich 2426: ARV2 189, 76; Paralip.341, 76; Addenda189.) Thus, the composition might havelookedlike this:(1)a Nereid holding a helmet or swordand perhaps the greaves;(2) Thetis with shield and spear,facing (3) Achilleus. This interpretationis not without problems. First of all, it would be more compelling if we could include in this composition P 18278 a, the fragment with the shield, but for the reasonsgiven above, this does not seem possible. Forsheer size and impressiveness,there does not seem to be another shield quite like it in the rest of the Kleophrades Painter'swork, and it fulfillswell the requirementsfor a shield crafted by Hephaistos to be given to the best of the Achaeans. Secondly, if what remains on P 19582 f representsa shield hanging on the wall, it would be inappropriate in a scene that shows the Second Arming, because at that time Achilleus was without armor and weapons. If the scene on 256 represents the Second Arming of Achilles, it would be the earliest known red-figured example, and it would show once again the ability of the Kleophrades Painterto depict a Trojan theme imaginativelyand powerfully. For the decoration on the shield band, see E. Touloupa in New Perspectives [pp. 241-271], pp. 257-261. The Kleophrades Painter (ARV2185, 39; Paralip.340, 39). Ca.480 B.C.

257 PI. 34

P 10509

G-H 11-12

Wallfragment. Glaze mottled on outside. Max. dim. 0.063. A. Ashmead, Hesperia35, 1966, pl. 10:o (mispoised);A. Belis, BCH 110, 1986, p. 213, fig. 12 (mispoised). Trumpeter (most of face, a little of right shoulder, start of instrument pointed downward slightly), to left. He wears a low-crested helmet with the cheekpieces presumably turned up, and he carriesa round shield. Preliminarysketch. Incision for rim of shield (compass-drawn).Relief contour. Whether to call the trumpeter a Greek warrior or an Amazon is difficult. In Amazonsin GreekArt, Oxford 1957, p. 156, Bothmer opted for an Amazon, presumably because of the beardlessness and the absence of cheekpieces on the helmet (they could be turned up). He made the furtherpoint that the almost horizontal position of the instrument indicates that it is being blown, not merely tested as it would be if it pointed sharply downward. Ashmead (Hesperia35, 1966, p. 28 and note 58) rejects the identification as an Amazon because the figure has no earring and no long lock of hair. But these are not sure criteria because there is an Amazon trumpeter on Oxford 1927.4065 by Oltos who has short hair and no earring (ARV262, 77; Paralip.327, 77; Addenda165). Also, the Amazon trumpeter on Louvre G 166/Malibu, the J. Paul Getty Museum 77.AE 11 by the Kleophrades Painter (ARV2186, 51; Addenda188) has short hair,at least to judge by what protrudes from the edge of her leather cap. Thus, while the figure on 257 may indeed be an Amazon, it is perhaps best to leave the identificationopen. Ashmead (Hesperia35, 1966, p. 26) wants 257 to be part of 256, Corbett (p. 25, note 25a) to keep it separate. It is preferableto keep the two apart:the thicknessof 257 is greater, and the glaze in the background is mottled. Also, given what remains of the subjects on each side of 256, it is difficult to see how a trumpeterfits in.

178

CATALOGUE

For trumpets and playing them, see most recently, D. Pade musiquedansla c*ramique de la greceantique, quette, L'instrument Paris 1984, pp. 74-83. The Kleophrades Painter (ARV' 124, 39; ARV2 186, 46; Paralip.340, 46; Addenda187). Ca. 480 B.C.

R 13:1

P9191

258 P1.34

Wall fragment. Max. dim. 0.047. Man (hairat back of head, tied up with a fillet, startof beard, left shoulder)to left. Behind him, part of an encircledpalmette from the handle configuration. Relief contour. Red (flaked): fillet. Perhapsby the Diogenes Painter (ARV'954; ARV2248, -, 2). Ca. 480 B.C.

E 13:1 P 25296 259 Fig. 17 Rim fragment. Glaze misfired reddish on outside; much abraded on rim and on neck. Max. dim. 0.092. Below the torus rim, chain of lyre lotuses and encircled palmettes. For this ornament, only with lyre palmettes, cf. a calyxkrateronce in a New Yorkprivate collection (now Malibu, the J. Paul Getty Museum 92.AE.6) signed by Syriskosas painter: A, Pantelea seated between Okeanos and Dionysos; B, Themis between Balos (seated)and Ephaphos(allnames inscribed)and the namepiece ofthe TyszkiewiczPainter,Boston97.368 (ARV2 290, 1; Paralip.355, 1; Addenda210). 259 is too abraded to be sure if it is by one of these two painters, but it is fairlyclose. Ca. 480 B.C.

of each handle and the cul. Narrow reserved band on inside 0.035 below rim. Glaze pitted in places. Mended in antiquity: holes in rim and wall. Rest. H. 0.40; diam. of rim 0.373. W. B. Dinsmoor, HesperiaSuppl. V, p. 133, fig. 60:12. A, Dionysos (back of wreathed head, arm, most of body) to left, looking back. He wears a chiton and himation and holds something in his left hand, perhaps ivy (a little of what looks like a vine remains). B, maenad (head, lower part of drapery missing)moving to right, looking back, a thyrsos held at waist level in her left hand. She also wears a chiton and himation. On the lower part of the rim below the torus, egg pattern with dots. On cul, stopped-maeanderpattern with saltire-squares. Preliminarysketch. Red: stem of wreath. The Hephaisteion Painter (ARV' 192, 2; ARV2298, 4). Ca. 470 B.C.

P 8447 B 13:6 262 P1.36 Wall fragment. Glaze a bit dull on outside. On inside at the very top, start of a line of reserve. Max. dim. 0.069. Woman (upperpart except for top of head) to right, dressed in a himationwith a woolen filletaroundher head. Preliminary sketch. Related to the Alkimachos Painter (ARV2534, -, 2). Ca. 470-460 B.C.

263 P1.36

264 P1.36

FIG.

260 P1.36

17. Calyx-krater259 (P 25296). Scale 2:1 P 25565

F-H 13-16

Fragmentof rim and wall. Reservedbandjust below rim on inside; line 0.05 below that. Max. dim. 0.116. Forelockof wreathed head of a figure standing to left. On rim below torus, zone of upright lotuses and encircled palmettes. Relief contour. Red: wreath. For the pattern, cf. Copenhagen, Ny CarlsbergV 26 (2702) from the Group of the Floral Nolans (ARV2219, 14; Addenda197). I wish to thank Kalinka Huber for drawing my attention to this comparison (in a letter dated September 21, 1987). First quarter of the 5th century B.C. 261 P1.36

P9462

C 9:6

Mended with missing pieces restoredin plasterand painted, notably most of the rim, all of the foot, much of the wall, part

P 12051

N-P 20:1

Wall fragment. Max. dim. 0.028. Warrior,perhaps an Amazon (part of face, a little of the flap of the corslet over the right shoulder), probably standing frontallywith head in profileto left. Preliminarysketch. Relief contour. EarlierMannerists,iii: Close to the Agrigento Painter(ARV' 382, 3); the Agrigento Painter (ARV2577, 58). Ca.470-460 B.C. P9757

B 14:6

Wall fragment, slightly flaring. Max. dim. 0.074. Prange, Vowbidenmaler, p. 165, cat. no. A 40, pl. 12. The fragment shows part of a woman, perhaps standing frontally,head turned to left (a section of her garment decorated at the lower edge of the overfold with a frieze of riders galloping to left). At the very top, there is a bit of fringe, probably at the neckline. Behind her, at the right, is part of a thin narrowobject decorated with dots (a staff[?]). Preliminary sketch. Relief contour. The AltamuraPainter (ARV' 413, 19; ARV2591, 27). Ca. 470-460 B.C.

265 P1.36

P 10748

B 14

Wall fragment. Max. dim. 0.065. Prange, Aowbidenmaler, p. 165, cat. no. A 42. Woman (face, a little bit of right shoulder with drapery, fingers)to left. The bit of glaze at the far right at the break is probablythe end of an earring or part of a lock of hair. The Altamura Painter (ARV2592, 30). Ca. 460 B.C.

266 P1.36 P 4811

I 13 P 3445 E-F 12-14

Two non-joining fragments, P 4811 of rim with start of wall, P 3445 of wall. Narrow band on inside of P 4811 (at rim), another 0.065 below rim. Glaze fired red except for

179

CALYX-KRATERS palmette ornament on P 4811 and for contour line on P 3445. RH. P 4811: 0.079; max. dim. P 3445: 0.107, P 4811: 0.135. E. Vanderpool, Hesperia15, 1946, p. 286, pl. 36 (P 3445); M. Farnsworth,Archaeology 12, 1959, p. 248, fig. 11 (P 3445). P 4811 preserves a zone of diagonally addorsed palmettes on the rim below the torus and the top of the head of a figureon the wall below. P 3445 shows a woman(?),part of chiton and himation, to left. At the right, an uncertain object, perhaps the back leg of a chair. Preliminarysketch (P 3445). The misfiringof the backgroundis consistently of the same color, not the varying color caused by an overcrowded kiln. Nor is it intentional coral-red. G. M. A. Richter, in a note to Lucy Talcott, suggested that the red is a product of the workmanwho, in mixing the glaze for fillingin the background, in some way altered the proportions of the ingredients. This would account for the uniformity of the red. See Hesperia15, 1946, p. 286. Perhapsby the Aegisthus Painter. For the ornament, cf. the rims of two calyx-kraters:Vienna 1102 (ARV2504, 5; Addenda252) and Bologna 288 (ARV2504, 6). For the drapery, the best parallel appears to be Florence 3994 (ARV2505, 18). Ca. 460 B.C.

267 Pl. 36

P 23207

N 16

Wall fragment. Max. dim. 0.064. Male (right arm except for hand, part of torso) to right, wearing a short chiton with a chlamys over it. In his right hand (now missing) he held two spears (part of the shafts appear at the lower right). Preliminarysketch. Relief contour: forearm. Dilute glaze (very faint):muscles. Probably second quarter of the 5th century B.C. 268 PI. 36

P 19175

C 18:7 Wallfragmentfromjustbelow rim strengthenedwith plaster. Glaze slightly dull on outside. Max. dim. 0.12. Prange, Niobidenmaler, p. 210, cat. no. GN 22. Youth (most of filleted head, right shoulder, and upper arm) standing frontally with head turned to left. He wears a chiton with a chlamys over it; a petasos hangs down his back. Preliminarysketch. Relief contour. The youth is probably leaving home and may have looked very much like the one on Ferrara2652 = T.740 by the Niobid Painter (ARV2599, 6; Paralip.394, 6; Addenda266; Prange, XMobidenmaler, p. 181, cat. no. N 7, pl. 6). Manner of the Niobid Painter (ARV2609, 11). Ca. 450 B.C.

269 P1.36

P 9483 C 9:6 Rim fragment. Reserved line on inside at rim; narrowband 0.037 below rim. Max. dim. 0.07. W. B. Dinsmoor, Hesperia Suppl. V, p. 142, figs. 69:30, 70:b; AgoraXXI, cat. no. L 5, p. 90, pl. 56. Below torus, zone ofdiagonally addorsedpalmettes. Graffiti incised on reservedareas above and below patterns. Relief line for tendrils. Ca. 450 B.C. 270 P1.36

P 27718

G-H5-7

Fragment of cul and body. Max. dim. 0.09. On cul, chain of double lotuses and encircled palmettes. The only painterto favorthe chain of double lotuses and palmettes on the culs of his calyx-kratersis Euphronios,who used

it six times, always on the obverse: Louvre G 103 (ARV214, cat. no. 3; Denoyelle, 2; Paralip.322, 2; Addenda152; Euphronios, cat. no. Louvre, 104-105, pp. Chefs-d'oeuvre... 47); LouvreG 110 cat. no. 2); (ARV214, 3; Paralip.322, 3; Addeda 152; Euphronios, Louvre G 33 (ARV2 14, 4; Euphronios, cat. no. 11); Munich inv. 8935 (ARV21619, 3 bis;,Paralip.322, 3 bis;Addenda152; cat. no. 5); New York,M.M.A. 1972.11.10 (EuphroEuphronios, nios, cat. no. 4); and New York, Levy and White (Euphronios, cat. no. 6). Elsewhere, it may be seen on the following: 271; Ferrara2891 = T.313 by the Niobid Painter (ARV2602, 24; Paralip.395, 24; Addenda266; Prange, .Niobidenmaler, p. 187, cat. no. N 32); Rome, Villa Giulia 909, the namepiece of the Villa Giulia Painter (ARV2618, 1; Paralip.398, 1;Addenda 270); Ferrara 2893 = T.617, the namepiece of the Peleus Painter (ARV21038, 1; Paralip.443, 1; Addenda319; CVA,Ferrara 1 [Italia 37], pl. 22 [1666]:2, 3; Reeder, Pandora,pp. 349-351, cat. no. 110; Matheson, Polygnotos, p. 436, cat. no. PE 1, pl. 91); Ferrara2892 = T.300 in his manner (ARV21041, 6; Paralip. 443, 6;Addenda 319; CVA,Ferrara1, [Italia37], pl. 19 [1663]; Matheson, p. 443, cat. no. PEM 7, pl. 153). 270 seems closer to these than to Euphronios. Ca.450 B.C. 271 Pl. 37

P 23137

I 12

Fragmentof cul with startof handle at far right. Glaze much pitted. Max. dim. 0.087. Chain of double lotuses and encircled palmettes. For this pattern on the culs of other calyx-kraters,see 270. An odd featureof 271 is the pair oflines drawnacrosseach lotus near the top, which does not seem to have an exact parallel. A somewhat similarfeature occurs on Ferrara2892 = T.300 in the manner of the Peleus Painter (ARV21041, 6; Paralip.443, 6; Addenda319; CVA,Ferrara 1 [talia 37], pl. 19 [1663]; Matheson, Polygnotos, p. 443, cat. no. PEM 7, pl. 153); also on the necks of these volute kraters,only there and on Ferrara 2892 = T.300), the lines serveto separatelong frondsfromshort petals: Ferrara2739 = T.749 by the Boreas Painter (ARV2536, 1; Paralip.384, 1; Addenda255; CVA,Ferrara 1 [Italia 37], pl. 5 [1649]:3); two by the Niobid Painter:Bologna 268 (ARV2 598, 1; Paralip.394, 1; Addenda265; Prange, .Nobidenmaler, p. 180, cat. no. N 1) and Ferrara 2652 = T.740 (ARV2599, 6; Paralip.394, 6; Addenda 266; CVA,Ferrara1, [Italia 37], pl. 7 cat. no. N 7); Basel, Antikenmuseum 181, Prange, p. [1651]:1; und Sammlung Ludwig, BS 486 by the Painterof Bologna 279 (ARV2612, 2; Addenda268; CVA,Basel 3 [Schweiz 7], pl. 3 [315]; Prange, p. 217, cat. no. GN 62); and Ferrara45685 = T. 19 C VP by the Chicago Painter (ARV2628, 1; Paralip.399, 1;Addenda 272). Ca. 450 B.C.

272 P1.37

P 24867 R 11 Rim and wall fragment. Narrow reserved band on inside just below rim, another 0.045 below rim. P.H. 0.145; est. diam. of rim 0.25. Oakley,PhialePainter,p. 76, cat. no. 57, pl. 40:c. Satyr (left hand and foot, right leg from the knee down missing)moving to right. On the far right, at the break,part of the stalk and tip of a thyrsos held by a maenad facing. On rim below torus, laurel wreath to right. Preliminary sketch. Dilute glaze: muscles;contours of leaves of thyrsos. The Phiale Painter (ARV21017, 57). Ca. 440-430 B.C.

180

CATALOGUE

273 P1.37

P 18279 B 19:12 Wall fragment. Glaze dull and misfired reddish here and there on inside and outside; slightly abraded. Max. dim. 0.107. H. A. Thompson, Hesperia17, 1948, pl.67:4; Matheson, p. 354, cat. no. P 37. Polygnotos, Theseus and the Minotaur. At the left is an Athenian youth (most of head, left side of body to mid-thigh)standing to right, holding in his left hand a lyre (tips of arms and crosspiece missing). He wears a himation. In front of him is Theseus (right arm with sword, a bit of drapery or end of scabbard), also to right. Relief contour. Parallels for the youth holding a lyre do not seem to occur in other red-figured representations of this scene. See E. R. Young, "The Slaying of the Minotaur: Evidence in Art and Literature for the Development of the Myth, 700-400 B.C." (diss. Bryn Mawr College, 1972), p. 158, who points out that the lyre occurs in the victory dance on the Francois Vase, Florence 4209 (ABV 76, 1; Paralip.29, 1; Addenda21; M. Cristofani,Materialiperservire allastoriadelvasoFranfois[Bollettino d'Arte, Serie Speciale 1], Rome, 1980, fig. 65: the figure of Theseus) and in the slaying of the Minotaur on the cup in Munich by Archikles and Glaukytes, 2243 (ABV 163, 2; Paralip.68, 2; Addenda47), also on a late-6th-century cup in Taranto by the EdinburghPainter(ABV476, 3): there the lyre is hanging up. On Bologna 177, a stamnos by the Agrigento Painter (ARV2577, 53; Philippaki, Stamnos,pl. 48:3, side A only), Theseus and the Minotaur appear on the obverse, and a man offeringa lyre to a youth, accompaniedby a male, appears on the reverse,but it is far from certain that the two scenes are connected (Beazleyseparateshis descriptionwith a period, not a semicolon, indicating that he considered the two unrelated; see ARV2p. xlvi). In view of all this, the statementby Brommer Heldenin derantikenKunstund (Theseus:Die Tatendesgriechischen Literatur,Darmstadt 1982, p. 45) is puzzling: "Ebenfalls auf attischen Vasen beider Techniken kommt ofter einer Leier in der Hand eines Zuschauersvor." Polygnotos (ARV21030, 32). Ca. 440 B.C.

274 P1.37

P 1855

R 13:4

Body, all of handle B/A, start of the other, foot. Mouth and rim missing. Much of the glaze misfired reddish. Chip in surface between second and third youth on Side B. Narrow reserved band on inside near top. P.H. 0.227; pres. diam. 0.208. L. Talcott, Hesperia 4, 1935, p. 476, no. 1, p. 480, fig.4:1, p. 468, cat. no. PGU 112. p. 498, fig. 18; Matheson, Polygnotos, a satyr. The maenad a maenad and between A, Dionysos stands to right, wearing a belted peplos and a stephane. In her right hand she holds an oinochoe; in her left, a torch. Next is Dionysos (top of head missing),who stands frontallylooking back at her, a kantharosin his right hand, a thyrsosin his left. He wears a chiton and a himation. Then comes the satyr, who has a wreath around his head and moves to right, playing the aulos. B, three youths, the second one frontal looking to left, flanked by the other two, who face him. Each wears a himation. The left one leans on a stick and holds up an object, perhaps an elongated aryballos (Talcott, p. 497). Below the figures, at the top of the cul, maeander pattern with saltiresquares. Preliminary sketch. Dilute glaze: muscles; lines on thyrsos.

The Group of Polygnotos: Undetermined (ARV' 699, 73; ARV21057, 101). Ca. 440 B.C. 275 Fig. 18; P. 37 P 22811 H-K 12-14 Wall fragment from just below rim (a little of the thinned glaze appears at the very top). Glaze slightly dull on inside. Max. dim. 0.085. Matheson, Polygnotos,p. 465, cat. no. PGU 95. Chariot to left: heads and necks of the pole horses; a little of the mane of the left-hand trace horse. At the far lower right, part of a wreath and what look like the fingersof a hand holding it (Nike[?]).Just below the top break: ]A/[

Relief contour. Dilute glaze: eyes and muscles. White: wreath;inscriptions. The Group of Polygnotos:Undetermined (ARV21056, 83). Ca. 440 B.C.

/0,/

FIG. 18. Calyx-krater275 (P 22811). Scale 2:1

276 P1.37

P7282 i

B 12:3

Wall fragment. Max. dim. 0.059. The fragment shows the legs from thighs to calves of a youth to right. At the lower right break is part of another figure (drapery).Preliminarysketch. Dilute glaze: muscles. Not from the same calyx-krateras 287 because the wall is too thin. Ca. 440 B.C.

277 PI. 37

P 25918

M 18

Wall fragment. Glaze fired reddish (drawing) and bluish (background).Max. dim. 0.105. Kithara-player(part of neck, his head [now missing] thrown back, body, right arm and hand with plektron, left hand) to right, dressed in a chiton. All of the kithara, except the tips of the arms, remains, as well as the sash hanging down and most of the strap used to steady the instrument. Behind him, the left hand of someone holding out a phiale. At the upper right break,part of someone or something. The artistforgot to include the strings of the kithara. Preliminarysketch. Ca. 440-430 B.C.

278 P1.37

P 92

G6

Wall fragment from just below start of rim. Glaze much pitted and flaked. Narrow reserved band on inside near top. Max. dim. 0.062.

181

CALYX-KRATERS Woman (head with veil) to right looking downward. Relief contour. Dilute glaze: surface between locks of hair. Ca.440-430 B.C. 279 PI. 37

P 7784

G3 Wall fragment. Max. dim. 0.152. G. Gualandi, ArteAnticae Moderna20, 1962, pl. 11l:d; L/MC III, 1986, p. 374, no. 4, s.v. Demonassa II; Matheson, Polygnotos, p. 411, cat. no. KL 27. Youth, probably Dionysos (head with broad fillet, shoulder) seated frontally or in a three-quarter view, head turned to left. In his right hand (only the thumb remains) he holds a drinking horn (upper half). At the right break, two fingers of his left hand. At the left, part of the right shoulder with chiton and himation and both hands of a woman holding a fillet. She is probably also seated. Behind the youth, part of another woman (drapery,right elbow) with a staff or more likely a thyrsos. Preliminary sketch. Relief contour. Added clay: fillet held by woman. Dilute glaze: line on youth's fillet. White: strings of fillets;decoration on youth's fillet:line above his head. Beazley (ARV21145, 24) suggested that the three figuresare Phaon flanked by the nymph Demonassa and by Aphrodite. C. WeiB (LIMCIII, p. 375) is probably correct in interpreting the object held by the figure behind the youth as a thyrsos because of its transverselines, and thus the scene is a Dionysiac one. The Kleophon Painter (ARVl 785, 18; ARV2 1145, 24). Ca.430 B.C. 280 P1.38

P 18957

C 19:9

Mended from many fragmentswith missing pieces restored in plaster and painted. More than half of rim, much of wall on Side A, both handles, except for stubs of B/A, all of foot lost. Narrow reserved band on inside of rim; another 0.04 below rim. Glaze abraded on cul; fired greenish in places. P.H. 0.195; diam. of rim 0.34. Matheson, Polygnotos, p. 395, cat. no. DM 23. B, youthful athletes, two to right, the third to left leaning on a stick, each wearing a himation. The top of the head of 2 and all the head of 3 are gone. Between 2 and 3, an aryballoshangs on the wall. On rim below torus, laurel wreath to left. Below the figures, at the top of the cul, stopped-maeander pattern with saltire-squares. Manner of the Dinos Painter (ARV21156, 19). Ca.430 B.C. 281

P 14860

A 18

Wall fragment with start of cul at very bottom. Max. dim. 0.07. Satyr (legs, the right frontal, the left in profile, end of tail), leaning to right (the glaze lines on the inside and the bit of groundline on the outside make this clear). Preliminarysketch. Dilute glaze: muscles. Probably third quarter of the 5th century B.C. 282 P1.37

P23615 Q8 Wall fragment. Max. dim. 0.065. Youth (most of head with a bit of wreath or fillet at the break, left side of body, right hand, part of bent left arm) standing frontally,head to right, two spears (shafts)in his left hand (now missing). He wears an elaboratelydecorated belted

tunic without sleeves and has a himation over his left shoulder. Preliminarysketch. Relief contour. White: fillet. 282 bears some resemblance to the work of the Shuvalov Painter. Compare these: Ferrara 2509 = T.512 VT (ARV2 1206, 4; Paralip.463, 4; Addenda344); the figure of Paris on Ferrara 3812 = T.31 A VP (ARV2 1206, 13; Addenda345); Bologna 343 (ARV21207, 15; Addenda345); the Hague, Mus. Meermanno-Westreenianum634, especially for the shape of the mouth and eye (ARV21209, 58; Addenda346); and Marzabotto (attributedby Lezzi-Hafter [Der SchuwalowMaler,p. 105], cat. no. S 31, pl. 98:d-f). Ca.430-420 B.C. 283

P 25888

L 18

Wall fragmentwith start of cul and all of one handle. Glaze slightly greenish on inside; abraded slightly on handle. P.H. 0.09. A, woman (a little bit of lower drapery) to right, facing a man or youth (legs from the knees down). B, woman (lower part of chiton) to right. On the far right, at the break, traces of the next figure. Below, stopped-maeander pattern with checkerboard-squares.Preliminarysketch. Probably430-420 B.C. 284 PI. 38

P4733

N 10:1

Wall fragment, slightly flaring. Glaze cracked a bit on outside. Scratch at lower right. Max. dim. 0.064. Lowerpart of draped forearm and hand of figure,perhaps a child, either frontal or standing to right. At the bottom of the fragment: 4 J)v M Relief contour. Dilute glaze: border of garment. Red: inscription. The description of 284 on the Agora record card suggests that the hand is that of a child and restores the inscription to read: 0ulXler).This was a low platform on which a sacrificial hearth or an altar stood. For a thymele, see RE, 2nd series, vol. 6, cols. 700-704, s.v. u0VXy) (C. Fensterbusch); also, M. Bieber, TheHistoryof theGreekandRomanTheater,Princeton 1961, pp. xiv, 3, 14, and 56. Probablylate 5th century B.C. 285 P1.38

P224

H 17

Fragmentof lower part of wall and cul. Max. dim. 0.078. Right leg fromknee down, left heel of male to right. Planton ground; some kind of object behind him. On cul, diagonally addorsed palmettes. Relief contour: legs. White: object. For the pattern, see Athens, N.M. 14899 by the Painter of the London Griffin-Calyx(ARV21455, 1;Addenda379). Probablymid-4th century B.C. DouaLE REGISTER 286-288

286 P1.38

P 104 P 110 P 2223

H7 H5 H7

Three non-joining wall fragments. Reserved band on inside at top ofP 110. Max. dim. P 104: 0.103, P 110: 0.087, P 2223: 0.07. Prange, J'obidenmaler, p. 209, cat. no. GN 15, pl. 21 (P 110 is mispoised). Upper zone: fight. P 110 shows a warrior(most of helmeted head, a little of left arm with round shield seen in three-quarter

182

CATALOGUE

limit of the figured zone and the start of the rim). P 7282 k gives the upper arm, the start of the crosspiece,the stringsand tuning knobs of a barbiton held by someone facing to right, and P 7282 j shows the tips of the handles and part of the rim of a kantharos. Neither is held by the satyr on P 8446 because the reserved band on the inside of each fragment is not the same width. P 8445 h shows a little bit of the top of the head of a satyr or a maenad, perhaps bending over, for this would explain the amount of space between the figureand the startof the rim above. The next fragmentspreserveparts of maenads. P 7282 b + P 8445 f(illustrated)shows part of the body and the right arm of one to right dressed in a belted peplos. In her right hand she holds an oinochoe from which wine pours. At the upper left break there is a bit of contour outline of a figure behind her (or perhaps the arm of the barbiton on P 7282 k) and at the right break, a bit of drapery belonging to the next figure,perhaps the maenad (lowerpart of chiton and himation) on P 7282 c (illustrated):the characterof the glaze suggeststhis juxtaposition. P 8445 d (illustrated)preservesmost of the right arm and a few locks of hair of a maenad to right, dressed in a chiton. In her right hand, now missing, she held a thyrsos (part of staff with leafy branch). P 7282 n (illustrated)shows the middle part of a maenad dancing to right, not the ones on P 7282 b + P 8445 f or P 7282 c because the glaze lines for the draperyfolds do not match. P 7282 d and u each preserve a bit of drapery; P 7282 g shows the ankle and part of the left foot of a figure, probably a satyr to left; and P 7282 f + t gives the right foot and lower drapery of a maenad hurryingto right. P 8445 c shows most of a kantharosheld vertically,with wine spilling from it in a thin stream, and P 8445 e (illustrated) preservesmost of the left arm of a satyr to right, then part of a thyrsos,which also has a leafy branch and is held by someone in front of the satyr (there is a bit of contour outline at the extreme right break). P 7282 o seems to preserve a bit of the lower edge of the garment of a maenad (decorated with a black border but not the same as P 7282 f + t, because the B 12:3 P 7282 287 Pls. 38-39 lines of glaze on the inside do not match). Lower zone: A, P 8445 B 13:6 satyrsand maenads. These fragmentsseem to come from this P 8446 B 13:6 side. P 7282 a (illustrated)shows a satyr (much of head, right shoulder,lower legs missing)running to right towardssomeone Thirty-two non-joining fragments of rim, wall, and cul. who holds a flamingtorch (part of shaft and at the breaka bit of Narrow reserved band on inside of rim, another 0.082 below the torch-bearer'shand). Around the satyr'shead is a wreath. rim. Glaze pitted on some fragments;has a greenish cast here P 7282 e (illustrated)preservesa little of the back of the head of and there. Max. dim. P 7282 a: 0.106, b/P 8445 f: 0.09, a maenad, part of her himation over her left shoulderas well as c) 0.067, d) 0.03, e) 0.068, f/t) 0.064, g) 0.038, h/P 8445 g: her outstretchedleft hand. She moves to right, looking back. 0.09, j) 0.073, k) 0.049, 1)0.031, m) 0.03, n) 0.082, o) 0.041, In front of her is a satyr (tail)to right and hanging on the wall p) 0.043, q) 0.039, r) 0.02, s) 0.05, u) 0.024, v) 0.05, w) 0.04; above, a fillet. P 7282 p shows part of an outstretchedleft arm P 8445 a) 0.127, b) 0.061, c) 0.067, d) 0.061, e) 0.087, h) 0.057, and the start of the chest of a satyr, probably much like the Estimated 0.064. P 8446: 0.064; 0.085, 0.085, m) 0.064, k) ) j) one on P 7282 a, only reversed, i.e., moving to left. The black height of upper register 0.13; of lower, 0.089. P. E. Corbett, Hesperia18, 1949,pl. 78:137 (P 8446); Matheson, Polygnotos, outline and slightly greenish background glaze suggests that this figure appeared directly below the maenads on P 7282 b p. 468, cat. no. PGU 111 and p. 470, cat. no. PGU 122. + P 8445 f and P 7282 c in the upper zone. P 7282 h + There is not enough preserved to establish the sequence of P 8445 g (illustrated)preservesa little of the lower draperyand and with zone: zone. for either satyrs Dionysos Upper figures of one foot of a maenad running to left, pursued by a heel maenads. P 8445 b (illustrated)shows most of the head and (left leg from the knee down, a bit of his right shin at satyr turned his head of the of chest god standing frontally, part the the right break). On the ground are a drinking horn and a to left. He wears a chiton and has a wreath and a woolen leafy branch. B, youths. The following fragments seem to fillet around his head. At the right break is the end of his belong to this side. P 8445 j shows the lower part of the face thyrsos. P 8446 (illustrated)preserves the wreathed head and and the upper body of a youth to right wrapped in a himation left At the downward. his shoulders of a satyr to right, gaze who faces another (hand). P 7282 m preserves the left foot break there is a bit of very straight relief line, perhaps part restingon a rock of someone standing to right. The remaining of a staff (it seems to continue almost to the rim for, at the fragmentswith figureddecoration could come from either side very top of this fragment, there is a contour line indicating the view from the inside) to right, attacking another with a spear. All that remains of his opponent is a bit of his helmet (end of cheekpiece and a bit of the nasal[?]) and at the break, a little of his shield, a round one seen in profile(deviceuncertain),as well as the end of his spearpointing upwardslightly,suggestingthat he uses it as a thrusting weapon. P 104 preserves somewhat more of this zone: a bit of the rim of a round shield, three pteryges of a corslet, the skirtof a chiton, and the bent knee of a fallenwarrior. Below,stopped-maeanderpatternwith saltiresquares separating the two zones. Lower zone: P 104 shows the wreathed head and shoulders of a king to left, dressed in a himation and holding a scepter. He is probablyseated. Behind him is a crescent-shaped object. P 2223 preserves the upper part of a woman clad in a chiton and himation, a sphendone and wreath on her head; also an earring. Behind her, the left hand of the next figure. Above, reservedline at lower edge of maeander pattern. Preliminarysketch. Relief contour. Dilute glaze: folds on skirtof warrior'schiton. Rim of shield on P 104 incised (compass-drawn). For the shield with reserved rim and black interior, see Chicago22.2197 inthemanneroftheNiobidPainter(ARV2610, 268; Prange, Jobidenmaler, 21; Addenda p. 212, cat. no. GN 35). The crescent-shaped object at the right of P 104 in the lower register may be one frond of a palm tree. See, e.g., the ones on the hydria in the Vatican, 17882, by the Painter of the Woolly Satyrs (ARV2614, 11; Prange, p. 221, cat. no. GN 76, pls. 18, 19). The position of the fallen warrior in the upper register of P 104 may have been similar to one on the dinos by the Altamura Painter in Newcastle-upon-Tyne, 52 (ARV2 590, 10 bis; 1660; Paralip.394; Addenda264; Prange, p. 160, cat. no. A 20, pl. 54 [fallen warrior on right]). Manner of the Niobid Painter (ARV1424, 5); Near the Painter himself (ARV2609, 7: incorrectlygiven as P 223). Ca.450 B.C.

183

CALYX-KRATERS

FIG.19. Calyx-krater288 (P 44). Scale 1:1 of this register. P 7282 g seems to preservethe leaf of a thyrsos at the far right and if so it would belong to side A. P 7282 r shows a hand holding a branch and P 7282 s the lower shaft of a staffor thyrsos(the fragment is fromjust above the ground line). What remains on P 7282 1is uncertain:it looks like a bit of the left side of the chest and the start of the upper arm of a male figure. On the rim below the torus, diagonally addorsed palmettes (P 7282 j; P 8445 a [illustrated],h, k-m). Dividing the two zones: egg pattern (P 7282 a, e, f + t, g, o; P 8445 j). At the top of the cul: maeander pattern with saltire-squares (P 7282 h + P 8445 g [illustrated]; P 7282 q). Fragments P 7282 v-w preserve some of the handle reserve on the cul, v with handle root. Preliminary sketch. Dilute glaze: hair on P 8445 h; crenellation pattern on upper garment on P 7282 n (at the very top of the fragmentjust below the break);tails; lines on torch; muscles. White (flaked):tuning knobs; wine pouring from oinochoe and kantharos;leaves of branches on thyrsoi;wreaths of satyrs;flame of torch; rock. For the barbiton, see 196. The Group of Polygnotos:Undetermined (ARV21058, 109: P 7282; ARV2 1057, 100: P 8445 and P 8446). Ca. 440 B.C.

288 Fig. 19; P1.39

P44 H5 P5107 H5-6

Two non-joining fragments, P 5107 with rim and body, P 44 of wall. Reserved line on side at rim; another 0.06 below rim. Glaze misfired greenish and reddish in places. PH. P 5107: 0.127; est. diam. at rim 0.37; max. dim. P 44: 0.118. H. A. Thompson, Hesperia6, 1937, pp. 47-49, figs. 27, 28; D. B. Thompson, GardenLorein AncientAthens(Agora Picture

Book 8), Princeton 1963, fig. 46; LLVC IV, 1988, p. 638, no. 121, s.v. Hephaistos and p. 694, no. 314, s.v. Hera. Upper zone: Return of Hephaistos. At the far left of P 5107 there is something that looks like the end of a torch, then parts of the heads, probably of two satyrs to right; next, top of the head of a third satyr,also to right, each head with a fillet, the third satyr holding a branch above his head in his right hand. Then comes Hephaistos (crown of filleted head, legs) on his donkey (foreparts),led by Dionysos, who is mostly frontal but looking back. He holds the reins of the donkey in his righthand and his kantharosand a thyrsosin his left, the end of the thyrsos resting on the ground. Dionysos wears a chiton and himation; around his head is a wreath. Above the donkey'shead: H'P[AJI?TO0

Above Dionysos' head: A I2NV5

At the far right, the left calf and foot of a satyr seen from the back. Above, part of a fillet(?). What appears to be an object between the face of Hephaistos and the top of his mule's head are the ears of the mule, the inside covered with glaze that fired red, like the strip on the mane and the stripe across the shoulder. The two bits of reserve directly behind Hephaistos just above the break are the tops of the handles of a kantharos held by him or by the satyr, perhaps the latter. On the rim below the torus, ivy with berries. Below, egg pattern with dots. P 44 preserves part of both zones. From the Return of Hephaistos (Fig. 19), the lower draperydecorated with a heavy black band just above its lower edge and the feet of a figure to right, the left foot raised and resting on a rock; at the break there is a little bit of draperythat belongs to an attendant. Next comes the lowermost part of Hera (drapery,one shod foot, end of scepter),seated to left (thereare two lion'spaw feet that form

184

CATALOGUE

the base of a footstool and to the left of the staff, the end of something that may be a thyrsosheld by the person who restsa foot on the stone). At the far right is the end of one front leg of the throne. Lower zone: youthful komasts. At the left, the hand of one who holds a torch and another (from the chest up) wearing a himation and holding a barbiton (ends of arms, crosspiece, part of strings), both to right, facing a third (from the waist up) standing frontally,head in profile to left, holding what looks like the handle of a dipper in his right hand. At the far right, a little bit of his cloak that hung from his left shoulder and arm (now missing). Both youths wear fillets. Between the two zones egg pattern with dots. Relief contour (much of it fired red). Dilute glaze: muscles; kantharos. Red: line below rim; another below fascia. White: inscriptions; berries and fillets (both yellowish: gilded[?]); contour of rock; lead line of donkey. For the subject, see 115; M. Halm-Tisserant, "La representationdu retourd'Hephaistosdans l'Olympe:Iconographie traditionelleet innovationsformelles dans l'atelierde Polygnotos (440-430)," AK 29, 1986, pp. 8-22; more generally,Brommer,Hephaistos, pp. 10-17, 201-202 (288 is cat. no. 52 on p. 202 but is not mentioned in the text);LIMCIV, 1988, pp. 637-645,

652-654, s.v. Hephaistos (A. Hermary). For the seated Hera combined with the procession of Hephaistos on a donkey or a mule accompanied by Dionysos, see Halm-Tisserant,AK 29, 1986, pp. 20-22; LIMC IV, p. 638; also, Froning, Dithyrambos, pp. 67-71, as it applies to the volute-krater in Ferrara attributedto Polion: 3033 = T. 127 (ARV21171, 1; Paralip.459, 1;Addenda338). The figure of Hera on 288 with a frontal attendant is closest to the composition on the skyphos in Toledo attributed by Bothmer to the Kleophon Painter (82.88: CVA,Toledo 2 [USA 20], pl. 86 [969]:2 and p. 13 for the attribution;Matheson, Polygnotos, p. 379, cat. no. CUR 5, pl. 115: the Curti however, a satyr stands before Hera; the figThere, Painter). ure on 288, who rests a foot on a rock, is probably another attendant or a maenad. She may have looked something like the maenad who stands before a seated satyr on the volute-krater in Ferraraby Polion, mentioned above. For the barbiton, see 196. Connected by Thompson with the Eretria Painter but not firmly attributedto him (Hesperia6, 1937, pp. 48-49). Ca.430 B.C.

BELL-KRATERS 289-568

Pls. 40-58

Painter (ABV 708, 19; Paralip.291, 19); Athens, N.M. 430 by the Beldam Painteror in his manner (ABV 587, -, 1);Louvre R 19 P 13367 289 PI. 40 G 187 by the Triptolemos Painter; London, B.M. E 140 by Makron (ARV2459, 3; Paralip.377, 3; Addenda243). Wall fragment. Max. dim. 0.12. Schwarz, Triptolemos, Painter (ARV' 154, 15; ARV2 227, 16: The Eucharides V cat. no. 136, p. 49, pl. 8:14; Hayashi, Triptolemosbildes, p. 37, wrongly called a calyx-krater:the wall is convex, not flaring). cat. no. 37, pl. 5:1 (wronglycalled a calyx-krater);Langridge, Ca. 490-480 B.C. "EucharidesPainter,"p. 345, cat. no. E 7. Triptolemos (feet;lower drapery)sitting on the throne (part G 6:3 P 2708 a, c,d 290 PI. 40 of floor and wheel, startof wing, a little of the spotted serpent). Three non-joining wall fragments. Glaze fired greenish on Relief contour. Dilute glaze: part of wing. fragment d. Max. dim. a) 0.087, c) 0.03, d) 0.122. E. VanFor the subject, see 229. Of the three episodes in this myth derpool, Hesperia15, 1946, pl. 37:53. recognized by Dugas, 289 probably depicted the second, the Satyr to right, playing the aulos. Fragment a (illustrated) departurefor the mission where Triptolemossits on the throne the end of his beard, his arms, and his torso to the shows flanked by Demeter and Kore, one of whom pours a libation and waist, fragment c, a bit of his tail. On fragment d there have looked on 289 into his phiale. The composition may is a narrow curved line of reserve (uncertain what: a tendril much like the one on Louvre G 187, the namepiece of the or vine[?]), and in the lower right, just above the maeander 222; Triptolemos Painter (ARV2361, 2; Paralip.364, 2; Addenda pattern, there is a bit of contour indicating the beginning of a ... Louvre, pp. 130-131, cat. no. 60). Denoyelle, Chefs-d'oeuvre with figure, probably the heel of a foot. Below the figures,stoppedthrone of mention The earliestpreserved Triptolemos' the snakes is a fragment of Sophokles' tragedy, Triptolemos, maeander pattern with cross-squares, a small dotted square in each reserved square. Preliminary sketch. Relief contour. which was probably firstperformed in 468 B.C.(fragment539: Dilute glaze: muscles. 2nd ed., Leipzig Graecorum A. Nauck, ed., Tragicorum Fragmenta, Early 5th century B.C. The see A. C. of the date for the Pearson, play, 1889, p. 262; vol. 2, Cambridge 1917, p. 239; there, of Sophokles, Fragments G 6:3 P 2708b 291 the fragment is no. 596 and appears on p. 243). Several repWall fragment. Max. dim. 0.053. resentationsof the subject, including 289 and Louvre G 187, Man, youth, or satyr (right foot) to right. Below, stoppedthat depict the serpent alongside the wheel of the seat predate maeander pattern with cross-squares, a small dotted square the play, thus indicating that the version with the snakes is in each of the reserved squares. Preliminary sketch. Relief not an invention of the playwright (see Pearson, p. 240, note contour. 1):Athens Art Market by the Theseus Painter (Haspels, ABL Probablynot from the same krateras 290. The color of the to p. 252, no. 64; snakes are present, according Raubitschek, of 291 is less orange; the width of the pattern is greater; clay 1867 the Emporion by HesperiaSuppl. XX, p. 110); Prague WITHLUGS 289-292 TYPE 1: BELL-KRATERS

185

BELL-KRATERS the preliminary sketch is incised more deeply; and the strokes are less broad. Early 5th century B.C. P 21375

292 P1.40

N7:3

Three non-joining wall fragmentsfrom each side, with start of rim. Fragment c preserves a lug. Glaze cracked here and there. Max. dim. a) 0.099, b) 0.177; diam. of rim, fragment c: 0.30. C. Boulter,Hesperia22, 1953, p. 67, fig. 1:8, pl. 25:8. Fragment a (illustrated)preserves a youth (most of head, chest, right hand) to right, holding a lyre (upperparts of arms, crosspiece). He wears a himation and faces another (forelock at far right). Above, a "Goody-cross,"perhaps a torch holder, hangs on the wall. Fragmentb comes from the other side of the krater and shows two youths (body of one in himation; head, part of himation of other) facing. Above hangs a strigil. At top of figured zone, tongue pattern. Forthe "Goody-cross"as a torch holder,see H. R. W. Smith in CVA,Univ. of California I [USA 5], pp. 41-42; more recently,M. deNoyelle, RevueduLouvre5/6, 1991, p. 18, right column, and D. Williams, CVA,London 9 [Great Britain 17], p. 30, sub 16 for various interpretationsand bibliography. Mid-5th century B.C. TYPE 2: BELLKRATERS WITHHANDLES 293-545 SINGLE REGISTER

293-544

293 P1.40 P 8776 a-c, e, f C 13-14 Five non-joining wall fragments. Max. dim. a) 0.132, b) 0.127, c) 0.127, e) 0.04, f) 0.044. A, youth leaving home(?). Fragment a (illustrated)comes fromjust below the rim and shows a little of the top of the head and the forelock of a youth to right. Fragment b (illustrated) gives more of him: his right arm with hand on hip, most of his body clad in a short chiton with a chlamys over it clasped at his right shoulder,and a little of his petasos above his shoulder. He holds two spears in his left hand (mostly missing). Below, at the left, just above the break, is the end of his scabbard. He is the leftmost figure on this side because the glaze to the left of him is applied vertically. Fragment c (illustrated)shows the lower legs and feet of this youth, the ends of his spears, and next to them a line that looks like a stream of liquid, except that it does not fall vertically (perhaps it is oil). Then comes the woman (lowerpart of the himation and chiton, feet) facing him. Fragmente preservesonly the end of the maeander pattern below the figures,and fragmentf shows part of a raised left hand (the little finger,folded). It may come from the other side of the vase; if from Side A, it is the hand of the woman. Above the figures on fragment a, egg pattern; below them, on c, stopped-maeander pattern with cross-squares. Preliminary sketch. Relief contour except for outer contours of limbs. Red: stream of liquid. The Hephaisteion Painter (ARV' 192, 3; ARV2298, 5). Ca. 470. 294

P8776d

C 13-14

Wall fragment. Max. dim. 0.041. The fragment preserves the bared right shoulder, start of arm, and a bit of the drapery of a male figure. Not from the same bell-krateras 293. The drawing on 294 is looser than it is on 293. Probably mid-5th century B.C.

295 PI. 40

P 27574 M 16 Wall fragment with start of rim. Max. dim. 0.048. Woman (most of head, a bit of her himation) to left. Above, egg patternwith dots. Preliminarysketch. Dilute glaze:muscle of neck. Some resemblance to the Muses on the calyx-krater in Schwerin, 706 = 1261, by the Villa Giulia Painter (ARV2618, 6; Addenda270), but I am not sure the hand is the same. Ca.470 B.C. 296 PI. 40

P 23736

P-R6-12

Rim and wall fragment. Reserved band on inside at rim; another 0.04 below rim. Glaze misfiredreddish brown on side of rim; flaked in a few places; cracked at height of satyr'shead. Max. dim. 0.143; est. diam. 0.34. Satyr (most of head, raised right hand) to right. In front of him, the top of his thyrsos. On fascia below rim, egg pattern with dots. Preliminarysketch. Relief contour. Ca.470 B.C. 297 P1.40 P 10846 G 5:2 Wall fragment fromjust below rim. Reserved line on inside near top. Komos ('Anacreontic"). Youth (head with woolen fillet) looking downward. The curved object in front of him is the arm of his barbiton. Relief contour: chin and neck; arm of instrument. Dilute glaze: down on cheeks; dots on fillet. For 'Anacreontic,"see 196. EarlierMannerists,iii: Close to the Agrigento Painter(ARV' 382, 2); the Agrigento Painter (ARV2577, 59). Ca. 470-460 B.C.

298 P1.40

P 5563 a, c, d

E 16:1 (L) Three non-joining fragments, d from handle reserve with startof handle. Max. dim. a) 0.066, c) 0.045, d) 0.057. Prange, NMobidenmaler, p. 167, cat. no. A 53. Fragment a (illustrated)preserves the face and beard of a man to left, and on the far left at the break, part of a phiale held by someone opposite him. At the upper left, stream of liquid being poured. Fragmentc gives some draperythat looks like it covers the shoulder of a figure. White or red: liquid. The position of the man in relation to that of the phiale and the upward tilt of his head suggest that he is seated. The Altamura Painter (ARV' 414, 31; ARV2593, 40). Ca.470-460 B.C. 299

P 5563 b E16:1(L) Wall fragment. Max. dim. 0.044. The fragment seems to preserve something that looks like part of a tree or a thyrsos. Ca. 460 B.C.

300 PI. 41

P 13083 P 19 Wall fragment. Max. dim. 0.168. Prange, IVobidenmaler, p. 189, cat. no. N 42. At the left, part of a stool (seat, cushion, one leg), then a woman (from the hips down) standing to left, holding a phorminx (one arm, nearly all of crosspiece missing). She wears a chiton and a himation. At the far right, part of the handle configuration (palmette). Below, stopped-maeander

186

CATALOGUE

with checkerboard-squares. Preliminary sketch. Relief contour. Dilute glaze: decoration on cushion and leg of stool; sound box. Forthe phorminx, see M. Wegner,DasMusikleben derGriechen, Moinster1949, pp. 30-32; more recently,D. Paquette,L'instrumentde musiquedansla ceramique de la Graceantique,Lyon 1984, pp. 131-141; M. Maas andJ. Snyder, StringedInstruments of AncientGreece, New Haven/London 1989, pp. 139-145. The Niobid Painter (ARV' 420, 25; ARV2603, 32). Not from the same bell-krateras 553. The wall is thicker on 553, and the preliminarysketch is different. Ca. 460 B.C. 301 P1.41

P 19944

D 17

Fragment of rim and wall. Reserved line on inside at rim; another 0.039 below rim. Glaze chipped and nicked on rim. Max. dim. 0.093; est. diam. at rim no less than 0.38. Man (head with woolen fillet) to right. On fascia, egg pattern with dots; above, short strokes. Preliminary sketch. Relief contour: nose. Incised line for hair contour or cranium. Dilute glaze: decoration on fillet;muscles. Ca. 460 B.C.

302 P1.41

P 17423

A 20

Wallfragmentfromjust below rim. Reservedband on inside at top. Glaze fired brown on inside. Max. dim. 0.064. Youth (most of head) to left. Above, egg pattern. Ca.460 B.C. 303 Fig. 20; P1.41

P 21352

N 7:3

Eight non-joining wall fragments, a and b with rim and strengthened with plaster. Band on inside at rim, a narrower one 0.068 below rim. Glaze firedred on inside, slightlymisfired below figures on outside. Surface on b pitted in places. P.H. a) 0.35; est. diam. at rim 0.50; max. dim. b) 0.395, c) 0.145, d) 0.056, e) 0.068, f) 0.084, g) 0.10, h) 0.085. C. Boulter, Hesperia22, 1953, pl. 23: there, the sequence of letters begins afresh for each side; to avoid confusion in the description, I include the old letter in parentheses after the new; L. Ghaliet le retourd'Helene,Paris 1955, pl. 63:1 Kahil, Les enlivements (Side A); LVMCII, 1984, p. 292, no. 888, pl. 262 s.v.Apollon; LIMC II, p. 141, no. 1479, s.v. Aphrodite; LIMC IV, 1988, p. 544, no. 280, s.v. Helene. In all these illustrations, the floating fragment (h) is incorrectly placed. See also Prange, .NAobidenmaler, p. 210, cat. no. GN 26 (incorrectly numbered P 21325). A, Menelaos and Helen. Fragment b (a + b) (illustrated) shows part of this scene. At the left is Menelaos (head with Chalcidian helmet, part of shoulders with flaps of corslet, a little of his round shield seen from the inside)standing to right, facing Apollo (head with laurel wreath, left shoulder with himation), who probablystood frontally,head turned to left. Behind him is the top of a laurel tree. Then comes Helen (top of head, a little bit of fillet at break) followed by Eros (head, fingers, start of wings) flying behind her. He has been sent by Aphrodite to rekindle Menelaos' love for his wife. Fragmenth (c) (illustrated)preserves drapery of two figures and the start of a foot, more of the fleeing Helen. The vertical folds on this fragment belong to Apollo's himation, the diagonal folds to Helen's, and the preliminarysketch makes clear that her right leg was quite diagonal. The narrow object is the trunk of the

laurel tree. Helen runs to right, looking back, because what remains of her fillet indicates that her head faced left. All that remains of Aphrodite on fragment b (a + b) is the top of her head with stephane. She faces left. Fragmente (b)comes from this side and shows more of Aphrodite'shair and some of her himation (the glaze confirms this). B, woman running toward a king. Fragment a shows a portion of this scene. At the left is the woman (most of head and shoulders missing) hurrying to right, her right arm outstretched. She wears a chiton and himation. All that remainsof the king are the ends of two locks of his beard, a little of his himation, and the top of his scepter. He stood frontally,head turned to left, scepter in left hand, and thus faced the approaching woman. Behind him is a woman (part of head) with a torch (tip with flame), to left. Fragmentc (d)givesa good portion ofthis woman (sleeveof chiton, much of himation)and a bit of a tendril on the right from the configuration under handle B/A. Fragmentd (c)shows a little of her hair and shoulder(the glaze indicates this positioning). At the left of fragment a, part of the handle ornament (palmette and lotus) as well as the start of handle A/B, its root ornamented with a tongue pattern. Below the figures, stopped-maeanderpattern (a,f, g). The last two also give part of a handle root and its configuration (palmette with spirals). On rim, laurel wreath (a and b) to left. Preliminary sketch. Rim of shield incised (compass-drawn).Dilute glaze: inside of shield; decoration on corslet flap; hair of Eros. White (flaked):flames. Boulter thought there should be four figureson Side B, but normally here are only three, and this works out when one compares the two sides with regard to the positioning of the figuresin relation to the handles (a bit of the glaze or pattern surviveshere and there). For the subject of A, where Menelaos has not yet reclaimed Helen, the best discussions are Ghali-Kahil, Les enlhvements, pp. 71-98 and E. Simon, AK 7, 1964 [pp. 91-95], pp. 9294; very briefly, LVMCII, 1984, pp. 140-141, s.v. Aphrodite (A. Delivorrias et al.) and in LIMC II, pp. 292-293, s.v.Apollon (W. Lambrinoudakis);in LlMC IV, 1988, pp. 557-558, s.v.Helene (L. Kahil), all with bibliography. The inclusion of Eros in scenes depicting the Recovery of Helen occurs mainly in those in which Aphrodite and others are present. With one exception, all these date between 460 and 425. Since the examples are not very numerous, it is worthwhile to list them, because the composition of 303 stands somewhat apart with regard to the position of Eros. Onesimos: Malibu, the J. Paul Getty Museum 83.AE.362, 84.AE.80, and 86.AE.385: Eros hovers between Helen and Menelaos, who has dropped his sword (LUMCIV, p. 544, no. 277 [the accession number is incorrectly given as 85.AE.385.2], pl. 341; D. Williams, in GreekVasesin the J. Paul GettyMuseum5 [OPA 7] [pp. 41-64], p. 55, fig. 8:j). The namepiece of the Painter of Bologna 235: two Erotes, one on each side of Menelaos, fly towards him; the left one seems to hold a fillet in his outstretched hand (ARV2517, 6). A column-krater near the Leningrad Painter, Tiibingen 67.5806: Eros stands on Aphrodite's outstretched left hand as Menelaos approaches and Helen runs away (ARV2585, 27; Paralip.393, 27; LUMCIV,p. 542, no. 265, pl. 338). A fragmentary hydria in Boston, Vermeule, attributedby Bothmer to an earlymannerist:Eroshoversabove Menelaos' shield(LLMCIV, p. 544, no. 279 bis, pl. 342). The Chicago Painter:Brauron, no no.: here Eros flies toward Menelaos, holding a phiale

MENELAOS

HELEN

APOLLO 2,

!

FIG.20. Bell-krater303 (P 21352). Scale 2:1

~~~~~

CATALOGUE

188

(ARV2 631, 42; Addenda272). Polygnotos, Malibu, the J. Paul Getty Museum 81.AE.183 B: Eros stands on the outstretched right hand of Aphrodite, looking at Menelaos (LIMC IV, p. 543, no. 276, pl. 341; Matheson, Polygnotos, p. 483, cat. no. PGU 186, pl. 169: Group of Polygnotos:Undetermined). The Group of Polygnotos, Undetermined: Once Rome, E. Strong (unpublished):Eros flies towards Menelaos, holding a phiale in both hands (ARV2 1056, 93; GhaliKahil, p. 95, no. 78 for a description; Matheson, p. 466, cat. no. PGU 103). The Menelaos Painter: Louvre G 424: Eros flies towards Menelaos empty handed (ARV21077, 5; LIMCII, p. 140, no. 1474, pl. 144, no. 1474). The Leningrad Painter,St. Petersburginv. 4524: Eros flies toward Menelaos, Helen flees (ARV21194, 7; LIMCIV, p. 543, no. 272, pl. 340). Vatican 16535, an oinochoe somewhat connected with the Heimarmene Painter and with Polion but earlier than their work: Eros flies toward Menelaos, holding a garland (ARV2 1173, -; Paralip.460, top; Addenda339). Parthenon, North Metopes 24-25: here, it is impossibletoday to determine what desParthenon, Erosheld in his hands (cf. E Brommer,DieMetopen Mainz 1967, pls. 101, 105, 109; p. 50 for discussion). 303 seems to be the only example in which there is a figure (or figures) between Eros and Menelaos; thus Eros is not as close to achieving his goal as he is in those where he hovers directly in front of Menelaos. It is unclear on 303 what if anything Eros held in his hand. Ghali-Kahil (p. 94) thought perhaps a phiale, but a fillet or garland is just as likely. For a good parallel for the king on Side B (only reversed), see the figure in the lower zone of the hydria in the Vatican by the Painterof the Woolly Satyrs, 17882 (ARV2614, 11; Prange, Niobidenmaler, p. 221, cat. no. GN 76, pl. 18:left). Manner of the Niobid Painter (ARV2609, 12; Addenda 268). Ca.460-450 B.C. 304

P 21349

N 7:3

Mended with many small pieces restored in plaster and painted. Much of the glaze has flaked off on both the inside and the outside. Reserved band on inside at rim; another 0.04 below it, each very badly preserved. H. 0.248; diam. at rim. 0.286. C. Boulter,Hesperia22, 1953, pl. 24. A, two youths, each dressed in a himation, facing, the one on the left holding a lyre (half of sound box, most of one arm missing),the other leaning on a stick. Around the head of the left youth is a fillet, and behind him is a column. B, youth and woman with a cushioned stool between. The youth (abit offace and most of legs missing) stands to right in a himation, facing a woman (part of head, shoulders, body missing) in a chiton and himation, who stands to right, looking back. Around the youth's head is a fillet. On the wall between them hangs a sash. On rim, egg pattern. Below the figures on each side, stopped-maeanderpattern. Mid-5th century B.C. 305 P1.41

P 21405

N7:3

Rim and wall fragment. Band on inside at rim; another 0.041 below rim. Glaze slightly abraded on rim. Max. dim. 0.248; est. diam. at rim 0.30. C. Boulter, Hesperia22, 1953, pl. 25. Komasts. The fragment preserves most of the head with woolen fillet, left shoulder, and arm of one to left, facing anotherwho plays the barbiton (allthat remainsare the ends of

the arms and the crosspiece;also, the stringsin relief). On rim, laurel wreath to right. Dilute glaze: zigzag decoration on fillet. For the barbiton, see 196. Mid-5th century B.C. 306 P1.41

P 3305

E14

Rim fragment. Glaze cracked slightly on outside. Max. dim. 0.146. On rim, ivy with berries, the berries and vine in added clay. On fascia below, egg pattern with dots. Below egg pattern, surface painted red. For the ivy pattern, cf. the unattributed mid-5th-century bell-krater,Vienna 742 (CVA,Vienna 3 [Osterreich 3], pl. 114 [1 14]:4). This vase has been linked with those by weak followers of the Villa Giulia Painter (Eichlerin CVA,p. 18, citing Beazley,CVA,Oxford 1 [GreatBritain3], p. 28 to pl. 37 [129]:1, 2) but is not in ARV2. Compare also the ivy on 1144. Mid-5th century B.C. 307 P1.41

P 25668

B 15

Wall fragment with start of returnjust below rim. Narrow reservedband on inside. Glaze much pitted. Max. dim. 0.04. Satyr (most of wreathed head) to right, playing the aulos (one of his fingersappears above the lower right break). Relief contour. White: wreath. Probablymid-5th century B.C. 308 P1.41

P 23623

Q9

Wall fragment fromjust below rim. Reserved band 0.07 on inside below where rim started on outside. Max. dim. 0.062. Statue of a goddess (Pandora[?]):head with polos, start of chiton or peplos, shown frontally. Dilute glaze: hair; decoration on polos. It is uncertain whom the goddess represents. The firstpossibility that comes to mind is Pandora, one of the most famous examples being the one on London, B.M. E 467 by the Niobid Painter (ARV2601, 23; Paralip.395, 23; Addenda266; p. 187, cat. no. N 31; Reeder, Pandora, Prange, JViobidenmaler, pp. 282-284, cat. no. 80). There, however, Pandora is bare headed, and the pins of her dress are prominent. The goddess on 308 might also be Anesidora, whose name is synonomous with that of Pandora (LIMCI, 1981, pp. 790-791, s.v.Anesidora [E. Simon]). Chryse is also a possibility (LLMCIII, 1986, pp. 279-281, s.v.Chryse I [H. Froning]). Ca.450-440 B.C. 309 P1.41

P 24295

H 15

Rim fragment. Narrow reserved band on inside at rim. Max. dim. 0.097. Below rim, egg pattern with dots on fascia; then a concave molding decorated with a ribbon pattern with dots in the interstices.

For the ribbon pattern, not common on the rims of bellkraters,see Villa Giulia 50590 by the Hischylos Painter(ARV2 162, 5; Addenda182); Argos, C 909 by Hermonax (ARV2485, 23; Addenda 248); Oxford 1954.246, probablyby the Painterof the Woolly Satyrs (ARV2614, -, 2); Boston, M.F.A. 10.215 by the Chicago Painter(ARV2629, 20); two by the BarclayPainter: Louvre A 488 (ARV2 1067, 2) and Basel, Antikenmuseum und Sammlung Ludwig, Ka 404 (ARV2 1067, 2 bis; 1681; Paralip.447, 2 bis; Addenda325; CVA,Basel 3 [Schweiz 7],

189

BELL-KRATERS pl. 12 [324]:1,2); Syracuse 22886 by the Eupolis Painter(ARV2 1073, 3); four unattributedexamples: from Olynthos inv. 8.56 (Robinson, OlynthosV, pl. 65:110), Louvre G 485 (CVA,5 [France 8], pl. 32 [373]:1, 3, 4, 6), Delos, no no. (DclosXXI, pl. 54:3), and Bologna 327, with black body (G. Pellegrini, Catalogodei vasigrecidipintidellenecropoli Felsinee,Bologna 1912, p. 164, fig. 95). Ca. 440 B.C. 310 P1.42

P8264 C 12:2 Wallfragmentfromjust below rim. Reservedband on inside near top. Max. dim. 0.086. Matheson, Polygnotos, p. 371, cat. no. CHR 32. A, youth (or man) pursuing someone in the presence of a woman. At the right is a woman (head with leaved fillet, right shoulder with raised right arm) dressed in a chiton, probably fleeing to right, looking back (the gesture of her arm and hand suggests fright). Before her is a man or youth (part of left shoulder with himation, his petasos hanging down), probably running to left (the high position of the petasos suggests this interpretation). White: leaves of fillet. The Christie Painter (ARV' 693, 24; ARV2 1048, 30). Ca.440 B.C. 311 P1.42

P 17053

A-D 16-23

Wall fragment from near handle and a little of the return below the rim. Max. dim. 0.085. Matheson, Polygnotos, p. 368, cat. no. CHR 17. Woman (most of head with fillet, right half of body to waist) to right, wearing a peplos. Behind her, the start of the egg pattern around the handle root. Preliminary sketch. Relief contour: face; nape. White: fillet. The woman was probably a maenad (ARV21047, 16: compared with Harvard 1925.30.42 [ARV21048, 38; Matheson, p. 373, cat. no. CHR 40, pl. 111] and Syracuse 35188 [ARV2 1048, 41; Addenda321; Matheson, p. 373, cat. no. CHR 44]). She is also similar to the one on Vienna 782 by the Christie Painter (ARV2 1047, 10; Addenda320; Matheson, p. 367, cat. no. CHR 11). The Christie Painter (ARV21047, 16). Ca.440 B.C. 312 P1.42

P 16974

A-B 21-22:1 Wall fragment fromjust below rim. Narrow reserved band on inside. Max. dim. 0.075. Woman (most of head, start of left shoulder) to right. Preliminary sketch. Recalls the Christie Painter (Beazley during his visit to the Agora in summer of 1953: not in ARV2). Ca.440 B.C.

The Danae Painter (ARV21075, 8). Ca.440 B.C. 314 P1.42

P25901

M 17:7

Wall fragment with start of rim. Narrow reserved line on inside near top. Glaze somewhat greenish on outside. Max. dim. 0.08. Departure of youth. A youth (head with pilos, left shoulder with chlamys,left forearm, and hand with spear or staff) stands frontally,head to left. On the rim, a littlebit ofthe laurelwreath to left with berries. Preliminarysketch. Relief contour: profile and nape. Dilute glaze: muscles; most of hair.

N-0 7

Ca. 440 B.C.

315 PI. 42

P 5771 A-F 9-15 Wall fragment. Reserved band on inside at top. Max. dim. 0.089. Matheson, Polygnotos, p. 454, cat. no. PGU 42. Young satyr (head, chest, hands) to right, playing the aulos. Behind him, part of a thyrsos and a finger of the hand of the figure holding it. Preliminarysketch. Relief contour: profile. The Group of Polygnotos:Undetermined (ARV21053, 35). Ca. 440-430 B.C. 316 P1.42

P436

F 16

Wallfragmentfromjust below rim. Reservedband on inside near top. Glaze slightlybrownishon outside. Max. dim. 0.068. Matheson, Polygnotos, p. 454, cat. no. PGU 44. Satyr (wreathed head, shoulders, hands) to right, playing the aulos. Preliminarysketch. The Group of Polygnotos:Undetermined (ARV21053, 36). Ca.440-430 B.C. 317 P1.42

P4813 E-F 12-14 Wall fragment. Max. dim. 0.156. Matheson, Polygnotos, p. 454, cat. no. PGU 41. Maenad (lower part of drapery) to right, holding an oinochoe in her right hand. In front of her is Dionysos (lower part of himation and chiton) also to right but probablylooking back, holding his kantharosin his right hand, spilling its contents on the ground. Preliminarysketch. White: wine spilling from kantharos. The Group of Polygnotos:Undetermined (ARV21053, 34). The figure of Dionysos probably looked somewhat like the figure of him on Stanford 17411 from this group (Paralip.445, 38 bis,Matheson, p. 455, cat. no. PGU 47). Ca.440-430 B.C. 318 P1.42

313 P1.42

P 21286

Wall fragmentfrom lower part of body. Glaze ratherstreaky on inside; fired red near bottom. P.H. 0.165; max. dim. 0.22. AgoraXXVII, p. 176, cat. no. 77, pl. 39. Youth leaving home. At the left stands a woman (most of peplos, feet) to right, extending her right hand toward the warriorwho faces her. All that remains of him are his legs and his right hand reaching toward hers. He wears a chlamys (a few folds along his left side) and holds a spear in his left hand (shaft,one of his fingersat the break). Behind him, the feet and a bit of drapery of a man to left with a crooked stick(?).Below the figures, stopped-maeander pattern. Preliminary sketch. Dilute glaze: muscles. The Danae Painter (ARV21075, 9).

P 16577 M-P 22-23 of rim and wall. Narrow reserved band Fragment on inside at rim; another 0.054 below it. Glaze much flaked on inside, abraded on rim. P.H. 0.085; est. diam. at rim 0.35. Maenad (head with sakkos, shoulders with himation) holding a thyrsos in her right hand and behind her, a satyr (head), both to left. On rim, laurelwreathto right. Preliminarysketch. Dilute glaze: hair and beard (part). During his visit to the Agora in the summer of 1953, Beazley suggested that 318 is from the Group of Polygnotos (not in

CATALOGUE

190

ARV2). The drawing of the laurel wreath is close to that on two bell-kraters from this Group: Madrid 11013 (ARV2 1054, 51; Matheson, Polygnotos, p. 458, cat. no. PGU 61) and Louvre G 492 (ARV21054, 55; Addenda 322; Matheson, p. 459, cat. no. PGU 65). Ca.440-430 B.C. 319 P1.43

E-F 12-14 P 4804 F 13 P 4906

Rim and body fragment strengthenedwith plaster. Narrow reserved line on inside at level of rim junction. P.H. 0.157; P.W.0.175. Dionysos and satyr. At the left, Dionysos (head with woolen fillet and wreath, left shoulder and arm) stands frontally,wearing a chiton and himation, his head in profile to left. In his left hand he holds a thyrsos. At the right, a satyr (part of back, most of legs missing) playing the aulos faces the god. Around his head is a wreath. On rim, laurelwreath to left. Preliminary sketch. Dilute glaze: muscles. White: wreaths. Later Mannerists, I: (viii) Undetermined (ARV21121, 10: Recalls the Orestes Painter). Ca.440 B.C. 320 P1.42

P 15837

A-B 20

Wall fragment with part of rim. Reserved line on inside at junction of rim. Max. dim. 0.13. Warrior (feet missing), nude but for his helmet, attacks to left, his spear in his slightly raised right hand, a round shield (device: serpent) on his left arm. A sheathed sword hangs at his left side, but there is no baldric. Nothing of his opponent remains. On rim, upright ivy with berries. Preliminarysketch. Dilute glaze: muscles. To judge by the position of the warrior,there was probably a slight indication of uneven terrain beneath his feet. During his visit to the Agora in 1950, Bothmer suggested that the subject of 320 was an Amazonomachy, the Greek fighting a mounted Amazon, but he did not include 320 in his monograph, presumably because nothing of the Amazon remains. Nevertheless, the identification seems sound, and 320 may be comparedwith these contemporaryexamples:two from the Group of Polygnotos:Naples, RC 148 (ARV21054, p. 458, cat. no. PGU 60) 322; Matheson, Polygnotos, 50; Addenda and Naples, RC 161 (ARV2 1055, 74; Matheson, p. 463, cat. no. PGU 85); Brooklyn 09.3 by the Cassel Painter (ARV2 1084, 15;Addenda 327); Syracuse37175 by the Orpheus Painter (ARV21104, 2; Addenda329). In all these, the forelegs of the mount overlap slightly the shield of the Greek or else they appear in the space below his shield. If 320 showed a similar composition, the mounted Amazon was slightly farther away from her attacker. For a mounted Amazon to right against Art(Oxford one or more Greeks,see Bothmer,Amazonsin Greek 1957), pp. 177-181. For the ivy pattern on the rim, an unusual ornament on the rim of a bell-krater, see the one in Gela by a painter from the Group of Polygnotos: Undetermined (ARV21054, 45; Matheson, p. 457, cat. no. PGU 55). Ca.440-430 B.C. 321 P1.43

P 3567

E 14:11

Wall fragment from bottom of figured zone. Glaze thin in places on outside. Max. dim. 0.079.

Man (legs from the knees down) to right, facing a woman (feet, a little bit of draperyat break). At the left, part of a spiral of the handle configuration. Below, stopped-maeander pattern with saltire-squares. Preliminarysketch. Relief contour. Dilute glaze: muscles of man. The two figures may have looked somewhat like those of Choinos and Oineus (only reversed) on the later bell-krater by the Dinos Painter, Syracuse 30747 (ARV2 1153, 17; Addenda336; Matheson, Polygnotos, p. 384, cat. no. D 18, pl. 132). Ca. 440-430 B.C.

B 13:6 P 8443 322 P1.43 Rim and body fragment, mended from several fragments and strengthenedwith plaster. Narrow reservedband on inside at rim; another 0.056 below rim. Glaze pitted and abraded in places, especially on rim. P.H. 0.34; P.W.as restored 0.32. Chariot of Poseidon galloping to left. All that remains of the god is a little of his drapery and his right hand holding the reins, as well as a bit of his trident, the prongs of which overlapthe wings of the horses. Partof the wheel, box, and rail of the chariot are preserved. Of the horses, the manes of the trace horses, the heads and necks of the pole horses, the wings, two forehoofs,most of the hind legs, and three tails remain (the artistdrew only three tails, even though there are four horses). On rim, laurel wreath to right. Below the figures, maeander pattern with cross-squares. The rim of the chariot wheel is incised (compass-drawn). For the subject, see L. Lacroix, "Chevaux et attelages (Universite de legendaires,"in Etudesd'archiologie numismatique Lyon II. Publicationsde la BibliothequeSalomon Reinach III), Paris 1974, pp. 67-106. Ca. 440-430 B.C.

G 18:1 (M) P 15223 323 P1.43 About half preserved,including a segment of the rim and all of one handle. Narrow reservedband on inside of rim; another 0.046 below rim. Glaze fired greenish on outside. P.H. 0.20; est. diam. of rim 0.30. A, departure of warrior (illustrated). At the left, a man (head, shoulder,arms, lower right leg and foot missing)stands to right, holding a staff. Next, a youth to right (his right forearm and part of his legs missing). He has a wreath around his head and wears a chlamys fastened at the right shoulder. A petasos hangs down his back. He is equipped with two spears and faces a woman dressed in a himation and chiton with a fillet around her head. She offers him a phiale, which she has probablyjust filled from the oinochoe held in her left hand. Between the youth and the woman, just below the rim: KAA4

All that remains of the figured decoration on the other side of the vase is a bit of drapery. On the rim and around the handle root, egg pattern. Below the figures, stoppedmaeander pattern with cross-squares. Preliminary sketch. White: inscription. Dilute glaze: fine folds of chiton; muscles. Ca.440-430 B.C. 324 P1.43

P 22139

J8

Wall fragment. Max. dim. 0.046. Danae (face) and Perseus (wreathed head) to right. Relief contour. White: wreath. Dilute glaze: hair of child.

BELL-KRATERS During his visit to the Agora in the summerof 1953, Beazley suggestedthat the subjectis Danae and Perseus. Forthistheme, see LIMC III, 1986, pp. 331-334 and 336-337, s.v Danae (J.-J.Maffre).Fromwhat remainson 324, one cannot tell if this is the departure from the Argolid or the landing at Seriphos. It is probably the departure, which is much more frequently depicted than the landing. What remains on 324 is similar to the fragment by the Phiale Painter,Oxford 1917.62 (ARV2 1018, 75; Addenda315; Oakley,PhialePainter,p. 78, cat. no. 75, pl. 57:d). Group of Polygnotos [Beazley during the same visit]: not in ARV2. Ca. 440-430 B.C.

325 PI. 43 P 4676 a, c-f E-F 12-14 Five non-joining fragments, d with part of rim, c andf of handle, a and e of wall, a with handle root. Narrow band on inside 0.053 below rim. Max. dim. a) 0.23, c) 0.083, d) 0.103, e) 0.07, f) 0.077. A, uncertain subject. Fragment e (illustrated)gives part of the legs of a dancing youth (komast[?]) and in frontof him, a bit of the shaft of a torch. Fragmentd (illustrated)probablycomes from this side and preservesthe head, right shoulder,and arm of a woman to left, wearing a himation. Around her head, fillets indicated by four lines. B, youths. Fragment a shows part of a youth (himation) standing to right, facing another (a little of his himation) who leans on a stick. Behind the first, the handle root with tongue pattern. Above, egg pattern with dots. Fragments c andf show parts of two handles with the tongue pattern around the root of each. Preliminarysketch. Dilute glaze: muscles;lines on torch. White (flaked):fillets. Ca. 440-430

B.C.

326

P4676b E-F12-14 Rim fragment with narrow reserved band on inside. Max. dim. 0.13. Part of the egg pattern. Not from the same bell-krater as 325 because the egg pattern on 326 has no dots. Ca.440-430 B.C. 327 PI. 43

P 9291 C-G 13-16 Wall fragment from just below rim. Narrow reserved line on inside. Max. dim. 0.056. Woman (face, a little of hair with fillet)to right. Preliminary sketch. Relief contour. The Painter of London E 494 (ARV21079, 4). Ca. 440-430

328 P1.43

B.C.

P 18413 C 19 Two non-joining wall fragments,a with startof rim. Narrow reserved band on inside of each fragment. Glaze slightly abraded on a. Max. dim. a) 0.082, b) 0.057. Warriorleaving home. Fragment a preservesthe head and a little of the drapery of a woman standing to right. She probably faces the warrior on fragment b (head with lowcrested Corinthian helmet pushed back, rim of shield). The character of the glaze suggests that the two fragments come from the same side of the krater. On rim, laurel wreath to left. Preliminarysketch. Relief contour. Rim of shield incised (compass-drawn).Dilute glaze: surface of helmet.

191

The Painter of London E 494 (ARV21080, 5). Ca.440-430 B.C. 329 PI. 43

P 18364

D 18

Wall fragment. Glaze cracked in places. Reserved line on inside. Max. dim. 0.13. Oakley,PhiakPainter,p. 79, cat. no. 78, pl. 62:c. Departure of warrior. On the right stands a woman (most of head with sakkos,body, legs to mid-thigh), clad in a chiton and himation to left, holding a sheathed sword in her right hand. A round shield seen in profilerests against her left hand. In front of her stands a man (part of left shoulder and arm with himation, the hand holding a staffor more likely a spear). Behind her, at the far right, part of the shaft of a staff or a spear. Preliminary sketch. Relief contour: lower contour of woman's right arm. White (flaked):baldric. The Phiale Painter (ARV21019, 78). Ca. 430 B.C. 330 P1.44

P 16445 G 18:1 (M) Mended from many fragments with the missing pieces restored in plaster and painted. Upper half of body missing to either side of handle A/B. Narrow reserved band on inside at rim; another 0.04 below rim. Glaze pitted in many places; cracked here and there. H. 0.278; rest. diam. at rim 0.30. LIMCVII, 1994, p. 84, cat. no. 10, pl. 58, s.v.Orpheus. A, Orpheus and two Thracians (illustrated).Orpheus (most of head missing) sits to right on a rock, holding his lyre on his lap, a cloak around his hips and legs. Behind him is a tree (trunk),then a Thracian standingto right, holdinga spear(part of his hands and both feet are missing). He wears a leather cap and a Thracian cloak. In front of Orpheus stands a similar Thracian Oowerpart of cloak, feet) with two spears. B, woman standing to left between two youths (head, shoulder of left, face of right missing). Each wears a himation. The right youth leans on a stick. On rim, laurel wreath to right with vine and berries. At each handle root, egg pattern. Below the figures, stopped-maeanderpattern. Preliminary sketch. Dilute glaze: muscles of Thracian and Orpheus; part of decoration on left Thracian's cloak; himatia on B. White: vine and berries. For Orpheus among the Thracians, see LLMCVII, 1994, pp. 84-87, s.v.Orpheus (M.-X. Garezou). The Painterof the Louvre Centauromachy(ARV21091, 56). Ca. 430 B.C.

331 PI. 44

P 27348

S 16:1

Mended with missing pieces restoredin plasterand painted, notably all of handle B/A, the foot, and about half of the rim. Narrow reserved band on inside at rim; another 0.053 below rim. Glaze cracked a little. Rest. H. 0.35; diam. at rim 0.375. R. R. Holloway,Hesperia35, 1966, pl. 27:b (Side A). A, departure of warrior (illustrated). The warrior (top of head missing) stands frontally, head to right, looking at the woman before him who holds out a phiale. He wears a chlamys fastened at the right shoulder,laced sandals and has a petasos hanging down his back. In his left hand he holds two spears, and at his left side there appears to be the end of a scabbard. The woman wears a peplos and has a sakkos on her head. Behind the warriorstandsanother woman (part of draperyand feet, right hand), holding a phiale. B, three youths conversing, the first to right, the other two to left, each wrapped in a

192

CATALOGUE

himation, the middle one leaning on a stick. The lower parts of the first two are missing. On rim, laurel wreath to left. At each handle, configurationof palmettes and spirals;around each handle root, egg pattern with dots. Below the decoration, stopped-maeanderpattern with cross-squares. The Painter of the Louvre Centauromachy (Paralip.450, 65 ter). Ca.430 B.C. 332 P1.44

P 25820

A 20:7

Wall fragment with start of rim. Max. dim. 0.061. Woman (head with stephane) to left. Behind her, the shaft of a staff or spear. Relief contour: nose. Dilute glaze: upper contour of eyelid; accidental splashes on cheek as if the brush just grazed it. The Painterof the LouvreCentauromachy(ARV21092, 71). The subject may have been a departure and the composition similar to the one on side A of the painter's pelike in Laon (37.1024), in which a woman stands between two youths in Thracian costume (ARV21093, 87). Ca. 440-430 B.C.

333

P 21397

O-P 7

Wall fragment with start of rim. Narrow reservedband on inside. Max. dim. 0.105. B, two youths (head of left with himation drawn up; face of right)facing. On rim, a little of one leaf of laurel wreath to left. The Painterof the LouvreCentauromachy(ARV21092, 73). Ca.430 B.C. 334 P1.44

P 23796

H 13

Wall fragment. Max. dim. 0.10. Three youths (komasts[?]):raised left leg of one (from the knee down), a little of right, to right; legs (but for feet) of a second standing frontally,wearing a cloak and holding a staff; hands, legs to below knees of a thirdstandingto left, and on the far right the end of a fold of his drapery. Preliminarysketch. Dilute glaze: muscles. Might be a very late work by the Painter of the Louvre Centauromachy [Beazley:September 1955]: not in ARV2. Ca.430 B.C. 335

P6501

E 13:1

Mended from many fragmentswith missing pieces restored in plaster and painted. Nearly all of rim, much of wall on Side A, all of one handle, and most of the other missing. Narrow reserved line on inside near start of rim on outside. PH. 0.26; diam. of foot 0.1 1. A, man or youth (lower part of himation, feet) standing to right, holding a staff and facing a youth (head, left leg) who comes up on horseback (legs, body, tail). B, woman (head missing)wearing a chiton and himation standsto rightbetween two youths (part of head and arm of left, head and shoulders of right missing), each clad in a himation. Below the figures, stopped-maeander pattern. On rim, laurel wreath to right. Around handle root, egg pattern. Ca. 430 B.C. 336 P1.44

P 27303

S 16:1

Wall fragment with rim and fascia. Narrow reserved band on inside at level of fascia on outside. Glaze fired reddish in

many places; mottled on outside; abraded in part. Max. dim. 0.214. R. R. Holloway, Hesperia35, 1966, pl. 27:a. Youth pursuing a woman: Peleus and Thetis(?). The youth (head, shoulders,outstretchedleft arm) moves to right, dressed in a chlamys fastened at his throat with a brooch, a petasos hanging down his back. He faces a woman (most of head with stephane, raised outstretched right hand), who probably runs to right, looking back. On fascia above figures, egg pattern with dots. On rim, laurel wreath to left with berries. Red or white (flaked):ties of petasos. Bothmer (citedby Holloway,Hesperia35, 1966, p. 83, note 6) suggests that the subject is Peleus and Thetis. This would explainthe youthfulnessof the pursuerand the alarmedgesture of the woman, as well as her headdress. For the subject, see Krieger, KampfzwischenPeleusund Thetis. For the pursuit, see pp. 43-55 and 60-65; LlMC VII, 1994, pp. 255-256, s.v.Peleus (R. Vollkommer). Ca.430 B.C. 337 P1.44

P9190

R 13:1

Wall fragment. Narrow reserved band on inside near top. Glaze misfiredbrownish on outside. Max. dim. 0.172. Departure of youth with horse. The youth (preservedabout to hips except for the back ofhis head)stands to right, dressedin a chlamyswith a petasos hanging down his back. Behind, parts of two spears (shafts)held in his left hand (to be understood). Next to him is the horse (head, neck, shoulder) and at the far right, about half of a phiale, presumably held by a woman. The youth reaches towards it with his right hand. Behind the phiale, the shaft of a column. Relief contour (flakedin part): profile of youth. Dilute glaze (very faint):muscles. Ca.430 B.C. 338 P1.44

P3138

G 12

Wallfragmentwith startof handle at right. Narrow reserved band on inside. Glaze fired red on inside; slightly greenish on outside. Max. dim. 0.076. Matheson, Polygnotos, p. 425, cat. no. KLM 20. A, youth (head) to right. Relief contour. Manner of the Kleophon Painter (ARV21149, 12). Ca. 430 B.C. 339

P 19149

C 18:4

Wall fragment. Some abrasion of the surface. Max. dim. 0.052. Youth (head and shoulders)to left, dressed in a himation. Ca.430 B.C. 340

P 9088

D 11:I

Wallfragment. Glaze firedred. Thin reservedline on inside near top. Max. dim. 0.063. Woman (part of chest, left shoulder, and hand) standing frontally,wearing a chiton and himation, her head probably turned to right, facing a girl (preserved from the waist up), who holds an alabastron (upper half) in her right hand (now missing). She wears a chiton and carries in her left hand a wreath or a spray,which may be seen only in a raking light. Relief contour: girl'sarm. White (flaked):wreath or spray. Ca.430 B.C.

193

BELL-KRATERS

Iff-f-- --'r FIG.21. Bell-krater342 (P 134 and P 5110 b). Scale 2:1 341

P 27350

S 16:1

Fragment of rim and wall, all of one handle. Reserved line 0.047 below rim. Glaze much abraded on rim. P.H. 0.11; diam. 0.243. Symposion. A man (rightarm missing)wearing a himation, a wreatharoundhis head, reclinesto left. Behind him is a youth (wreathed head, shoulders) to right, then two others (most of head of one, crown of head of the other) facing. On rim, laurel wreath to left. Below handle, part of palmette configuration. White: leaves of wreaths. Ca.430 B.C. 342 Fig. 21; P. 45

P 134 and P 5110

H 5-6

Three non-joining wall fragments, P 5110 a with roots of one handle. Glaze flakedin many places; firedbrown on much of inside. P.H. of P 5110 a) 0.185; P.W.0.29; max. dim. P 134: 0.184, P 5110 b) 0.079. A-B, Peleus seizing Thetis. P 5110 a preserves a Nereid (head, right hand and foot, most of left arm missing) hurrying to left, probably looking back since she is next to the handle. She wears a peplos. Behind her, Peleus (right leg from the knee down; lower part of short chiton) seizes Thetis (lower part of drapery, right foot) to right. At the left, part of the palmette configuration below the handle and the ends of the tongues around each root. P 134 comes from Side B and shows Chiron (part of torso and thigh with short chiton and folds of himation, left hand holding a branch, part of his horse body and hind legs) standing to left. On his right, opposite his hind legs a Nereid (lower part of chiton and himation) runs to right. P 5110 b preserves the right foot and bottom

of a long chiton of someone, probably a Nereid, standing opposite Chiron, the right foot and the toes of the left foot of the centaur and the end of his branch. Below the figures, stopped-maeander pattern with saltire-squares. Preliminary sketch. Relief contour. Normally, Chiron carries a branch, often laden with game, over his shoulder,and it does not touch ground the way it does on 342. Fora good parallel, see Munich inv.8738 by the Berlin Painter(ARV2209, 161; Paralip.343, 161;Addenda195). There, the subject is also Peleus seizing Thetis. For the theme of Peleus seizing Thetis, see Krieger, Kampf zwischenPeleusund Thetis,esp. pp. 25-43, 55-60; L/MC VII, 1994, pp. 257-264, esp. p. 261 for scenes where Chiron and the Nereids are present, s.v.Peleus (R. Vollkommer). Perhapsby the same hand as the contemporaryunattributed bell-krater,Chiusi C 1823 (CVA,Chiusi 2 [Italia 60], pls. 12, 13 [2654, 2655]:1,2). Compare especially the ornamental patterns for borders of garments: the dentil pattern and the row of dots above a thick band. Third quarter of the 5th century B.C. P 3045 F-H 7-11 343 PI. 45 Wall fragment with part of rim. Narrow reserved band on inside. Max. dim. 0.102. R. Lamberton and S. Rotroff, Birds in theAthenianAgora(Agora Picture Book 22), Princeton 1985, p. 8, fig. 15. Dove perched on the abacus of a Doric column (capital,top of shaft with necking rings), which also supports part of the architrave.At the left, forelock of someone facing to right. To left of column:

CATALOGUE

194

Above, egg pattern on fascia; laurel wreath to right on rim. Preliminarysketch. Relief contour: column. White (flaked): inscription. Third quarter of the 5th century B.C. 344 P1.45

P 23524

K 16

Wall fragment with start of rim. Reserved line on inside. Glaze has a brownish cast. Max. dim. 0.105. Capital of Doric column with key pattern to left, painted on the neck. On top of the abacus, bottom of four triglyphs with mutules. To right of column about opposite the neck: ,4AKA05 On rim, laurel wreath to left. Relief contour. White: inscription. Dilute glaze: key pattern. ForAiakos, a judge of the dead and ancestorof the Aiakidai, see LLMCI, 1981, pp. 311-312, s.v.Aiakos(J. Boardman).344 seems to be the earliest preservedexample of this figure. Probablythird quarter of the 5th century B.C. 345 P1.45

P8891

D-F5

Wall fragment. Narrow reservedline on inside. Max. dim. 0.084. Eagle (left wing missing) flying downward to left. Relief contour. Dilute glaze: body of eagle, especially its neck, and wing. Perhapsthird quarterof the 5th century B.C. H5 P 14933 346 P1.45 Wall fragment with start of rim. Narrow reservedband on inside near top. Max. dim. 0.044. Wreathed head of man emerging from between a pair of wings. Preliminary sketch. Relief contour: profile. White (flaked):stem and alternate berries of wreath. Dilute glaze: part of wings. The identity of the figureis puzzling because the presence of the beardrulesout the usualcharacterswho appearin a winged context, namely Triptolemos and Hyacinth, also Bellerophon and, occasionally,Apollo (for the latter, see the namepiece of the Painter of Vienna 202, in which the god rides a griffin: ARV2 1523, 1; Addenda385). A possibility for the figure on 346 is Hephaistos, who appears on a winged throne in the tondo of Berlin 2273 by the AmbrosiosPainter (ARV2174, 31; Addenda184) and in the tondo of a contemporaryunattributed cup, Florence 81600 (LIMCIV, 1988, p. 633, no. 44, pl. 388, s.v.Hephaistos [A. Hermary and A. Jacquemin]). Third quarter of the 5th century B.C. B-C 9-10 P7026 Wall fragment with narrow reservedband on inside. Glaze fired greenish on inside. Max. dim. 0.066. Woman (right arm with part of drapery) standing to left, holding a kantharos. Preliminary sketch. Relief contour: kantharos. Red: thin curved line above rim of kantharos. Third quarter of the 5th century B.c. 347 P1.45

348 PI. 45

P 24202

A 10:1

Wall fragment. Glaze slightly greenish on outside. Max. dim. 0.065. Athena (part of torso, left arm) standing frontally,holding a spear in her left hand. She wears a peplos and her aegis. In

the upper right is a bit of the figure opposite her. Preliminary sketch. Dilute glaze (veryfaint):bow of tied belt; dots on aegis. Third quarterof the 5th century B.C. 349 PI. 45

P 27250

C 16

Wall fragment. Max. dim. 0.045. Sandaled foot of a man standing to left on a slightly flaring object, overlappedby a curved narrowobject (uncertainwhat). At the left, part of another figure (leg[?]). Preliminarysketch. Relief contour: figure at left. Dilute glaze: sandal. Third quarter of the 5th century B.C. 350 P1.45

P 22876

H-K 12-14

Wall fragment. Glaze slightly brownish on outside. Max. dim. 0.047. Man (part of bent right leg down to mid-calf) in a short chiton, moving to right towardsanother figure (a bit of drapery): woman(?). The drapery at the top right may be a cloak held over his outstretchedarm. Relief contour: thigh. Dilute glaze: thin folds. Third quarterof the 5th century B.C. 351

P 18636

C-F 15-19

Wall fragment. Glaze fired red on inside and on outside except for contour. Max. dim. 0.066. Figure,probablya man (drapery)to right with staffor stick. Third quarter of the 5th century B.c. D 17 P 19982 Wall fragment. Glaze fired greenish on outside. Max. dim. 0.056. Man (right shoulder, arm to wrist, a little of torso with himation)to right. Preliminarysketch. Dilute glaze: muscles. Late third quarterof the 5th century B.C. 352

353 P1.45

P 25471

E-H 17-20

Wall fragment with start of handle at left. Glaze misfired brownishbehind satyr'shead. Max. dim. 0.098. Satyr (lowerpart of head, torso to waist, startof tail, most of right arm) to right, playing the lyre (sound box, part of one arm). At root of handle, tongue pattern. Preliminarysketch. Relief contour. Probablythird quarter of the 5th century B.C. 354 P1.46

P 19006

G-K 13-16

Rim fragment with start of wall. Reserved band on inside at rim; another 0.056 below rim. Glaze misfiredreddish and greenish;much abraded on rim. Max. dim. 0.125. Satyr (head, start of chest) to left. At the upper left, end of a thyrsos. On rim, laurel wreath to left. A laurelwreathwith shortbroad leaves is difficultto parallel. The closest seems to be Vienna 697 by the Danae Painter,only here the leaves are rounderand they point to right (ARV21075, 11; Addenda 326). Third quarter of the 5th century B.C. 355

P 2328

R 13:4

Rim fragment. Glaze misfired reddish brown on outside; greenish on inside. Reserved band on inside at rim; another 0.047 below it. Max. dim. 0.113.

195

BELL-KRATERS On rim, laurel wreath to left. Traces of figured decoration (uncertainobject: something hanging on the wall[?]). Third quarter of the 5th century B.C. P 16975 A-B 21-22:1 356 Wall fragment with start of handle at left. Narrow reserved band on inside. Glaze cracked slightly on outside. Max. dim. 0.093. Youth(mostof head with wreath and fillet, a little of drapery) to right. Behind him, the startof the pattern around the handle root. Preliminarysketch. White: fillet. Third quarter of the 5th century B.C. P 25362 R13:1 357

Trachones, Gerolanos(ARV21154, 38 bis,JdI 102, 1987, p. 69, fig. 5:a; Matheson, Polygnotos, p. 389, cat. no. D 43). Ca.430-420 B.C. 361 P. 46

P 10016

B 13:5

Mended with missing pieces restoredin plasterand painted, notable among them nearlyhalf of the rim, a section of the wall at handle B/A, about half of foot. Narrow reservedline at rim on inside; another 0.048 below rim. H. 0.373; diam. at rim 0.375. Matheson, Polygnotos, p. 393, cat. no. DM 10. A (illustrated),Dionysos with maenads and satyrs. The youthful god (part of thighs missing), a himation around his hips and legs, reclines to left on a couch, looking back at a maenad dressed in a peplos who holds a tray with a cake on Wall fragment from near handle with a conical protuberit, her right leg raised slightly. In the god's right hand is a ance (mastos[?]). Max. dim. 0.091. thyrsos; over his couch, a pantherskin. Behind the maenad Palmette (ends of fronds). stands a satyr,a pantherskinover his left shoulder,a kantharos For a similar protuberance,but as a pair,see the bell-krater, in his right hand, and a thyrsos in his left. At the left of New York, M.M.A. 07.286.81 by the Achilles Painter (ARV2 the composition there is another satyr and maenad (most of This Addenda has no ornamental 991, 61; Paralip.437, 61; 311). his her back and hips missing): he has a skin over his thighs, at the handle. configuration left shoulder, a thyrsos in his right hand, his left foot resting Probably third quarter of the 5th century B.C. on a rock; she wears a peplos and holds a tray with small 358 P1.46 H5 P73 cakes. Around the head of each figure is a wreath. Above Wall fragment with start of handle at far left. Reserved the head of the left maenad hangs an ivy garland. Other band on inside at top. Max. dim. 0.197. Matheson, Polygnotos, plants appear here and there. B, three youths, two to right, p. 385, cat. no. D 25. one to left, each with a fillet around his head and dressed in Komos (in the Sanctuary of Dionysos[?]). On the left is part a himation. Part of the drapery of each is missing. On rim, of the door of a house. Approaching the house is a komast (top laurel wreath to left. Around each handle root, egg pattern of head, right hand, feet missing)dancing to left, looking back with dots. Below the figures, stopped-maeanderpattern with at a woman (head, shoulders,lower legs missing)who is playing checkerboard-squares. Relief contour for profiles on Side A. the aulos. She is dressed in a himation. Around the komast's White:wreaths;cakes;fillets;berrieson plants;vine of garland; head is a wreath, over his left arm a cloak, and in his right hand ribbons or streamerson thyrsos and hanging from the base of (now missing) he carries a stick (part preserved). Between the the couch or paw of skin. two, above, is a boukranion adorned with a fillet. Preliminary Manner of the Dinos Painter (ARV1792, 4; ARV21156, 9). sketch. Relief contour. White: studs on door; band of wreath; Ca.430-420 B.C. horn and fillet of boukranion. The Dinos Painter (ARV1791, 17;ARV2 1153, 24). 362 P1.46 P9189 R13:1 Ca. 430-420 B.C. Four non-joining fragments, d of rim, a of wall with start of rim, b-c of wall. Reserved band on inside at rim, another 359 PI. 46 P 18292 B 19:12 0.093 below rim. Glaze a bit abraded on rim. Max. dim. Wall fragment. Glaze slightly pitted on outside. Max. dim. a) 0.072, b) 0.061, c) 0.03, d) 0.142. Matheson, Polygnotos, 0.087. 394, cat. no. DM 16. p. of instrument for of arms Barbiton-player(most except tips Maenads. Fragment a (illustrated)preserves part of the and crosspiece; hands, right forearm of player) to right. Also left shoulder,and left hand of a maenad to right, holding head, preserved is a bit of the player's chest and part of the sash of cymbals (a little of the second one appears at the lower left). the instrument. On the right, right forearm and hand, a bit She wears a chiton. Next to her head: of the drapery of the facing figure. Relief contour: barbiton PA 1l IA and strings. Red: cord of plectron. Above final the A: For the barbiton, see 196. OYM i Probablylate third quarter of the 5th century B.C. Fragment b (illustrated)shows the back of the head, the right 360 P1.46 P 18894 B 19:7 shoulder, and most of the right arm of a maenad to right, Wall fragment. Max. dim. 0.07. C. Koehler inJ.-Y. Emwearing a peplos, a necklace, and a bracelet. She carries a pereur and Y. Garlan, Amphores [BCH Suppl. 13], Paris 1986, thyrsos. Fragment c shows drapery. Fragment d (illustrated), the rim fragment, preserves diagonally addorsed palmettes. p. 65, fig. 19. Man (part of legs, left hand, index finger of right) pouring On the fascia, egg pattern. Relief contour: profile. White wine or oil from a neck-amphoradecoratedwith an ivy wreath. (flaked):inscriptions. Dilute: hair on fragment b. Added clay Relief contour. Dilute glaze: muscles; vine of wreath. White (flaked):jewelry. In ARV21685, Beazley suggested that the second inscription (flaked):liquid. Forthe man pouring liquid from one amphora into another, was the firstletters of the name Ouup)ba, which occurs on the see the scene on the one-piece amphora by the Dinos Painter, namepiece of the Kraipale Painter, Boston, M.EA. 00.352

196

CATALOGUE

(ARV2 1214, -, 1; Addenda348). There, it also names a maenad. Manner of the Dinos Painter (ARV21685, -). Ca.430-420 B.C. 363

P 8448

B 13:6

Wall fragment fromjust below the rim. Reserved band on inside. Max. dim. 0.087. J. D. Beazley,AJA 33, 1939, p. 623, p. 398, cat. no. DN 3.. fig. 4; Matheson, Polygnotos, B, youth (head, shoulders,startofright arm)to right, dressed in a himation, a fillet around his head. In the lower right corner, start of another figure or something hanging on the wall, perhaps an aryballos and a sponge. White: fillet; line on backgroundat far right. Related to the Dinos Painter (ARV1794; ARV21158 [a]). Ca. 430-420 B.C.

fingersappear at the breakjust to the right of the plasterfilling. On rim, laurel wreath (part of one leaf) to left. At handle, tongue pattern. Below the figures,stopped-maeanderpattern with cross-squares.Preliminarysketch. For the kanoun in general, see J. Schelp, Das Kanoun:Der (Beitrage zur Archaologie 8), Wuirzburg griechischeOpferkorb 1975; for the type on 366, cf. pp. 51-53. See also 625. Ca. 430-420 B.C.

367

368 PI. 47 364 P1.46

P 19739

B 13:5

Wall fragment. Reserved band on inside near top. Glaze fired greenish. Max. dim. 0.11. B, youths. Most of filleted head and upper part of body of one standingto right, clad in a himation, facinganother(hand). Behind the first, part of a third youth (drapery).White: fillet. Closest to the Dinos Painter and his manner. Cf. Philadelphia MS 5682 (ARV21154, 37; Paralip.457, 37; Addenda336; Matheson, Polygnotos, p. 388, cat. no. D 40) by the painter himself and two in his manner: Vienna 1011 (ARV21155, 6; Addenda337; Matheson, p. 392, cat. no. DM 7) and Metaire, La., Diefenthal, attributed by Bothmer (H. A. Shapiro, Art, Myth, New Orleans and Culture:GreekVasesfrom SouthernCollections, 1981, pp. 80-81, no. 30; Matheson, p. 394, cat. no. DM 15). Ca.430-410 B.c. 365 P1.47

P 17594

C-D 17

Wall fragment fromjust below rim. Max. dim. 0.066. Youth (filleted head, start of arms) to right. Behind him, an extended forearm and hand of another person. Above: Preliminarysketch. Relief contour: profile and nape. White: fillet;inscription. Time of Polygnotos (Beazley during his visit to the Agora in the summer of 1953). Ca.430-420 B.C. 366 P1.46

P8444

B 13:6

Wall fragment with start of rim, mended and strengthened with plaster. On the far right, startof handle. Reservedline on inside at top. Glaze misfired reddish and greenish in places. PH. 0.22; max. dim. 0.256. Sacrifice. At the far left, hand of someone holding something, probably an aulos, then Dionysos (top of head missing) standing to right, wearing a himation, a wreath around his head, and holding his kantharosin his lowered right hand, his left raised slightly,acknowledgingthe youth standing frontally, wreathed head turned toward the god. The youth wears a himation, and in his hand he holds a trefoil oinochoe. Before him is an altar, which overlaps his legs. Then comes the last figure, Apollo (himation, right forearm and hand) to left, holding a laurel staff. The narrow horizontal object in front of him is a kanoun held by the youth with the oinochoe, for his

P21183

07

Wall fragment with scratch that looks like incised contour. Max. dim. 0.065. B, youth (lower part of chin, body almost to waist) to left, wrapped in a himation. Dilute glaze: thick line on himation. Ca.430-420 B.C. P 27831

G 16

Fourteen non-joining fragments, b with start of handle; e, f, m of handles; d of foot. The rest are wall fragments. Only a-c, g-i preserve figured decoration. Narrow reserved band on inside of b. Glaze fired red. P.H. a) 0.13; P.W.0.24; max. dim. b) 0.195, c) 0.145, e) 0.062, f) 0.075, g) 0.044, h) 0.039, i) 0.031, j) 0.072, k) 0.061, 1) 0.044, m) 0.02, n) 0.025. PH. of d) 0.068; diam. of foot 0.15. G. V Lalond, Hesperia37, 1968, pl. 37:c. A, two youths on horseback,galloping to left. Fragmentb(illustrated)shows part of the head, neck, shoulders,and forelegs of the first mount, as well as the left hand and part of the chlamys of his rider. Fragmenta (illustrated)preservesmore of this rider, part of his sandaled feet, chlamys, and petasos, as well as the hindquarters of his horse. Then comes the next rider:head, neck, forelegs, part of hindquartersof the mount; head, chlamys, petasos, raised right arm, sandaled feet of the rider. B, men or youths. Fragmentc shows part of the drapery and feet of two to left, the right one with a crooked stick. Each wears a long garment, probably a himation. Fragmentsg and h seem to come from this side and show drapery. Fragmentsc and i preservesome of the ornament below the figures:maeander pattern with saltire-squares.Around the handle roots: egg pattern (fragmentsb andj). Dilute glaze: muscles of horses; lacings of sandals;crowns of petasoi. The Marlay Painter [E. B. Harrison; G. V Lalond]. Compare especiallyNew York,M.M.A. 07.286.65 (ARV21277, 12); also Cambridge 4.12 (ARV21276, 3). Ca.430-420 B.C. 369

P 25552

N-Q19-22 on inside band Wall fragment with start of rim. Reserved near top. Max. dim. 0.098. B, youth (face, forelock)to right, holding a round shield seen in three-quarterview (device: ?), its outer contour overlapped by another youth (back of hair, right shoulder, and right side of torso) also to right. Preliminary sketch. Dilute glaze (very faint):muscles. The Marlay Painter (ARV21276, 8). Ca. 430-420 B.C.

370 P1.47

P 2388

G 6:2

Wall fragment fromjust below rim. Narrow reservedband on inside. Glaze fired red on inside. Max. dim. 0.069.

BELL-KRATERS B, youth (head, shoulders, chest) to left, dressed in a himation. The Marlay Painter (ARV' 766, 7; ARV21276, 10). Ca. 430-420 B.C.

371

P 486

F 14:2

Wall fragment with start of handle on right. Narrow reserved band on inside. Glaze slightly cracked on inside. Max. dim. 0.075. B, youth (most of head, back, right arm) to left, dressed in a himation. The Marlay Painter (ARV2 1276, 11: wrongly numbered P 2135). Ca.430-420 B.C. 372 P1.47

P 18291

B 19:12

Wall fragment from just below rim. Reserved band on inside near top. Glaze fired red on inside. Max. dim. 0.099. R. S. Young, Hesperia20, 1951, pl. 79:4. Maenad (head, left shoulder,and left arm) probably to left, looking back, her left arm outstretched to ward off the satyr (part of face and beard)who pursues her. The maenad wears a chiton and carries a thyrsos. Around her head is a wreath(?). White (flaked):leaves of wreath. The Painter of Munich 2335 (ARV21163, 36). Ca. 420 B.C. 373

P 22616 B 13:6 Wall fragmentfrom near rim. Reservedband on inside near top. Glaze fired brownish on outside. Max. dim. 0.059. B, youth (head, part of right arm) to right. The Painter of Munich 2335 (ARV21165, 69). Ca. 420 B.C. 374

P 18956

C 19:9

Wall fragment from near start of rim. Reserved band on inside. Max. dim. 0.045. B, youth (most of head, start of shoulder) to left, wearing a himation. The Painter of Munich 2335 (ARV21165, 70). Ca. 420 B.C. 375 P1.47

P 9370

M 20:3

Three non-joining fragments, a/b of rim, much of body, and all of one handle, strengthened with plaster. Fragment c belongs to the rim with part ofhandle zone; d is a wall fragment. Narrow reserved band on inside at rim, another 0.08 below rim. Glaze abraded in places. PH. a/b) 0.20; est. diam. of rim 0.36; max. dim. c) 0.21, d) 0.109. A, komos (illustrated).At the left, a youthful komast (lower part of head, body to knees, back of right calf, right arm) moves to right, a cloak over his left arm (just the startof it), a stickheld horizontally at hip level in his right hand. In front of him is another komast (top of wreathed head, lower torso, forearms, startoflegs), also to right, playingthe aulos. He has a cloakover his left shoulderand faces a thirdkomast(part of rightarm with drapery,a little offorehead with fillet at the farright),who holds a stick. Hanging above, leaves that look like the tip of a thyrsos. B, three youths (lower parts of two to right, most of a third to left), one (either 2 or 3) with a stick. Each wears a himation. On rim, laurel wreath to left with berries. Below the figures,

197

stopped-maeander pattern with checkerboard-squares,a dot in the center of each reserved square. Around each handle root, egg pattern with dots. Dilute glaze (very faint): muscles of komasts. The Kadmos Painter (ARV21186, 22). Ca. 420 B.C.

376 PI. 47

P 23838 Q15:2 Wall fragment. Glaze flaked in places. Max. dim. 0.076. Symposion. At the left, a symposiast(back,partofdecorated himation) reclining to right, seen from the back. On the right, part of the back of a similar symposiast. Perhapsin the manner of the Kadmos Painter. The border of the himation is very close to that of the standing female figure on Pnyx P 45 a (Hesperia Suppl. X, p. 31, no. 118, pl. 9), which was connected by Talcott and Philippakiwith the pelike in the manner of the Kadmos Painter, San Francisco, Legion of Honor 1925.365 = 1811 (ARV21187, -, 1; Addenda341). The drawing of the drapery folds on 376 compares favorably with that on the himation of Apollo on the latter vase. Ca.420 B.C. 377 P1.47

P 24200 Q 15:2 Wall fragment. Max. dim. 0.058. Wooly satyr (torso, start of arms, legs, and tail) to right. White: tufts of fur. The satyr is dressed in the costume of Papposilenos and is closest to the satyrs on the bell-kraterin New York, M.M.A. 25.78.66, attributed to Polion (ARV21172, 8; Paralip.459, 8; Addenda339). This scene depicts three men dressed as satyrs, each playing a kithara and singing. An inscription above their heads tells us that they are singers at the Panathenaia. For the most recent discussion of the meaning of the representation on the New York vase, see Froning, Dithyrambos, pp. 25-26, who opts for the scene reflecting a satyr play rather than a dithyrambosperformance. For the costume of Papposilenos, see E. Simon in The Eye of Greece:Studiesin theArt of Athens, D. C. Kurtz and B. Sparkes,eds., Cambridge 1982 [pp. 121148], pp. 142-145. Ca.420 B.C. 378 P1.47

P7017

B-C 10-11:1

Wall fragmentwith start of rim. Reserved band on inside at top. Glaze brownish and thin in places on outside. Surface pitted. Max. dim. 0.085. Youth(mostofwreathed head, left shoulder)to right, playing the aulos. The ends of his fingers on one pipe appear just above the break. In front of him, at a different level, tripod (halfof cauldron,part of one leg missing)decorated with fillets. Preliminarysketch. Relief contour. White: bands on wreath; fillets. Dilute glaze: muscles; cauldron. Ca.420 B.C. 379 P1.47

P 22041 0 15 Rim fragment with start of wall. Narrow reserved band on inside at rim; another, 0.041 below rim. Glaze greenish on inside and on rim; nicks at inner edge of rim. Max. dim. 0.085. Youth(filletedhead, a bit of himation) to left. On rim, laurel wreath (single leaves) to right.

198

CATALOGUE

For the laurel pattern with a single row of leaves, see 433; also, there is a parallel in Corinthian red figure: Corinth CP 2714 (I. McPhee, Hesperia52, 1983, pl. 33:1). Ca.420 B.C. P6555

380 P1.48

F 12

Wall fragment. Glaze slightly abraded. Max. dim. 0.063. Woman (filletedhead) to left. In front of her, part of a large wing. Relief contour: face and neck. White: fillet. Dilute glaze: details on wings. The subject might be Aphrodite on the swan in a composition that included spectators similar to the one on an unattributedoinochoe in Berlin, 2660 (LIMCII, 1984, p. 97, no. 919, pl. 91, s.v.Aphrodite). Forthis theme, see ibid.,pp. 9698, s.v.Aphrodite [A. Delivorrias et al.]. If this is the subject of 380, then Aphrodite would be to the left of the wing. Ca. 420-410

381 P1.48

B.C.

P 21535

P 8:2

Five non-joining wall fragments, a with return just below rim. Much of the glaze fired red on the inside and on the outside. Max. dim. a) 0.089, b) 0.083, c) 0.073, d) 0.103, e) 0.122. AgoraXXVII, p. 171, cat. no. 40, pl. 35. A, youth leaving home. Fragment b (illustrated)gives the lower legs with boots and part of the chlamys of the departing youth and behind him is a little of the drapery of someone who sees him off. B, male, youth. Fragment a (illustrated) shows the head and shoulders of a youth to left, wrapped in a himation. Fragment c preserves feet (right frontal, left in profile) and the end of a spear or staff. Below the figured decoration, stopped-maeanderpattern (c-e). The LatestMannerists,ii: the Academy Painter(ARV21124, 10). Not from the same bell-krateras 382 (see below). Ca.410 B.c. 382 P1.48

P 21358

P7:8

Five non-joining fragments, a of rim, b-e of wall. Reserved band on inside at rim: one near top of a. Much of the glaze fired brownish red. Max. dim. a) 0.119, b) 0.093, c) 0.054, d) 0.065, e) 0.08. AgoraXXVII, p. 169, cat. no. 14, pl. 32. B, youths. Fragment b (illustrated)preserves most of the head and shoulders of a youth to left, wrapped in a himation. Fragment c shows some drapery. Fragment a gives part of the laurel wreath to left on the rim, and d a bit of the stopped-maeander pattern below the figures. Fragment e is undecorated. The LatestMannerists,ii: the Academy Painter(ARV21125, 11). Not from the same bell-krateras 381. 382 has a reserved line on the inside at the level of the youth's head and 381 does not; also the drawing of the maeander pattern is different. Ca. 410 B.C. G 18:1 (U) P 15133 Meidias dim. 0.082. Painter, Wall fragment. Max. Burn, MM 152. no. cat. p. 118, Women. At the left, the lower neck and left shoulderof one, probably seated. She wears a chiton and necklace. Next to her part of the body of another; she is in three-quarterview to left, holding an olive branch or a wreath in her left hand.

383 P1.48

At the top, the start of her outstretched right arm, the hand perhaps holding the other end of the branch or wreath. She wears a chiton and himation (heavierfolds at her left elbow) as well as a bracelet. Preliminarysketch. Relief contour. Added clay:jewelry; dot on firstwoman's shoulder (a brooch[?]);fruit of branch or wreath. The himation worn by the right woman was decorated with a heavy black border. Cf., e.g., Athens, N.M. 1681 in the manner of the Meidias Painter (ARV21322, 16; Burn, p. 106, cat. no. MM 26). Manner of the Meidias Painter, xii: Sundry (ARV21328, 100). Ca.400 B.C. 384 PI. 48

P 19998

D 17:9

Wall fragment. Surface abraded and pitted. Max. dim. 0.078. A, symposion. A man (chin, body to hips, right arm outstretched)reclines to left on a couch, looking back at a woman (part of body and legs) who holds one pipe of an aulos in her right hand. She wears a peplos and himation and has a bracelet on her right wrist. The man looks as if he holds something in his right hand, but this is actually the upper edge of her himation. Preliminary sketch. Relief contour. Dilute glaze: stripes on mattress. White: bracelet. The Nikias Painter (ARV21333, 9). The composition on 384 may have looked something like the one on the painter's dinos, London, B.M. E 811 (ARV21334, 26; Paralip.480, 26) or the one on his bell-kraterin Madrid 11020 (ARV21333, 7). 384 seems to be more carefullydrawn. Ca. 400 B.C.

385 P1.48

P 15057

N21:2

Wall fragment fromjust below rim. Narrow reservedband on inside. Glaze chipped and flaked in many places. Max. dim. 0.10. B, youth (most of head, right shoulder, upper part of right arm) to right, wearing a himation. In the upper right, discus or tympanon. The Nikias Painter (ARV21334, 21). Ca. 400 B.C.

0 19:4 (L) P 12640 Wall fragment. Glaze cracked on inside. P.H. 0.145; max. dim. 0.173. A, Apollo seated with two women (Artemisand Leto?) and Eros. Apollo (a little of left side of torso, left elbow,feet missing) sits on a klismosto left, holding a staff in his raised right hand. Around his head is a wreath and over his legs, an elaborately decorated himation. Before him, a phiale held by someone in the palm of the left hand. Between the two at a higher level, Eros (legs,left forearmand hand, right hand) standing to left, left hand on hip. Behind Apollo, woman (part of drapery, raised right hand) standing to left with a staff (end of shaft). Dilute glaze: muscles;secondary folds on Apollo's drapery. Connected with both the Semele Painter and (less closely) with the Suessula Painter (ARV' 851, -; ARV21344, 2). Ca.400 B.C. 386 P1.48

199

BELL-KRATERS

FIG.22. Bell-krater389 (P 18849). Scale 1:1 P 14132 0 19:4 (U) 387 PI. 48 Rim fragment with start of wall. Narrow reservedband on inside at rim. Glaze slightly greenish in places. Max. dim. 0.145; est. diam. at rim 0.40. Woman (top of head with diadem) to right. On rim, laurel wreath to left with fruit. White: dots in diadem. Beazley (ARV21345, -) suggested that the woman stands in a chariot;if so, this explains why part of her diadem overlaps the reserved area between the body and start of rim. Compare the Suessula Painter (ARV21345, -). Ca. 400 B.C.

388 PI. 48

P 18848

A 20-21:

Wall fragment. Max. dim. 0.059. R. S. Young, Hesperia20, 1951, pl. 80:3. Youth (head and neck) to right. In front of him is a column. At the very top there is a bit of relief contour indicating the start of something. Relief contour. Dilute glaze: central flute of column; iris and upper lid of youth, down along his jaw. The Talos Painter (ARV21339, 5).

the tip of a scabbard. At the right, on the other side of the altar, is the right leg and a bit of ornate draperyof a man, and on the far left, overlappingthe altar,is the bent knee of someone else, to right. Relief contour. Dilute glaze: egg pattern. The subject might be the Death of Priam from a large Iliupersis. Without much to go on, this identificationis tenuous at best, but 389 has certain similarities to the one on an unattributedcontemporary volute-kraterfrom Spina, Ferrara T. 136 VP (P.Arias, "Dalle necropoli di Spina: La tomba 136 di Valle Pega," Rivistadell'IstitutoNazionale,n.s. 4, 1955 [pp. 95178], esp. pp. 100-109, 162-166). Compare esp. p. 101, figs. 7, 8. 389 may be from the same krater as 388, which is also by the Talos Painter. The scale is comparable, but there is just not enough preserved of either vase to be sure, and they are best kept apart. The Talos Painter [Bothmer]. Compare, especially, the namepiece, Ruvo, Jatta 1501 (ARV21338, 1; Paralip.481, 1; Addenda366): there, the decoration on Poseidon's himation is very similar to that of the right figure on 389. Ca. 400 B.C.

Ca. 400 B.C.

389 Fig. 22; PI. 48 P 18849 A 20-21:1 Wall fragment. Glaze greenish on inside, rather flaked and abraded on outside on figures. Max. dim. 0.093. R. S. Young, Hesperia20, 1951, pl. 80:4; Agesof Homer,p. 459, fig. 28.16. Uncertain subject. In the center is an altar surmounted by two moldings, each decorated with an egg pattern with dots. Resting against the altar is the upper part of a staff or scepter (it is not a kerykeion because the top is closed). In front of the altar is the calf of one leg of someone in oriental dress as well as a bit of drapery and part of an object that looks like

390 Fig. 23; PL.49 P 10960 B 15:1 Wall fragment with start of rim. Narrow reserved line on inside. Glaze misfired a little on outside. Max. dim. 0.097. P. E. Corbett, Hesperia18, 1949, pl. 80:4; Schwarz, p. 51, cat. no. V 123. Hayashi, Triptolemosbildes, Triptolemos, p. 161, cat. no. 125. Triptolemos (top of wreathed head, right hand) in threequarter view to right. At the far left, start of another figure or perhaps part of the wing of the throne, more likely the latter. Above head: TPi

TA

lO

200

CATALOGUE

On rim, olive spray with fruit. Relief contour. Dilute glaze: hair. White: all fruit;inscription (mostlyflaked). For the subject, cf. 229. From the high position of Triptolemos' head, Corbett (Hesperia18, 1949, pp. 310-311) suggested that his winged throne was off the ground. The manner in which the olive leaves on the rim meet indicates this is the center of this side; thus, Triptolemos was probably flanked by Demeter and Persephone. Close to the Talos Painter, if not by him. Compare the namepiece, Ruvo, Jatta 1501 (ARV21338, 1; Paralip.481, 1; Addenda 366); New York,M.M.A. 12.229.15 for the wreathand its berries (ARV21339, 2); and WilrzburgH 5708 (ARV21339, -, 5; Addenda367), the last near him. Late 5th century B.C.

FIG.23. Bell-krater390 (P 10960). Scale 2:1

P 17000

391 P1.49

A 20-21:1

Rim and body fragment with start of handle. Narrow reserved band on inside at rim; another, 0.038 below rim. Glaze fired red on much of inside. P.H. 0.183; est. diam. at rim 0.26. P. E. Corbett, Hesperia18, 1949, pl. 4. Satyr and maenad, both to left, looking back. The satyr's left hand touches the shoulderof the maenad. All that remains of her is her head with woolen fillet to right, her right shoulder with peplos and part of her right arm, her right foot, to left. The object on the right is a flaming torch held by the maenad. Above her head: A I iAA ,A v 0AlO'

On rim, laurel wreath to left. Around root of handle, egg pattern with dots. Below the figures, stopped-maeanderpattern with checkerboard-squares,a dot in each reservedsquare. Preliminary sketch. Dilute glaze: lines on torch. White: inscription. Red: flames. For a pro-Spartaninterpretationof the inscription naming Leonidas, see P. E. Corbett, Hesperia18, 1949, pp. 104-107. Ca. 400 B.C. 392 P1.49

P9693

F-G 5

Wall fragment from just below rim with start of handle at right. Glaze slightly flaked. Max. dim. 0.07. Woman (back of head with sakkos, upper torso, most of left arm, start of right) standing frontally,head in profile to left, scepter in left hand. She wears a chiton, necklace, and

bracelet. At the lower right, a little of the egg pattern around the handle root. Relief contour. White:jewelry. Ca. 400 B.C.

Q 17 P 24657 393 Fig. 24; PI. 49 Wall fragment. Reserved band on inside at top. Glaze pitted. Max. dim. 0.087. At the right, someone (hands, part of right arm with a little drapery)carriesa tripodcauldron(abouthalfofcauldron, most of third leg missing) to left. There is a fillet tied around one leg. In the lower left, the upper left portion of a male head in three-quarterview to left. Above, a bit of reserve outlined with relief (unclear what). Preliminarysketch. Relief contour for tripod. White: fillet. Dilute glaze: cauldron; a little bit on reserve at upper left. The tripod may be carried by Nike. Cf. the unattributed bell-kraterin Copenhagen, VIII 939, on which Nike is about to place a tripod on an Ionic column, the scene depicting a victory in a dithyrambic contest. See Simon, Festivals,p. 78, with earlier bibliography. For the line across the forehead, an indication of stress or worry, cf. 247. Probably by or near the Talos Painter. See the comparisons given for 247. Ca.400 B.C. B 19:12 P 18949 394 Fig. 25 Two non-joining fragments, a of rim, b of wall just below rim. Reserved band on inside at rim, another on b near top. Glaze fired brownish on outside; much abrasion of both glaze and figures. Glaze cracked on inside of b. Max. dim. a) 0.154, b) 0.132, est. diam. at rim 0.41. The figures are very difficult to distinguish: man (head, chest, right hand) standing to left, holding a scepter,perhaps a king. He wears a himation. In front of him, part of another figure (unclearexactly what: draped shoulder with petasos[?]). On rim, laurel wreath to left with fruit. Late 5th century B.C.

395 P1.49

P 24052

O-R 7-10

Wall fragment. Glaze cracked in places on outside. Max. dim. 0.092. Centaur (hindquarters)to right. On the far left, traces of another (a little of his chest and bent knee of one raisedforeleg). Between the two is a branch, but it is unclear who carries it. Red (flaked):leaves of branch. Late 5th century B.C.? 396 P1.49

P 25430

P 16

Wall fragment. Glaze cracked slightly. Max. dim. 0.036. Youth (most of head, part of shoulders and chest, start of right arm) standing frontally,head turned to left. Late 5th century B.C.? 397

P4551

N 10:1

Wall fragment with start of handle on right. Glaze fired red on inside, brown on outside; cracked and flaked in places. Max. dim. 0.051. Youth (part of face, left side of chest and arm with drapery over it) to right, holding something that looks like a torch. At

201

BELL-KRATERS

FIG.

FIG.25. Bell-krater394 (P 18949). Scale 2:1

FIG.24. Bell-krater393 (P 24657). Scale 2:1 the right, a little of the tongue pattern around the handle root. Relief contour. Late 5th century B.c.? O-P 16 Wall fragment fromjust below rim. Narrow reserved band on inside near top. Most of the glaze on the inside firedreddish. A few scratches on outside. Max. dim. 0.075. Youthfulathlete (most of filletedhead, shoulders,upper part of left arm) to left. Behind him, part of an uncertain object, perhaps the upper left corner of a goal post, and above it a jumping weight hanging on the wall. White (flaked):fillet. Late 5th century B.C. 398 PI. 49

399 Pls. 49-50

P 24073

P 10673

25. Bell-krater394 (P 18949). Scale 2:1

B15:1

Broken and mended with small missing pieces restored in plaster and painted. Reserved groove at top of foot on outside. Reserved line on inside just below rim; another, 0.055 below rim. Glaze misfired reddish brown on body below figures and on foot; abraded slightly. H. 0.34; diam. at rim 0.335. P. E. Corbett, Hesperia18, 1949, pls. 75, 76; E. G. Pemberton, BSA 76, 1981, pls. 54:c, 55:a; LLMCII, 1984, p. 1005, no. 526, pl. 759, s.v. Athena; LLVICV, 1990, p. 150, no. 3176, s.v.Herakles. A, Athena and Herakles. At the left, a man with a fillet around his head and clad in an elaboratelydecorated himation stands to right, with his right arm extended slightly. Next comes Athena standing frontally,head turned to right toward Herakles. Most of her face is missing. She wears a decorated peplos and has a bracelet around her right wrist; her helmet is pushed up. In her right hand she holds a trefoil oinochoe; in her left, a spear. Herakles stands frontally,his lionskin wound around his left forearm, his left hand (now missing)resting on his club. The hero's head and most of his torso are missing. Finally comes a youth, probably Iolaos, standing to left, a myrtle wreath around his head, wearing a chlamys and boots. His petasos hangs down his back; in his left hand he holds two spears, which rest against his shoulder. In the field hang two laurel wreaths. B, Dionysos with a satyr and maenad. At the

left, the maenad, wearing a peplos, stands to right, holding in her outstretchedleft hand an object that looks like a torch. Around her head is a sakkos. Most of her right arm and a bit of draperyare missing. The satyr(most of right leg missing)leans to right, his left leg bent, the foot resting on a rock. Around his head is an ivy wreath, and in his left hand (missing)he holds a thyrsos. The satyrfaces a youthful Dionysos, who has a cloak over his left shoulder and around his right arm, gathering up the folds in his right hand (most of arm missing). Around his head is an ivy wreath; in his left hand, a thyrsos. On rim, laurel wreath to left. Palmette-and-tendril configuration at handles. Egg pattern around each handle root. Below the figures, trapped maeander with checkerboard-squares.White (flaked):berries of wreaths; Athena's bracelet; stone beneath satyr'sfoot. Compare the Painter of Athens 13908 (ARV2 1404, -; Addenda374). Late 5th century B.C. 400 P1.50

P 10559

B 15:1

Broken and mended with missing pieces restored in plaster and painted. Foot lost. Narrow band on insidejust below rim; another, 0.045 below rim. Glaze thin in places; abraded on one handle. RH. 0.22; est. diam. at rim) 0.32. P. E. Corbett, Hesperia18, 1949, pl. 77. A, satyr, woman, Apollo, Hermes (illustrated). From left to right: a satyr (part of bearded face and outstretched right arm, a little of tail) gesticulating toward a woman (preserved from the hips up except for lowered right hand) who stands frontally,holding a banded staff in her left hand, and looks at him. She wears a chiton and has her hair tied up with a woolen fillet. She also wears an earring and a necklace. Next comes Hermes (face, left shoulder, right hand missing). A petasos hangs down his back, a chlamys is clasped at his throat, and he holds his kerykeion(lowerpart) in his left hand. He stands frontally,head in profile to right, looking at Apollo (much of face missing), who has a laurel wreath around his head, a cloak over both arms, and holds a laurel branch in his left hand. Between the two, a small tree. Terrain indicated

202

CATALOGUE

by a wavy line. B, three cloaked figures, two to right, one to left. 1 and 3 each wear a himation. The face, right hand, and part of the legs of 1 are missing, also most of his staff; of 2, only part of his staff remains; of 3, who faces to left, his head and shoulders are missing. On rim, laurel wreath to left with berries. Around each handle root, egg pattern with dots; below each handle, palmette-and-tendrilconfiguration. Below the figures, maeander pattern with saltire-squaresand checkerboard-squares,a dot in each reservedsquare. By the same hand as the bell-kraterin the World Heritage Art Museum at Champaign-Urbana, the Universityof Illinois, K 70.7.2 [McPhee]: see CVA,Universityof Illinois 1 [USA 24], pls. 19, 20 [1189, 1190], pp. 19-20. Late 5th century B.C. 401 P1.50

P 12040

R 19

Most of body on one side, with start of one handle, mended and strengthenedwith plaster. P.H. 0.125; max. dim. 0.168. A, youths (illustrated). At the left, a youth (top of head, left hand, legs missing) stands to right, facing another (lower legs missing)who stands frontally,head in profileto right, right hand on hip, the left holding a flaming torch with a hand guard. Each is nude except for a fillet with spikes. Next comes a turning post mounted on a two-steppedbase, with a garment thrown over the top. At the right of it, a trainer (right arm, body from the waist down) wearing a himation, his right hand pointing toward the turning post. He stands frontally, but his head was probably in profile to left. Below the figures,egg pattern with dots. Relief contour. Red or white (flaked):flames of torch. The subject probably represents a torch race for athletes, characterized by the presence of a trainer and turning post, rather than the torch race for cult purposes. See Froning, Dithyrambos, p. 78, who cites G. Giglioli, "Lampadedromia," ArchCl3, 1951, pp. 147-162, esp. pp. 154-156. Late 5th century B.C. 402 P1.50

P 9442

M 20:3

Nearly all of rim and one handle, about two-thirdsof wall preserved, the missing parts restored in plaster and painted. Foot lost. Reserved line just below rim on inside; another, 0.027 below rim. Thin, somewhat streaky glaze on inside; misfiredreddish brown on B. P.H. 0.125; diam. at rim 0.183. A (partly illustrated), Apollo(?). Youth (right hand, feet missing) dressed in a himation, standing to left, a wreath around his head, holding a laurel branch in his outstretched right hand (now missing). At the far left, the draped shoulders of a facing figure. B, youth to left, wrapped in a himation. On rim and below the figures, egg pattern with dots. Similar to an unattributedbell-kraterin Vienna, 1022 (CVA, Vienna 3 [Osterreich 3], pl. 116 [116]:5, 6). Late 5th century B.C. 403

P 18274

B 19:12

Part of the rim and one handle missing. Narrow reserved band on inside at rim; another,0.02 below rim. Glaze misfired red on one side; abraded in places. PH. 0.123; diam. at rim 0.133. R. S. Young, Hesperia20, 1951, pl. 79:5.

A, Erosflyingto right, pursuinga woman dressedin a chiton, who runs away,looking back. On the ground, between them, a spiralplant. B, youth to left wearing a himation and holding an object in his right hand that looks like a strigil. On rim and below figures,egg pattern. Late 5th century B.C. 404

P 19081

C-D 17-18

Fragment of rim and wall. Narrow reserved line on inside at rim; another 0.051 below rim. Nicks on rim. Max. dim. 0.076. On rim, egg pattern. Inscribed below rim: N1 K/A

White (partly flaked):inscription. Probablylate 5th century B.C. H 14 P 23801 405 Fig. 26; PI. 50 Wall fragment fromjust below rim. Narrow reservedband on inside. Glaze abraded in lower right. Max. dim. 0.085. At the far right is Hermes (face, right shoulder, end of kerykeion)standing frontally,head turned to left, looking at an ithyphallic herm of Dionysos(?)with a wreath around his head. A kerykeionis drawn on the side of the herm. In frontof the herm is a small altar (about half-preserved)draped with a garland. Below, meat on a spit above a flaming altar (a little bit of the spit appears at the right break). Preliminarysketch. Relief contour. Red: flames on small altar. White: vine and berries of herm's wreath; strings of Hermes' petasos; ground line of herm; flames above and below meat; tip of one flame on the altar in front of Dionysos. Dilute glaze: hair. For the kerykeionpainted on the side of the herm, see the unattributed4th-century kraterfragment in Copenhagen, no no. (Metzger, Recherches, pl. 29:3). A general discussion of herms may be found in Metzger, pp. 77-91. The herm on 405 may be Dionysos, but see Metzger, pp. 88-90, who advises caution in identifying these figures. For a good example of meat on a spit, see Dijon 1223 by the Painter of London E 2 (ARV2225, 3) or London, B.M. GR 1839.2-14.68 = E 455 by Polygnotos (ARV2 1028, 9; Addenda317; Mind andBody,p. 242, cat. no. 134; Matheson, Polygnotos, p. 347, cat. no. P 8, pl. 35). Late 5th century B.C. 406

P 19345

C-D 18

Wall fragment. Max. dim. 0.074. Nude youth or man (torso, part of arms and legs) standing in a three-quarterview to left, holding a staff or spear. At the left, part of a vessel (a cup[?]) held by another,and in the lower left, at the break, the end of a slightly curved object that so far is unintelligible. Preliminary sketch. Relief contour. Dilute glaze: vessel. Late 5th century B.C. 407 Pl. 50

P 16148

No grid

Wall fragment from just below rim. Reserved band on inside. Glaze misfiredred on outside, reddish brownon inside. Max. dim. 0.075.

203

BELL-KRATERS

% \

Ii \ \.k /f \0 \l It ol \o

K

le

2

FIG.26. Bell-krater405 (P 23801). Scale 1:1 Woman (filletedhead, a bit of drapery)to right, hair streaming out behind her. At the left, a box (upper right corner). Relief contour. White: dots and band of fillet;three dots on top of box. Late 5th century B.C.

P 9298

410 P1.50

C7

Wall fragment with start of rim. Narrow reserved band on inside near top. Max. dim. 0.057. Youth (head with spiked wreath) to right. Behind him, part of something painted white. Relief contour. White: spikes and dots of wreath; object or person at left. Late 5th century B.C.

P 10019

408 P1.50

B 13:5

Wall fragment from just below rim. Reserved band on inside. Brownishglaze on outside; cracked slightly. Max. dim. 0.066. In the lower left, top of head to right, and above it, an olive branch with fruit. Above head:

411 P1.50

Wall fragmentwith reservedband on inside near top. Max. dim. 0.042. Youth (most of face, top of filleted head) to left. Above: White: fillet;inscription. Probablylate 5th century B.C.

White: olives; inscription. For the subject, see Brommer,Heldensage3, p. 251 Late 5th century B.C.

412 P4934

N 10:1

Wall fragment with start of return. Narrow reserved band on inside at top. Burned (clay is gray). Max. dim. 0.061. Youth (most of wreathed head, chest, part of arms) to right, holding a torch (shaft). White: wreath. Late 5th century B.C.

G16

KA

i k IP2A/

409 P1.50

P356

P2823

H 12:11

Two non-joining fragments of rim, a with start of wall. Reserved band at top just at rim; another, 0.045 below rim. Glaze much pitted and abraded. Max. dim. a) 0.116, b) 0.078. Symposion. Fragment a preserves a youth (filleted head) reclining to left on a pillow. On rim (fragmentsa and b),laurel wreath to left. Late 5th century B.C.

CATALOGUE

204 413 P1.50

P 20240

D 16

Wall fragment. Glaze pitted on inside, much flaked on outside. Max. dim. 0.057. Man or woman (drapedlegs) seated to left, holding a staffor spear (part of shaft), accompanied by a lion (head and neck). Dilute glaze: mane. White: two dots on shaft. The composition may have looked something like the one on an unattributedneck-amphorafound at Delos, 59 A: there a woman sits on a rock to left next to which a lion brings down a deer; before her is another woman, also to left (DelosXXI, pl. 23). Probablylate 5th century B.C. D 19:1 P 19217 414 P1.51 Wall fragment. Glaze fired greenish on outside. Max. dim. 0.056. Satyr(wreathedhead, startof raisedleft arm, fingersof right hand, a bit of his torso) dancing to right, wearing a nebris. In front of him, part of the drapery of a maenad and a bit of the stalk of her thyrsos. Dilute glaze: nebris. Late 5th century B.C. 415 P1.51

P 19148

C 18:4

Wall fragment. Surface slightly abraded. Max. dim. 0.034. Satyr (face, left shoulder)to right, carryingsomething decorated with dots (pelt[?]). Late 5th century B.C. P 14144 0 19:4 (L) band on rim. Reserved from below Wall fragment just inside. Max. dim. 0.081. Man or youth (left arm and hand, a bit of drapery)to right, seizing a bull (most of head) by the horn. Above, about half of a phiale held by someone on the right, liquid spilling from it. Relief contour. Dilute glaze: curly hair on bull's forehead. White (flaked):libation. Perhaps the sacrifice of a bull following a victory. Cf. 118, the slightly earlier stamnoid that depicts such a sacrifice following a victory in a torch race. Late 5th century B.C. 416 P1.51

417

P 22617

B 13:6

Three non-joining wall fragments. Max. dim. a) 0.224, b) 0.091, c) 0.089. Fragment a preserves the lower drapery and feet of two figures to left: the left, a man with a stick; the right, a man or a woman. On the far left, a bit of the drapery of a facing figure. Below, stopped-maeander pattern with cross-squares. Fragmentsb and c preserve drapery: b is probably part of the figure with the stick;c, from the left figure on a. Late 5th century B.C. 418 P1.51

P 23931

Q15:2

Six non-joining fragments, a and b of rim and wall; c-e of wall; f of handle. Narrow reserved band on inside at rim; another 0.038 below rim. Glaze fired brownish red in places; abraded on rim and handle. PH. a) 0.08; diam. of rim 0.29; max. dim. b) 0.184, c) 0.156, d) 0.051, e) 0.082, f) 0.136.

A, maenad to left. Fragmentd (illustrated)preservesthe top of her wreathed head and the leaves of her thyrsos. At the far right of fragment a there is the top of an object that looks like a thymiaterion or, more likely, a thyrsos, except that the individual leaves are not articulatedas they are on fragmentd. B, youths. Fragmentc shows the hand of one, the back of the head, and upper body of the second, both to right, facing a third (face, part of body, right arm), who holds a stick. The last two wear himatia. Fragmenta shows the back of the head of the thirdyouth. Fragmente preservesthe lower draperyand feet of a figurestanding to left, probably 3 because the vertical application of the glaze behind him indicates the start of the area below handle B/A. The glaze overlaps the maeander pattern, thus terminating it. On rim, laurel wreath to left. Below, maeander pattern with checkerboard-squares.White: wreath. Late 5th century B.C. 419 Pl. 51

A 19-20

P 25830

Wall fragment. Glaze pitted and scratched; slightly greenish. Max. dim. 0.061. Satyr (filletedhead, chest, part of outstretched left arm) to right. At the far right, a bit of reserve that probably belongs to another figure. Late 5th century B.C. 420 P1.51

P 23973

Q15:2

Handle fragment with adjoining wall. Narrow reserved band on inside near top. Glaze abraded on handle. Max. dim. 0.10. Youth (shoulder with himation, long hair) standing to left. Around root of handle, egg pattern with dots. Late 5th century B.C. 421

P 25562

G 19-22

Wall fragment. Reserved band on inside at top. Glaze cracked in places. Max. dim. 0.051. Youth (from the waist up) to right, wearing a himation. Preliminarysketch. Late 5th century B.C. I 13 Wall fragment from just below rim with start of handle at far left. Narrow reservedband on inside near top. Max. dim. 0.09. B, youth (head and shoulders)to right, wearing a himation. During his visit to the Agora in the summerof 1953, Beazley noted on the record card:"doubtfulbut possiblyby the Painter of Munich 2335"; not in ARV2. Probablylate 5th century B.C.

422

P 3449

423

P 21582

0 7

Wallfragmentfromjust below rim. Reservedband on inside at top. Max. dim. 0.064. AgoraXXVII, p. 172, cat. no. 41, pl. 36. Satyr (back of head, left shoulder) to left. Probablylate 5th century B.C.

205

BELL-KRATERS 424

P9196

R 13:1

Six non-joining fragments, a and e with part of rim, the rest wall fragments. Glaze flaked and abraded in places. Max. dim. a) 0.197, b) 0.183, c) 0.074, d) 0.047, e) 0.042, f) 0.075. A, uncertainsubject. Fragmenta preservesmost ofthe head, shoulders, and outstretched right arm of a woman to right. On the far right, trace of another figure. Fragmentc preserves drapery;d seems to give a bit of drapery and the forearm and hand of one figure, the hand holding something and at the left, a little of the drapery of another figure. B, youths. Fragmentb shows the lower parts of three draped youths, one to right, two to left. Fragment e shows something hanging on the wall and may come from either side. On the rim, laurel wreath to left (a and e);below the figures, stopped-maeanderpattern (f). Late 5th century B.C. P 3475 I 14 425 Wall fragment fromjust below rim. Max. dim. 0.036. Raised right hand holding a wreath and a little of the shoulder of a figure to left. At the upper left, a bit of reserve. Preliminarysketch. White (flaked):wreath. Probably late 5th century B.C. P 26061 L 17:6 426 P1.51 Wall fragment with start of handle in upper left. Much of the glaze fired reddish; flaked on inside. Max. dim. 0.19. Symposion. At the left, a woman (fromthe shouldersdown) stands to right, wearing a peplos. In front of her is a little of a couch with the draped legs of the banqueter, and in front of it, a table. On the right are the lower drapery and feet of another woman. Below the figured decoration, stoppedmaeander pattern with checkerboard-squares,a dot in each reservedsquare. White: woman's flesh. For the absence of a pattern around the handle root, a rare occurrence, see two by the Painter of Vatican 9103: the namepiece (ARV21438, 1); Vienna 1142 (ARV21438, 2; Addenda377). Late 5th or early 4th century B.C. 427 P1.51

P8265

C 12:2

Wall fragment from just below rim. Start of handle at far right. Glaze pitted and abraded in places. Max. dim. 0.112. Symposion with a drunkenDionysos (upperpart of god with wreathed head thrown back, right arm over it, a drinkinghorn cradled in the crook of his left arm, a himation around his hips). Preliminarysketch. Dilute glaze: hair and beard. For the subject, see LIMC III, 1986, p. 456, s.v. Dionysos (C. Gasparri). Late 5th or early 4th century B.C. 428 P1.51

P6897

B9-10

Wall fragment. Glaze slightly brownish on outside. Max. dim. 0.073. Youth (most of body, thighs, part of arms) seated to left on a cloak, holding a spear or staff in his left hand, his right arm outstretched. Late 5th or early 4th century B.C.

429 P1.51

P37

H6:1

Wall fragment. Max. dim. 0.134. Women: one (left breast and arm, part of body) standing to right, dressed in a peplos and holding a staff in her left hand. She faces another who is seated (most of body, a little of each arm, legs to below knee) in three-quarterview to left, wearing a long chiton. Behind her is a third woman (a bit of drapery). Preliminarysketch. Dilute glaze: belt of peplos. Late 5th or early 4th century B.C. P3043 G 10 430 PI. 51 Wallfragmentfromjust below rim. Glaze chipped in places. Max. dim. 0.055. Horse (top of head, start of neck) to right. Above, grapes. White: grapes; stud on cheekstrapof bridle. Probablylate 5th or early 4th century B.C. 431 P1.51

P 17882

D-E 16

Wall fragment. Draw or test piece: on the outside, the artist did not fill in the background. Glaze on outside fired brown. Max. dim. 0.081. Rider (his legs with boots; part of body, right foreleg of mount) to right. Preliminarysketch. For draw or test pieces, see M. Farnsworth,AJA 64, 1960, pp. 72-75. Forother red-figuredexamples from the Agora, see 486, 525, 528-531, 536, 1201, 1396(?). See also Bonn 306 in the manner of the Niobid Painter (ARV2610, 18; Prange, ANobidenmaler, p. 211, cat. no. GN 32). Probablylate 5th or early 4th century B.C. 432 PI. 51

P 24207 H 13:4(U) Wall fragment with start of rim. Reserved band on inside near top. Max. dim. 0.039. Satyr (wreathedhead, shoulders)to left. Late 5th or early 4th century B.C. 433 P1.52

P 9454

M 20:3

Most of wall is missing on one side except for one small, loose fragment. Strengthened with plaster. Reserved line on insidejust below rim; another, 0.04 below rim. Glaze misfired reddish on outside; much abraded on rim, handles, and foot. P.H. of a) 0.197; diam. at rim 0.205; max. dim. of b) 0.074. A (illustrated),two youths facing, each wearing a himation, the one on the right with right arm outstretched. B, the like:all that remainsis a little of the left youth; part of the face, draped body, and outstretched right arm of the one facing. On rim, laurel wreath (single row of leaves), to right. Below figures, band of chevrons. For the single row of leaves for the laurel pattern, see 379. For the chevron, see Baltimore, the WaltersArt Gallery 48.55 by Hermonax (ARV2488,79; CVA,Baltimore 1 [USA 25], pl. 5 [1417]); also a Corinthian example, Corinth C-73-203 a-c (I. McPhee, Hesperia52, 1983, pl. 33:2). McPhee (ibid.,p. 140, sub2) mentions the chevron band below the figureson an Attic pelike, Athens, N.M. 1473. Late 5th or early 4th century B.C.

CATALOGUE

206 434 P1.52

P8104

G5

Wall fragment. Part of surface chipped and abraded. Max. dim. 0.081. Athena (chin and neck, left half of body to hips, left arm) standing frontally,head turned to left. She wears a chiton and aegis and holds her spear in her left hand. Behind her is a figure:left hand with scabbard, drapery. Relief contour: head and spear. Dilute glaze: stripes on scabbard. Late 5th or early 4th century B.C. 435

P 19147

C 18:4

Rim and wall fragment. Narrow reserved band on inside below rim. Much of the glaze flaked on outside, the drawing of the figures almost entirely gone. P.H. 0.056; est. diam. at rim 0.13. Eros (much of right leg, left foot, ends of wings missing) standing to right with his left leg raised, his foot presumably restingon a rock. His right arm is extended, his left restson his thigh. Before him is a woman, probablyAphrodite (head with stephane, right shoulder and hand), holding out a little of her drapery at shoulder level. On rim, egg pattern with dots. Late 5th or early 4th century B.C. 436

P 22623

B 12:5

Wall fragment. Glaze slightly abraded on outside. Max. dim. 0.09. B, youth (part of head and body) to right, wrapped in a

440 PI. 52

437

441 PI. 52 P 25388

C 19

Wall fragment with start of rim. Glaze misfired reddish brown. Max. dim. 0.085. Youth and woman (filletedhead of each, shoulders)to right, he wearing a himation, she a peplos. Relief contour: profiles and napes. White: fillets. Late 5th or early 4th century B.C. 438 P1.52

P 30

H5

Wall fragment from just below rim. Reserved band on inside. Glaze misfired red on lower part of inside. Max. dim. 0.057. Youth (wreathedhead, shoulders,startof outstretchedright arm) standing frontally,his head to right, a cloak over his left shoulder. White: wreath. Probablylate 5th or early 4th century B.C. 439

P 21394

P8

Wall fragment from near rim. Glaze fired greenish on outside; slightly pitted. Max. dim. 0.077. Youth (wreathed head, left shoulder) to right, before a woman (a little of her hair with wreath, raised right hand with phiale, wine from it spilling over her forearm). White: wreaths;phiale; wine. Dilute glaze: drawing on phiale. Late 5th or early 4th century B.C.

H 18:1

Wall fragment. Surface pitted in places. Max. dim. 0.161. LIMCV, 1990, p. 129, sub2922, s.v.Herakles. Apotheosis of Herakles. The fragment shows the chariot team (heads, necks of right-hand pole and trace horses, part of their forelegs;head of left-hand pole horse) galloping to left. Bit burrs are attached to mouthpieces of their bits. In front of and behind them are the shafts of four columns, and in the lower left, an object that is uncertain: conceivably it might be part of Hermes, who may appear in these scenes at the heads of the horses. Preliminarysketch. Relief contour. White: reins (flaked)and studs on harness;columns. Dilute glaze: drawing on white. The subject is identified on the analogy of Pnyx P 171 and P 226 (HesperiaSuppl. X, p. 57, nos. 255, 256, pl. 24) and the comparative material cited there. For the theme in Attic red figure, see LIMC V, 1990, pp. 129-130, 132, s.v. Herakles (J. Boardman). For bit burrs, cf. 96. By the same hand as 441 and the bell-kraterfragment from the Pnyx (P 171: HesperiaSuppl. X, p. 57, no. 255, pl. 24) that was said by Beazley (in a letter to Lucy Talcott dated April 6, 1953) to recall the Painter of London F 64 (not in ARV2). 440 and 441 are probably not from the same bell-kraterbecause the glaze on the inside of 440 fired slightly brownish, that on 441 is black. In the composition, the two fragments would have to be too close to one another to permit this difference. First quarterof the 4th century B.C.

himation.

Late 5th or early 4th century B.C.

P 15568

P 22624

B 12:5

Wall fragment. Glaze firedbrownishon outside. Max. dim. 0.084. Apotheosis of Herakles,to left. What remains of Heraklesis most of his body, his left hand holding the club, a little of his outstretched right arm, the hand (now missing) grasping the breastworkof the chariot (also missing). He wears a himation (part over his left arm). Next to him, Nike or Athena (drapery at thigh level; left forearm) drives the vehicle. Of the chariot, all that is preserved is the left rail and a bit of the left wheel. The curved areajust above the breakis the tail of the left-hand trace horse. Dilute glaze: drapery folds. White (flaked):two vertical lines below forearm of driver (ends of reins[?]). The subject of 441 is identified by comparison with the namepiece of the Painter of London F 64 (ARV2 1419, 1; LIMC V, 1990, p. 129, no. 2922, pl. 121, s.v. Herakles: on that piece there are also columns) and his bell-krater,Cab. Med. 430 (ARV21420, 3): in both Nike drives the chariot. For the theme in Attic red-figure,cf. 440. By the same hand as 440. First quarterof the 4th century B.C. K-L 6-8 P 3035 442 Fig. 27; PI. 52 Wall fragment. Max. dim. 0.10. Chariot (left hind leg of horse, hock of right; part of wheel) to left above pyre (top with flames). At the lower right, Nike (head with wreath, part of wing), also to left. Relief contour. White: wreath;flames (flaked).Dilute glaze: part of wing.

207

BELL-KRATERS

FIG.27. Bell-krater442 (P 3035). Scale 1:1 That the object below the horse's hoof should be identified as a pyre and not as an altar is made clear by the presence of flames alongside it; they do not appear solely on top. The horse is the left-hand trace horse, and it overlapsthe left wheel of the vehicle. Forgood comparisons,see the namepiece of the Painter of London F 64 (ARV21419, 1; LLVCV, 1990, p. 129, no. 2922, pl. 121, s.v. Herakles) and Ferrara 15637 = T.376 B VP from the Group of FerraraT.376 B (ARV21424, 1; Addenda376; LIMC V, p. 129, no. 2923, pl. 121). Both show Herakles leaving in a chariot driven by Nike. This may be the subject of 442, although normally a nymph, not Nike, appears next to the pyre dousing the flames, and the pyre is likely to be a jumble of logs. An exception appears on the bell-krater by the Painter of London F 64 in S. Agata de'Goti, Mustilli Coll. (ARV21420, 5; L/MC V, p. 129, no. 2918, illustrated: here the logs are neatly piled). For this theme, see LMIC V, pp. 128-129, s.v.Herakles (J. Boardman). First quarter of the 4th century B.C. 443 P1.52

P 18818

B 19:11

Man (most of head, a bit of shoulderswith himation)probably seated to right, holding a spear. In front of him, another figure (lower drapery,heel of right foot) standing at a different level on a white ground line. Relief contour. White: ground line. Dilute glaze: part of beard. The shaggy hair of the man on 444 bears some resemblance to that of two youths on Vienna 1143 by the Meleager Painter (ARV21410, 27; Addenda374). Early 4th century B.C. 445 P1.52

P 3243

H 14

Wall fragment from bottom of figured decoration. Max. dim. 0.095. Chimaera (chest, shoulder, most of forelegs, start of belly) to left. Below, stopped-maeanderpattern with checkerboardsquares. Preliminarysketch. Relief contour: chest; ruff. Dilute glaze: ruff. The subject is Bellerophon and the Chimaera, a ratherrare theme in Attic red figure (see 443). Given the large scale of the Chimaera on 445 in relation to that of the ornamental band, there may not have been other figures present besides Bellerophon on Pegasos, although this would be unusual. For full representations,see Genoa 1911.163 near the Pronomos Painter (ARV21337, 6; Addenda366); Naples 3243 from the Budapest Group (ARV21439, 2); and an unattributed calyxkrater, Lecce 4530 (MarbWPr1952-1954, pl. 2). The Chimaera on 445 is closest to the one on a fragmentaryFaliscan calyx-krater,Berlin inv. 4542 (JdI 71, 1956, p. 68, fig. 11). Probablyearly 4th century.

Wall fragment from near rim. Reserved band on inside. Max. dim. 0.064. Bellerophon (head, start of right arm) to right, wearing a cloak. Of Pegasos, just a bit of his wings remains. White: wings. Dilute glaze: drawing on white. For the subject, see L/MC VII, pp. 222-228, s.v. Pegasos (C. Lochin). Perhaps by the Meleager Painter. Compare the following, all side A: the central seated youth on Vienna 733 (ARV21409, 2); the youths on Budapest 50.569 (ARV21411, 30 bis); the P 25376 A-Q 15-17 left youth on the bell-krater Havana, once Lagunillas (ARV2 446 P1.52 Wall fragment. Glaze slightly pitted and abraded. Max. 1411, 31); the standing youth in a decorated chiton on Louvre dim. 0.068. Cp 10853 (ARV2 1411, 45); and the youths on the hydria Woman (lower part of head to left, shoulders, upper part Havana, once Lagunillas (ARV21412, 51; Olmos, Vasosgriegos ... Lagunillas, pp. 164-169). of torso), to right, dancing(?). She wears a brassiere (ratvca or a&6Soea[to). Early 4th century B.C. For the ractvoaor &T6BSe?oo,see HesperiaSuppl. X, p. 56, sub249. To the three examples and bibliographygiven there, 444 P1.52 P6713 K-Q14-17 add: Ferrara2865 = T.404 by the Peleus Painter (ARV21039, Wall fragment. Max. dim. 0.042. 9; Paralip.443, 9; Addenda319; Matheson, Polygnotos, p. 438,

208

CATALOGUE

cat. no. PE 12, pl. 93); Havana, once Lagunillasby the Painter of Munich 2335 (Olmos, Vasosgriegos... Lagunillas,p. 154, cat. no. 43); 1374 by the Lid Painter; Brauron A 43 (AK Beiheft 1, 1963, pl. 12); Perachora 3852, a fragmentarybellkrater dated ca. 400 B.C. (T. Dunbabin, Perachora II, Oxford 1962, pl. 148, left). The brassierewas worn by female dancers and acrobats, also by Atalante (J. D. Beazley,JHS 59, 1939 [pp. 1-44], p. 23). From what remains on 446, this figure is very likely a dancer. Probablyearly 4th century B.C. 447 P1.52

P 24811

H-K 12-14

Fragmentof rim and wall. Reserved band on inside of rim; another, 0.055 below rim. Glaze fired red on outside. P.H. 0.099; max. dim. 0.183; est. diam. at rim 0.38. Apollo and the Muses(?). Apollo (wreathedhead) stands to right, facing a Muse (head with earring and necklace, shoulders). Between them is a laurel tree. Behind Apollo is a bit of white that looks like the raised arm and hand of a second Muse. On rim, laurel wreath to left. White: wreath; flesh of Muses. Dilute glaze (mostlygone):jewelry; drawing on white; loose locks of right Muse's hair. Forthe subject,see LIMCII, 1984, pp. 269-272, s.v.Apollon (G. Kokkorou-Alewras). Early 4th century B.C. 448 P1.53

P7911

E6:3

Mended with missing pieces restored in plaster, notably, nearly all of the rim, both handles, lower part of body, and all of foot. Rest. H. 0.425; rest. diam. of rim 0.043. A, torch race (illustrated).On the left, three youths, the first two facing each other, the third to right (missing: head of 1; part of body of 2; nearly all of 3 except for part of his head, shoulders,and feet). Then comes a herm (itshead, part of shaft missing)to left. Behind it, two youths to left (most of body, all of left leg of 4, part of torso, left arm, knees of 5 missing). 5 carries a torch with a hand protector. Around the head of each youth is a fillet. B, three youths (part of drapery, feet of each), the middle one frontal, the other two facing inward. On rim, laurel wreath (a bit of one leaf). Below, stoppedmaeanderpattern with checkerboard-squares.Aroundhandle root, egg pattern with dots. Below each handle, palmette-andspiral configuration. Relief contour for profiles. Dilute glaze: drawing on shaft of torch. For a discussion of the actual race, see 118. Probablyearly 4th century B.C. 449 P1.53

P3295

F 11:1

Wall fragment with start of rim. Reserved band on inside. Glaze firedred on inside, reddishbrown on outside. Max. dim. 0.089. Maenad (from the waist up) to right, with right arm raised, dressedin a peplos, her hair tied up with bands. Behind her are the right arm and hand of someone holding a tympanon, and at the far right, a bit of a figure, probably a shoulder. White: tympanon; maenad's flesh; hair bands. Dilute glaze: drawing on white. Early 4th century B.C.

450 P1.53

P34 P 22761

H6:1 D 5:1

Three non-joining wall fragments, P 34 a/P 22761 a with half of one handle. Narrow reserved band on inside. Glaze abraded and flaked in places. P.H. P 34 a/P 22761 a) 0.23; max. dim. P 34 b) 0.107, P 22761 b) 0.076. A, satyrs and maenads. P 34 a/P 22761 a shows the lower half of a maenad to left, wearing a decorated chiton. Behind her, a satyr (legs, end of thyrsos)to right, his left foot restingon a rock, then another maenad (lowerpart of drapery,feet to left). On the ground, a spiralplant. P 34 b (illustrated)preservesthe satyr'sfilleted head, shoulders, and left arm reaching for the maenad and more of the thyrsos;then the back of the maenad's head with a sakkos, her upper right arm and chest, her head turned to right toward a second satyr (head, right shoulder, and most of arm around her shoulders). The maenad wears a chiton and a necklace. P 22761 b comes from the other side of the vase and preserves the draped shoulder and part of the filleted head of a youth to left. Below the figures, stoppedmaeander pattern with checkerboard-squares,a dot in each reserved square. Around handle root, egg pattern. White: maenad's flesh, part of drapery;fillets. Dilute glaze: necklace. The Painter of the Oxford Grypomachy (ARV' 877, 11; in Addenda andCorrigenda, p. 2505, to ARV' p. 877, delete no. 11; not in ARV2). Probablyearly 4th century B.C. 451 P1.53

P6

H7

Wall fragment. Max. dim. 0.084. Male (body, start of left arm and of right thigh) running to left. Preliminarysketch. Perhapsby the Painter of the Oxford Grypomachy. Cf. the two bell-kratersin Vienna: 1129 (ARV21428, 12;Addenda 376) and 547 (ARV21428, 13; Addenda376). Early 4th century B.C.

P 24827 N 10:1 452 P1.53 Wall fragment. Reserved band on inside near top. Surface scratchedon outside. Max. dim. 0.057. Youthful satyr (wreathed head, right shoulder) looking to right. White: band of wreath. Dilute glaze: part of hair. Perhaps by the Oinomaos Painter. Compare the head of Poseidon, especially the drawing of the eye on Naples 2200 (ARV21440, -, 1; Paralip.492, 1; Addenda377) and the left satyr, especially the bent ear, on Madrid 11017 (ARV21440, -, 2; Addenda377). Early 4th century B.C. 453

P 3209

F15:2

Wall fragment. Burned (clay is gray). Glaze fired red on inside. Max. dim. 0.053. Youth (wreathed head, shoulders with chlamys fastened at the right shoulder) to right, a torch (shaft) in front of him. Relief contour: profile and nape. White: dots on wreath. Probablyearly 4th century B.C.

209

BELL-KRATERS 454

I-K 6-8

P 2046

Wall fragment from near rim. Reserved band on inside at top. Max. dim. 0.077. Man (most of filleted head, shoulders, raised right hand) to left. Relief contour: nose; nape. White (partly flaked):fillet; two dots near hand. Dilute glaze: part of fillet. Early 4th century B.C.

455

P 2094

I-K 6-8

Wall fragment. Max. dim. 0.085. Male (right half of body) standing to right, hand on hip, wearing a chlamys fastened at the throat. Behind him, part of ornament in handle zone. Probably early 4th century B.C. 456 P1.53

R 13:5

P 11370

Lower part of body with start of stem above foot. Part of glaze misfired red on bottom of inside; abraded slightly on inside. P.H. 0.15; P.D. 0.22. Very little of the figured decoration remains: feet, then the base of something, an altar(?).Part of the palmette-and-tendril configuration at each handle. Below the figures, stoppedmaeander pattern with checkerboard-squares. Probably early 4th century B.C. What remains of 456 bears some similarity to Leyden 1.1956/8.3 in the manner of the Meleager Painter (iii), Various (ARV21416, 2; Addenda375). Early 4th century B.C.

Woman (wreathed head) and youth (most of head) facing. Between them, three hanging ribbons. White: woman's flesh; wreath;ribbons (flaked).Dilute glaze: drawing on white. Early 4th century B.C. 461 PI. 53

P 22825

A-F 9-15

Wall fragment from just below rim. Reserved band on inside. Max. dim. 0.065. Dionysos (most of wreathed head, left shoulder) to right, holding a thyrsos. In front of him, Eros (wreathedhead, right arm, wing bow)facing. To the left ofthe thyrsosis a reservedivy leaf that seems to have an incised stem. Relief contour. White: wreaths;flesh of Eros. Dilute glaze: hair of Eros; drawing on his flesh. Probablyearly 4th century B.C. 462 PI. 53

P 14630

E 2:3

Wall fragmentwith start of handle. Max. dim. 0.061. Woman (head with fillet, upper part of body) wearing a peplos, a necklace, and an earring, standing frontally,head to left. At the right, egg pattern around handle root. White: fillet; jewelry. Early 4th century B.C. 463 P1.53

P 17426

A-B 19-20:2

Wall fragment fromjust below rim. Narrow reserved band on inside. Max. dim. 0.044. Man (most of wreathed head) to left. Relief contour:profile. White: wreath. Dilute glaze: drawing on white. Early 4th century B.C.

Wall fragment. Max. dim. 0.117. Satyr and maenad. The maenad (preserved from the hips up) sits to right, looking back, her left arm raised. She wears a peplos, a kredemnos, and an earring. Next to her is a satyr (most of head, a little of left shoulder, right arm raised over head) to left. Dilute glaze: a few drapery folds. White (flaked): dots above fillet. Early 4th century B.C.

458

464 P1.53

457 P1.53

P3027

P 105

K 15

G-H 7

Wall fragment with start of handle at right. Max. dim. 0.096. Satyr (most of left leg, left hand, end of tail) to left, holding a thyrsos (a bit of the shaft). In front of him, a maenad (upper left arm) seated to left(?). Behind him, part of the egg-and-dot pattern around the root of the handle. White: maenad's flesh. Probablyearly 4th century B.C. 459 P1.53

P 26857

I-J 15

Wall fragment from near rim. Reserved band on inside at top. Glaze slightly pitted. Max. dim. 0.06. Maenad (filletedhead, left hand) to right, wearing a chiton and a nebris and holding a thyrsos (part of shaft). She is adorned with a necklace, an earring, and a bracelet. At the right, start of another figure. Relief contour: profile. White: fillet;jewelry. Dilute glaze: spots on nebris. Early 4th century B.C. 460 P1.53

P 22767

P-R 7-13

Wall fragment from near rim. Reserved band on inside. Max. dim. 0.077.

P 24839

N 10:1

Two non-joining wall fragments, a with start of handle. Glaze rather streakyon inside. Max. dim. a) 0.045, b) 0.046. Bothmer,Amazons,p. 196, cat. no. 116 ter. Fragment a (illustrated)preserves the head and shoulders of an Amazon to left, wearing an Eastern headdress. Above, part of another figure(?).At the right, egg pattern around the handle root. Fragment b shows the face of an Amazon with a similarheaddressand part of her right shoulder. Next to her face is the shaft of a spear. Above her head, there is a white line (ground[?]),and next to it at the very edge, a little contour and reserve. Relief contour. White: dots on headdresses;line on b. Probablyearly 4th century B.C. 465

P 2944

J-L 5-6

Wall fragment with start of rim. Glaze slightly abraded. Max. dim. 0.15. Eros (head, shoulders, most of wings) to right. Above, grapes(?).On rim, laurel wreath to left. White: grapes. The character of the glaze to the left of the reserved line below the laurel indicates the start of the handle zone. Early 4th century B.C.

CATALOGUE

210

H 13:4(U) P 24204 Wall fragment with start of rim. Reserved band on inside near top. Glaze fired reddish brown. Max. dim. 0.085. Woman (most of head, front of body to waist)to left, dressed in a chiton, her arms outstretched. At the far left, traces of another figure. On rim, part of laurel wreath. Early 4th century B.C. 466

473 P1.53

467 P1.53

Wall fragmentwith start of handle. Max. dim. 0.124. Symposion. Youths (wreathed heads, raised right arms) reclining to left with heads turned back. At left egg pattern with dots around handle root. The Telos Painter (ARV' 876, 15; ARV2 1426, 31). The composition probably looked very much like the one on the painter'sbell-kraterin Wilno, Univ. (ARV21426, 30). Probablyfirst quarterof the 4th century B.C.

A-V1-28

P21140

Wall fragment, burned (clay is gray). Max. dim. 0.074. Satyr (filletedhead, shoulders,left arm over head) standing frontally,head to right. Vines in background. White: fillet; vines. Probablyearly 4th century B.C. 468

P 6386

D 15:3

Wall fragment. Glaze fired red on inside. Max. dim. 0.07. Symposion:chest, most ofleft arm, startoflegs ofsymposiast reclining to left, dressed in a himation. Cushions below. Table in front(?). Early 4th century B.C. 469

P4325

E 15:7

Wall fragmentwith stem and most of foot. Groove between stem and foot. Mended in antiquity. Glaze on inside pitted and abraded; flaked in many places on outside. PH. 0.325; diam. of foot 0.172. A, a woman (lowerpart of chiton, feet) to left. Behind her, a bit of the palmette configurationbelow the handle. B, lower part of youth to right, dressedin a himation. Below the figures, stopped-maeanderpattern with saltire-squares. Early 4th century B.C. P 3034

470

J8

Wall fragment from area of ground line. Glaze much pitted on outside. Max. dim. 0.075. Man (lower drapery,right foot) to right leaning on a stick (butt). In front of him, the ends of two spears orjavelins of the facing figure. Below, stopped-maeanderpattern. Preliminary sketch. Early 4th century B.C. 471 P1.53

P 203

F-H 13-16

Wall fragment. Max. dim. 0.058. Peplos, rather elaborately decorated, from lower part of figure. For similar drapery,see the right maenad on an early-4thcentury bell-krater,London, B.M. GR 1917.7-21.1 (Metzger, pl. 35). Representations, Probablyearly 4th century B.C. 472

P 25580

Q 17

Wall fragmentwith start of handle at left. Max. dim. 0.094. Youth (part of face and body) to right, wrapped in a himation. Preliminarysketch. Probablyearly 4th century B.C.

474 P1.54

P9491

P 11973

D5:1

R 19

Wall fragment with start of rim. Narrow reserved line on inside. Glaze fired red on inside, slightly brownish on outside. Max. dim. 0.095. Nike (upperpart of body, most of wings) flying to right, her hair streamingbehind her, her arms outstretched. She wears a chiton, a stephane, and an earring. In front of her, the raised right arm of someone and behind her a bit of the next figure (drapery).Preliminarysketch. White: spikes of stephane. First quarter of the 4th century B.C. 475 P1.54

P4933

N 10:1

Wall fragment with start of rim. Brownish glaze on inside; red on outside. Max. dim. 0.083. Nike (head with fillet, shoulders, part of wings) to left with start of outstretched arms, perhaps driving a chariot. White: flesh;fillet. Dilute glaze: drawing on white. The subjectmay have been the Apotheosis of Herakleswith Nike driving the chariot. For the theme, see 440. Those by the Painterof London F 64 seem especially comparable (ARV2 375; LLMCV, 1990, p. 129, no. 2922, 1419-1420, 1-5; Addenda s.v.Herakles [J. Boardman]). Probablyfirst quarter of the 4th century B.C. 476 P1.54

P 19690

C 19

Rim and wall fragment. PH. 0.085; est. diam. at rim 0.26. On the left, head, most of wings of Eros to right, facing a male (preservedto mid-thighs)standing in three-quarterview and holding a thyrsosin his right hand. On rim, laurel wreath to left. White: flesh of Eros; area below left arm of man (garment). Dilute glaze: cover feather of wings (hastilydrawn). Probablyfirst quarter of the 4th century B.C. 477 P1.54

P 14629

E 2:3

Four non-joining fragments, c of rim. Start of handle on d. Max. dim. a) 0.079, b) 0.11 1, c) 0.074, d) 0.145. Est. diam. at rim 0.32. A, Heraklesand Nike, Dionysos and a maenad. Fragmenta (illustrated)preservesthe upper parts of Nike to right, about to put a wreath around the head of Herakles (alreadywreathed), who faces her holding his club (upper part). Nike wears a peplos and has a wreath around her head. Of Herakles all that remains is his head and shoulders. Fragment b shows Dionysos (head, shoulders, arms missing) seated to left on a cloak, holding a thyrsos in his left hand. In front of him is a maenad (drapery)holding out the god's kantharos(foot, a little of body). Fragment c preserves the forelock of the maenad.

211

BELL-KRATERS B, youths, probably two to right, one to left. Fragmentd shows the head and back of one wrapped in a himation. Below the figures, stopped-maeander pattern (part on fragment b). Preliminary sketch. White: Nike's flesh; wreaths; kantharos. Dilute glaze: hair. Probablyfirst quarter of the 4th century B.C.

484

N 10:1

485

478

P4935

Wall fragment. Glaze fired red. Max. dim. 0.092. Youthful satyr (most of head, torso, arms and tail) to left, looking back at another figure (wing). In the lower right, part of a thyrsos. Preliminarysketch. White: berries among leaves of thyrsos. First quarter of the 4th century B.C. 479 P1.54

N 10:1

P4654

Wall fragment. Glaze fired greenish on inside, brownishon outside. Max. dim. 0.066. Satyr (most of body, start of tail and legs) to right, holding a box or tray in his left hand. At the right break, drapery(?). Dilute glaze: muscles. First quarter of the 4th century B.C. 480 P1.54

P 22747

E 2:3

Two non-joining fragments, a of rim. Reserved band on inside at rim. Glaze abraded on rim. Max. dim. a) 0.12, b) 0.05. Satyr and maenad, both to right. Fragment a preserves the top of the maenad's head with wreath and fillet; fragment b (illustrated)gives all of the satyr's head, also filleted and wreathed. On rim, laurel wreath to left. White: wreaths; fillets. Probablyfirst quarter of the 4th century B.C. 481 P1.54

B-C 9-10

P7025

Wall fragment with start of rim. Narrow reserved band on inside. Max. dim. 0.06. Satyr(wreathedhead) to right. On rim, laurelwreathto left. On the reserved line below the laurel there are two vertical relief lines that probably indicate something held in the hand of the satyr. White: wreath. Probablyfirst quarter of the 4th century B.C. 482

P 14316

A-D 16-23

Wall fragment with part of rim. Narrow reserved band on inside near top. Max. dim. 0.091. Youth (filletedhead, shoulders)to left, wearing a himation. On rim, laurel wreath to left. Preliminarysketch. White: fillet. Probably early 4th century B.C. 483

P 13578

0 17:2

Wall fragment. Max. dim. 0.058. Woman (head) to right. Object in front of her. Above, grapes. White: object; grapes. Probablyfirst quarter of the 4th century B.C.

P 13524

0 18:2

Wall fragment. Some of the glaze abraded. Max. dim. 0.066. Woman (draperyover left leg, part of right, a bit of left foot) seated to left on a stone(?). White: foot. Probablyfirst quarter of the 4th century B.C. P 20105

D 17:9

Wall fragment from near rim. Narrow reserved band on inside near top. Glaze fired red on inside. Max. dim. 0.091. B, youth (head, upperpart ofbody) to left, clad in a himation. First quarter of the 4th century B.C. 0 17:2 P 25585 Wall fragment with start of rim. Lifting hole in rim. Draw or test piece. Max. dim. 0.072. B, youth (upper parts) to right, wrapped in a himation. Reserved area in front of him. For draw or test pieces, see 431. First quarter of the 4th century B.C. 486

487 PI. 54

P223

H 17

Wall fragment with start of rim. Narrow reserved band on inside. Glaze abraded in part. Max. dim. 0.14. B, youths (upper half of one with a fillet around his head, a little of the drapery of the one in front of him) to right, each in a himation. Discus hanging on wall. Red: fillet. Perhaps by the Painter of Louvre G 521. Cf. Vienna 946 (ARV21441, 4; Addenda378) and Altenburg 336 (ARV21442, 1):there, the reverse only is by the painter. First quarter of the 4th century B.C. 488

P 465

F 16

Wall fragment from near rim. Glaze slightly cracked. Max. dim. 0.054. B, youth (head, left shoulder)to right. Reservedline for hair partly filled in. First quarter of the 4th century B.C. 489

P 34 bis

H 6:1

Wall fragmentwith start of handle. Max. dim. 0.127. The fragment preserves a bit of drapery,part of the spiral configuration at the handle, and the egg pattern with dots around the root. First quarter of the 4th century B.C. 490 P1.54

P38

H6:1

Wall fragment with start of rim. Narrow reserved band on inside. Glaze misfiredreddish brown on part of outside. Max. dim. 0.116. Satyr and maenad dancing. The maenad, dressed in a belted peplos, is preserved to mid-thigh. She also wears a wreath, a necklace, an earring, and a bracelet. Of the satyr, part of his filleted head, chest, and right arm remain. Preliminarysketch. White (flaked):wreath;jewelry; fillet. Second quarterof the 4th century B.C.

212 491 P1.54

CATALOGUE P 20157

P-R 6-12

496 P1.54

P 25472

E-H 17-20

Wall fragment from just below rim with start of handle at far right. Reserved band on inside. Max. dim. 0.059. Girl to left, hair flying, hands on hips, a ribbon in her hair (girlon seesaw[?]). White (flaked):ribbon. Beazley suggested the subject for 491 and in CB iii, pp. 4849 gives a list of examples of a seesaw in Greek vase painting in which 491 is tentatively included. For the seesaw und Hapalina: theme, see most recently,R. Olmos, '"Archedike Hetarenaufeiner Wippe," Studien undVasenmalerei: zurMythologie Mainz 1986, pp. 107-113. KonradSchauenburg, Festschriftliir Second quarter of the 4th century B.C.?

Wall fragment. Max. dim. 0.093. Man or youth (lower legs) and woman (chiton from midthighs, feet) both to right. Below, start of stopped-maeander pattern. White: woman's flesh; row of dots down center of her skirt. Not from the same bell-krater as 495: the color and the texture of the clay of 496 are slightly different, and the glaze on the inside is duller. Second quarter of the 4th century B.C.

P 14660 E 2:3 Two non-joining fragments from lower part of wall. Glaze much pitted and scratched on outside. Max. dim. a) 0.27, b) 0.027. A, symposion. Fragmenta (illustrated)comes from this side and shows part of the banquet couch with pillows and a reclining symposiast (drapery;fingers of left hand). At the foot of the couch stands a woman (probably an aulos-player),and in front of it, a table with cakes and streamers. Behind the woman, start of another couch (a bit of pillow and leg). At the far right, part of the palmette-and-tendrilconfigurationat the handle. B, men or youths (draped lower parts of two) to right (fragment b). At the left, a little of the handle ornament. Below the figures, stopped-maeander pattern with saltire-squares. White: woman (completely flaked); cakes; streamers. Dilute glaze: part of decoration on pillows. The Toya Painter (ARV21449, 13). Probablysecond quarter of the 4th century B.C.

Wallfragment. Thumb or fingerprintnext to hand of youth. Max. dim. 0.069. Youth (head, right shoulder, left hand) probably to right but looking back. In his hand he holds an object that looks like a torch. Around his head are a wreath and another kind of headdress, perhaps a crown. Relief contour. White: shaft of object; fruit of wreath; headdress or crown. Dilute glaze: drawing on white. Second quarter of the 4th century B.C.

492 P1.54

493 P1.54

P 27254

C 17

Wall fragment with part of rim. Glaze fired greenish. Max. dim. 0.095. Amazon or Persian (head, shoulders) to right, wearing a Phrygian cap and a cloak or himation. In front of the figure is a tree with fruit. On rim, laurel wreath to left. White: Phrygiancap; fruit (mostly flaked). For the subject, a Grypomachy,cf. 64. Second quarter of the 4th century B.C. 494

P 13577

0 17:2

Wall fragment. Max. dim. 0.071. Woman (head with sakkos) to right, preceded by a male figure (shaggy hair) also to right. Fillets hanging up. At the very top, two bunches of grapes. Dilute glaze: hair. White: fillets;dots in woman's hair; grapes. Second quarter of the 4th century B.C. 495 P1.54

P 25473

E-H 17-20

Wall fragment from near rim. Max. dim. 0.049. Woman (wreathed head) to left. Before her, feathers of a wing, perhaps belonging to Eros, and a bit of an uncertain object. At the far right, a little bit of reserve. White: dots on wreath;object. Not from the same bell-krateras 496: see below. Second quarter of the 4th century B.C.

497 PI. 54

498

P4653

P 22345

N 10:1

P 16:4

Wall fragment. Glaze fired red. Max. dim. 0.09. Woman (head, upper part of body, right hand, left arm) to left, looking back, probably seated. There is a figure behind her (elbow with drapery[?]) and someone in front of her (right hand). Second quarterof the 4th century B.C. 499 P1.55

P 24825

N 10:1

Fragmentof rim and wall. Reserved band on inside 0.018 below rim. Glaze slightly abraded on rim. Max. dim. 0.145. Man (head, raised arm) and youth (head and shoulders), both to left. Each wears a wreath; the man holds a string of beads. Above, festoons. On rim, laurel wreath to left. White: wreaths;beads. Second quarter of the 4th century B.C. 500 P1.55

P4840

N 10:1

Two non-joining wall fragmentswith start of rim. Reserved band on inside. Max. dim. a) 0.066, b) 0.068. Fragmenta (illustrated)shows Eros (end of each wing, right leg from the knee down missing) kneeling to right, about to put a fillet around the head of a woman whose face appears in the lower right, looking up at him. There is a wreath around the head of each. At the very top of the fragment, start of the ornament on the rim, presumablya laurel wreath. Fragmentb preservesa youth (half of head with fillet, right shoulder, and outstretchedarm) to left. In front of him are the back of the wreathed head and left shoulder of a woman to left. Each of these figures wears a chiton. White: Eros; wreaths; fillets; garment of woman on b. Dilute glaze: drawing on white. Forthe figureof Erosabout to crown a woman, see Bonn 540 by the Meleager Painter (ARV21411, 29; Addenda374). Second quarter of the 4th century B.C.

213

BELL-KRATERS 501 PI. 55

P4931

N 10:1

Wall fragment. Glaze fired greenish on outside. Max. dim. 0.105. Woman (most of head, body to start of thighs) standing in three-quarter view to left, holding an uncertain object. She wears a chiton and a himation. In front of her is a tripod (legs) on a pedestal (top). Behind her, at the lower right, is a bit of drapery. White: woman's flesh; chiton (yellowish);tripod; pedestal. Dilute glaze: folds of chiton; drawing on white. Second quarter of the 4th century B.C.

504 P1.55

P 24828

N 10:1

Wall fragment. Glaze fired brownish on outside. Max. dim. 0.045. T. B. L. Webster,Hesperia29, 1960, pl. 65:A:la; T. B. L. Webster, Monuments IllustratingTragedyand SatyrPlay London 1967, pl. l:b. [BICSSuppl. 20], Left arm, a bit of draperyof figureholding a theatricalmask (female). At the right, part of another figure(?).White: mask. Dilute glaze: featuresof mask. Probablysecond quarter of the 4th century B.C. 505 PI. 55

N 10:1 P4936 502 P1.55 Wall fragment. Max. dim. 0.068. Ithyphallicherm (mid-section)to right. In frontof it, part of the drapery of a figure (a maenad[?.]). In the lower right, an uncertain object (part of an enclosure[?], an altar[?]). White: herm; top of object in lower right. Reddish:tip ofpenis. Dilute glaze: drawing on white. The composition was probably similar to one on a calyxkraterby a painter from the L.C. Group, Athens, N.M. 12477 (ARV21460, 57). Second quarter of the 4th century B.C.

L 17 P 26183 Wall fragment. Max. dim. 0.095. Chariot team (necksof two horses, the left-hand pole horse and the left-hand trace horse) to left, driven by Nike (arm, a few feathers of right wing). Below her arm, a little of the reins and goad. White: left-hand trace horse; studs on breast band; Nike's flesh; reins and goad. Dilute glaze: drawing on white. The composition may have been something like that on a Kerch-style bell-krater,Louvre G 527, which represents the Apotheosis of Herakles (Metzger, Representations, pl. 48). This is probably the subject here on 505 (see 440). Second quarterof the 4th century B.C. 506

503 P1.55

P 9346 P 17994

M 20:3 B-D 15

Six non-joining fragments: P 9346 a/P 17994 of rim and wall; P 9346 b of rim and wall; P 9346 c and d of rim and wall, d with start of handle, e of lower wall with stem, f of foot. Narrow reserved line on inside below rim; another 0.055 below rim. Max. dim. P 9346 a/P 17994: 0.262, b) 0.195, c) 0.195, d) 0.048, e) 0.165, f) 0.087; est. diam. of foot 0.15. A, Dionysos, maenad and satyr. Fragment P 9346 a/P 17994 (illustrated)shows a maenad (head with wreath and sakkos,most of arms, part of body and legs) to right, wearing a long chiton, her raised left foot resting on a rock. She holds a ribbon or a streamer and reaches toward Dionysos (wreathedhead, part of body and legs) seated to right, dressed in a himation, looking back and holding a thyrsos in his left hand. Fragment b shows a satyr (wreathedhead, most of both arms, start of legs) to right, looking back, holding a thyrsos in his left hand, streamers in his right. On the ground on a, spiral plants. B, youths. Fragment c shows the heads of two youths facing; d gives a bit of drapery. At the far right of fragment P 9346 a/P 17994 there is a little bit of drapery that belongs to the leftmost youth in this composition. Above the figures, laurel wreath to left; below, stopped-maeander pattern with checkerboard-squares, a dot in each reserved square. White: maenad's flesh;wreaths;thyrsoi;cloak of satyr; streamers or ribbons; spiral plants. Dilute glaze: drawing on white. Perhaps by the same hand as the unattributed bell-krater Vienna 948, which has the same loose drawing, liberal use of white, and a dot in the reserved squares of the checkerboard (CVA,Vienna 3 [Osterreich 3], pl. 134 [134]:3-6). Second quarter of the 4th century B.C.

P 4932

N 10:1

Wall fragment from lower part. Glaze slightly cracked on outside. Max. dim. 0.101. Goat (part of legs and belly) to right;legs of a man beside it; and at the right, the foot and lower part of the drapery of a figure, probably standing frontally. Below, stopped-maeander pattern. Preliminarysketch. White: goat; ground line. Dilute glaze: drawing on white. Earlysecond quarterof the 4th century B.C. 507 P1.55 P8176 B 12:5 Wall fragment. Reserved band on inside. Max. dim. 0.088. Maenad (head, upper part of body) to right with a tympanon. She wears a chiton and has a fillet with spikes around her head. Behind her, the left hand of someone, probably Dionysos, holding a thyrsos. In front of her, part of another figure or the end of a thyrsos. White: flesh; spikes;dots behind head. Dilute glaze: drawing on white. Second quarter of the 4th century B.C. 508 P1.55

P 14625 E-F 2-3:2 Wall fragment from near rim. Narrow reserved band on inside. Max. dim. 0.063. Maenad (head, start of shoulder with drapery,raised right hand at break) to right with a thyrsos (tip, start of stock) at far right. She wears a sakkos, an earring, and a necklace. Grapevine in background. White: flesh; vines and leaves of thyrsos. Dilute glaze: drawing on white. Second quarter of the 4th century B.C. 509 P1.55

N 10:1 P4549 Wall fragment from near rim. Glaze fired slightly greenish on outside. Max. dim. 0.06.

214

CATALOGUE

Nike (head and shoulders, start of wings) to right, carrying a box on her left forearm and hand, her right arm raised. On each wrist she wears a bracelet. White: flesh; blobs on hair (fillet[?], headdress[?]);dots on lid of box. Dilute glaze: drawing on white. Second quarter of the 4th century B.C. P 10166

510

E3

Wall fragment from below rim. Glaze slightly flaked. Max. dim. 0.07. Woman (head and chest) to right, looking back, a sakkoson her head, a cloak over her shoulders. On the right, the rim of a tympanon decorated with dots. White: woman's flesh. Pink: dots on tympanon. Cloak probably in an added color that did not survive. Dilute glaze: drawing on white. Second quarter of the 4th century B.C. 511 PI. 55

N 10:1

P 24826

Wall fragment fromjust below rim. Glaze fired red. Max. dim. 0.06. Woman (head and shoulders), probably frontal, head to right, wearing a peplos. White: woman's flesh. Dilute glaze: drawing on white. Second quarter of the 4th century B.c. 512

P 22874

H-K 12-14

Wallfragmentfrom near rim. Reservedband on inside near top. Glaze slightly greenish on outside. Max. dim. 0.06. Woman (face, right shoulder, wrist with bracelet, hand) to left, holdingup a fold of drapery. In frontof her, partofanother figure with the ends of a fillet. In the background,dots; at the top break, large dot (grape cluster[?]). White: woman's flesh; ends of fillet; dots in background. Dilute glaze: drawing on white. Second quarter of the 4th century B.C. 513 PI. 55

P 24208

G 13

Wall fragment. Glaze fired brownishon outside. Max. dim. 0.073. Woman (left half of body, left arm) seated to left, her arm resting on a tympanon. She wears a peplos, an earring, a necklace, and a bracelet. Behind her, part of another figure. White: flesh; dots on woman's garment (belt[?]); tympanon. Dilute glaze: drawing on white. Second quarter of the 4th century B.C. 514

P 8069

G4:1

Wall fragment. Max. dim. 0.072. Maenad (head, most of body, left thigh) to right, looking back and holding a thyrsos in her left hand. She wears a sakkos and chiton. White: flesh. Dilute glaze: drawing on white. Second quarter of the 4th century B.C. 515 P1.55

P 22566

F 19:2 (L)

Wall fragment with start of rim. Reserved band on inside near rim. Max. dim. 0.225.

B, youths (upper parts of two) to right, each wearing a himation. The left holds a tympanon decorated with an X and four dots; below it, an aryballos. Group G (ARV21469, 159). Third quarterof the 4th century B.C. 516

P 17 bis

H6:

Wall fragment with start of rim. Narrow reservedband on inside. Max. dim. 0.095. Youth (head, shoulder)to left, dressed in a himation. Second quarter of the 4th century B.C. 517

P 1807

H 10:1

Wall fragment fromjust below rim. Narrow reservedband on inside near top. Max. dim. 0.065. B, upper parts of youth to left wearing a himation. Second quarter of the 4th century B.C. P 3632 F 11:3 518 Wall fragment fromjust below rim. Glaze pitted on inside. Max. dim. 0.088. B, youth (part of head, upper half of body with himation) to left. Second quarterof the 4th century B.C. P 3695

519

G 12

Wall fragment fromjust below rim. Max. dim. 0.038. B, youth (head) to right. Second quarterof the 4th century B.C. 520

P 26944

I 15:2

Wall fragmentwith start of rim. Max. dim. 0.093. B, youth (head, front of body) standing to left, wearing a himation and holding a staff. By or near the YorkReverse Group [McPhee]. Second quarterof the 4th century B.C. 521 P1.55

P 19346

D 16:1

Four non-joining fragments: a of rim and wall with start of handle; b of lower wall and foot; c handle; d rim. PH. of b) 0.092; diam. at rim 0.142; diam. of foot 0.14; max. dim. a) 0.224, c) 0.067, d) 0.079. Grypomachy.Only fragmenta (illustrated)gives some of the figures,an Arimasp(head, shoulders,raisedrighthand, a shield on his left arm) to right. He wears a leather cap and Oriental costume. To judge from his position in the composition, he was probably mounted. On rim, laurel wreath to left. White: spear,shield; line on flap of cap. Dilute glaze: lines on shield. For the subject, see 64. The Amazon Painter (ARV21479, 34). Second quarterof the 4th century B.C. 522

P 17427

A-B 19-20:2

Wall fragment fromjust below rim. All glaze gone. Max. dim. 0.121. B, youth (fromthe hips up) to right, wrapped in a himation. Behind him, a tympanon decorated with an X and four dots. In front of him is an outstretchedhand of the next figure.

BELL-KRATERS Forthe composition, cf. Vienna 957 (CVA,Vienna 3 [Osterreich 3], pl. 128 [128]:4) related to the Black-ThyrsosPainter by Eichler (CVA,p. 29) and once Baltimore, Robinson (CVA, Baltimore 3 [USA 7], pl. 17 [311]:2:b). First half of the 4th century B.C. 523

P 26951 I15 Wall fragment with start of handle at right. Glaze much pitted on inside. Max. dim. 0.075. Figure (left arm) in a striped Oriental garment to left with spear or staff. Around handle root, egg pattern with dots and below it, a bit of the palmette-tendrilconfiguration. First half of the 4th century B.C.

215

over his left shoulder. The maenads wear fillets around their heads. Above hang grapes. B, three youths, two to right, the third to left, each wearing a himation. In front of the first is a stele. The third seems to hold a tympanon, or this could be a hanging shield. Other objects in the field seem to be a strigil and an aryballos. On rim, laurel wreath to left. Below the figures, stopped-maeanderpattern. White: flesh of maenads; satyr'scloak on b;grapes. Dilute glaze: folds on himatia;details on white. Near the Filottrano Painter (ARV21455, 5); by the painter himself (ARV21694, 13 bis). Ca. 350 B.C. 527

524 P1.56

P 19286

B 18

Wall fragment from just below start of rim. Max. dim. 0.172. A, Dionysos on a griffin(?),with Eros, Pan, and a satyr to right. At the left stands Eros (head, shoulders, most of wings, right arm and hand) to right looking back, a wreath around his head, holding something in his left hand that looks like a phiale. Below it is some drapery. Behind him is the top of a thyrsos. In the lower part of the fragment is Pan (wreathed head, shoulders, arms), to right, playing the aulos. At the right is the satyr(most of body, tail, startof legs), also to right. White: thyrsos; flesh of Eros; wreaths; aulos. Dilute glaze: drawing on white. The identification of the subject was made by Beazley on the analogy of better-preservedexamples by the same painter. The Filottrano Painter (ARV21453, 10). Ca. 350 B.C.

525

P 25587 0 17:2 Wall fragment with start of rim. Hole in rim. Draw or test piece. Max. dim. 0.071. A, horseman (part of head with petasos, raised right hand) to right. Part of another figure(?)behind him. White: petasos. Dilute glaze: hair. Beazley (ARV21454, 24) suggested that the subject might be the Dioskouroi, on the analogy of Cambridge GR 6.1943 = 43.6 by the same painter (ARV21454, 23; Addenda379). For draw or test pieces, see 431. The Filottrano Painter (ARV21454, 24). Ca. 350 B.C.

526

P 16596

A 19:6

Three non-joining fragments,a with rim, about half of body, all of one handle and start of the other, b of rim and wall, c of wall. Glaze misfiredslightly. P.H. a) 0.195; max. dim. b) 0.245, c) 0.167. A, maenads and satyrs dancing. Fragment c gives the feet of a satyr to left, then a maenad from the waist down, also to left, and on the far right, a little drapery and part of the foot of another. Fragmentb shows the head of the firstmaenad and the head and body (to about the thighs) of the second, to right, looking back, wrapped in a himation. At the right of fragment b, there is part of the body, right arm, and tail of a satyr,to right, looking back (forehead at top). He has a cloak

P 25391 A 20 of rim and wall with start of handle zone at Fragment right (laurel wreath is interrupted). PH. 0.076; est. diam. of rim 0.26. Nike (head, wings, hand with wreath) facing a youth (head, chest, start of arms). Around his head is a fillet with spikes, over his left arm part of his garment. He stands frontally,head in profile to left. On rim, laurel wreath to left. White: flesh of Nike; wreath she carries;fillet with spikes. Ca. 350 B.C.

528

P 25588

0 17:2

Wall fragment fromjust below rim with lifting hole at right. Draw or test piece. Max. dim. 0.095. M. Farnsworth,AJA64, 1960, p. 75, G, pl. 16:g. Part of cloaked figure,very coarsely drawn. For draw or test pieces, see 431. Ca. 350 B.C. 529

P 25583

0 17:2

Two non-joining fragments, a of rim, b of wall from near rim. Draw or test pieces (unfinished). Hole in each, glazed on a. Max. dim. a) 0.043, b) 0.077. Fragmenta preservespart of the laurel wreath on the rim; b shows drapery or the feathers of a wing. For draw or test pieces, see 431. Ca. 350 B.C. 530

P 25586 0 17:2 Wall fragment with hole. Draw or test piece. Max. dim. 0.072. Woman (drapery)standing, probably to right. For draw or test pieces, see 431. Ca. 350 B.C. 531

P 25584

0 17:2

Rim fragment. Hole in rim. Draw or test piece. Max. dim. 0.088. On rim, laurel wreath. For draw or test pieces, see 431. Ca. 350 B.C. 532 Wall fragment. Max. dim. 0.08.

P 1954

J12

CATALOGUE

216

Eros (ower part of torso, wings, most of right leg) kneeling to right. White: flesh. Dilute glaze: drawing on white. Mid-4th century B.C. 533 P1.56

P 25350

H-K 12-14

Wall fragment fromjust below rim. Narrow reservedband on inside. Max. dim. 0.059. Woman (most of wreathed head, body to about waist level, start of arms) standing frontally,head to left. She wears a decorated peplos and himation, as well as a necklace and earrings. On her left forearm she carries a tray with a cake. Traces of a reserved area behind her (uncertain what: it cannot be the start of the handle zone because there is a trace of drawing and there is no thickening indicating the root). Relief contour: profile. White:jewelry; stem and berries of wreath;cake. Mid-4th century B.C. 534

P 25612

B 15

Wall fragment from near rim. Reserved band on inside. Max. dim. 0.045. Youth (part of wreathed head, outstretched arm) to left. Above, cluster of grapes(?).White: wreath;grapes. Mid-4th century B.C. 535

P8266

C 12:2

Fragment of upper half, mended with the missing pieces restored in plaster and painted. Part of rim and wall, all of handle A/B remain. PH. 0.13; diam. at rim 0.29. A, symposion. A youth with a fillet around his head and a himation covering him from the hips down reclines to left on a couch, his right arm raised. Facinghim is a nude woman (most of legs, right hand missing) who holds out a phiale. Around her head is a fillet. Behind her, the face and part of the left arm of another youth. B, youths (head and shouldersof one, part of head of the other) to right. Hanging on the wall between them is a large object that looks like a basket. The left youth seems to wear a himation. On rim, laurel wreath to left. White: fillets; woman's flesh; phiale. Mid-4th century B.C. 0 17:2 P 25582 handle on of each; a Two non-joining fragmentswith start of wall from lower part of figured zone; b upper part of wall with start of rim. Reserved band on inside at top of b. Glaze flakedin part. Draw or test piece (unfinished):the background is not filled in. Withdrawing hole in a just above stoppedmaeander pattern. PH. a) 0.11; max. dim. a) 0.261, b) 0.156. M. Farnsworth,AJA64, 1960, p. 75, H and I, and pl. 16. Goddess rising (Aphrodite[?]).Fragmenta (illustrated)preserves part of the neck, shoulders, and right hand of the goddess rising from the ground. She is adorned with two necklaces and a bracelet. To the right of her, a dancing Pan (lowertorso, legs), probably with a cloak over his shoulders (folds on each side), then an altar (about half) draped with a garland and a fillet. To the left of the goddess, a little of a woman (chiton) seated to right on a block, and behind her is another altar,also with a garland and fillet. Between the two figures, an unintelligible object (plant[?]). At the far left, start of handle root. 536 P1.56

Fragment b preserves, at the far left, a little bit of a boukranion; then comes the handle zone and part of the decoration on the other side: an aryballos hanging on the wall and the back of a draped figure, probably a youth, standing to right. Above, laurel wreath to left. Below the figured decoration, stopped-maeander pattern with saltire-squares. White: flesh of goddess;boukranion. Dilute glaze: lines on white; long hair on Pan'sright leg. For the Anodos of Aphrodite, see LIMC II, 1984, pp. 113114, s.v.Aphrodite(A. Delivorriasetal.),with bibliography;also B6rard,Anodoi,pp. 67-69. For draw or test pieces, see 431. Mid-4th century B.C. 537

P 7372

E 3:1

Fragment of rim and body with start of one handle. PH. 0.115. Anodos of Aphrodite. Eros (lower legs, both feet missing) moves to right, his right arm outstretched, a cloak over his left. Before him, the large head of Aphrodite (most of face, what appears to be an Oriental cap on her head or a kind of fancy headdress)to left. Above, laurel wreath to left. White: Aphrodite'sface. For the subject, see 536. Third quarter of the 4th century B.C. 538 P1.56

P17

H6:1

Almost all of Side B preserved, including the two handles. Two non-joining fragments of Side A. P.H. of a) 0.31; diam. of rim 0.38; max. dim. b) 0.123, c) 0.073. A, subject uncertain. Fragment b preserves a male foot to left and behind it is drapery or a rock, probably the latter. Fragmentc (illustrated)shows some decorated drapery,and on the right a lower right leg (bent, the foot perhaps resting on a rock)and a bit of drapery,both figuresprobably to left. The firstlooks like someone seated on something textured, sleeved left arm resting on thigh(?). B (fragmenta), three youths, one to right, two to left, each dressed in a himation, 1 and 3 each holding a fan. Between 1 and 2 there is an altar or a stele with a circular object above it. On rim, egg pattern; above, laurel wreath to left. Below the figures, stopped-maeander pattern with checkerboard-squares.Preliminarysketch. Dilute glaze: decoration on garment. The Painter of Athens 1472 (ARV21477, 6). Third quarter of the 4th century B.C. S 19:3 P 12406 Three non-joining fragments, a with much of body on Side B, b wall with start of rim, c of rim. Max. dim. a) 0.252, b) 0.15, c) 0.107. H. A. Thompson, Hesperia23, 1954, pl. 24. A, Grypomachy.Fragmenta (illustrated)preservesthe head and raised right arm with weapon of an Arimaspon horseback (head, neck of horse). The griffin's hind legs, tail, and part of wing, to right, remain. It attacks an Arimasp (lower part of short chiton, left leg, part of right foot), who is seen from the back. He wears Oriental leggings. In the field, a dropped sword(?).B, three youths, two to right, facing one to left, each 539 PI. 56

217

BELL-KRATERS wearing a himation. Fragmentbpreservesnearly all of the first two and the front of the third. The left one holds a tympanon decorated with an X, the right one, a sponge and strigil. On rim, laurelwreath to left. Below the figures,stopped-maeander pattern with saltire-squares.White: griffin. For the subject, see 64. Group G (ARV21468, 140). Third quarter of the 4th century B.C. 540 PI. 56

P4820

F 12

Wall fragment with part of rim. Glaze fired red on outside and slightly pitted; some abrasion on inside. Max. dim. 0.096. Grypomachy. At the right is the head of an Arimasp to left; then the top of a column with capital, and next to it the tip of a griffin'swing. On rim, laurel wreath to left. For the subject, see 64. Group G (Addendaand Corrigenda, p. 2605, to ARV' [no p. no.]; not in ARV2).

544

Third quarter of the 4th century B.C. 541

P 25893 M 18 Wall fragment from just below rim. Glaze thin in places on outside. Max. dim. 0.059. Grypomachy. Griffin (most of head and neck, part of body and wings) to right. At the right break, elbow of an Arimasp. White: head and neck of griffin; comb. Dilute glaze: contour of wing; drawing on white. For the subject, see 64. Third quarter of the 4th century B.C. 542 P1.56

P 27735

I 10

Wall fragment. Max. dim. 0.15. Woman (chest, left hand) to right, holding two torches (one in each hand). In frontof her, a man (rightarm, startof drapery at far right)holding in his right hand an object with streamers. Between the two, something that looks like a wing(?). Drapery originally pink. Added clay: details on torches; streamers. White: woman's flesh; dots along right contour of wing. Traces of gilding on torches and streamers. Probably third quarter of the 4th century B.C. 543

come from this side: e and i each with the foot of a couch leg and part of the stopped-maeanderpattern with saltire-squares below;j gives a bit of a table leg. B, three youths. Fragmentm preservesa bit of the draperyof 1, and at the far left, the startof handleA/B. Fragmentk + n showsthe lowerpart ofthis youth's drapery,more of the handle root as well as part of the palmette configuration below the handle and the maeander pattern. Fragmenth, with part of handle B/A, preservesthe upper parts of 2 and 3, both to left with something between them that looks like a box decorated with an X; 3 holds a tympanon in his right hand. Fragment I gives the lower drapery of 2 and more of the maeanderpattern. Fragmentsg, o, andp are rim fragments with a laurel wreath to left; fragments g, h, and q-s preserve a bit of the ornament below the figured decoration. White: woman's flesh;pillows; food. Dilute glaze: drawing on white. Last quarterof the 4th century B.C.

P 25284 a-e, g-s H 6:9 Seventeen non-joining fragments, a, g, o and p with rim, h with handle. Mended in antiquity: fragment a has three lead mends. Est. diam. of rim 0.35. Max. dim. a) 0.188, b) 0.143, c) 0.04, d) 0.082, e) 0.032, g) 0.21, h) 0.185, i) 0.046, j) 0.036, k + n) 0.149, 1) 0.093, m) 0.075, o) 0.117, p) 0.075, q) 0.045, r) 0.081, s) 0.085. S. I. Rotroff, Hesperia52, 1983, pls. 57:73 (a-e), 58:73 (g, h, k + n, 1). A, symposion. Fragment a shows the raised right forearm and the face Oookingupward)of a symposiast, and on the far right, the top of a woman's head. Fragment b shows parts of the bodies of two symposiasts, with a woman between them, probablythe head of the left symposiastand that of the woman on fragment a. Below the left arm of the right symposiast is a pillow. Fragment c shows the right shoulder and hand of a third symposiast, and d gives a bit of the couch with a pillow and a table with cakes on it. Fragments e, i-j also seem to

P 25284 f

H 6:9 Wall fragment. Max. dim. 0.045. S. I. Rotroff, Hesperia52, 1983, pl. 57:73. Youth or man (rightforearm and hand, part of draped hip), probably standing frontally. The scale of this figure is too small to come from the same compositions as those on 543. 4th century B.C. FIGURESIN TWO ROWS

545

545 PI. 56

P 14321

A-D 16-23

Wall fragment. Part of surface on outside abraded. Max. dim. 0.10. Upper zone: man (left foot) pursuing a woman (lower drapery,left foot) to left past an object that looks like a large rock. Just to the right of the woman's foot are a bit of reserve and relief line of some kind of object (a staf?p]). Above the man's foot there is a reservedline next to relief, uncertain what it is. Smear on woman's chiton that looks like blood. Lower zone: bull (head and shoulders) to left. Preliminary sketch. Dilute glaze: fleshy wrinkleson bull's neck. Red: blood. Ca.430 B.C. TYPE UNCERTAIN

546-566

546 PI. 57

P 1520 18 Wall fragment. A few nicks and scratches. Max. dim. 0.08. Woman (?) (drapery)and phallos-bird(neck, part of body). Preliminarysketch. Relief contour. Dilute glaze: cover feathers; a bit on far left, at break. For the subject, see 32. Ca.480-470 B.C. 547 P1.57

P2088

H 11

Wall fragment with start of rim. Reserved band on inside. Glaze misfiredbrownishred on inside;pitted on outside. Max. dim. 0.084.

CATALOGUE

218

Youth (most of wreathed head, upper part of face) to right, opposite another (a little bit of the top of his head with wreath). Relief contour. Red: band just below rim. Ca. 480-470

B.C.

548 P1.57

P 14322

A-D 16-23

Wallfragmentfromjust below rim. Reservedband on inside at top. Max. dim. 0.068. Youth(mostof head with fillet, part of chest)to left, probably wearing a himation. Preliminary sketch. Relief contour for neck. Red: fillet. The Mykonos Painter (ARV2515, 9). Ca. 470-460 B.C.

549 P1.57

P 19581

A 18-19:1

Wall fragment from lower part of figured zone. Max. dim. 0.098. Woman (lower part of himation and chiton, foot with heel raised very high) to right. Preliminarysketch. Relief contour. Ca. 470-460 B.C.

550 P1.57

P9053

R 25

Fragmentfrom lower part of wall. Max. dim. 0.036. Woman (lower part of chiton, most of one foot) moving or standing to left. Relief contour. Red: line below figures that continued around the vase. Earlier Mannerists, viii: Undetermined (ARV1 397, 34; ARV2588, 76). Ca. 470-460 B.C.

551 PI. 57

P3037

G 10

Wall fragment slightly convex. Max. dim. 0.104. Prange, Niobidenmaler, p. 167, cat. no. A 52. The fragment preserves parts of two women hurrying in opposite directions. The left one seems to wear a ratherheavy garment (an ependytesp[]), the right, a chiton and himation. Preliminarysketch. Relief contour. Not from the same vase as 264, as suggested in ARV2. The wall of 264 flares; that of 551 is slightly convex. Also, the preliminary sketch on 551 is thicker. 264 is from a much largervase. The AltamuraPainter (ARV'414, 30; ARV2593, 39). Ca. 460 B.C.

552 P1.57

P 16616

A 20

Wall fragment from near top of figured zone. Narrow reservedband on inside. Max. dim. 0.048. H. A. Thompson, p. 189, Hesperia17, 1948, pl. 68:3; Prange, Niobidenmaler, cat. no. N 41. Apollo (head with laurel wreath) to right. At the right, traces of something in added white. Preliminarysketch. Relief contour. The Niobid Painter (ARV2603, 31). Ca.460 B.C. 553 PI. 57

Woman (lowerpart of himation over chiton) standingto left. Preliminarysketch. Relief contour. The Niobid Painter (ARV2603, 39). Not from the same bell-krateras 300. Ca.460 B.C.

P 3832

M 23:1

Wall fragment. Glaze fired brownish green on outside. Max. dim. 0.066. Prange,Aobidenma!er, p. 191, cat. no. N 49.

554 P1.57

P 15700

S21:3

Wall fragment fromjust below rim. Narrow reservedband below rim. Glaze dull on outside;flakedand abradedin places. p. 175, cat. no. A 95. Prange,JMobidenmaler, Youth (head with fillet, top of chest) probably in threequarter view with head in profile to left. Part of himation over left shoulder. Preliminarysketch. Relief contour. Manner of the Altamura Painter (ARV2596, 2). Ca.460-450 B.C. 555 PI. 57

P 25454

E-G 12-13

Wall fragment. Glaze misfired slightly reddish brown on outside. Deep scratch on outside. Max. dim. 0.056. Athena and chariot, the team to left. What remains of the horses is a bit of their withers and backs, also the ends of a few strandsof mane. Of the harness parts, the end of the yoke, part of the yoke pad, and reins are visible. The goddess stands on the right-hand side of the team, facing the vehicle. All that remains of her is a bit of her drapery and aegis with the gorgoneion in profile, looking rather Ethiopian, and the start of her outstretchedleft arm. Relief contour. Dilute glaze: part of aegis; mane (line next to each hair). White (mostly flaked): dots on aegis. The team may be a biga because there are only four reins. If so, it is unclearjust how the yoke pad relates to the horses, because it should rest on their withers. Ca.460-450 B.C. 556 P1.57

P 17014

A-B 20-21

Wall fragment fromjust below rim. Surface of figure somewhat abraded. Max. dim. 0.075. Man (head with fillet[?], shoulder with himation) to left. Dilute glaze: hair; beard. Ca.460-450 B.C. 557

P12209

G-H 11-12

Wall fragment. Max. dim. 0.093. Man (a little of buttock and thigh at far right) to right, wearing a himation. Preliminary sketch. Relief contour. Dilute glaze (very faint):line near bottom of two folds. The vertical application of the glaze behind the man indicates that he is the leftmost figure in the composition. Probablysecond quarter of the 5th century B.C. D 15:3 P 6193 558 Fig. 28; PL.57 misfired Glazed Wall fragment. Burned (clay is gray). reddish brown on outside. Max. dim. 0.06. Pelias and daughters. The fragment shows the cauldron with the foreparts of the ram (head missing). On the right, a little bit of one Peliad (hand[?], part of vessel). The small part of the vessel indicates that this Peliad is Medea, for the vessel would hold the magic potion with which

BELL-KRATERS

219

561 P1.58

r

P 23490 J 15:2 Wall fragment from just below start of rim. Reserved band on inside. Glaze fired greenish on inside; cracked in places. Max. dim. 0.077. Matheson, Polygnotos, p. 454, cat. no. PGU 45. Satyr (wreathed head, upper arms) to right, playing the aulos. Relief contour. White (flaked):berries of wreath. Dilute glaze: iris of eye. The Group of Polygnotos:Undetermined (ARV21053, 37). Ca. 440-430 B.C.

.

562 PI. 58

FIG.28. Bell-krater558 (P 6193). Scale 1:1

559 P1.57

P 20296 Q8 Wall fragment. Reddish brown glaze on inside. Max. dim. 0.069. Man (part of right side) dressed in a himation, seated to right on a klismos. Behind him, part of a figure (drapery). Preliminarysketch. Probably mid-5th century B.C. P 21697

P 8:5

]A0o

she will rejuvenate the ram. For two fuller examples, see London, B.M. E 163 by the Copenhagen Painter, on which Medea's name is inscribed(ARV2258, 26; Addenda 204; Reeder, Pandora,pp. 408-409, cat. no. 134) and a calyx-kraterby the Kleophon Painter once in the Basel Market (H. Meyer,Medeia unddie Peliaden:Eine attischeNovellaundihreEntstehung, Rome 1980, pl. 13:1; the attribution is Cahn's:MunzenundMedaillen A.G. Basel,AntikeVasen,Sonderliste. Dezember1977, pp. 23-24, no. 63). For the subject, see Meyer,MedeiaunddiePeliaden,pp. 3-38; also LIMCVII, 1994, pp. 274-276, s.v.Pelias (E. Simon). The cup in Malibu, the J. Paul Getty Museum 79.AE.19 (Meyer, p. 7, cat. no. I Va 12, pl. 12), has now been published by M. Ohly-Dumm, "MedeasWidderzauberaufeiner Schale aus derWerkstattEuphronios,"J.PaulGettMuseum Journal9, 1981, pp. 5-21. Besides 558, add two more to Meyer's list (pp. 313):Boston 1970.567, a column-kraterattributedby Bothmer to the Aegisthus Painter (C. Vermeule, Museumof Fine Arts Bulletin78, 1980, p. 33); a small fragment of a calyx-krater, Malibu, the J. Paul Getty Museum 80.AE.58 (M. Robertson, J. PaulGettyMuseum Journal9, 1981, p. 22). Probably mid-5th century B.C.

560

P 12492

Wall fragment from just below rim. Narrow reserved line on inside. Max. dim. 0.052. Top of filletedhead of satyrto left, who carries a thyrsos(ivy top). Above: 7]hof

7:10

Wall fragment. Max. dim. 0.152. Partsof two draped figuresto right, one standing, the other moving rapidly. Preliminarysketch. Mid-5th century B.C.

White (flaked):berries of ivy on thyrsos; inscription; hair of satyr. Perhaps from a scene of Papposilenos with the infant Dionysos (ARV21613, where this subject and the restorationof the kalos name as Nikodemos are suggested). Time of Polygnotos (Beazley during his visit to the Agora in the summer of 1953). Ca. 440-430 B.C.

563 P1.58

P 19433

C 19:8

Wall fragment from near start of rim. Max. dim. 0.052. LMIC III, 1986, p. 914, subno. 759. Race of Erotes (ephedrismos)(?). Eros (preserved to hips; end of wings missing)his right arm extended, sits on a woman's shoulders (top of head just above break) to right. In front of him, the wing and the back of the head of another Eros, probably also on someone's shoulders. Preliminary sketch. Relief contour: profile. Forthe subject,see LIMCIII, 1986, p. 914, s.v.Eros (A. Hermary). 563 seems to be the earliest known example. The Cassel Painter (ARV21084, 7). Ca. 440430

564 P1.58

B.C.

P 21526

P7

Wall fragment. Max. dim. 0.074. H. A. Thompson, Hesperia 21, 1952, pl. 31:d; AgoraXXVII, p. 171, cat. no. 39, pl. 35. Maenad (lowerpart of face, front of body, start of left thigh, arms) standing to right, offeringa kantharosto Dionysos (knee and ends of fingers resting on thigh at right break), who sits facing her. She wears a peplos with a nebris over it and a necklace. Preliminary sketch. Relief contour. Dilute glaze: nebris;kantharos. Relief: dots on nebris. Attributed to the Dinos Painter in Addendaand Corrigenda, p. 1131, 35 to ARV' 789-792; not in ARV2. Probably by the Dinos Painter. These are the best parallels: the maenad holding the tray on Berlin 2402 (ARV21152, 3; Addenda336; Matheson, Polygnotos, p. 381, cat. no. D 3, pl. 135);the maenads holding trays and the kantharosheld in side view by Dionysos on Vienna 1024 (ARV21152, 8; Addenda 336; Matheson, p. 382,

220

CATALOGUE

cat. no. D 9); and the maenad on Copenhagen inv. 318 (ARV2 1154, 26; Matheson, p. 386, cat. no. D 27). Ca. 430 B.C.

565 PI. 58

P 5865

C 11

Wallfragmentwith startofhandle at left. Glaze firedreddish on inside. Max. dim. 0.085. H. A. Thompson, Hesperia21, 1952, pl. 31:c. Matheson, Polygnotos, p. 386, cat. no. D 26. Woman (nearly all of head, body to hips, most of hands) standing to right, wearing a peplos. One hand is higher than the other, and perhaps she holds a necklace because there seems to be one bead above her left thumb. Preliminarysketch. Relief contour. Red: bead. Manner of the Dinos Painter (ARV' 792, 9); the Dinos Painter (ARV21153, 25). P 19682

C 19:4

Wall fragment. Narrow reserved band on inside near top. Max. dim. 0.08. Poseidon (most of head, torso, left arm and thigh) leaning forwarda bit, probablyseated or standingwith his left leg bent, the foot resting on a rock, more likely the latter. Around his head is a wreath; over his thighs, a himation. Behind his head is his trident. White: stem of wreath. Dilute glaze: hair. The Painter of Munich 2335 (ARV21163, 44). The figure of Poseidon may have been in a position comparable to that of Herakles on the painter's bell-krater in Omaha, Joslyn Art Museum, 1963.485 (ARV2 1163, 40; Paralip.458, 40; Addenda338). Ca.430-420 B.C. SPECIAL TYPE: NECK NOT SET OFF FROM BODY

567 PI. 58

Ca. 430-420 B.C.

568 P1.58

Ca. 430-420 B.C.

566 P1.58

A, women at a laver (lowerlegs and feet of both women, the left one in profile to right, the right frontal; base of laver). B, two women, facing. All of the left is preserved except for a bit of her right arm and most of her right thigh. She stands frontally, dressed in a himation, her filleted head in profile to right. Of the facing woman (not illustrated), all that remains is her outstretched right hand, the lower part of her himation, and both feet. Behind each woman, a bit of the handle configuration(palmette and tendril). Below the figures, stopped-maeanderpattern with checkerboard-squares. Manner of the Dinos Painter (ARV21156, 15).

P 16923

567, 568

P 16926

A-B 21-22:1

Two non-joining fragments of rim and wall with start of handle on far right of a. Glaze cracked in places; abraded on rim. Max. dim. a) 0.102, b) 0.077; est. diam. of rim 0.23. Fragmenta (illustrated)shows part of the helmeted head and backof a warriorto left, probablyseated, for this would explain why he leans forward. Also, there is a bit of reserveat the lower break that might be the seat of a stool (a bit of a cushion[?]). Fragment b, probably from the other side, preservesthe right arm with bracelet and a little of the sleeve of the chiton of a woman to left. In her hand she holds an ivy vine (part of vine reserved; the rest, white). Just above her sleeve is the end of a vine with leaf and flower that might be the end of a fillet tied around her head. White: helmet crest; bracelet; leaves and part of vine of ivy; fillet end. Mentioned in ARV2 1156, 15 under 567 in the manner of the Dinos Painter but not attributedto him. Ca. 430-420 B.C.

A-B 21-22:1

Fragment of rim and wall with start of one handle. Glaze fired greenish in places. PH. 0.193; est. diam. at rim 0.29. Matheson, Polygnotos, p. 395, cat. no. DM 19.

CALYX-KRATERS or BELL-KRATERS 569-583 P 27677 I 13 569 P1.58 Wall fragment. Max. dim. 0.097. Nude woman (head, lower legs missing) moving to left, carrying an amphora with a bail handle (a little remains at each side) from which water pours into a laver (part of bowl below amphora) that stood on the ground. Around her left thigh is a garter. Behind the woman is a little of the palmette configurationat the handle (parts of tendrils). Relief contour. For the subject, see Ginouves, BalaneutikW, pp. 77-99. For the shape of the amphora and its handle, see Munich, inv. 8762 by Myson (ARV21638, 2 bis;Addenda 201; JdI 102, 1987, p. 62, fig. 1); Berkeley8.3225 by the Boot Painter (ARV2822, 24; Addenda 294). For the garter,see Malibu, theJ. Paul Getty Museum 86.AE.284, a fragmentary cup by Onesimos (CVA, theJ. Paul Getty Museum 8 [forthcoming]). Late 6th or early 5th century B.C.

Pls. 58-59 H6 P 27789 570 P1.59 dim. Max. Wallfragment. Scratchon outside; some pitting. 0.055. E. Vanderpool, Hesperia37, 1968, p. 120, no. 5, pl. 34; AgoraXXV, p. 89, no. 596 and fig. 18. At the left is part of a round shield. The two parallel lines to the left of the curved incision may be the shaft of a spear. At the right, drapery (himation and chiton) of a figure to left. Preliminary sketch. Relief contour. Rim of shield incised (compass-drawn).Reused as an ostrakon for Kimon. For the ostracism of Kimon, most probably in the spring of 461 B.C., see AgoraXXV, pp. 88-89 with bibliography. Ca.480-470 B.C. 571 P1.59

P 8317

A-F 9-15

Wall fragment, flaring slightly,fromjust below rim. Glaze slightly dull on outside. Max. dim. 0.044.

\

CALYX-KRATERS Youth (head, most of face, left shoulder) to left, wearing a himation. Above, a reserved area indicating the end of the figured zone. Relief contour. Red: line at top edge of black glaze. Probablysecond quarter of the 5th century B.C. 572 P1.59 P 25841 A 20 Wall fragment from just below rim. Max. dim. 0.033. Matheson, Polygnotos, p. 362, cat. no. PN 4. Youth (most of head with fillet and wreath) to left. Relief contour: profile. White (flaked):wreath. Manner of Polygnotos (ARV21034, 3). Ca. 440 B.C. 573 PI. 59

P 25470

E-H 17-20

Wall fragment. Glaze pitted in places. Deep scratchon face of youth. Max. dim. 0.045. Youth (face, a bit of left shoulder with drapery) to right. Relief contour. Dilute glaze: iris of eye. Ca.440 B.C. 574 P1.59

P 19827

D 16

Wall fragment. Max. dim. 0.028. Satyr (wreathed head) to left. The object above his head is the end of his thyrsos. Preliminary sketch. White (flaked): wreath. Probablythird quarter of the 5th century B.C. 575 P1.59 P 20465 D 17-18 Wall fragment. Contour outline fired greenish. Max. dim. 0.048. Maenad (back of head, neck, top of right shoulder with sleeve of chiton) to right, holding a thyrsos (shaft) over her shoulder. Her hair is tied up with a ribbon or a fillet. Relief contour. Red: ribbon or fillet. Probablythird quarter of the 5th century B.C.

221

or BELL-KRATERS 578 P1.59

P 18410

Wall fragment. Glaze fired greenish on outside. Max. dim. 0.036. Woman (face)to right, her head bent downward slightly.At the left break, part of her earring. Relief contour. Ca.430-420 B.C. 579 PI. 59

C-G 13-16 P 4307 Wall fragment. Max. dim. 0.037. Uncertain subject. What remains looks like most of a wool basket, at the top of which are spirals (wool[?]). Behind it, part of another object(?)and at the far left at the break a bit of reserve that looks like drapery, probably belonging to the person carrying the wool basket. Relief contour. Red: splash at edge of wool basket below spirals. Probablysecond half of the 5th century B.C. 580 Fig. 29 P 24744 P 17 Wall fragment. Two deep scratches on outside. Max. dim. 0.045. Uncertain subject. All that remains is a narrow curved bit of reserved area, an epsilon on each side of it, and a bunch of dots. White: letters;dots. Probablysecond half of the 5th century B.C.

I

P 25814

A-V 1-28

Wall fragment. Two chips on outside; two scratches along temple of Dionysos. Max. dim. 0.058. Dionysos (most of wreathed head) to left. At the far left there is a bit of contour outline, perhaps the top of a thyrsos. Relief contour. Perhapsby the same hand as Tiibingen 5512 (CVA,Tiibingen 4 [Deutschland 52], pl. 28 [2545]:5), attributed by Bohr (p. 64) to the Kleophon Painter. Ca.430-420 B.C.

4

P 17089

A-B 20-21

Wall fragment. Glaze misfired brownish on outside. Max. dim. 0.044. H. A. Thompson, Hesperia21, 1952, pl. 31:a; Matheson, Polygnotos, p. 383, cat. no. D 15. Youth (most of head, left shoulder) to right, dressed in a himation. Relief contour: profile. The Dinos Painter (ARV21153, 14). Ca. 430-420 B.C.

i 0

t:0

FIG.29. Calyx-krateror bell-krater580 (P 24744). Scale 1:1 P22875

H-K 12-14

Wall fragment. Max. dim. 0.048. Woman (lowerpart of head with earring)to right, dressedin a decorated himation. At the right, the tip of a wing of Eros or Nike. Relief contour. White: earring. Last quarter of the 5th century B.C. 582 P1.59

P 21208

Q13

Wall fragment. Max. dim. 0.035. Eros(?):face, part of wing, to left. Relief contour. Late 5th century B.C.

583 P1.59

577 P1.59

0

-

00

581 P1.59 576 P1.59

C 19

P 377 G 16 Wall fragment. Glaze slightly pitted. Max. dim. 0.048. Woman(?) seated to left on a decorated cloak. All that remains of her is her lap. At the right, part of another figure. Relief contour. White: woman. Dilute glaze: drawing on white. Cf. a bell-krater fragment from the Pnyx, P 214 (Hesperia Suppl. X, p. 54, cat. no. 236, pl. 21). Probablylate 5th or early 4th century B.C.

j-

Side A

FIos. 30, 31. Louterion 584 (P 12641),

STANDS and SUPPORTS

223

LOUTERION 584

Pls. 59-60

0 19:4 (L) P 12641 584 Figs. 30, 31; Pls. 59-60 Ten non-joining fragments,f with start of handle, i part of handle (not illustrated). Max. dim. a) 0.42, b) 0.232, c) 0.239, d) 0.243, e) 0.085, f) 0.10, g) 0.149, h) 0.068, i) 0.057, j) 0.077. PH. of a) 0.175. B. B. Shefton, Hesperia31, 1962, pls. 105:a, b, 106: the fragmentshave been reletteredsince this publication; for convenience, in the description below, the old letters are given in parentheses; LIMC IV, 1988, pp. 88-89, no. 217, figure at top of p. 89 (drawing),s.v. Europe I; R. Vollkommer, BCH 111, 1987, p. 148, fig. 2:a, b; Matheson, Polygnotos, p. 445, cat. no. PEM 15, pl. 166, A-C. A, Herakles and the Bull. Fragment a (a) preserves the major part of the composition. At the far left is a flat plaque (the bottom of the vertical handle) decorated with a stoppedmaeander pattern above a palmette. Above this is a pair of male feet to right and a bit of drapery (this figure would have stood on the back of the upright handle). To the right of the plaque sits a woman (chiton and himation) to left, looking back (the position of her left shoulder makes clear that her chest was frontal;thus her head probably faced to right). She sits on a rock that is indicated only by preliminary sketch. Then comes Iolaos (right forearm with hand on hip, chlamys fastened at right shoulder [now missing, but the arrangement of the folds confirms this], lower legs with boots) standing frontally, probably looking to right and holding two spears (shafts)in his left hand; next is Athena (a bit of peplos, right hand with spear) to right. After this comes Herakles (lower torso, start of thighs, left forearm, part of lionskin)leaning to right, his club held in his raised right hand, now missing (the tip of the club appears next to the hero's left shoulder). A little bit of the bull'sneck appears in the lower right at the breakand one forehoof is preserved on fragmentj (b). In the uppermost right of fragment a (a) there is a little of the egg pattern that surroundedthe spout. Next to the hoof on fragmentj (b)there is drapery that would belong to a woman moving to right. Fragment g (c) shows the rib cage, part of the hindquarters, and the end of the bull's tail with tassel. Behind the bull, a youth or man (folds of himation, raised right leg, the shod foot resting on a rock) to left, leaning on a knobby stick, perhaps Minos (see below). Fragment h (d)preserves most of his other foot and behind him the bottom of an object that looks like a pillar or perhaps the lower trunk of a palm tree (see below). To the right of Herakles' club on fragment a (a): K]A[o

B, Theseus and the Centaurs. Fragmentc (e)preservesa plaque (bottom of upright handle)just like the one on a, with the toes of a left foot to left. Below the plaque at the left are the draped knees of a person, probably a woman, seated to right. On the right, part of a draped woman (shoulders, chest) and overlappingher, the croup and start of the tail of a centaur to right. Just above his croup is a lampstand, presumablyheld by him as a weapon. Fragmentd (f) shows more of this centaur(a bit ofeach raisedforeleg)and the top of the lampstand, together with the lower torso and thighs of his attacker,Perithoos,who is nude except for a cloak (a few folds). Then comes Theseus (lower part of face, torso, start of thighs) with a cloak over his outstretchedleft arm, attacking the centaur, Eurytion (startof tail, body, human torso and end of beard). The bit of drapery next to his beard belongs to Hippodameia, whose feet and lower draperyappear on fragment b (h)together with the right foreleg of the centaur. This fragment also shows the lower legs and falling drapery of a you, th to right attacking a centaur whose shoulder and back appear at the bottom of fragmentf (i). Fragmente (g)shows most of the youth's chest and a little of his right arm. At the very top of the fragment is the shaft of his spear or a spit; at the lower left a bit of the bride's veil. His centaur overlaps a woman, probably seated. All that remains is her upper body (fragmentf [i]). She wears a chiton with a himation over it and pulled up over the back of her head. Around her head is a stephane. In front of her, fronds of a palmette. Below the figures, egg pattern with dots, visible on a (a), b (h),h (d),j (b). Preliminarysketch. Relief contour. Dilute glaze: lionskin;bull'sribs;line of chin of left woman on Side B; markingaround navel and pubic hair of nudes; a few drapery folds. Red: boots of Iolaos. The subjects on this vase have been discussed in full by B. B. Shefton, "Heraklesand Theseus on a Red-FiguredLouterion," Hesperia31, 1962, pp. 330-368. Forthe identificationof the male on fragment g (c) as King Minos and the object on fragment h (d) as a palm tree, see Shefton, pp. 336 and 337 respectively. For figures on the backs of handles, see note 14, p. 25. D. Callipolitis-Feytmans,Les "louteria" attiques,Athens 1965, pp. 35-36 suggests that the shape of 584 derives from the volute-krater. Near the Curti Painter and also near the Peleus Painter (ARV2 1043, top). Ca. 440 B.C.

STANDS and SUPPORTS 585-588 585 Fig. 32; Pls. 61-62

P 4683 E-F 12-14 P4744 G 12

Ten non-joining wall fragments,three (a, e, and g) of flaring rim, flat on top. Bands of glaze on inside. Glaze has a slightly greenish cast on c,f, andj. Est. diam. of rim at outer edge 0.25; P.H. of a) 0.11; max. dim. b [P 4744]) 0.105, c) 0.121, d) 0.041,

Pls. 61-62 e) 0.11, f) 0.069, g) 0.08, h) 0.045, i) 0.049, j) 0.115. L. Talcott, seines Hesperia5, 1936, pp. 59-69; K. Pfeiff, Apollon:Wandlung Bildesin dergriechischen Kunst,Frankfurt1943, Beil. 2 (4), opp. undEuphronios, Muiinster1979, p. 40; M. Wegner, Euthymides pl. 6; LlMC II, 1984, p. 263, no. 642, s.v. Apollon and p. 710, no. 1157, s.v. Artemis.

224

CATALOGUE 1. e.

gi &>

b. C.

II V1II I

9,

N"

FIG.32. Stand 585 (P 4683 and P 4744). Scale 4:1 Apollo, Leto, and Artemis. Fragment a preserves the wreathed head of Apollo and a little of his back with himation. He faces to right, holding his kithara (tip of left arm projecting above his head, right arm with part of support, crosspiece, and strings). Behind him, the left hand and wrist of Leto holding a flower, also to right. Above, between the two: HOJ]nol 0

At the far right just at the break there is a small amount of reservethat is probablya bit of the raisedrighthand of Artemis, more of whom appears on fragment c (see below). Fragmentb (P 4744) shows more of the himation of Apollo as well as the sleeve of his chiton and his sharply bent right elbow, also the cord of the plektron. The two parallel lines next to the god's elbow are the bottom of the sound box of the kithara. Below, on the right, next to the break: ip

OlLjOfN

Fragment d preserves a bit of the drapery (sleeve of chiton, himation, the lower contour of the left breast) of Leto. Fragment c gives part of Artemis (buttocks,left arm with sleeve of chiton, her hand holding up a fold of her chiton) to left, facing Apollo. Behind her is the trunk of a palm tree and between the two: A[L K
IE?EN This also belongs to the tree behind Artemis, for not only does the greenish cast of the glaze confirm this, but if it were the tree behind Leto, one would expect to see a bit of her drapery between the inscription and the right break. Above the figures,an uprightchain of encircled palmettes interrupted above the head of Apollo by a lotus flower that indicates where the pattern started and ended. This ornament also appears on e (illustrated),g-i (the last illustrated). At the very bottom of fragmentj there is a little bit of the ornament below the figures, probably a chain of upright encircled palmettes as at the top. Preliminarysketch. Reliefcontour. Dilute glaze:irisof Apollo's eye; folds of chitons. The ends of Apollo's hair where they overlap the black background are incised. Red: flower; leaves and stem of wreath;tuning keys of kithara,plektroncord (partly flaked);inscriptions. White: berries of wreath. Thus, the composition showed Apollo with his kithara between Leto and Artemis, the three flanked by palm trees, a grouping that fills well the available space, for the circumference of the figured area is ca. 0.60 m. The position of the black bands of glaze on the inside was also helpful in placing the fragments. The relative positioning of fragments a, e, and i in the drawing was accomplished by calculating the amount of space needed for the units of palmettes below the rim. Talcott (Hesperia5, 1936, pp. 59-60) thought that there was only one palm tree and conjectured (p. 61) that there was a fourthfigure,perhapsAres or Iris, to fill the space between the tree and Leto. But if the positioning of fragmentj is correct, it means that the potting inscription appeared between the

PSYKTERS two trees. A parallel of sorts for the Delian triad between two palm trees but with the addition of a deer may be found on Agora P 9275, an unattributedcontemporary stand (Agora XXIII, cat. no. 575, pl. 55). For the general subject of the Delian triad, see LIMC II, 1984, pp. 261-265, s.v. Apollon (W.Lambrinoudakiset al.). It is not clear if the kalos inscription was just simply kalos or if it named a youth, although normally the name precedes the adjective (foran exception, see London, B.M. GR 1896.621.3 by Oltos, which praises Memnon: ARV256, 25). The two names that appear on vases by Euthymides are Megakles on the Bonn hydria, 70 (ARV228, 12; Addenda156) and Leagros (without kalos) on the fragmentary cup from the Akropolis, 211 (ARV229, 20). Either name would fit the space available, although Leagros, having fewer letters, might be preferable. Euthymides (ARV' 26, 15; ARV228, 17; Addenda156). Ca. 510 B.C. 586 P1.62

P 27684

P 14:3

Upper part of wall with projecting rim, flat and unglazed on top. Bands of glaze on inside. Glaze crackedin places. P.H. 0.075; est. diam. 0.26. Women (heads and shoulders of two) to right, each wearing a chiton and himation. The left one holds up a fillet; the right one carriesa lyre (one arm, crosspiece,some of strings).Above, upright lotus buds with dots in the interstices. Probably by the Villa Giulia Painter. Compare the women on these two calyx-kraters:Karlsruhe 208 = B 3 (ARV2618, 3; Addenda270) and Schwerin 706 = 1261 (ARV2618, 6; Addenda270). Ca. 470 B.C.

225

587 P1.62 P 25826 A-C 15-21 Lowerpartof standwith flaringtorusbase, flaton underside. Unglazed on inside. Glaze chipped in places, especially on torus. Some abrasion on base. P.H. 0.055; est. diam. of base 0.135. On side of torus, stopped-maeander pattern with saltiresquares. 587 may be a stand for a dinos. It comparesratherfavorably with such stands, yet, so far, no red-figured dinos may be attested in the Agora excavations. These are the dinos stands known to me: WOrzburg540 by the Achilles Painter (ARV2 992, 69); Ferrara9379 = T. 1 C VP by the Kleophon Painter (ARV2 1144, 11; Paralip.456, 11; Addenda334; Matheson, Polygnotos, p. 408, cat. no. KL 12); another, Ferrara 9380 = T. 1 C VP that is contemporary, but unattributed (Alfieri, Spina,p. 63, no. 144). These have a spreading base in two degrees. I have not seen the alien stand that supportsthe dinos near the Boreas Painter,Bologna 330 (ARV2540, 3). Probablymid-5th century B.C. 588 P1.62

P 24782 Q17 from Fragment top, unglazed on inside with a hole in the center. Flat restingsurfacefor receptacle, then a concave area; next a molded projection. Thin lines of brownish black glaze on inside. Traces of burning around hole. PH. 0.054; diam. at top 0.12. On side of wall below second molding, wreathed head of a woman to right. On concave area above figure, wreath. White: flesh. Added clay: wreaths. Probablymid-4th century B.C.

PSYKTERS 589-591 589 Fig. 33; Pls. 62-63 P 7240 a-d, f D 7:2 Five non-joining wall fragments, a with start of keel. Glaze much pitted on underside of bowl. P.H. a) 0.18; max. dim. a) 0.25, b) 0.174, c) 0.087, d) 0.107, f) 0.062; est. circumference at ground line 0.90. A. Ashmead, Hesperia35, 1966, pl. 11:5.ad, f. Athletes. Fragment a preserves most of a trainer (head missing but for tip of beard) standing to left in a himation and boots (his toes are not indicated), a wand held in his left hand and resting on his shoulder. The trainer'sright arm was bent at the elbow and held out. In front of him is the right foot, with the heel raised very high, of an athlete to left; the end of a javelin overlapping the feet of the trainer belongs to this athlete. Behind the trainer are the buttocks, left leg, and part of right of an athlete to right and between the two: KAl 05 From what remains of this athlete, it is clear that his right leg was raised slightly above the ground; he is taller than the trainer, and he is probably a discus thrower, although the position of his legs is a bit unusual (see below). Below, key pattern to left. Fragment b gives more of the pattern, the lower parts of a musician to right draped in a long chiton decorated with a vertical stripe. Like the traineron fragmenta,

Pls. 62-64 he probablyalso wears boots because his toes are not indicated as they are on the foot of the athlete in front of him. Behind the musician's foot, at the break, is a little bit of diagonal relief contour whose meaning is unclear (possibly the end of a javelin[?]). Next to the musician's feet is a javelin belonging to the youth who stands further over (left leg frontal, right in profile, the tip of one finger at the break above the javelin). He overlaps the handle of a pick, its head (mostly missing) stuck firmly in the ground (thiswould explain the vertical position of the head). Fragment c preserves the lower calf and left foot of an athlete to right, the right wrist and hand, the fingers lightly touching ground of one who has fallen or sits on the ground. Fragment d shows most of the left arm resting on the bent left knee, part of the right leg of an athlete sitting on the ground to right, his torso frontal. In front of him are the legs of another athlete, also to right. The legs of this athlete are not the same as those of the one on fragment c. the dilute glaze, the preliminary sketch, and the size are different. On the far right, relief line and traces of an object that looks like a jumping weight. Fragmentf shows the back of the head of an athlete (at the left break),to left. Behind his head: JALO5

226

CATALOGUE

a

I-,

I II

I I III 11

I

I I t

b

f

ig/I

FIG.33. Psykter589 (P 7240).

I

I

b~~~~~~

C

f

d

HYDRIAI Above, tongue pattern at the junction with the neck. Preliminary sketch. Incised contour for hair. Relief contour. Dilute glaze: muscles. Red: fillet; inscriptions. It is not easy to determine what each athlete is doing or the exact sequence of the figures. The following seems to be the best possibility but not without problems. There were probably nine figures. We may begin with one that is certain and move from left to right. This is the figure of the trainer on fragment a. The athlete behind him looks like a discus thrower (compare Antiphon on the reverse of Berlin 2180 by Euphronios:ARV213, 1; Paralip.321, 1;Addenda152; Mindand cat. no. 1). Then there seems to Body,cat. no. 44; Euphronios, be a gap of about 0.08-0.10 cm. in which there would have been an athlete, an acontist whose javelin appears at the far lower left of fragment b. Next probably comes fragment b with the musician and the acontist (the character of the glaze and the potting lines on the inside suggest this arrangement). Fragments c and d are more difficult to place, but I propose that they come in alphabetical order. The slanting position of the left calf and foot on fragment c indicates an athlete in a fairlyactive pose (cf. thejavelin throwerin the tondo of Munich 2637 by Onesimos [ARV2322, 28; Paralip.359, 28; Mind and Body,cat. no. 46; Addenda215]). The hand lightly touching ground seems to belong to the left athlete on fragment d, who sits on the ground, and the athlete in front of him is very likely a jumper, who may have looked something like the one on the outside of Florence PD 265 by Onesimos (ARV2322, 29; Addenda215). The last figure is the one whose right foot with heel raised appears on the far left of fragment a, the end of whose javelin overlaps the feet of the trainer. The position of this acontistmay have been very similarto one on the psykterin a Swiss privatecollection, attributedto a painter of the Pezzino Group (ARV21621, 3 bis,Addenda157; NumAntClass 16, 1987, pl. 5:7), only reversed. My identification of the last athlete as an acontist differs from that of Ashmead, who interpreted him as a wrestler and suggested that the hand on fragment c belongs to him, his victorious opponent being the one whose left calf and foot appear at the left of this fragment(p. 32). This interpretationdoes not explain how thejavelin overlappingthe feet of the traineron fragment a fits into the composition, for as Ashmead rightly remarks(p. 31, note 53), "there is not room for an acontist's body" in the space that would be available. The athletewhose head is partlypreservedon fragmentf might belong to the one on fragment b, if he is not bent over,or to the missing athlete who would have appeared between the athlete on fragment a and the musician on fragment b (the character

227

of the glaze suggests this placement of the fragment). If this is correct, then the small bit of relief contour at the breakjust behind the heels of the musician on fragment b could be the end of a javelin. Perhapsit is just a javelin stuck in the ground (cf.the two on the skyphosby the BrygosPainter,Boston 10.176 [ARV2381, 173; Paralip.368, 173; Addenda227]). Manner of the Kleophrades Painter(ARV' 129, 5); near the Kleophrades Painter (ARV2193, 1; Paralip.341, -, 1). Ca. 500 B.C. 590 PI. 64

P 7240 e

D 7:2

Wall fragment, very smooth on inside. Glaze slightly crackedon outside. Max. dim. 0.10. A. Ashmead, Hesperia35, 1966, pls. 11:5.f; 12:5.f. The fragmentpreservesparts of two figures(drapery)facing, the left wearing a himation, the right a chiton. The forearmof the left person is extended, and he held something in his hand. Originally,the painter intended to have this figure holding a purse but covered the preliminary sketch with glaze so that what he holds looks like a fillet. Preliminarysketch. Red: fillet. Not from the same vase as 589. The wall of 590 is thinner, and the glaze has no greenish cast. Ashmead (Hesperia35, 1966, p. 33) also saw that this fragment should be kept apart. Ca. 480-470 B.C.

591 P1.64

P 16820 G 13:1 Sixteen non-joining fragmentsof a small, thin-walled psykter. Only five fragmentspreservefigured and ornamental decoration. Part of the glaze fired reddish brown. Max. dim. a) 0.052, b) 0.057, c) 0.03, d) 0.048, e) 0.043. Fragmenta shows parts of two legs fromjust below the knees of a man to right, holding a knobby stick. Below, a border of esses. Fragmentb (illustrated)preservesmost of the right leg, a bit of the left thigh and toes of a man to left. At the left, part of a knobby stick that may belong to one facing. Below, more of the border. Fragment c (illustrated)gives the forelegs of an animal, perhaps a dog, to left, and fragments d and e show more of the ornament. Relief contour. Dilute glaze: muscles. Recalls somewhat the earliest style of Douris (CB ii, p. 9; not in ARV2). The interior of the leg muscles finds a certain resemblance with that of the boy pursued by Erotes on the Athens aryballos, N.M. 15375 (ARV2447, 274; Addenda241; Buitron-Oliver,Douris,p. 78, cat. no. 85, pl. 56), a middle work of Douris. Ca. 490 B.C.

HYDRIAI 592-608 KALPIS:PICTURE ONTHE SHOULDER 592, 593

592 PI. 64

P 12198

Pls. 64-65 head and the left break, at the lower edge, is a bit of con-

G-H 11-12

Shoulder fragment. Background glaze fired gray. Max. dim. 0.058. Youth (filleted head) to right. In front of him, the top of an unintelligible object. Behind him, at the break, the end of a contour line overlapping the reserved line. Between his

tour indicating part of a figure or an object. Above, hanging lotus buds. For hanging lotus buds above the figures, a rather rare ornament in this area, see Kassel 78La, ex Basel Marketby the Nikoxenos Painter (Auktion 51. MiinzenundMedaillenAG Basel. derAntike.14.15 Mirz, 1975, no. 152; Lissarrague, Kunstwerke The Aestheticsof the GreekBanquet:Imagesof Wine and Ritual,

228

CATALOGUE

Princeton 1990, p. 97, fig. 78); these by the LeningradPainter: Milan, Torno H.A., C 278 (ARV2571, 73; Paralip.390, 73; Addenda261); Boston, M.F.A. 03.788 (ARV2571, 75; Paralip.390, 75; Addenda261); Warsaw 142290 (ARV2571, 76; Paralip.390, 76; for actual examples of the supports in the picture on this vase, see S. Morris, Hesperia54, 1985, pp. 393-409); London, B.M. E 167 (ARV2571, 77; Addenda261); London, B.M. GR 1920.3-15.3 (ARV2571, 79; Addenda271); San Simeon, Hearst State Monument 9933 (ARV2571, 81); and Rhodes 13261 (ARV2571, 82). Much later is one by the Nausicaa Painter, Berlin inv. 30928 (ARV21109, 38; Paralip.452, 38; Addenda330). Ca.470 B.C. 593 P1.64

P 8892

G5

Shoulder fragment with turn of body. Max. dim. 0.088. M. Lang, Graffitiin theAthenian Agora(Agora Picture Book 14), rev. ed., Princeton 1988, p. 13, fig. 34; R. Lamberton and S. Rotroff, Birdsof theAthenianAgora(Agora Picture Book 22), Princeton 1985, p. 20, fig. 38. The Battle between the Pygmies and the Cranes. At the left is a bit of the outspread wing, arched neck, and the head of a crane, then a pygmy (top of head, lower right leg missing) to right, a round shield seen from the inside carried on his left arm. Next is another crane (head missing), also to right, seemingly unperturbed;and on the far right, a pygmy (head and arms missingbut for contour of right armjust at the break), down on one knee, attacking a crane. There is rough terrain beneath the feet of the firstpygmy. Reservedline below figures. Relief contour. Dilute glaze: musclesof pygmies;cover feathers of crane. The closest parallel to the scene on 593 is the one on the shoulder of a kalpis by the Leningrad Painter, Bologna 169 (ARV2571, 80). For the subject, see RE XXIII2, cols. 20642074, esp. 2065-2070, s.v. Pygmaioi (E. Wiist); LIMC VII, 1994, pp. 594-601, s.v.Pygmaioi (V.Dasen). EarlierMannerists, viii: Undetermined (ARV2587, 63; Addenda263). Ca.470-460 B.C. KALPIS: PICTURE ON THE BODY

594 P1.64

594-608

P2052

113

Shoulder fragmentwith startof neck. Glaze pitted in places. Part of the glaze fired brown. Max. dim. 0.077. Youth or woman (wreathed head), then part of a wing of someone, both to right. Relief contour: profile and feathers. Dilute glaze: interior of wing. White (flaked):wreath. The subject may be a pursuit, and if so, the winged figure may be Boreasor Eos. Ifit is Boreas, then the figurewhose head is preservedwould be one of Oreithyia'splaymates running to left, looking back; if Eos, probably one of Kephalos' hunting companions doing the same thing. Cf. these examples. Boreas: two by Hermonax, St. Petersburginv. 2070 = 805 (ARV2484, 10; Paralip.512; Addenda248) and Rome, Villa Giulia (ARV2 485, 33; Paralip.379, 33; Addenda248); Hamburg 1980.174 attributedto the Painterof the Birth of Athena by D. C. Kurtz and M. Ohly-Dumm (LUMCIII, 1986, p. 136, no. 34, pl. 113, s.v.Boreas [S. Kaempf-Dimitriadou]). Eos: Naples 116119 by the Nausicaa Painter (ARV21108, 15; LIMCIII, 1986, p. 762, no. 105, pl. 569, s.v.Eos [C. WeiB]). Ca.480-470 B.C.

595

P 14390 N 10:1 Mended from just a few fragments with much restored in plaster and painted. Much of the glaze abraded. Rest. H. 0.25; diam. 0.247. Man (lower part of himation) to right, leaning on a stick in front of a stele (bottom of shaft, top of first step). On the shoulder,at the far right, the end of the egg pattern with dots. Preliminarysketch. Ca.480-470 B.C. 596 P1.64

P 13214

H 5-6

Shoulderand body fragment. Glaze firedgreenishin places. Max. dim. 0.115. At the left, the right half of a kithara,including some of the sash, held by someone (now missing). At the right, a woman (most of head, lower drapery, and feet missing) facing. She wears a himation and holds a staff or scepter. Preliminary sketch. Relief contour: profile. Ca. 460-450 B.C.

597 P1.64

P 18554

B 19

Shoulder fragment with thickening for start of neck. Max. dim. 0.042. Prange,JVobidenmaler, p. 176, cat. no. A 102. Dionysos (top of wreathedhead, face, startof beard)to right. Above, res--ved line. Relief contour. Dilute glaze: fringe of hair on forehead below wreath. Manner of the AltamuraPainter (ARV2596, 13). Ca. 460 B.C.

598 P1.64

P 12954

020

Shoulder fragment. Glaze mottled and misfired in places. Max. dim. 0.11. Prange,NMobidenmaler, p. 215, cat. no. GN 54. Woman (filleted head, right shoulder) to right, wearing a chiton. Behind her, a headdressor a knucklebonebag hanging on the wall. At the top right, a bit of reserveindicatingthe start of the ornament. Preliminarysketch. Relief contour: profile. The characterof the glaze at the left suggeststhat the handle began soon, but there is no trace of it. Manner of the Niobid Painter (ARV' 426, 24; ARV2611, 39). Ca. 450 B.C.

599 P1.64

P 17058

N 17

Shoulder fragmentwith startof neck. Glaze firedred except for ribbons on woman's head. Max. dim. 0.06. Matheson, Polygnotos, p. 376, cat. no. CHR 58. Woman (head, shoulders,rightarm)standingfrontally,head to left, right arm outstretched, hand open. She wears a chiton and himation; her hair is tied up with ribbons. At the far left there is part of the shaft of a staff held by someone facing her. Preliminarysketch. Dilute glaze: spiral lines on shaft. The Christie Painter (ARV21049, 55). The composition on 599 may have looked something like the one with three maenads on the painter's calyx-krater,Louvre G 404 (ARV2 1046, 6; Addenda320; Matheson, p. 366, cat. no. CHR 6). Ca.440 B.C. 600 P1.64

P 196

19C 19

Shoulderfragmentwith startof neck. Glaze pitted in places. Max. dim. 0.141. C. Clairmont, Das Parisurteil in derantiken Kunst,Zurich 1951, p. 53, cat. no. K 159, pl. 34:a.

HYDRIAI

229

collect examples when he published the white-groundlekythos TheJudgment of Paris(?).At the left are the tips of the arms, in Munich by the Kllgmann Painter (JOAI 39, 1952, pp. 12the crosspiece, and the start of the strings of Paris' lyre; then there is the capital and the top of the shaft of a Doric column. 17, esp. pp. 12-13 and note 1). For more recent literature, Next comes Hermes (top of wreathed head, petasos hanging see J.-M. Moret, L'Ilioupersis dansla ccramique italiote:Lesmythes down his back, and at the far right the tip and part of the et leurexpression figureeau IVe siecle, Rome 1975, p. 19 and shaft of his kerykeion) to left, one arm (area around elbow) note 4: the "pyxisperdue"in this list is now New York,M.M.A. outstretched. Above, chain of upright encircled palmettes and 1972.118.148 [D. von Bothmer,AncientArtfromNew rorkPrivate lotuses endingjust beyond Hermes, indicating that he stood at Collections,New York 1961, pl. 91:243]); E. Bohr in CVA, the far right of the composition. Preliminary sketch. Dilute Tubingen 4 [Deutschland 52], pp. 96-97 (text to Tubingen of ties S./10 1575 = E 154); also, R. Sutton, "The Interactions glaze: petasos. Forthe subject, see I. Raab, ZudenDarstellungen desParisurteils between Men and Woman Portrayed on Attic Red-Figure in der griechischen Kunst, Frankfurt-am-Main 1972. 600 is Pottery" (diss. Univ. of North Carolina, 1981), pp. 366-367 not included in the discussion part of this study (pp. 187and p. 446, note 202. Since the examples of this motive are scattered among sev188), because so little of the composition remains. See also LLMC VII, 1994, pp. 176-188, s.v. Paridis Iudicium eral sources,it might be useful to draw up a freshlist. Miinster, no no. by the Eucharides Painter (K. Stahler, Eine unbekannte (A. Kossatz-Deissmann). Ca. 440 B.C. PelikedesEucharides-Malers imArchaologischen MuseumderUniversitit Berlin inv. 4496 by Miinster, 1967, 2, Cologne pls. 4:a); 601 P1.65 P 22531 N 15 Syriskos (ARV2262, 30; Addenda205); London Market, atFragmentof shoulder and neck. Chips and scratches. Max. tributed to the Methyse Painter (Cat. Sotheby's7 July, 1994, dim. 0.10. no. 337); Mainz, Univ. 119 in the manner of the Painter of Woman (head with sakkos)to right. On the wall in front London E 342 (ARV2670, 13); Sydney 51.13, connected with of her, a fillet. Above, egg pattern with dots. Relief contour: the Aischines Painter (ARV2722, 2); Tubingen S./10 1575 profile. White: ties of sakkos. = E 154 by an unascribed follower of Douris (ARV2806, 91; The Cassel Painter (ARV21085, 34). Addenda291); a cup by the Telephos Painter once in a private Ca.440-430 B.C. collection in Athens, here the figure is a youth (ARV2818, 22; Addenda292); an unattributed Early Classical alabastron, 602 P1.65 P7090 Q10 B.M. E 719 (ARV21560, -); Naples inv. 126055 by London, Wall fragment. Max. dim. 0.056. the PersephonePainter(ARV21013, 13);Petit Palais318 by the Woman (face, chest, right arm, and most of right hand) BarclayPainter(ARV21068, 20); Newton, Walston, akin to the seated in a klismos (a bit of the back rest appears at the far left) Clio Painter (ARV21083, 1);Berlin 2393 by the Cassel Painter to right. She wears a chiton, and the downward bend of her (ARV2 1085, 33); Athens, Vlasto by the Kleophon Painter head suggests that she may be taking something from a box (ARV2 1147, 60; Matheson, p. 419, cat. no. KL 67); Munich or chest. Preliminarysketch. Relief contour: profile. inv. 7663 by the Klugmann Painter (ARV2 1200, 40); New The Painterof London 1923 (ARV21103, 8). The composiYork, M.M.A. 06.1021.130 by the Quadrate Painter (ARV2 tion may have looked something like the one (only reversed) 1239, 44); Athens, N.M. 1205, near the Eretria Painter (ARV2 on the painter's hydria in San Francisco, de Young Museum 1256, 9; Lezzi-Hafter, Eretria-Maler, p. 343, cat. no. 235); two 229.24871 (ARV21103, 7). the Painter: Louvre 11932 and Cp 11933, by Calliope Cp Ca.430 B.C. now joined (ARV2 1260, 13-14; Lezzi-Hafter, Eretria-Maler, 603 PI. 65 P 6053 E14:14 p. 322 cat. no. 88, pl. 67:a) and Marzabotto T 2,6587 attributed by Lezzi-Hafter (p. 323, cat. no. 94, pl. 73:d); an Mended from many fragments,with missing pieces restored unattributed pyxis, New York, M.M.A. 1972.118.148 (see in plaster and painted, notable among them the left horizontal handle and part of the wall below it. Glaze fired greenish above); a Kerch-style oinochoe, New York, M.M.A. 25.190 Vasen[Bildergriechischer Vasen3], Berlin around left handle; abraded below vertical handle. H. 0.285; (K. Schefold, Kertcher 1930, pl. 10); Brauron, a pyxis, no no. (AK Beiheft 1, 1963, diam. 0.20. D. A. Amyx, Hesperia27, 1958, pl. 48:b; Matheson, pl. 13:1);an Apulian fragment from the Circle of the Sisyphos p. 427, cat. no. KLM 32. Polygnotos, Painter,London, B.M. E 509 (A. D. Trendall, TheRed-Figured Three women, one frontal, head to right, facing one in VasesofApulia,Oxford 1978, p. 21, no. 94); also 836; P 30054 profile, a third to right, looking back. Each wears a chiton, the firstcarries a folded himation, the second holds the kolpos (HesperiaSuppl. XXV, p. 84, cat. no. 80, pl. 30); and the figure of Leto in the Naples painting on marble of knuckleboneplayof her chiton between her teeth as she ties her belt, the third ers (H. Mielsch, RM 86, 1979, p. 236, pls. 50, 51). Perhaps also wears a himation and has a sakkos on her head. 1 and 2 one should also mention Brunswick 220, which is near the each have fillets with leaves around their heads. On the far Hector Painter,on which a woman holds the end of a fillet in right there is a fillet hanging on the wall. On lower molding of her mouth while she ties the rest of it around her head (ARV2 mouth, egg pattern. Above the figures,at the base of the neck, 1037, 3; Matheson, p. 380, cat. no. CURM 2: manner of the stopped-maeanderpattern; below, stopped-maeanderpattern Curti Painter). with cross-squares. Preliminarysketch. White (partly flaked): Manner of the Kleophon Painter (ARV' 788, -, 2; ARV2 fillets;ties of sakkos. Forthe motive of the woman holding the kolposofher chiton 1149, 24). Ca. 430 B.C. between her teeth, Buschor seems to have been the first to

CATALOGUE

230 P 19127

604 P1.65

B 19

Shoulder fragment with part of wall. Max. dim. 0.13. Matheson, Polygnotos, p. 397, cat. no. DM 31. Two youths (wreathedheads, shoulderswith himatia)facing. Relief contour: profiles. Manner of the Dinos Painter,may be by the painter himself (ARV21157, 27). Ca. 430 B.c.

P 2327

605 P1.65

R 13:4

Wall fragment with start of handle at upper right. Max. dim. 0.142. Man (lower part of drapery, left foot) to right. Below, stopped-maeander pattern with cross-squares. Trace of ornament around handle root. Ca. 430 B.C. P 14810

606 P1.65

022:1

Shoulder fragment. Max. dim. 0.029. Burn, MeidiasPainter, p. 100, cat. no. M 36. Woman (most of head with fancy headdress)to right. Relief contour. Dilute glaze: surface between locks of hair. Added clay: three dots on headdress. Manner of the Meidias Painter (ARV1965, 90 bis); the Meidias Painter (ARV21314, 20). Ca. 400 B.C.

P 12050

607 P1.65

N-P 20:1

Shoulder fragment with turn of neck. Max. dim. 0.06. Burn, MeidiasPainter,p. 119, cat. no. MM 160. Woman (most of head with diadem decorated with an egg pattern and three leaves) to left, looking upward. Relief contour. White: leaves of diadem. Possibly from the same hydria as 608, but so little is preserved that it is not possible to be sure, and they are best kept separate. Manner of the Meidias Painter, xii: Sundry (ARV21329, 108). Ca. 400 B.C.

P 22163

608 P1.65

P 16

Wall fragment. Max. dim. 0.057. Burn, MeidiasPainter, p. 119, cat. no. MM 159. Two figures,one to left, the other to right (edge of himation of left; chiton over knees of right), the right, a woman. Relief contour. Manner of the Meidias Painter, xii: Sundry (ARV2 1329, 107). Ca. 400 B.C.

OINOCHOAI 609-828 SHAPE2

609

F 19:2 (L) P 14958 Preserved except for mouth. Mended with small pieces of the wall restored in plaster and painted. H. to top of handle 0.203; H. to mouth 0.185; diam. 0. 1. Three youths, a nude one in the middle to right, holding a tympanon in his left hand. He is flankedleft and right by one *Princeton *. .* a *. in himation; the left one holds a tympanon, the right, a large aryballos (there is no string). On the shoulder at the junction with the neck is a tongue pattern. Reserved ground line. The Fat Boy Painter (ARV' 889, 55 ter) the F.B. Group (ARV21487, 94). quarterof 4th century B.C. B.C. Second quarter 609 Pls. 65-66

SHAPE3

610-791

FULL SIZE 610-683 P2231

610 P1.66

Pls. 65-84 M 17 P 25965 611 Fig. 34; P1.66 in restored small with plasmissing pieces Body fragment ter and painted. PH. 0.123; P.W 0.172. M. F S. Hood, 1957, p. 4, fig. l:b; H. A. Thompson, AA, 1957, ArchReports, cols. 59-60, fig. 2; Fastiarch.12, 1957, pl. 7:18; H. A. Thompson, Hesperia27, 1958, pl. 45:d; BCH 82, 1958, p. 666, fig. 16; B. Sparkesand L. Talcott, PotsandPans(AgoraPictureBook 1), Empereur inAmphores, J.-Y.Empereur Princeton 1958, 16; C. 1958, fig. fig 16; C. Koehler, inAmhores.Y andY Garlan,eds. (BCHSuppl. 13),Athens 1986, p. 57, fig.8; H. Duchene, BCH 110, 1986, p. 525, fig. 7. Komasts. The first(fromthe waist up) leans to right,holding a pointed amphora draped with a wreath over his left shoulder. In his right he holds an oinochoe. Before him,Xanother (lower legs missing)dances to right, looking back. Around the head of each is a wreath;over their shoulders, a cloak. Behind the left komast, a flute case with mouthpiece-box hangs on the wall. Between the flute case and the amphora:

H 5-6

Wall fragment. Max. dim. 0.043. H. A. Thompson, Hesperia6, 1937, p. 13, fig. 6:b. On the left, at the break, the fingersof an outstretchedhand or the tip of a wing. Inscribedvertically: I1 EL XAL

K4 Lo0 Relief contour. White (mostly flaked):inscription. The kalos name may be Alkmaeon (ARV'914; ARV21563). Early 5th century B.C.

)\ between the two komasts: K1zOE

Above the figures, net pattern; dot band for side frames. Graffito to left of panel (Fig. 34). Preliminarysketch. Dilute glaze: down on cheek of firstkomast;muscles (veryfaint);links of net pattern. White (flaked):inscription. Berge removes611 from the workof Myson (see Robertson, AP, p. 127). Myson (ARV2242, 79; Addenda202). Ca.490 B.C.

231

OINOCHOAI

/

FIG.34. Oinochoe 611 (P 25965). Scale 1:1 612 P1.66

P 15007

F 19:4

Shoulder and neck fragment. Max. dim. 0.08. Athena (filletedhead, shoulders with aegis and chiton, part of each arm)standingfrontally,head in profileto left. She holds a phiale (only a bit of it preserved) in her raised right hand, a spear in her left. Above, laurel wreath to left. Relief contour: profile and right arm. Dilute glaze: scales (dots)on aegis. Ca. 490-480 B.C.

613 P1.66

P 14:3 P 27680 Wall fragment. Thin streaky glaze on inside. Max. dim. 0.098. Horseman (hindquarters, tail of horse; shaft of hunting spear above tail) galloping to right. Below, egg pattern with dots. Dilute glaze: muscles;strands of hair. First quarter of the 5th century B.C. 614 P1.66

P 9466

C 9:6

Two non-joining wall fragments from below maximum diameter. Brownish black glaze on inside, streaked in places. Max. dim. a) 0.084, b) 0.057. W. B. Dinsmoor, Hesperia Suppl. V, p. 136, fig. 63:16. Man or youth on ram to right. Fragment a preserves the lowerborderof his short chiton, the paw of a feline(?)skinhanging down alongside, most of his right leg and both feet, much of the body, shoulders, start of forelegs of ram. Fragment b shows the fetlock and hoof of the ram's left foreleg (will not match right foreleg on a). Below, stopped-maeanderpattern. Preliminarysketch. Relief contour. Dilute glaze: fleece. Probably second quarter of the 5th century B.C. 615 P1.66

P 16666 A 20 Shoulder and neck fragment. Max. dim. 0.08. Choesand Anthesteria, p. 91, cat. no. 233. Frieze of upright encircled palmettes and lotuses. Below: 7M