THE
AlilillCC IPYXllS BY
SALLY
RUTHERFURD ROBERTS
ARES PUBLISHERS CHICAGO 1978
/1/ Rell/ell/bral/ce Of
LUCY TALC...
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THE
AlilillCC IPYXllS BY
SALLY
RUTHERFURD ROBERTS
ARES PUBLISHERS CHICAGO 1978
/1/ Rell/ell/bral/ce Of
LUCY TALCOTT
"Alii, Uln,k(jI3"'d 5L'l11p.:d War., unci Olh"r ",,"S III ('/" .•", "' A/h,·"" !"llwcll'n, 1qsx,
Preface It is a pleasure to express my thanks to the many scholars who ha~'e
kindly permit1ed me to examine and draw vases in their collections in America and Europe. Many others have sent pholo8 ra phs and measurements and answered questions about vases in museums and collections which I was unable 10 visit. I .....ould like to express my gratitude 10 Professor Homer A. Thompsoll. ProfcSloor and Mrs. T. Lcslie Shear. Jr.. Alison Frantz. lhe :.taff of lh~ Agor:l Excavations. and particularly to Poly Dcmoulini who Ilwdc my several periods of ,>Iudy in Athens mcmnrable. I would like al!>o to thunk Miss Barbara PhiJipp:lki of Ihe Nalional MUl>cUIl1 fot her kindness and unfailing help. The Greek Archaeological Service and Lilly Kahil most generously enabled me to study the importallt material from Brauroll. It has beell possible to include material relativc to pottery workshops here. My dcbt of thanks is great 10 many others besides: Miss Braun and later Miss Knigge of the Ceramicus Museum. Dr. H. Catling and Mrs. Brown of the Ashmolean Museum. Mr. D. E. L Haynes of the British Museum, Mr. Richard Nicholls of the FilzwiJliam Museum, Cambridge, Mr. Pierre Devambez of the Louvre, Or. Anna Barbara Follman of the Staatliche Antikensammlungen. MuniCh. Dr. Guntram Beckel of the Martin von Wagner Museum. Wiirzburg. Dr. Dietrich von Bothmer of the MetroPOlitan Museum of Art, Professor Cornelius Vermeule, the Museum of Fine Arh. Boston, Miss Dorothy Kent Hill. Waiters Art Gallery, Baltimore. Dr. J*rFrel of the J. Paul Getty Museum, Malibu. California. Miss Louisa Dresser of the Worcester Art Museum. Mr. Jack V. Sewell of the Art Institute of Chicago, Kurt T. luckllcr. Toledo Museum of An. Mrs. N. Leipell of the Royal
riii
Ontario Museum. Toronto. Miss Lucy Turnbull of the University of Mississippi. Dr. J. H. C. Kern of Ihe Rijksmuseum van Oudheden, Le)·dcn. Helle Salskov Roberts. National Museum, Copenhagen, Professor Maria L Bernhard. Instytul ArchCQlogii. Krakow. Professor Roger Edwards of the Uni\'ersity Museum, Philadelphia. Miss FranC'Cs F. Jom:s of the Art Museum. Princeton. Mr. Richard StiJIwell. Miss E\clyn B. Harrison. Institute of Fine Am. Dr. N. Kuni'ich of the Staatliche Must:cn. Berlin, Dr. Elizabeth Rohde of the Sla:l.Iliche Muscen. Berlin. Professor Hansjorg Bloesch kindly sent me photographs of many pyxides. Dr. Klaus Vierneiscl generously made Ceramicus material known to me. Demelrius Schilardi kindly showed me material from Ihe Thespian l~oly· andrion. Helen Bezi drew certain \'ases from the Athenian Agora. Marion McAllister inked the profile drawings. Professor COOrie Buuher gave invaluable help in matters of organization and style. Professor John White and Professor John 1-1. Young IO.crc important to my work 011 the pyxis during Ihe years at the Johns Hopkins University. A Kress Foundation fellowship enabled me to do essential researeh in Athens and in museums in Germany. France and England in 1967. Numerous later Irips 10 Europe have helped to fill in lacunae. My examination of the pyxis began under the direction of Miss Lucy Talcolt who was an unending source of encourag~mcnt. wise counlocl, dirtx:tion and unfailing help over many years. a treasured friend. Agnes B. Sherman. Rare Books and Manuscrip~. Princeton. read the manuscript. and offered many valuable suggestions and queries. Lynda Hunsucker types the manuscript. Roger Sherman alosisted with the proofs. Dr. Margaret Mayo edited the last chapler. Professor A. Oikonomidcs designed the layout of the plates. the architecture of the book and much besides. Without the patience and support of my husband, Tom. no book l'ould have been completed. And Christie. Wayne and Bay have played an im'aluable part in my education. s. R. R. Drcv.' Uni\·ersity. 1976
Contents Preface. . . . . . . . . . Concordance of Figures and Plates List of P1ates. . . .. .
11 111
IV V
VI
VII
vii _ -
J:ii zi"
Introduction 1 The Origin and Early Development of the Attic Concave PyIis _ _.9 The First Small OasSts and Singletons 21 The Pcothesilea Workshop ..... _..............••. .45 Class a/Oxford 1961.468: Tran.s;r;onal. . . . . . . 60 PMrhesilea Workshop IJ . . . . . . . . . . . . . . . . . . . . .. ..62 Cum a/Munich 2120 72 Chus ofWunburg 542 ..............•......•.•........ 7S Class ofHarvurd /925.30.30 78 The Class or Berlin 3308 .....................••....... 95 Later Fifth Century Pyxides or Type A .....•...•....... 109 The Kuine Class 110 Various Tall Singletull.f liS Doubles. . . . . .. . " ,., .. , .. , 116 Miniatures ,. . , .. , ".121 Odd Pyxidf'sjrom ca, 430·420 B.C• . "., .. , .. , ,.,.,125 Dish'Foot Pyxides. . ..... ",." ... "." .. , ...••..... l29 T"",o Pyxides of Squat Proponio/'u and Tall Tripartite Foot , " 131 PyxidfS ofEztral'agant Profile. , . .. , ". 132 Various Small Hybn·ds , .. ,., ,.,." 135 The Pp:is Trpe C .,., .. , ,143 Precursors, . , , . . . .. , ..• , .. ,., .. ,.', ..•. ,... . 144 The A·C Clau,. . , 146 ClassofAtlrens 1243., . . , .. , .. ,.,.".,."., .. ,., 152 Odd Pyxides . , ,,, ' . ' . , . . . . .. . 158 Pyxides Type C "",itlr a Tripartite Foot ,., 161 Tire Chalki Class , , ..•.. ,., 163 Founh Century Pyxides of Type C .. ,., , .. , .. ,., 169 Iconography or the Pyxis .. , .. , . , .. , . , ' ..••...... 177 Selected Bibliography ,., .. ,., , .• , , .193 Addenda ,., , , , ...•. ,.", .. 197 Profiles "., ,., .. , .. , .. ,., , ...• ,., .... ,199 Index of Collections , , . , .. , .225 Potters. Painters. Groups and Classes ' .. , 2JJ General Index, .".,., ,.,. , , " .. , , ,.241 Photographic Credits.", ,., .. ,., , .. ,.,.". ,245 Plates , , "", ..•. ,., " following 248
SALLY RtITH£llfUIID RO.EIlTS
IIIE Arnc PYXIS
Concordance of Figures and Plates
d
,
tl~U«
'", ," 1.1 h
B0
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Ift~24
B.... d,,'" "lOJ N,... '(,,,,t Ob.I021 b .... n' CA IoU)
I.,,\don I Alhcn,I"')c1
Alh,·",. 11)(1)';1 I'
AIhC'n,15lI5 Alhcm;. C""n,io:u, Museum uMldon F 780
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AItJ-,,,,, 158b C""'"..us IlllS London E 172
;'11,1..111 11 \11
18.1
Alhe'" 14q()b AI"" ..... l"('r.lIm.C1" 1'* N~ .. Y"rk Ub.1II21.1b4 Alhcn~ 50! Alh~lI'. A~llra I' 12255 A,hcn.1.'11) Mu.mh 2121 London [ 7M N".. Yurk 07.2!lh.J6 LouHe MNB I2SO Alhcn~ 1!!l8 Bahil1lon: 48.2UI'I Athc"< 211lR B",lon liS. I I"" Athen~. A~ura P N2SJ Oxlutd 1'12'1.754 B~rhn l2bl
Ih.! 17.1 17.2 17,J IS.I Ill.!
IIU 19.1 19.2 lfl.l ltl.2 21
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~U ~1 ..1 51.1
."1.2
llo~10n '.J.I.It~ Alh~n,
1741 1I"'lOlulu ]5'»\ ""'''nl H"h"k.· Jkrhn nbl L,,",,~ L 5." M,mII 7J ~("rTOlra '1. 27 ·rr CA I44J !'o", y ...k 061021.123 lundon l no hype 01 Copcnh3grn 47'9 ("'I""nh;lgen Chr. V1lI9lI2 Toroll1o 919.5.32 Alhrn, 16J,S Missii§ippi f' 244
~.I
lH.2 ~.1
115.2 tl5J
Agot"a P 6845
Ludn"i,i Throne Lundon 1-.07.5-19.1
IStd
Alhr"" 1597 Alhclb. Agou P 15572 Ikrlin F 2519
81:>.4
n. H~mbul"J !';n"cnll\, l~l 2. Gist:1a M. A. RlthlCr and !rot J Md"". SltllfWJ uNJ /¥UmtJ of A,Irf'lIum VAS" (New York. 1935110; Dart'mbng aDd Saglio. Vol .•. I, pp. 794-795. J. Marpir; J. Milne. "Kyhchms," AlA 43 (1939) 247-254.
c............
..
.
AIMn;tr1ft 1J"il"fUJ,I)plll"~t' 11. 480 C
5. AlA 4J U9J9J 2~_ 11 Ibid. 7. Ibul.. 249. 8. s"hch;old in FR III .H1 'I AlA 00 llfj.)y) 249 and Idc~nca. 10. CVA Dnunark 4, C~n~grn 4. tUI to pt lbJ,4. II FOIra dl>oot"U"lOflof.h"cla~, ~ 1>Ona conlalned Io«nll\'S of baSil: lud carbonatc Illd ~N" Ure, BiIl~" GJu=.. PU"""(ronf RI"uOIIU 'n Ba...,,,,, ILondon 191.1144-45 ~). PslmYthlOn prored 10 be: thr rontc:olS ot 1"-0 l:onnlhlln PY">OC\, . A POWder
U'en-
8
THE ATTIC PYXlS .
our from a grave in IM Norlh Cemrtery. Corinth, IM othu ftom • growc in AUIC. C/lusicil/ StuJi~s prt>srn/I'd I<J £d"'lIrd Cllpp' !PTincCIOI1 19361314-.117. figs. I and 2); Richter and Milnc. Sh"p"J, p. 20. Or. A. E. Werner of the Re$Carch Laboratory of the British Museum analyzed the oontenu of • py:l:is, I)"PC B U-codon E 775) and stated that the material is ttnlnite. I naturaUyoccurring miner..l "'hich is nonnal lead carbonate. Later a sample of maim,] from • PY"is. type A (B"lImon:. the W.hffli An Gantry 48.1(19) ."U Iba aralY"~ in IM British MuSC'um. 1lle m'lnial is koad carbonate loxrtMr ,,'ilh • fe'll' panicla of alpha quaru. 27. f-_iJ(t>-s de DI'/plln. S. 165-166 and referenca. 28. ArUlophancs £ulI'Ji..;uSQf' (tramlaled by ~nplmin B. R~). Loeb Clusic.l Library. Vol. J. unn 817·880. 29. E.lttptiom.: Anrona llJO. from Num_n. (ANV, 899. I44J: Ne..' York 01.280..)6. from Cumac /ARV, 890, 173); Ferrara T. 27 C VP. frum Spina (ARV. 1277.22): Napks RC Il7. from Cumle (ARV. 1277.25); Leyden KVB 157. from Cyrenaica (ARV. l22l/; London E 770. from Tralles tARV. 1360.2); Qrvitlo 573. from Ol"'icIO (ARV. q84. I); Palenno. fr .. from Stlinus (ARV. 1177.49); Palentlo. fr .. fmm Stlinu$ (ARV. 1290. 2)); Reggio. frr .. from Loeri (CB, iii. 72); Villa Giulia 207"9 from CeNelri. Nicmthtnic Shapt (ARY. 127. JO). The~ art t'AO .n hahan collections for which no pfOO"tnlnC'C 15 h~led; F1orenao 4217 (ARV. 1222.21: Vlli...n. fr (ARV. 1290.221. 30. The fol:lowring ..·jlh uC'CpciONll pm.enallC'C a~ found in ARV F~.ra. T. 1l6tl.lrom Spma ",RV. 1322.181: Leningrad (.!IT 1811. 1812. 19.10 frr.l. 155'11 from Ktn:h lARV. 1JJ2. I...; 1..75. 1-2): Salunic. 680. 8.101. fn.. JIl.525. fr .• J4.J32. frr .. from OlynlM. (ARV. t.507. 1-3; 1509."). 31. ARV. 1120. 3 U..w'~ MN 558. from Renllha£il. 32. A~""u XLI. pp. 174·175: 177-178. 3J. A"II,uJOJ;:11I P"llIfUlIl 0.201. 271·273; FlIrncll. CUlf" ul ,h.- Cr.·,'A SI""'). It 444: Euripidcs Jphl"""n~iu in T""rirll 1464 fr. 34. Funell. C"I,,, u) fh~ Grf'~A SUltt'J 11. 441 and fOOln"lc 34: Ari'luphancs LyS(JtrQUI 645 .l Schol. "~i 4t Ti: ftqll Ti)v 'l.ryMlClv lv ~UQWv, quJo,,, cM: iv AV.i.[6,.'· Set abo chapln 7. (T. Lnlie ShC;lT. "Psimythion,"
,
CHAPTER I The Origin and Early Development of the Attic Concave Pyxis
The Auic COnC3\'e pyxis is derived from the Early Corinthian box of this form. The Corinthian pyxis is a simple container characterized by the inward curve of the walls, handles at the rim and a lid generally cUI'\'~d up.....ards lov.ards lhe central knob and nanged beneath. Animal friezes decorate lid and body or in th~ simpler versions the decoration is linear.' By the Middle Corinlhian period lhis lype had gone out of fashion to be replaced by a number of different types of convex pyxidcs. J The concave pyxis firsl appears in Athens around 600 R.e. Examples are rare until around 5SO B.C. whcn a modest number may be cited. Fewer slill may be grouped in the years 540.520 D.C.
The: following brief catalogue lists the pyJ:ides in chronological order. The absence of a painler's name indicates that the vase is unanribUled_ 1. AthenJ. Agora P 4602. from Athens.
H. 0.052, H. with lid 0.091. D. at rim 0.072. D. of lid 0.075. Concave. handles at rim. Wavy line in handle zone band of purple-red. lozenge chain. band of purpl~.red. • Lid: . h i· . Rod Birds to th ~ ng t; menor: plain. ney S. Young, Late Geometdc Groves and
Q
Seventh
10
THE ATTIC PvX1S
S.u.l' RUTHERFURD ROil ENT!
CI'''''It')' Well ill lhe Agoro. Ut.'sfH'ria Supplemc'''' 11. 22·23. fig. 9.
Ca. 600 H.C. 2. Ath c"lS316 (CC. 565), from Athens. PI. 1.1. Lld nllssmg. H. 0.0,;,4, iJ. i l l nm u.Ull.. In.....ard-sloping rim, concave. Black band above and below frieze. Polos Painter, black-ligure. chain of "omen holdin~ hands; ABV-. 45. 28; p")llc. Nlfcnx;ur;mhltJ, ISO·191. rur (he chilin of \Ooomcn cf. the tripod-kothons: AllV 45.24, 26; CVA. Germany 9. Munich 3. pI. 140.6; CVA. Gernlany 10. Heidelbcrg I. pI. 32.3. First Quarter Sixth Century.
3. Atht'rls. CeNUfliclIS MllSCUItl. from Athens. H. 0.09. H. with lid 0.118. D. at rim 0.118. D. of lid 0.115. Concave, handles at rim. Lid: rays. animals. Rays above frieze: beloK': rays. Painter of Berlin 1659. black-figure: siren heNcen panlhers. S\loan between hens: AnV. 20.2: AA. 1935.296. fig. 21; .4)A 2q (I93tl)~. li~.
9.
575-550 H.C 4. Rnm,.. Cons,.n·lJton" 305. from Palestrina. lid missing. H. 0.083. D. at rim 0_10. Conca\·e. four pierced lugs at rim. Irregular slanting strokes in handle zone. Two horizonlal bands .... ith swans rightward (upright) decorate the body punctuated by a black line between the zones. two black lines below and a black base line. Swan Group. black-fi~urc (no incision): AnV, 656. 63: Ht'Spl'rit/ 13 0944) 55 and 57: Payne. Necrocon'mhw, 292: CVA. haly XXXVI. Rome. Capitoline Museum I. pI. 35,4, 5. Athens. Agora P 20708, fr. from Athens. H. pres. 0.038. D. at baloe 0.088. Lower wall and base preserved. Concave.
PI. 2.1.
IJ
Frieze: Swans rightward with groups of strokes bttween. t..,.o • baSe band (purple ewer black). hnes. "or. b~"d ron«ntnc . band on ba5C:; hattom' unglazed. Ittf!ff. • ..... J Purple (n'er black on swans' wings. Swan group. ABV. 656. 65; Agoru. XII. 398. Deposit R 11:2 dated ca. 6(X)-550 R.e. Concave pp:is. type A. 6. Edinburgh 1956.424. PI. 1.2. H. 0.052. H. 1Jl'ith lid 0.083. D. at rim 0.056. D. of lid 0.065. Insel nange for lid. concave. moulding at top of body. Li." twO concentric bands of short strokes; swans 10 right. Band of multiple outline triangles with tilling-ornamenl of irregular short strokes at top of wall: frieze below of swans righlward; groups of short strokes above and below. Swan group. black·figure (no incision): ABV. 656.64. Ca. S50 B.C. Boston 61.1256. from Gree«. PI. 2.2. Fig. la. H. 0.06. H. with lid 0.099. D. al rim 0_087. D. of lid 0.091. Concave. lid nanged beneath. Liel: lion aad goat; two sirens. ivy border. Quadruple row of dolS above frieze; below: double ro..... of dots. Group of the OIford lid. black-figure; He.raldes and Apollo: the Slnlggle fOf' the tripod; ABV. 6l6.ll: BMFA 61 (1963) 64-67. figs. I ...... PalVlipomena. 306, Ca. 5S0 B.C. 8. Nrw York 06.1021.164. PI. 3,1. H. 0.055. H. wilh lid 0.10. D. of lid 0.072. C~ncave. lid flanged beneath. loop handle. Lld: youths naked and clothed. Wid . e black mouldmg above frieze; below: black band. ~~Re~ated to Ihe New York amphoriskos and 10 Ihe Painter of ~un~hIM2 h · ' . ""1 ,w 1I~ ground: arming: AnV, 455.3: 698: Richter and "11 ne, Sha " Vases. fig. 137. pes all d N alnt'S nf Athema" Ca. S50 B.e.
12
THE ATTIC PVlU
9. Gocha ZV 2380. Knob missing. H. 0.06. H. pres. wilh lid 0.076. D. 0.087. Concave, \\'id~ black moulding at top of wall. frit'7.C' between black lines. black band at base. Lid: blat:k. Related to the New York amphoriskos and 10 the Painter of Munich 1M2, hlack-ligure; Heraklcs anrl the lion: Amazonomachy; L.eiJS lIctwcclI ~ileithYI3I'!: AlIV. 455.2 below; CVA. Germany 24, Cotha 1. pI. 29,2·4; D. von Bothmer. Amazons in Greek. An. 75-76: Paralipomena, 198. Ca. 550 H.C.
10. Basle MarAet, once Berlin 2033. Lid missing. H. 0.055. Upper diameter 0.071. Conca\'c. inset flange for lid. Wreath of leaves above frieze; below: black band. Black·figure. Dionysos and Aria-doe. dancing satyrs and maenads on dther side. unbearded youth riding on ithyphallie mule to left; Mo""a;es et Meduilll's S. It. Balf', Vt'nte Puhfique Xl, 23-24 Janvier 1953. no. 323, pI. xlv: A. Furtwangler, BeschreibutlR der Vasl'llsammhmg im Itntiquarium, p.438. 11. It,hnu 502 (CC. 686). from Eleusis. PI. 3,2, Fig. lb. ud missing. H. 0.006, D. 0.091. H. of foot 0.003. Wide flat rim, cylindrical body. Iow ring foot. Black echinus moulding at top of body and rounded moulding at base. T,,·o raised black ring1 frame the frieze with a wide red band above and below. Botlom: ~ntral doned circle. three outer con~ntric circles. Tleson. black-figure: siren bcl~ecn cocks. siren between sphinxes; AHV. 181.49. Ca. 540 B.C.
IJ
12. Brfluf'OIf Must!Um• . from .Myrrh~ous.
. . Knob missing. Lid nses ""nh one JOg towards eenter. cyhndncal hod . Black moulding at tOP of body and at base: t"..o black m~ldings frame frieze. BottOm: series of concentric mouldings. Lid: rays, lotus buds linked by arcs and dotted above. ribbon
. . paltern in red. Probably Exekias. black· figure: PreparatIon of a charIOt: Ergo" J8 (11)61), fig. 43: BeH 86 (1942). 669. fig. 27; ARV, 1699; AlA 72 (1%8). 362: Parafipomenu. 01. Co. 540 H.C.
,
13. Athens. AgOlll P /2255 fr., from Athens. PI. 4.1 Fragment from base and lo~er wall of pyxis. H. pres. 0.027, D. est. 0.075. Body cylindrical. black base moulding, low black ring fool. Fn'f'=l': lower portions of ligures only; two horse's hoofs. nude male figure left. nude male figure right, draped male figure with scepter right facing mounted horseman to left. Bottom: dol. circle, glazed band. Black-figure, ca. 540 B.C. 14. Athens. Agura P /3247. from Athens. PI. 4.2. Lid missing. One side broken away. H. 0.045. D. 0.071. Inward-sloping rim. conca\'e; moulding at top and base, bottom
0.,.
a.oo
y decorated with double palmettes separated by a dotted cham between two bands. Interior glazed. Patterned without incision: the glaze has fired red. Ca. 550-540 H.C.
14
THE ATTIC PvXlS
IS. Athen.s, Agoru P n26. from Athens. lid missing. About a third preserYed. H. 0.077: D. eSI. of rim 0.08. Black inward-sloping rim. cylindrical body. trip'!r1ite foot. Black. rounded moulding at base of wall. raised ring with added red abm'c it. Black moulding at top of foot. Semi-glazed. Agoro XII. no. 1287. p. 327. pI. 43. fig. 11. Deposit T 18:)·U; for the foot cf. Ne 133. no. 1508. fig. 176. 550·515 B.C. 16. Hf'ideJberg 274, froon Athens. PI. 4.3. Knob missing. H. 0.065. H. with lid O.O~S3, D. 301 rim O.OMS. D.
of lid 0.087. H. of foot 0.006. Wide nal rim. concave. tripartite foot. Lid rises steeply to eenter. nanged beneath. Lid: three black circles on either side of chain of lotus buds with points upward. linked by arcs and dotted below. White dot on c\'ery other lotus point. Band of wavy tines. Zeds on sKle of lid. Three black circles at top and base with four circles at the mid-point separating the zone of rosettes from the chain of lotus buds below. Black.figure; CVA, Gemlany 10. HeKlelberg I. pI. 41.10. Ca. 540-520 B_C.
17. Brussels A 1375, from Thebes. PI. 5.1. Lid missing. H. 0.14, D. 0.23. Wide flat rim projecting beyond line of wall. concave. Iow black ring foot. Wreath of leaves on rim. frieze bordered above and below by black line. 8fJ1wm: black reserved circle at center and interior edge of foot. Fr;eze: Scenes 01" the hippodrome: quadrigas. mounted horsenlen and traill~r. Black.figure; CVA, Belgium I. pI. 12. Cu. 520 B.C.
SAllY ROVHERFURD ROIlERn
lIS Agora P /JI29. from AtMns. 18. A t • e . . Lid missing. About a third p~rved. H.
rres.
15
0.042. D. est. at
rim ca_ 0.03. .. . Conca\"e. inset flange for lid. tnpartlte foot. Red line at top. black line at base of wall, black band around middle. Semi-glazed. AgQI"Q Xli. 327. no. 1288. pI. 43. fig. 11. Deposit U 25,2·L. 550-525 B.C. I~. Princetorl.
private. One foot restored, H. 0.085. H. with lid 0.14. D. at rim 0.09. D. of lid 0.095. Concave. wilh wide flat rim, four feet. Lid flanged beneath. Three reserved lines on rim. another around middle of wall and a grooved line near the lower edge. Vertical rilled edge of lid and '''''0 circles on upper surface reserved. Added red for under surface of rim at base of wall. vertical edge of lid and moulding at base of knob. Black. Agora XII. 320. no. 1286. pI. 43. fig. 11. Ca_ 515 B.C. ~ earliest example (no. I) comes from a ehild's urn burial in the Athenian Agora dated ca. 6(X) B.e. The shape carelessly made and decorated reflects the concave form of the Early Corinthian prototype. Athens 316 (no. 2. PI. 1.1) is a replica of the Early Corinthian form minus the handles. The rim slopes slightly inwards and its lid may well have been like that of Boston (no. 7. Fig. la). The range of vase shapes decorated by the Polos Painter is derived from Corinth.]
. Another slightly later pyxis dated 10 the second quarter of the SIxth century is derived from a variant of the Early Corinthian shape in which the vase is formed as a kalathos with flat handles at the eenter of the body .• The Ceramicus pyxis (no. 3) is shaped as a kalathos but the handles are at the rim and the lid curves toward the center as in the normal Early Corinthian type. An
,.
THE ATTIC PYII~
animal frieze decorat~ body and lid but the filling ornament is reduced to a few sparsely scatlered rosettes. An instructive contrast is offered by the Conservatori (no. 4) and Edinburgh (no. 6. PI. 1,2) pyxides decorated b)' the Swan Group.s The Conservatori example is again a replica of the Early Corinthian fOfm while Edinburgh incorporates new features. an inset flange for the lid and a moulding al the top of the wall. Beazley ~marked that the range of "shapes used in the Swan Group. in general. suggest a date in the first half and probably the second quarter of the sixth century," Howt\'er. he noted that the contexts in which such vases had been found necessitated a date shortly after the middle of the sixth cenlury.' One would never have guessed a mid century date from the shape of the Conservatori pyxis but Edinburgh shows interest in aT1iculation characteristic of the best examples shortly after 550 B.C. Still very conservath'e is the mid sixth century Boston example (no. 7. PI. 2.2). The form is Early Corinlhian minus the handles. The lid retains the usual animals but the main friele has (1 fOrcelul procession of miniature figures. gods .....itnessing the struggle of Apollo and Herakles for the tripod. Figural also is the decoration of the earlier pyxis by the POI05 Painter. The Athenian painter early sees the advantage of two pattern band5 to frame and emphasize the frieze: dots on 80slon (no. 7). rays on the Ceramicu5 pyxis (no. J). or as in New York (no. 8) and Gotha (no. 9) the framing bands are black. The upper one is actually a moulding. painled black. which emphasizes the aniculation of the shape. On the Basle pyzis (no. 10). a wreath of leaves is pla«d abo"e the frieze and a wide black band at the base. The most impressive and dearly composed examples of the years around 540 B.C. are by Tleson (no. 11. PI. J.2) and probably by Ell.ckias (no. 12). The overall shape of the box is cylindrical. articulated by a moulding at the top and base. In addition on the Tleson pyxis the frieze is framed by raised rings. The clear division of the pans and their relation to the whole is expressed by raised elements. There is a low ring foot. the first of many anempts to fit a foot 0010 the simple box. On no. 12 the
11
" h n doubled at tOP and base with a narrow Idlngs ave~ ... m~~ leO between them. The mouldings which bind. the frieze ,p "ongly than those at the outer boundanes. Tleson ject nlore s . ',n the use of animal frieze though all filling pro . is conservative disappeared. The preparation of a chariot forms the ornament has . . b' t of the Brauron pyxlS fnele. '0 F', cd 10 lleson's pyxis is a fragmentary example from the Real f" " ' In. L " lit . . e Athenian Ago.. (no.IJ.PI' 4 . 1) v.ith a figured .nett "yle. Similar but less elaborate in form. 11 15 cylmdncal Master r" \" . with one black base moulding underlining the rleze. It a so IS title(! with a low ring foot. To this period also belongs a semi-glued pyxis (no. 15). A small moulding f~lIowed by a lar~er weight the base of the cylindrical wall. There IS also a moulding al the top of the trip'lrtite foot. What a simply made and dCi:orated pyxis might look like in the )'eaf$ 550-540 R.e. is sho.... n by no. 14 (PI. 4.2). A crudely formed moulding is placed at the top and base of the concave wall. A double palme1te connected by a dotted chain forms the decoration. The pelals of the palmene have not been carefully definL-d and there is no incision. The pattcrn is one uscd to ornament the necks of amphorae though an exact parallel is difficuh to find. Certain of the amphorae of Group E have a palmene and lotus festoon on one side and a double palmene on Ihe other. New York 56.171.12' dated about 540 B.C. may be compared but Ihe petals of the palme1te hardly project and there is crude incision. A later small neck amphora by the Painter of Toronto JIJI has a double palmette and lotus pattern connected by a chain. Here. there is no incision and in this the design comes closer to that on the Agora pyxis. Howe\·er. Ihere are vertical divisions in Ihe form of debased lotuses. It seems probable that the basic shape of the pyxis suggestcd the neck of an amphora to the potter and this in turn led to the choice of pattern. 5SO S.C. could be called a turning point. Up until that lime ~plicas of the Early Corinthian form .....ere still occasionally made Side by side with a form modified by framing mouldings or framing ornament. The plain box as .....ell as the ne.....er model .....ith
..
'9
THE ATTIC PvDS
a ring or tripanitt foot exist. Both forms of lid construction current: the lid flanged below to fit within the mouth of the pot (Fig. la) and the newer model in which the body is flanged and the lid fits over it (PI. 1.2). A modified animal frieze .....ith link or no filling ornament as .....ell as the figured frieze are found. Only a few examples date from the yean 540-520 R.e. They eau Id not be mort \'aried as one is black (no. 19),tone semi-glazed (no. 18), the third patterned (no. 16. PI. 4.3), and the last black-figured (no. 17. PI. 5.0. Striking is the absence of mouldings at the lOp and base of the wall and the clear simple concave curve of the wall. All are footed. No. 18 has an inset flange for the lid and the other three have a wide nat rim: no. 16 (PI. 4,3) and no. 19 show that these lids ate flanged beneath and the vertical edge of the lid is cOnliguous with the top of the pyxis wall. The patterned Heidelberg pyxis (no. 16. PI. 4,J). cumes from a grave on the .....est slope of the Acropolis together with a miniature skyphos krater of the Swan Groupll and a trefoil oinochoe by the Painlcr of Vatican 342." The context suggests a date range of ca.
540·520 B.C. A wreath of lotus buds. with points up\1lard. docorates a zone of both lid and box. This is a favoriate shoulder pallern on black-figure lekythoi. Miss Haspels observed that the pattern was used from the period of early Amasis. In the leagros period the pattern was revef2d and thereafter the lotus buds were depicted ,",,'ith points downward. U Brussels A 1375 (no. 17. PI. 5.1)1J like Heidelberg has a simple CQncave wall with a .....ide flat rim. The base of the wall slopes inward to a juncture with a low ring foot. The formation of base and foot resembles a small pyxis from the Agora (no. 18). The f(Xlt of the Agora example is notched but the profile is similar. The Brussels pyxis. however. is the largest of the black-figure examples having a height of 0.14 and a diameter of 0.23. This is a sudden enlargement of the shape for hitherto the black-figure pyxides noted ha\'c been of modest size. On account of the similarity of the rims of the Heidelberg and Brussels pyxides the missing lid should be restored to resemble that of Heidelberg (PI. 4.J). The date should be about S20 B.e.
""OTES CHAPTER I
H-
r.JM"
H~,IIID IOsfotd 19JII 2CJ2.
~: ,'''. p ~.
P,)'DC Itlitcd onl) ODC concne p)'I'.~ In In.: cat'klcve. cl Mlddk Conathian usa. pO. 860 B. Louv~ A 432 .nd qL>rstiQnnt ..-hnhcT JI mlltll noI br latn- For cnmu p) .. idrs WC" pp JO'>-.JO!I. J IW. pp_ 190-191; Hr~P"W' IJ U94-') 52·504. .. H Paync. Hrf'rocontllhlD, 292. no. 666. Clnh.ll"E. Mus& AI.oui. Btthn J3J. AIlOlhn" Connlhi",n cumpk of thn .an.nt I'Ii C.rluuhr B 146J (CVA. Germ.ny 7. C.rbrvhe I. tut 10 pI. 39.2 bUI pkture plo J9..l). S. Other oooc:.vc Pfllides by the S..·.n Group; Reggio. MIaeO O¥ico; Rom.n m.rket (PoII.IF:) ~BV. 656. bl.fl2); Elcu$i$ J77. from E1eu$i$ l/'flnJ/ipom~"fI. p. JIS): Bnlurort 227. lid. from Br.urnn. Thc~ b .nother in Ihe S.ntorini Muuum.
6. HUfw.riIl IJ U944) 57. 7. CVA, U.5.A .• 12. The Metropolit.n Museum of Art J, pI. lJ. (New York
41.162.143. pi. 14. '[$0 by Group E. hu I double INIlmelte ch.in ...Ith dIminutive IotU$ belwren. The p.[mcIlC$ are crudely incisedl. T ..·o furth, the cap-:ike hair loIith its incision-less OUler contour and the erratic incised lint..'S marking the contour of face and beard arc nearly identkal. The curved incised lines ~uggesting the drapery of the s)'mposiasb and particularly the disproportioned joining of arnl to ~lltJuldcr show the samc artist at work. The latter ;!> often an uncertain feature in draloling by the Haimon Painter. H The Agora pyxis. P 24555, comes from a well 101 ith a context dated ca. 520·490 B.CII Thompson !>uggcsted because of the mass of pottery and number of lekythoi (250) that the mateflal dumped came from a retail potter's shop on the edge of the Athenian Agora damaged in the Persian sack. Numerous lekythoi from the workshop of the Haimon Painter were found in the Stadium Street grave logether with an al)'ballos by Douris. Miss Haspels dated the lekythoi about 480 8.C. n The pyxides of this class undoubtedly should be dated to the same period. One would expect many more examples of this class considering the prolific character of the Haimon workshop, but from the evicleno:e at hand, this does not seem to be the case. A number of pyxides of a broad low bowl form .....ith the picture confined to the lid were also made in this shop bUI later in the second quarter of the century.)O The evidence suggests that in the years around 490-480 D.C [here was. as yet. linle demand for the small terracotta box.
JJ
SINGLETONS I. Athl'f/s /9271.
Pis. 16.2 and 17.2. Fig. 2e. Knob missing. H. 0.083. total presen-ed H. 0.094. D. al rirn 0.078. H. of fOOl OJXl7. Inset n:lIIge for lid, long body. concave, black moulding :11 base, be\-clled ring foot. Lid with black do.....n-turned rim 10 cm-er flange. Lid· rays. hare and hound confronled. thrice. double dot with tfattS of IoIhite dOI~ betlo\ccn. Lid i",('n'or reserved; bonum dot cirde,"band. Abo·..e and below frieze. double dot with Iraces of 10\ hile dots Ilt't"een. I04>ON EPrALATO !:'II4PO ME E40KEN inci~d on Side of lid.
Manner of the H"imon Painter, black-figure: komos. For 5t)le compare Berlin 2035. attributed 10 the Manner of Ihe Haimon Painter (AIJV, 556, 442 ter). Cu. 490 11. C. 2. Athel/s. Agoru P 279/7 I'r.. from Alhens. PI 17 I L'd . . . .. I ml5Slllg. TloIo joining fragments preserve almost onc third of the ~1 H_ 0.075, C5t. D. at rim 0.07. H. of foot 0.005. Insel nange for lid. COncave ' 1 '1010 hOflZOnlal , . ' reserved 10..... , be''e11--'· ..-.", nng " loot. b ands of linked . fi pomet::ranates on white ground decorate the hod) ram«l by a black band at the top and base and a wider black band at the CCnter.
Dlaclt-figure: pallerned. Deposit H 13:5. Cu. 490 B.C.
J. OXjord /966 980 I
S' . . PI. 173 .ex II' John Beazley). ., Fig . Ja . C rownrn· o . g piece 01 knob missing. H. 0.077, lotal pres. H. 0 114 . at flm 0.009 . D. 0 f I'Id 009 ' , . S, H. of foot 0.016. Concave d,·a.... ·"eter of lid . ' eont,' shghlly too large, bUI belongs. intended 10 nUe and I Lid. comp ele cun·e of body. Iripaflite foot. right~a::.ngues, black band. quirks. Sidl' 0/ lid: key pallern
J5
THE ATTIC PYIls
SALLY RlTTHERf'UIlD ROIIERTS
Puttl'n! zOlles from top dowl/' h) lea\·cs. linked pomegranates, broad black band. key paltern rightv.ard. Black·figure. patterned. Sir John and Lady Ht'U:/l:)' Gifts /9/2·/966. no. 158. pI. XVII.
ConC3\C ~ ith offset moulding at ba~. and black ('chinu!> moulding al top. Ud rises ~ilh a jog t~ard... conical knob. kl....
Ca. 490·470 H.C.
4. Athells /2/49.
Pis. 12.1 and IS.2. Fig. le. H. 0.075. H. with lid 0.116. D. al rim 0.08. D. of lid 0.093. H. of foot O.OIS. Inset nange for lid. eonca\·e. black base moulding, thick black stem and spreading foot ring with a reserved concave edge. Lid .....ith do..... n-turned blaek rim to fit ovcr nange. Knob: slightly conical. Lid: debased tongues. women and warriors. nCI paltern. /lIt.'n·or n.f/id: glazed .....ith OUler reserved band: bottom: reserved. Linked ncl pattern above and below frieze. Near the Painter of Oxford 237. black·figure (incision. nddition uf white and red); ..... arriors, women and HerOICS. 5. A,ht'IIs 627 (CC.S39). from Alliea. H. 0.07. D. at rim 0.061. D. of lid 0.082, H. of foot 0.009. Concave. inset nange for lid. Iow ring foot. side of lid continues and completes cun'e of body. Lid: net. maenad dancing bet.....een two satyrs. rider on ithyphallic mule. sal)'r and maenad dancing. rider on ithyphallie muh:. net. Side of lid: pendant linked lotus buds. dOlled above and below. linked net pattern abO\'e and below frieze. Black-figure. draped figure (Ariadne?) and Oionysll!>. macnad bet ..... een t.....o dancing satyrs. rider on ithypha11ie mulc. maenad and satyr. maenad and satyr. rider on thyphallic mule; Collignon and Couve. CalU/ogllf' dt's Vas.'s /WiIlIS till AI/1sh· Natiol/al d·A/"em's. 269. no. 839. Some of ligures of lid and box vestigial. Cl'. 490 H.C.
6. LOIII're CA 25/1. H. 0.083. H. wilh lid 0.14. D. at rim 0.085. D. of lid 0.104. H. of fOOl 0.014.
lripartite fOOl. Lld debased tongues. ~reath of \crtical. eirt"umscrihed palmetle5 (nine petal...) ~ith ~hile dots in spandrels abme and Ihrce ka\CS below. connectl-d b)' a paltern of lriple opposed lotus bud.... Side or /id: gla7ed. Red line abo\·e frieze: be/Oil'· 1~(1 red lines. Rays on base moulding. Black.ligure; Dion)'sos seated by vine betv.·L'Cn maenad 11l1d dancing satyr: Athena attacking ~arrior. ~arrior and hearded onlOOker left . Ca. 4RtJ H.C. 7. Ox,lortl 1965.13tJ (cx Spcnecr-ChurchillJ. from Athens. PI. 18.3. Fig. 2d. H. 0.086. H. ~ilh lid 0.127. D. al rim 0.062. D. of lid 0.079. H. of foot 0.027. Cone,uoe. lid \lilh rounded dO\ln-lUrncd rim and insel llange ~lov. it. tall tripod foot. Lid lertical circumscribed palmellL~ (seven 1>Clab) llocparatcd by ltar drops aOOn and ~In\l and connecled by a lotus n{Mer. SiJt· ()I/id: tongue and dol. Stopped inlerlocking maeanders in groups of three onee luur and cross squares belo\l friezL'S. Manner of the Pisloxcnos Painter. red-figure: \lomen: AHV. 864.15 "may be by the painter himself:' A",C6 4. pI. 29. I; Le Ani I. pI. ISO. figs. 7-8 and 11; Pamli,lO"u'na. p.426. Ca. 4H/J·470 H.C.
8. LOl/don E 769. from Alhens. PI. 19.2 and Figo 2e. Knob fragment preserved (originally of loop form). H. 0.069. IOIa1 preserved H. 0.084, O. at rim 0.064. D. of lid 0.088. H. of foot 0.027.
. Concave with offset moulding al base. Lid with down-turned nm and inset nange below. tripartilc foot. L i.d 'an b d0 f black linked pomegranates on reserved ground nea.r OUtcr edge, the remainder. black.
THE ATTIC Pvxu SA1.LT
Side 0llitl: resen'ed band. black band. Base moulding: rt.-,;en'ed band. black line. H.esen"ed line abm'e and below frieze. red·figure·' women' ARV ..'IO"J u· h ter. Briseis . _ Painter, . , . .u: 1'\1t.: AI/e'll"~" f/lnlllll n •. fig. 195: Cecil Smith, Cutu/ogllt" 01 ,hi' Gr"f'fc Ill/(/ 1.1r1/5(:1I1/ VaSl's ill ,h" lld/ish MIISl·IU". Ill. 110. E 769. CII. 480·470 H.C. 9. A.,hn,.s ~ol908. from Athens. PI. 18.1. Fig. 9d. . lid ml.,>slOg. H. 0.094. D. at rim 0.081. H. of foot 0.024. Cnnca\"e. IIN.'t Ilange hlr lid. tall. comex lripanite fool. Blad. hand. rl~cned line abO\'e frieze: bd(JII'.· black band bel~een reserved lin~.
Close 10 the Wedding Pailller, red-figure: Judgement of Paris: ANV. 924, CVA. Greece I. Athens I. pi. 6. 4·6: Purtllip(ml.'lItl, 431. 0,. 480·4 m Il. C.
10. Cumbnclgf' GR 10.1934. Knob missing. H. 0.094. tOlal presened H. 0.103. D. at nm 0.086. D. of lid 0.10, H. orfOOI 0.016. long r:OIlr:3\'e r:urve. side uf lid slightly concavc, tripartite fool. Lid: ahcrnating \·enica1. circumscribed palmelle bcvcn petal) and flower linked by tendril. ~hite dots abo\'e flanking f1o~ers and below in tendril loop on either sKle of palmene. Side ot/iel' black. Reserved band abo\'e and belu~ frieze. H.ed-figure. Zcus pun.uing Aigina: JUS qo (1970) 19.\-194. pI. I. I-J. et/. 470 lJ.c. 11. WursUlt' /98509.
Insel flange for lid, long COnC3\"e ~all Io\ith torus moulding al haloc. tripanite fOOl. lid flat with down-turned rim. conc:l.\·e In profile. acorn knob. H.t'~en'l·cI: acorn knob \.glazed line around l'cnter to differenliate Ihe two parts alld black moulding at base), lo\.\er edge of lid and upper surface of body, gt(x}\"e a~)\"e base moulding. fool. Black. Maria L Hernhard. Gn'cfc;e MlIlunom WU:Oln'. fig. 51: A,1toro XII. 174 and footnote 8.
RUTHERfUao Ron:ltTs
J7
12. Lunn .17./009. lid nlissing. box mended from numerous fragments. H. 0.105.
0.0.10. Inset flange for lid. long body, conca,'c; closed. flaring foot of proportionatel}' small diameler. onset moulding above and below frieze. ornamented wilh black net paltcrn . Diad-figure. Io\omen: CVA. France 20. Laon I. pI. 11. I-J. Co_ 490 H.C. "fhe p}xides listed above dcrin= from Ihe yea~ 490-470 H.C. and they havc cenain common characteristics. They are concave with an inset Ilange at the top for the lid. The lid has a down-turncd rim to cm'er thc flange and in some the lid profile colltinues and completes the cune of the body. In IWO instances (nos. 7-8) the lid has a do~n·turned rim wilh a flangc set belov.' it. Both a long slcnder body and a squat compact body may be found. both continued in thc ~ellled red-figure classes 10 follow. The grealest diversity comes in the form of the foot. Most arc tripartite. a few have a ring foot but the influence of foot types of olher vase shapes is also apparenl. 80th psykter (no. 11) and cup foot type C (nos. 3-4) may be recogni7ed. The number of black-figure and red-figure examples is fairl} even but there arc also rare black-glaze (no. 11) and patterned examples (no. 2·J). Singletons occur whose slyle links them to small black-figure classes (nos. 1. 4). These IWO decades are Ihose of erratic experime0l3tion from ,,-hose e1emcnts a new canon eveOlually cmerged. The frequent lack of harmony between Ihe three pans-lid, bod}' and foot is suggesth'e of the experimeOlal ferment evidenced by Ihese vases. ~ne number of singletons should not cause surprise as it is evident no workshop specialized in the production of pyxides. There ~alo little demand' few were made and evcn Io\'orkshon.: which d" ,,Id prodUce small classes also made sin/lllctons. I take the long bodied type first. Athens 19271 (no. I, Pis. 16.2 and 17,2) has a base moulding, tradilional but ouldated by ca. 490 D.e. Delow it i~ a low bev...led ring foot. The lid profile connects
J8
THE ATTIC Pun
this vase with the Class of Berlin 2034 and the three confronted pairs of hares and hounds are replicas of those on the Mannheim pyxis (PI. 16,0 of that class. The side of the lid is black and the frieze framed above and below by a row of d to belong 10 the experimental period of 480-470 B.e. The style seems to ha\'c a slightly earlier flavor especially pronounced in the figure of Aphrodite and indeed Rhomaios and S. Papaspyridi (Karousou) dated the vase 10 that decade,4' Pyx;de.~ decorated by the Pistoxenm Painter. Brussels. Biblio· theque Ro)ale 9 and soon after Oxford 1%5.130 (no. 7. PI. 18.3). v,hich mal' be by the artist. were made before the canonical type uf the P"nlhesilca Wor,,"shop ""as introduced, The same is the case for Athens 14Q08. The Pistoxenos Painter's female ~ and compositions seem to have provided models followed in the decoralion of pyxides by certain members of the Penthcsllea workshop.4t
42
THE ATTIC PVXH
4J
NOTES, CHAPll:.R 11 J. AlA SO 1I94b) 118. The IrtiJICSI populllrity of the palmcm' K'mll border lie$ in I~ pniod 510-500 D.e. ~ b1acllAi'lIlY pIIlm~tC'li 011 the p,".il; lids hiJ'~ ftorn Ihlf1tvl tu fifi:~n pnals. Therr is linl, s~ brt--a:o the pnals aDd the l'ncirclbJ vine. Unusual futures arr lhe ~ in the f,dd and t!'le palmellt Maru in OUtlie.: l«hn"!",,, Compare ,he p;llmt'th: PY"I\ In Dn:~l'n i ..... zv 54
'.-0
2. A,II,'tJI'SI XII. 181. fOOl:notl' 5. Athens. Cnamic'lls wp lJ r. a l'OlXau: py"b, .. ,th a rounded bb'ck moukhnllll Ihl' base and ~gl' of the lid. ~ bOl:lofll ill na' ..·ith a slightly deprl5.~ ..tn at the ten.." as in the red·fil!'\I~ uampk'. Thb. Jl)'ab ha~ bftn attributed 10 the POll", ly\iadn .. hO!lol' signature appt'I"" Of' a kOlhon in l.JOlls. Tht' rCSI:ned coIor and raised rid~ doltf:d .. ith glur simulate ...·000 IS on kolhuns attributed 10 this potter. A1t~mlling black and IT(! {ongut's (an c:lcmcnt in lhe deroralion of kOlhuns. type A and III ornament ,he knob. Particularly dose a", th.. furm and arrangement of palll:rn~ on a kOlhun in Cupcnhal'1Nl d.·rAkropoiiS:II AI....". pl."J and p. 51. no.
"".
7. JHS I~ (18941 194. 8. ARV. 0458. 1; CB. Ill. no. 140. pb. 16·;; (Boston IJ.l86). 9. This ch....nerislie ronn«t\ Brussels Blbhothtque RO)';I~ 9. Athen\ 18511 and 18518 ,,'ith py1id~ (Jft)'llE D. 10. D. Feytm.ns. Ln V4Jt'S Grws d... ,,, Bib'fO/'~q"r Roy"lr de Bdgjq", (BrusKb 1948) 51. profile dr••ling. 11. In. k-tter of May 14. 1969. Mr. Richard Nicholk .kindly "tlJ(e the foflo""ing .boIot the fonc: "It .I!iO shll'Wis "hat is Itn of the foot. "hich has broken ''''ay undel'Tll'ath and appa.renlly been ground level in modern tiron. Under lhe ,'H·um\laoc..",. o:rtalnty is nOf ~~iblc but then: scem to ha"e been three •ymmettkal breaks with kvelish surfaces ~t"'ern thrm (unlcu wholly aue to the modern grinding)·-i.e. pos.sibly a tripod foot:' 12. ABV. 649. 248. Li~1 of his l\·orlr. on pp. 651-652. 13. ABV. 643. 159; Graef. Oil" u",ik,,, V'urll ''0'' de, Akmpolis :11 AI/Ill'''. pi. 89.
"'29. 14. ABY. 6043.158; Grarf, DjI' ullIik,,, Vus"" 2028a.
l'OlI
duAkropoiis:1I Atll,,". pI. 88.
15_ AB\ b-M. 166: Thomas b~ Dunb..bin .nd 01:""",. Pnoc...... 11 toxford 19621 J4J. pi. 142 top ntht. DO. J 10. 16. ABV b44.lbS;JJlS -111951) ISS, rlf. 5. WhLll\ortIt ramler 17. CVA PolOInd 4. Warsa.- t. plo 4J, 1·7. 18 JIIS "I (19511 ISS. filariant on Ihis poM' ;.. ..,.'-..:nled 00 the O~tord pyu~ (pI. 1II.Jl, one hand protrudC"l "hilt- (he nlher ~hrn... merel)' as a bul~ benealh th,' 1I;mali"n. The Penlhesilcan rdlNlions portray a "oman loCated in profile 011 a diphrO!> lonce on a bl"c1l.1 "ilh bolh nm, hidden. but 11 hul~ abo"e lhe: knee le~c1 shOVo's Ihe position of a hand as in the O~ford py~i\.
,
CHAPTER III The Penthesilea Workshop FIRST GENERATION
I he lirst grouping of pyxides from this ~ork~hop i~ Ii~ted helow,
thl' and thc follo\\ing li~ls Ihe kc}' pieee is given first; t!lcrearter the \,1~es are nunlbered in approximatcly chronological order. Fraglllcnl~. ~hich can prob:lbly be assigned to a class. arc ghen at Ihe cnd of the list. Lids are pattcrned unless otherwise indicated and are dcscribt..'tl frllm the cenler outwards. Vases compared to a class arc not nombered. In addiliulI to the AN V references. lhe tx.... t or most aCceed band. irregular reserved opp0'iing triangles. 917, 203.
TllE ATTIC PYxIs
16. Mal/du's/er U"il'l'Tsity III I 2. 1'1. 31.2. Lid mb.sing. H. 0.14. 0.0.15. H. of foot 0.03. Resented line abm'e fric1.e; lwlDle laurel \\ reath. "I\.';,r the Palllter of Bruloseb R JJO. "Arrhal of Jouth \\oUlh. \. "Illall. maid-Pari~ and Helen?: nun.e w;lh babe-N;kO'llratOlo?; "lllg-Mellelam.':'-: ,lnd maid). AIl\'. 931.2: L. Gluli·Kahil. Ll·.~ 1::lIll'l·f'ml'IIt.~ 1'1 h' HI'fUllr d'l/f!le/ll'. p. 177. footnole 1.
17. Genel'u /0763. H. 0.114, H. with lid 0.172. D. at rim 0.086. D. of lid O.llq. H. of foot 0.034. Lid: tongue and dot. laurel. tongue and dot. Reserved line above and below friezc. The Group of Athens 1591, Women: AHV. 955.2: t'VA. S\\itzerland I. GCllcva 1. pis. 17,7 and 18.5. Ut Df'/os. fr.. from Delos. Maximum pres. H. 0.08. D. 0.108. Lowcr pan of COIIC:IVC wall and concave lripan;te fool. !Jr)/lom: dot and IWO concentric circles. Rays bcl"cen Tl:SCrYt.'d lines below friez.e. Veii Painter. Woman seated and \\omcn: AHV. 906.112: De/os, XXI. 71.
19. Oxfurd 1929.754. fr .. from Greece. PI. 25.2. 0.0.115. Flange for lid and part of concave wall. Wide black band abtl\'e fricze. Painter of London 0 12. white ground: \\omcn \\ ith lyres: AR V. 963.95; S('/f'l't. no. 367. pI. L1.
Wrollgl~ restored. Like Oxford 1929.754 it \'Ias a full·siLed ppis \\;th a tripartite fool. Int~ntional red on Interior
PI. 25,1. Fig. x. Pres. 11. U.06. D. oftlange eSl . ..:a. O.I:!. About half the lo"'er part of the ('onca,'c wall and a section of tripanile foot including about holf of one notch. The foot profile \'aries from the usual Penlill..'!ilean tn>e. The base line of the receptacle does nOI slope immediatel)' into the fOOl but first makes a slighl step. The Veil Painter. Women: ARV. 906.113. 22.4//11'111. A,I?onl P 2425.1. fr .. from Alhens.
,
23. A/lwm. AgurII P4734. fr .. of lid. from Athens. PI. 32.2. Knob missing. D. est. ca. 0.17. Base of knob raised above surface of lid and decorated wilh debased tongue and dot. I hi tongue and dOl. \·enical. circumscribed palmclI~ linked to 101U~ llo\'lcrlo. black band. nopped interlocking maeande~ in groups of 1\\0 scpaf:ltt.'l1 h}' four·poinled slars. Side lid: laurel \Irtalh (tie presened) thcn tiny tongues belo"'. Penlhcsilca W\,rk~hop. probablY:1 lid for a \\hile ground pyx;s. Athen~, Agora. surface lind.
or
24. BruIlnm 28911 u"J 289h. fr .. of lid from Brauron. Venical circumscribed palmetles \\ ith leaf abO\'e and bclo\\ in spandreh. circums.cribed palmelles linked 10 low) fltlwcr" wilh dots in \olutes of lotus. laurel. SiJt' l!/lid: egg and dart. Red·figure. probahly a lid for a while ground pyxis. The patternS are simil:lr to those u!>Cd by PenlhesiJeans but not in this sequence. The formulation of the pattern on the side of the lid has no exact parallel 10 m} kno'" ledge.
20. I1ruuroll 58. fr.. from Brauron. White ground. women.
COMPARE
A1urkn. H. 0.097. H. with lid 0.13. D. 0.085. Domed knob. conca'"e. lripanite foot. Lid. net pattern. laurel. debased tongue (black). Side o} lid. ray'!.. MOUlding. then two lines above and below frieze. Llln'rlll'
21. Alhell$ /592 (CC. 1554).
H. preserwd 0.079. D. at rim 0.11. Inset flange. conca,'e "'all presen'ed to near base. The Curt ius Painter. Youlh and \\omen: women: ARV. 935.76.
51
S,AI.l,. Y RUTH £RFUIU) ROBEJl:u
52
THE AtTIC
Pvns
White ground: Arrival of Paris and Helen at Troy?: AT:I A "tiquQ AG. Auktion V. 0\',7. 19M. no. 134. pI. XXXVII. Influenced by the Penthesilea Workshop in profile and pla~ment of dttorath'c elements. For the foot profile compare Athens. Agora P 24253 (no. 20) and Cambridge 4.1943 (no. ]). For the knob er. Harvard IQ25.30.39 (pI. 54.3) of the class of that name. The Pcnthesilea Painter and his followers are kno.....n pr1nlariJ~ for their decoration of cups and secondarily lor stemless cups. o;kyphoi and pyxides. 1 Beazley distinguished a score of hands in this ~orkshop and emphaloizcd that collaboration between ..... 0 artists on one cup was frequent. Unfortunately no single pOller's signature remains eitlu:r on a cup or pyxis. Blocsch named the class of cups as the "Drcikantgruppe" after Ihe significant form of the foot profile. J The form of pp,is type A chara(urislic of this .....orkshop firsl appears around 465-460 B.C. Its most prominent features are a 10llg body. concave walls slightly slrengthened towards the base and a Iripartitc funt with low rounded notches. Thc sections of Ihe foot are generally unequal in idth. The fool is resen'cd .....ilh a black base band (.....ithin and ilhOul) and a black band runs around the foot above Ihe heads of Ihc notches. The fmu is simply framed above and below by glazed or resen'ed lines. The lid is nat with a slanling edge completing Ihe concave curve of the body and covering the inset flange at Ihe lOp 01 the body of the vase, Several phases may be noted in lhe de,'elopment of the Penthesilean p)'xis. lype A. from the time of ilS formal ion around 465-460 B.C. and its proliferation in the 45C)'s by follo~ers of the Penthesilea Painler. A ncv.· stage in the use of the fundamental canon is evident around 440 B.C. The first grouping of pyxides from the Penthesilea Workshop shows the manifestation of one canon of forms but considerable diversily in details and measurements. The diversity is probably the result of a large number of artislS .....orking in one shop. A large proportion of .....hite ground pysKles known to us date fronl the first efflorescence of this shop. Tllc ..... hite ground pp;i" b)' the Penthesilea Paintcr in New York
(pI. 2O.ll is lhe central piece of the class.· 11 !turpasses the rest in careful attenlion 10 the articulation of !turfaces and in the balall(_"\, of ~ hne ground and red·figuR elements. The knob is of a domed 'ihapc di' ided bclo~ b) a horizontal gt(xwe: Ihe "Icm is raised slighll) 3oo\e the surfact: of the lid, Wh3t follo\\cn. made of such :I knob 1ll,1} b{' scen by looking al Berlin 2261 (PI. 26), Munich 2721 (PI. Iq.l) and 'oIor!t{' still Oxford 1%1.408 (PI. 3td), The cardinal fe:lture oflhe !thape is the long conca\e cun·c of the \\all strenglhened bUI linle at the base. From the base the \\alb cunoe dO'oln\\ard .. ln form a tripartite fOOl \\ith rounded notches. _The ~ide of the lid is decorated \\;th a wreath of laurel. This is an unllsu:ll fe:llUre rept: 1288 (nos, 2·5), In each the COIIl'a\{' cun-e 01 the wall!> ha'i bl,.'C1I intcnsified 1O~'ards the basc. '1 he tripartllC loot is similarly shaped though the rounded notches arc Illote l'a'\uall~ fnrl1lt:d in the Ancona. Athens and Munich vases. All haH' the black gla£ed ba.\oC moulding. though Ihal of Munich i.. l't.lIdel} cxaggerated. The frieze is framcd by gla£e lines abm'e and below in the case uf the white ground vases and by rcserwd lill{'s IOr the red-figure \"ases. Slight variations should be notcd. The louHe pp:is halt a \\ ide black band belo\\ the lower gla£e lin{' \isuall~ IIJlcn~il~il1)! the tcrmin'ttion of lhe concan: cune of thl' \lOll!!.. -I he Ancon:l pp:is h:ls a simple glaze line but sel as if a IO\lcr r'lltcrn border ':':j bet' .... ;llIendcd. Indeed slll'h a fe.l.\ure became
54
THE ATTIC Py:us
common aI a later date. These vases ~crc decorated by PcnthesiJeans. The LoU\TC PYllis was painted b}' an artist "perhaps connected with the SOIhcby Painter,'" The BaltImore while ground pyxi'i (no. 8. PI. 221 by the Sotheby Painter7 should be closely connected .....ith the first grouping and l:~pt'cially ~ith Louvre MNB 1286. The walls of the p)'xis arc as}'mmetrical \\ith the consequence that one side ha~ a flaller concan~ cun'e with greater strengthening 31 the base. The other side prescllI!o a I~ complicated CUTve. The elements framing the frieze resemble those of the white to:Tound vases Lom'rc MNB 1286 .md Boston 65.1106 (no. 11). The greater height of the foot. tall slender stem and disk knob with bUllon differentiale it from the foregoing examples. Athens 2188 and Geneva 10703 share the!>c chara{"teristic~.
Athens 2188 tno. 9, PI. 23)' has been damaged greatly and the box mended from many fragments. Ho",e\'er, the complete profile of the vase has been preserved on one side, It is 3:lo)'mmetrical and the cro',~.-ning butt\ln of the knob ofT-center. The base uf the stem is raised abo\'e the le\'el of the lid as in the Baltimore pp:is. Thilo ppis decorated by the Painter of London 0 12, with Its slender stem and disk with button handle and tall foot would appear also to belong tu the first grouping. Geneva 10763 (no. 11)' was shaped more hastily as may be seen in the oO'-center placement of the knob on its slender stenl. The height of the stem and foot connect it with Athens 2188 and Baltimore 48.2019. The careless quality of the decoration corresponds to the poller's 'A'ork. The Baltimore vase should be dated to about 460-4SO D.e. Cardul polter's work is characteristically underlined by the differentiation bct\\'een the le\'el of the base of the stem and [he surface of the lid. The style of the figure work, simple framing elements and mythological subject maller corroborate the date, Mythological subjects appear on pyxides from the Penthesilea Workshop of circa 460-450 B.e., but later scenes of women in the home predominate. The height of the stem and knob point to a slightly later stage of de\'elopmem manifestcd in Athens 2188 and panicularly Geneva 10763 whcn thc canon is used casually and without much thought. as is typical of followers of the
potter 01 the PenthesiJea Workshop around 450-440 D.e. The \.\ hite ground pyxis in Bcrlin (no, 10, PI. 20) by the Yeii Paillter b connected by the height of ill> stem and knob and foot to the la~t mentioned !:rtlUp. A glaze line frames the frieze above and helo" and an outer frame is formed b) a black band se1 lIeXl 10 each. Such framing elements arc identical '" ith those seen 011 8ahimore 48.2019, Louvre MN8 1286 and BO!'iton 05.1166. The squal proponions and shon ConC3\'C cun'e of the \\alls come as a surprise. as does the widcl) proj«ting lid. The lid, hO'At'\er. assuredl) belonglo to the vase. The underside of the lid is reddened and d«orated by a dot within a small circle with a wider surrounding circle, '1 he design on the bottom of the l:onlainer matL'lleo; that undcr thl.' lid wilh the additiun of Ilnc 1Il0re outer circle. I he lid. in addition. i~ well filled to the container. The ray' ornamentlllg the outer wm'a\'e flangc of the lid ;Ire identical" ith Baltimore 48.2019. P)Xide~ of types B, C and 0 occasionally bear matching gralTiti on lid and box." '" hile pyxides of type A ne\'cr do to Ill) knolloled~c.1I HOIloe\'er, ~metimclo there are matching seb of Clln('Clllric drclelo on the underside of lid and box in type A. 1 he box almo!>t im'ariably bears these designs. When the lid bears a m:uching !>ct of circles it seems secure that box and lid bcloll!:. Ho\.\cvcr, many lids are merely rcscned, though evidencc Ill' pallem borders. eolor of clay and fit indil:atl:lo a match. The probllblc explanation lies in lhe loading of the kiln. If many pyxido ",ere to be tired in the gi\cn kiln batch. matl;hing marks on lid and box would he a convenience, \\hile if fev. there ",ould be little nct.·cloloil). Another possibilit) is the degree of care expended on the ornamcntation of a \'a~. The puller of Berlin 2201 cenainly kne\\ the canon illld the ac\"'ompanying pattern accenb but experimented in a diflcrent directioll. The date lies between 460 and 450 H.C. An unallributed pyxi!>, lIoston QJ.I08 (1111. 12. PI. 27), apprual'llCk knob with bUllon on a squat stem bcarl> no resemblance 10 the elegantly executed Berlin cxample. The haCparated by four pointed stars. The tondos of cups decorated by the Penthesilea Painter and his fol1owef'i are bordered by maeanders and cross squares. Fewer ero~s squares appear in these cup borders than on Ihe lids. zo In conjunction with these three main components. onc or two black bands are used as accents. A fragmentary pyxis lid oftypc A. Athens. Agora P 4734 (no. 23. 1'1. .12.21. has a profile similar to the Penthesilea Workshop. The (llll"r edge of the lid has a conca\'e cun'e and the pattern\ demraling the lid are similar to tho~e 011 the Serpieri pyxis by the Splanchnopl PaiJ1ler (no. 7). rhe innermost clement. tongue and dot. is lallowed by circumscribed palmettes linked to lotus nowers
58
THE Arnc Pnu
and the Quter border is composed or groups of two macanders. each l:roup separated from the nexl by a four pointed star. Two black bands set oIT the borders. The side of the lid has a laurel .....reath with a narrow band of tungues belo",", It would seem probable from the profile and patterns of this lid that it belongL"d to a pyxis of the firsl stage of the I'enthesilea Workshop. The second pallern group is more numerous Ihan the tint. In this group of lids 3 prcfcrcnct= is shown for a laurel or laurel and berry v.reath for the main band. Tv.o IKb exemplif} the careful treatment noted in the first p3t1ern group but roll~ iog this the care ",,jlh y,hich the patterns h:l\e bt.-en executed has declined. 11 seems po'isihlco Ihal these examples dale from drru 450 D.e. The arrangement of three conC't'n1ric bandJ> of ornament around the ttnlral knob continues. The innermost elenlent is romposed of a der;\'ath'e of Ihe tongue pallern. either debased tonguCJ>. tongue and dOl. or line and dol. The outer border shows a greal variation in motifs. no one pallern predominating. Thc use of one or t.....o blu(:k band .. for a(:(:cntuation (:ontillue... T~o of the ~h;te ground p)xidcs. Baltimore 48.2019 (no. H) and Lou\'fc MNB 12H6 (no. 3. PI. 33.1). Ihe one b)' the Sothcb) p.. inter and lhe olhe:- b)' an artist perhaps connected with him. sho~ the careful execulion of pallern borders characteristic of the tirsl group. A laurel wreath forms the middle OOrder. The central seclion of lhe Lou\'rc lid b, misJ>ing. By analog)' "'ilh Baltimore 4H.2019 and olhers in "'hi(:h the stem broadens OUI into a base raised aOO\'e lhe Ic\el of the lid. such a 'item base and accenlualion belween levels ma), be reslored for lhe LoU\'re lid. The {'hoke of macandcr and erns....quarc fur lhe outer boni.·r of the 1.... 0 1id~ conneClS lhem "ilh the firsl pallern group. Alhens 1288 (no. S. PI. .1.1.2). h.llo a J>chclllc of decoration \'ery cloloc fO Ihal of Ihe LOLl\'fe. a tongue and dol. a laurel garland .md 3n outer border of interlocking maeander and dOlled cross square. The hasty execulion of Ihe pllllcrns is markt:d. Athens 2188 (no. 9). Munich 2721. Boston 93.108. and South Hadle)' (no. 1.1. PI. 34.1). h;I\'e.1 \'arialll pattern of laurel and rai..ed white berr)' for the main border. The laurel on Ihe Boston and Soulh Hadle)' lids is tied at the ends like a wreath. Th{' outer borders arc varied. debased tongues for Athens 2188. longue and
SALLY RUTHEI.'UIID ROeEI.T5
59
dot for South Hadley. double dots for Munich 2721 and a line and dot band for Boston 93.108. The lids of Vienna 3720 by the Painter of Lundon 0 12. Oxford 1%1.468 (PI. 35) b)' the pailller of Bologna 417. Athens 1591 (PI. J-I.2) and Gene\Ca 10763 by the Group of Athens 1591 sho.... a hast)'. ahnO§t mechamcal rendition of Ihe pattern borde~. Debased tongue pattern frames the main pattern border of laurel on Ihe Vienna. Mhens and Gene'·a lids. T~o plain black bands frame the laurel pal1ern of the Oxford lid. fullu"cd by an outcr border of rays. The shape of these pyxides !ieenlS tran.sitional and the) ma) d~tc bet~ct'n 450 and 440 B.e T"o pyxis lids. Honolulu 3598 (no. 15. PI. 37) and Athens 1741 (ml. 14. PI. ]8) are ornamented with a different principal pattern. Lolll!> buds arc linked b) arcs ~ith dots set ahO"e and below in Ihe spaces. The Honolulu lotus patlcrn is cardessl) executed and lacks dOls anlOng the outer an:!Io. The outer pallern border is composed of a Lig~ag line containing opposed triangles. This pallern reappean in the border below the frieze. This coordination of a pallern band on the lid wilh another on the box is unusual. The lolU~ chain border occurs again among vases of the Penthesilea Wo;kshop 11. Before "e take Iea\e of the first Pcnthesileans. mention should be made of a fine white ground pyxis in Boston. decorated by the Hesiod Painter. a {'tllltcmporary of the Penthesileans but in his slyle an outsider. B{/~((",
98.887. from Eretria. PI. 34.3. H. 0.107. H. with lid 0.176. D. ofJid 0.146. Lid: black band. tongue and dOl. black band. circumscribed palmelles. maeanders ill groups of six separated by cross squarcJ> . black band. Sidt' ~(Iid: re"crsed rays. black band. 801lum: dol. t"O concentric circles. and band. Black glaze moulding. while groove. hlack line above frieze: be/v\\': three black lines and black band. Hesiod Painter. v.hite ground: Muses and ncatherd (Hesiod?) lopccial commission: ARV 774.1: CB. 1. pI. 15.37; PurulifJ()lt/etla 416.
THE ATTIC" Pn::l~
SALLY RUTHIE.FURD ROBEJtTS
BOIh in shape and in ornament this piece proenls points of similarity ~ith \'ases produced in the Penlhesilea Workshop and certain significanl differences. The profile of the \'a~ e~hibits a conca\e curw slrengthencd at the base and completed b) the uutward curw of the lid. The foot is tripartite ~ith rounded nOlches. Lid designs closely resemble those of Berlin 226 I (no. 10. PI. 30.2) by the Vcii Painter. The differences are as follO'o's: a pear knob rcplaces the usual disk knob with cruwning bUllon. In all but ,lIle exanlplc in the work of the Penthesilea Workshop the l'onCa\'e tun'e of the prolile of the box is echoed by a conC3\'e curve of the fuul. There is a sloping line which descends from the base of the receptacle Iu the fool. In the Hesiod pyxis the base line of the reccptade rUIlS horit.untillly across to the fool. Thi" detail may be dearly seen in lIambidge's drawing,ll The Hesiod Painter is an outsider. 1101 a PCllIhesilean: the \'as(' has been dated 460-450 B,e. by Bc:rzley.n No doubl the roller who thrello' the vase was familiar ~ ith the lIoork of his ncighbors. though not uf their ~orkshop.
CLASS OF OXFORD 19hIAtl8:'1 RANSITIONAl Pis. J6.J and J5. H. 0.095. H. with lid 0.145. D. at rim 0.OS7. D_ of lid 0.125. H. of foot 0.025. Lid black hand. laurel IIorcath. black band. ray... /lilt/m", dot. eoncenlric circle. lIoider concentric cirde. Black glazed moulding. rescncd line abow frie7e: bdulI': rescnl,en'ed; bouom: dot and IWO concentric circles. Black glazed moulding. reserved grOO\'e above frieze: bdull': rays bel\\een IWO reserved bands. The Long Chin Group ..... oman: AHV. 1221. I.
Ph. 41 ,2 and 47.1. 11. 0.124. H. with lid 0.179. D. at rim 0.108. D. of lid 0.15. H. nf foot 0.03. sct·tions of fool: 0.08.0.089. 0.07t1. I id dehased tongue and dot. black band. laurel, black band. deblbed longue and duI. Lld fllIl'n'o,' re~ned: bonum trace of circle and pnhaps .. mall central circle under ]iml' dcpmil. Blad glazed moulding. groo\c. racncd line abm'e frieze: bdol\" ra)s bcl.... een resc.... ed band!>. Painter of Hcidclbcrg 209. Pelias and his daughlers; AR V. 1289. 25: Seehan. /:/Ild,,!> ~/I' la TruJ.:/dh' Gr('('qlle. 479-480. fig. 1.17. 4. P(/r;5. LOIlI'rt> CA 6.16. from Eretria.
5. Muy.·I/I·.·. Unil">r\ill' 116.
PI. 43.3.
11 ~ith lid 0.181. I id rkba..cd tongue :1nl! dOl, laurel and herry. black band. 1ll1leandct"> alternaling ~ilh eros" squares. Ulal'k band. resened line abolc Iricze: hdOl": laurel and berry. KAAH inscribed by each figu,e. I he Oppenhcimer Group. Heslia: .....oman seated with torch. and foul' .... Omen approaching her; woman seated. anlt .... oman.
.5
THE ATTlr PyXIS
SAllY RUTHEIIFUJU) R08EIITS
ARV. 1224.2: Hampc and Simon. Gri('chisches LI,bl'II im Sl'il'gf'l
Black glazed moulding. resened line above frieu; below' groove. sloping keel articulated by a moulding and a groo\e on either side of a sloping section decorated with che'rons. Painter of London E 777. women: ARV. 943.78.
I/l'r K III/~t.
pI. 28.
O. YIlII' 1913./53. Knob mb~ing. H. 0.115. D. 0.089. D. of lid 0.128. Lid. egg. black band. egg and duI, blal-k band. egg and dol. Lid il/ft'r;ur: resened; bottom: dot and concentric circle. Black glazed moulding. resened band abo,'c frieze: bl'/o\l': egg and dot bctv.cen rcsencd bands. KAAH is inscribed on a block to the left of Ihc door on v. hich a A'oman is seated. Painter of London E 777. v.omen: AR V. 944. 83: Baur. Cotulogue of ,h,. R,.bt>Cco D. Stoddaro Coi/«,io" o} Gn'i'le and Italiall VUS,.s ill Yult> U,lil·t>rsit)'. 103. pI. 12.
7. London £ 777. Pis. 4S and 39. H. 0.13. H. wilh lid 0.191. D. of lid 0.157. Lid: debased tongue and dot. lotus buds pointed outv.ards linked by arcs above and below (dOlS above and lines extending from buds helov.). black band. interlocking maeander in groups ofrive and SLt (once se"en) alternating v. ilh cross squan.~. Sidt> of lid: rays. black band. Black glaze moulding. resen'ed groove abo\'c fricze: belo.....: black band. egg and dOl between resen'ed bands. KAAOl: KAAH is inscribed twice in the field and KAAH tv.ie.: alonc.
Painter of London E 777. women: ARV. 944. 79: C. Snlith. COIuluglll' uf Gref·1e olfd Etnl,fcal/ VaSI'S ill Ihl' Bn'lish MIlSf'IW'.
Ill. 309. E 777. 8. Paris. LOlIl'rl' G 605. from Greece.
PI. 46.2. Fig. 6 and chilon. Profile as in Penrhesilea Workshop. Walllhicker than in Brauron 176.
e'l
4.fO H.C.
Around 4-W D.e. a different stage in the forming of pyxid~ of t)-pe A bt..'Comes apparent in thc Penthesilea Workshop. The \'ases an: of standard siLe and red-figure technique. There is no cvidence that the production of while ground vases continued. The original canon has been exaggerated but is the basis for these later \ases. TIre canon prescribed a long body, a eonca\'c cun'e strengthened at the ha~e. a tripartite foot with rounded notches, a disk knob with cro.... nillg button and a fricze bordercd by Iinel>. III lhe later vases the lOllnC3\e cllne is dra.....n in tov. ards the base of the vase and then much inl'rea~ed. Compare the simple cun'e of Munich 2721 (PI. Iq,I), \Iilh the more pronounced cun'e of Athens 1661 (PI. 40). The cxaggeration of the curve necessitated a further change in the fonn of a p:lttcrn border set belo..... the frieze. It usually consisted of a deri\athe of the tongue pallern or egg and dot. In the exceptional cllse "here l>uch a border was not employed the consequent di"tClnion of ligural or architectural elements may be discerned. It i~ p.micularly e\'ident on Lou\·re LP 2692 (PI. 42). The Iov.cr part of tht: column has a distinct cun·e. E\'identl)', the painter sa.... the csthctic ad\'antagc of confining the frieze to a rel3livel} Oat surface. The le\c1 of care e\'idenced in the ponerwork ne\er reachel> that achic\'ed in the first slage of the Penthesilca Workshop but remains at the :lxcrllge le\el exemplified by Munich 2721 (PI. 19.1). The disk knob "ith button rClaim the shape that \lo'as evoh'cd at th:1l st:lgl'. The lid profile has changed slighlly. The juncture of Ihe base of the lid .... ith the pot is \'ertlcal and suddenly slants out.... ard gi\ing the etlcct 01 a l>light hook. Athem 1661 (PI. 40) sho.... s this tendency \Iightly: ill London E 781 (PI. 44), the effect is pronounccd, The ILlpartite pallern band deeoration of the lids continues. Pride of \ll;h.'C i.. gi\en to the laurel .... reath. The paired lea\'cs are sloppily ~h;Jpl'C! and lie c1use along the stem. as in LoUHC LP 2692 (PI. 46 11. Hlal'k bands l'OIl1inuc to be used as acccllts. This stage appc;\~ hi lasl llnlil around 420 B.t'.
THE AlTK Inn
Athens 1707 (no. 2. PI. 41.1). probably the latest exta", pyxis of type A b}' the Painler of London 0 12. is Ihe only one of his vases with a pallern border below the fr;e1.e. The conca\'e cune of the profile is \'ery shallow .... ith a jut 10 Ihe lid which gi\'t~s a pronounced hooked effect. The presence of a lower pattern border and the emphasized lid profile are among the indications that this pyxis is later than a \'cry similar one in the Serpieri Collection (I'. 47. no. 6), b} the same artist. The tigural work is hasty and hlTlllul;lic as i.\o characteristic of thi!> artist. The conca\e cune of the walls of Athcm 1661 (no. I. PI. 40). is mon: pronounced. The .... alls are dra.....n in to.....ards the base and then flare out strongly presenling a profile more f)'pical for the Penthesilea Workshop 11. The loy.er flange is decorated by a band of ra}"S bet.....een irregular reserved lin....'$. The notches in the fOOl arc wide, low and carelessly shaped. Although the long Chin Group has been ~paraled in style b}' Deazley from the Pcnthesileans,n there i!> no doubt that b}' shape this pyxis belongs .....ith the uthers listed abO\'e, as is thc case also for nos. 4. 5, 9 and 12. either unattributed or decorated by painters outside the Penthesilea Workshop. The profile of Louvre CA 636 (no. 4. PI. 41,2) is extr:Jordinarily akin to Alhens 1661. from the disk knob with a low cro.....ning button on a stem of medium height to the 10..........ide notches in the foot: the pattern border belo..... the frieze is also identical. The artist, Ihe Painter of Heidelberg 209, is howe\'er an outsider. The painter here undoubtedly worked on a pyxis shaped by one of the pOllers for the Penlhesileans. No. 5, in Mayence (PI. 43.3). presents much the same type of problem as Louvre CA 6.36. In profile it closely resembles Athens 1661 and Louvre CA 636. Beazley attributed the vase to the Oppcnheimer Group. who arc outsiders. The pyxis is of Sl3ndard size, the curve exaggerated and a lower patlern border has been added. Yale 1913.153 (no. 6) fits the criteria for this class and is ascribed 10 a Penthcsilean, Ihe Painler of London E 777. The lower border is filled by egg and dllt, a pallern which hereafler became a favorite. The three bands of egg pattern on the lid correlate with Ihe IO~'er border.
SA ........ y RUTHERFURD ROIlERTS
,.
London E 777 (no. 7, PI. 45) the name-piece. \ari~ some.... hat from the profile standard for this class. The sid~ of the pyxis ha\'e a much flattened conca\'e cune and the lo.....er flange is emphasized. The lo.... er decorati\'e border has been doubled, a black band bet'llo'een reserved Iin~ is set abo\'e a band of egg and dol. The notch~ are tall, rounded and dra.... n in at the base. The lid profile projects !>trungly beyond the box. rhe '''3l1s of LouHe G 60S (no. It PI. 46.2). another ppis a\l'ribcd to the same painter, are more strongl)' flattened than thlbC oflondon E 777. The 10"" er flange projects emphaticall)' and i anlculah:d by a black glazed moulding set off by resem:d groO\C!i and then a sloping surface decorated .... ith chC'\rons. The furmulation of the lo.... er flange differs from that of the class and rncmbl~ that of London 1920.12.21.1 (PI. 49.1). I he Jtlup-!>hapt.'d notches of London E 781 (no. 9, PI. 44), connect thi!> \asc .... ith London E 777 and Lou\"Te LP 2692. A horizontal gmU\e casuall}' indicated as a slighl step in.... ard!> on the disk knob connects the !>ame thn.-e \'ases. I he extra\'aganl1} exaggerah.'d ('un'e of the profile of Loune LP 2b92 (nu. 10, PI. 42), allributed IQ an undetermined member of the "nrhhop of the Penthesilea Painter, indicates a date .... ilhin phase 11 ul the .....orkshop. although the frieze is simply bordered b)' resened lines. The loop notch..'.!> alsu arc an indication of the late phase. The colour of the lid is similar to that of the receptacle. It should be nOh.-d. however, that though the lid fits, the edge lies a liule inside Ihe contour line of the wall at the juncture of the box and lid. The transitional line from the body of the pyxis through to the projecting hooked profile of the lid is not smooth as in London E 781. Thus it cannot be taken as certain that the lid belongs. although colour. pallerns, knob type and profile arc characteristic of the workshop. The conca\'e curve of the pyxis in the University of Mississippi (no. 12. PI. 43.2), is strong and the projection of the lower flange more pronounced than on any olthcr vase of this class. The lower Ilange is decorated with a band of eggs between reserved lines as in London E 781. The lid, though extens;vely damaged. still preserves the hooked prolile charaeterislic of the Penthesilea Workshop 11.
70
THE ATTIC PVXIS
The frieze represents three women approaching a door followed by a flying Eros." The vase is unattributed. The painter is contemporary with the Orollol Painter, but ahhough they use many similar motifs their SI)'les ditfer markedly. A certain similarity may be noted between the drallo'ing of the door on the Mississippi "ast and Ihat of Munich 2720 by the Drouot Painter n (PI. 49.2). Further. the drapery riStS up in a flounce from the heel of a running woman in bOlh. but the Drouot Painter's women always turn their heads 10 look back whence they came. The poncr's signature on the limel of the door on the Mb.sissippi pyxis has pro\'ed 10 be a modern forgel')'. JI The pyxis. Ttibingen E 156 (no. 12). by the Aberdeen Painter has been senrely damaged. The fOOl has been entirely reslored in plaster and also the bottom of Ihe box. Two fragmenls of the lower flange with a border of egg and dart ha\'e been presenied. The height of the box alone as restored is 0.135, probably dose to its original size. There sttms no doubl that the vase ~as of slandard si7..e and originally had a canonical tripartite fool. The 10"'er pattern border suggesls as a corollary the exaggerated concave curn of the .. ails. Similar egg and dart may be seen on two lebetes gamikoi attributed to Ihc Washing Painter and dated 430-420 a.C.n A laurel wreath form!!. Ihe main pattern band on the majorilY of lids from the Penthesilea Workshop It. as it did in thc second, more mediocre stage of the Penthesilea Workshop I. The quality of workmanship continues to decline. The lids of Alhens 1661. Louvre CA 63tl (PI. 47.1), Lou\'re LP 2b92 (PI. 4b,O, Mayence 116 and Mississippi manifest the late form of paired leaves lying closely along thc slem. The leaVe!; lie limp and lifeless, no sap runs. Two black bands regularly accenwate Ihe main pallern. A IOngue and dot band surrounds Ihe knob wiln the exception of rays on Louvre LP 26C)2: the outer palterns vcry widely. The laurel and berry pallern of Athens 1707 by the Painter of London 0 12. seem rathcr to be linked wilh transitional lids sm'h as Oxford 1%1.468 (PI. 35) and especially Vienna 3720. 21 The laurel of the London market vase (no. 11) is just as in Oxford; the reserved petals connect it wilh Ihe next group.
SAllY RUTHERfURO ROBERTS
"
The llul('r border 01 rcsened pelals of the Mi\sis\ippi Pyxl~ (no. 121 links it with Ihe earlier lid of Alhens 1741 (PI. 38), by Ihe Veii polinl~r. rhe main pallern band of Athen~ 1741 is composed of hnl..l-rl IlltuS bud~. This border also occurs on lIonolulu 3598 and umclnn E 777 lno. 7. PI. 39). in a less careful rendilion. The lragllll'ntaf) lid of I"ubingen [ ISblt recalls Athcm 1741. bOlh in Ihe poillt~ of ils 10lus buds linked by- arC'S and dOlled, Ihe accenting !;llacK !;land and the outer border of reserved petals. A lutu~ bud chain with points dO~'n~ards may oftcn be seen on ,hl' 11\.'('1.. .. of red·figured column·kralcn. A considerable number of l' lumn-haters ~ ith such decoration come from tombs in the Valle rrchha atca al Spilla.)O rhe main wne of Ihe lid of London E 781 tno. 9) conlains an 3nimal fricLc: a buar .... ith snout dO~'n confronting a lion and a repeat of Ihe pair. The t~o pain are set tail 10 lail. The animal fricLc h placed bct.... I.'e1l two ron~ntric circk":!> of egg and dOl p;lIlcrn. The lid should be compared to Ihe lid of London E 77-1 (PI 47.2). altributl."d 10 the Drouol Painler,u ~ith two pairs of liom 31ld boars confronted hcl\lt.'ell band.. of egg and dot. The egg.. ha'·e been drawn on a slight slant in bolh ca!>t."'lJo. The lid of London E 774 belongs to the class of Munich 2720, which has close amnitic~ ~ ith Ihe Penthesilea Workshop 11. The Painter of London 0 12, a Penlhesilcan, occasionally d~·oratl.'d pyxis lids \lith an animal frieze. Two appear on pyxides 01 t~pe A: onc canonical example in Ihe Serpieri collection tno. 6, on p. ·n abm'e)n depicts a liberally spotted panther springing Hlward~ a bull followed hy a hoar. The olher pyxi.. , of uncanonical typc. is Harvard 1925.30.39 (PI. 4!s.2PI ~ith thrt.'e bulb walking in ~eqllellce separated by 1"'0 boulders. 1 ~o additional animal friezn ;lppear Ill! the tops of lids of pyxides of type B. one in Fulcla,l( the Iltht.:r ,llle on the Vienna ll1arket.l~ Pair~ of animal.. , eonfronled. do not I~Cllr on the lid.. by the "ainlcr of London J) 12. The Wedding Pallltcr. another Penthc~ilcan. once decor:lIed the lid of a PYX1\ tYlw A (ull.:anonica1) ~ilh 311 animal frieze. 16 1 he three cOIll'entril' bands ot" egg pallern '" ith double border!> and dots in the inten;tices ldots missing in the inncrmO!>t circle). aCl'ented by two blal'k bands on Ihe lid of Yale 191.1.153 (no. 0). arc
72
THE ATTIC
PY:u~
SAllY RUTHERFURD ROBERT5
unprecedented. They coordinate I>:ith a similar band of egg and dot on the lower flange; such decoration of the lower flange is frequent on pp;ides of the class.
CLASS OF MUNICH 2720 I. MIII/ieh 2720.
PI. 49.2. Fig. 7a. H. 0.073-0.074. H. with lid 0.108, D. at rim 0.065. U. of lid 0.085. H. oUOO! 0.021. Lid: debased tongues. egg and dot, chenolls. Lid illlt'rinr: dOl and twO concentric circles: bottom: same. Groove. reserved band above frieze: hf'low: reserved band. Orouo! Painter. Nikc and woman; ARV, 1223. 4: CVA. Germany b. Munich 2. pI. 96.6·8 and pI. 99,3.
2. Londoll E 779. from Athens. PI. SO,1. Fig. 7b. Lid missing. H. 0.078. D. at rim 0.062, H. of foot 0.023. width of sections of foot 0.046. 0.051 and 0.053. Grooved black band, reserved band above frieze; hl·tow: reserved band. Drouot Painter. Eros and women; AN V. 1223.2; Smith. Catalogue ~rGreelc alld Etruscan Vases 111, 370.
3. A/hem. Agoro P 2283. from Athens.
PI. 50.2. Fig. 7d. Lid missing. About half of the rim gone and a large pari of onc side. One of the three feet missing. another chipped. H. 0.0%. D. al rim 0.078. H. of foot 0.03. BotlOm: dot. circle. band. Black band. resef\'ed line abovc frieze; bdul\': debased tongue between reserved bands. Drouot Painter. women; AR V, 1223.5; Hesperia 4 (1935) 477-478. and 499 no. 2. figs. J and 4. Deposit: R 13:4 well ca. 440-425
n.c..
Agura XII. 398.
4. Heiddberg 51(21 (ex Parrish and RevelslOke).
Lid missing. H. 0.083. D. at rim 0.074. H. of foot 0.025.
PI. SO.3.
7J
dOl and t","o concentric circlc!>. Black band. reserved groove above frieze; beloll': egg (double borders and black core) and dot between resened bands. Pa;nter of London E 777. winged goddess and .....omen; ARV. 944.~ and p. 1675: Miinzl'" IIl1d Medaillf'1I AG. Auktion XVIII. No\'. 29. 1958. pI. 40. 124; R. Hampe. Kutulug da Sum",lll,,!: (/Iltikt'" K {('i"lwmt dt'r Ullil'l'rsituf H('idelbt'r!:: 11. Neuerwerbungcn 1957-1970. no. 85, plo 62. BUT/um:
5. Lt'yd{'/1 KVH 157. from Cyrcnaica. PI. 51.2. Knob missing. H. 0.112-0.115. totul H. pres. 0.134. D. al rim ~.095-0.099. D. of lid 0.132-0.133. Lid- egg and dot, black band. laurel. black bund. egg and dot. /Jl'lfl\l' frit'u': egg and dot between reserved bands. Buttum: doucd circle. circle. band. Compared with the work of the Drouot Painter. Ero!> and ","oman. Eros and woman. In the lield. a door between the IWO groups; ARV. 1223. The egg pattern has double borders and black cores. The profile and pallerns of the lid indicate that it belongs to the cia!>!>. but ;t is loo large for this vase.
6. Pun's Market. 1-1.0.15. Lid: debased tongues. laurel (no information as to border pallern). Bl'/o\\' .!'riezf': eggs w;lh black cores. Drouot Painter. Ertltes and women: ANV. 1223. I; V{'/I/(' L 'Hotl'! IJrollut 13 Mars, 1911, pI. 5. 13. The name-piece.
a
7. Athl'lIS 159U (CC. 15(5).
Pis. 51.1 and 48, I. Fig. 7c. Knob and greater portion of slem missing. H. 0.10. total H. pres. 0.115. D. at rim 0.086. D. of lid 0.118. H. of foot 0.027. Lid: eggs with double borders and black cores. black band. hound!> and harcs. black hand. eggs with douhle borders and black cores. Lid ill/('riur: dot and two concentric circles; bOllom: same. Flat black moulding. groo\'e. reserved band abm'e fr;eze: be/o\\':
74
TtlE A-rfl( PYXIS
I.'~g 13~
011 lid) bcn.n:cn rc..en'ed bands. Orouol Painter. Erotcs and women; ARV. 1223. b.
H. Gh.'''' /6. Ud missing. H. 0.082. D. 0.087. /lotto",: dot. circle and narro" black band. Black band. rcsened line abo'\,' frieze, hr/m,,; egg.. v.;lh double border!> and black COtes bet\\een resened lines. Urouol Painter. Erotes and "'oman: ARV. 1213.3; AIIICI 22. 398, pI. 9. 10. 9. Lnndoll. "arl ofF. 774, from Athens. PI. 47,2, Fig. 71.'. Lid (knob alien), D, 0,123. Lid: dotted eggs with bl:lCk cores and double border), black Iwnd. bO;1r and lion confronted, rcpc:lIcd: black band. dotted egglo \\ ilh black cores and double borders. Lill ill/prior' glazed. Drouo! Painter..... omen: ANV, 122J. 7. No information .lO.J (hybrid p)'xis. t)'pe A. ARV. 1224.4), Athens. fr{'lnl Brauron. Drouol Painter. womcn; ARV. 1223. 7. No information available as to form and now unlurtun:Hely nlissing. The da~!> of Munich 2720 is clearly dependent on and COlllemporary v.ilh the Pcnthc!>ilca Wurk!>hop 11. It diITer frieze. Thi.. pallern coordinates with the subsidiary borders on the lids. A lid from the Athenian Agora (no. 6). which by its prolilc and pattern borders. belongs to the class comes from a well dated to the last quarter of the fifth century. This date is applir.:able to Ihe reM of the examples from thi!> class. A ppiJ>. tJPC A. allributed to the Montlaures Painter W:l!> once on the London markct. J1 Unfortunately. no information is a\'ailable concerning its shape or paltcrn borders.
7.
SALLY RUTHERfURD ROIlI:!RTS
"' HE AlTlC PYlI"lS
CLASS OF HARVARD 1925.30.39
I. Hunwd 1915:JO..~9. from Gn."e('e.
PIs. 54.J and 48.2. Fig. 93. H. 0.086. H. IOolth lid 0.121. D. al rim 0.08. D. of lid O.HH. H. of fuot 0.008. 1 Id Three bulb. \l.:llking 10 the left and Iwo rodo; in field. helv.een reser\cd cin:lct'nC'd. Blal'k band bct"~1I n'Sencd lines abo\c frieze: bl'lOIl n","cn'cd line. black band. Ri,,~ loot: glazed with tesen't:d line at b3~C.
The Painter of London 0 12..... omen: ARV, 963. 92: CVA. U.S.A. I. Hoppin and Gallatin Collections. 9. pI. 13. 7-10. 2. 7'rJ,·(ll1oJ.21J lex Ba~lc Market). PI. 54.2. H. U.OR7. H. ",ilh lid 0.124. D. at rim 0.083. D. of lid 0.107. H. Hf 10010.01. Lid. laurel and ber!) 'He3lh hcl.... et>n resencd circll.... Lid i"/l'TIO,.: resencd: bottom rClocncd. . . Wh'll~ r1nl', bro"n glal.c hne abo\c frie7C: hl'luw hrO.... 1I gl;l£c I~nc. ",hlte band. brO"'n gla7.c line. Rillg,lUfl!' gla£l'fl "'ilh rescncrl hne :1.1 bil"e.
Painter of Lundon D 12. white ground: women: AH V. 1675.94 bis: M,ill:l'f' /llId Mmuillt'/I AG. Auktion XXVI. October 5. 1%.1. no. 149: HMI-It 670(9) 81. ligs. 11-13: Purulipul1lt'lIu. 434.
.1. Porl\. MII~.rl· Hmlill
re 155.
Lid Illi,,~ing. 11.0.113. D. al rim 0.095. D. at hase 0.U5. H. of loot 0.017. Black band. rc"en'l't! gruU\e abtwc frieze: ht'/IIl": rc"el"\~'d line. HillJ: I""t: gl:lI;ed. Hcd-ligure. women and bearded Illan leaning on stall": CVA. France 16. Musec Natiunal Rodin. pI. 26. 1-3. 4. AIIIl'm. privatc.
PI . 32 .1.
Mea!>ure1l1cnt" un:wailahle. Ud· tongue and dol. linked cirCUIll!>crib\:d p;llmettes .... ith a leal
79
III each !>pandrel. debasl-d tungue!> dotu:d abm c and belo..... Black band. re..ened band aOOH" frie7c: hl·I"" resen'ed hne. Hm!! If Hit gla£cd. Vcii Painler. (.... oman. }"oulh): ANV. 906. 115. The lid may not helong.
S. LII'I"r 5.1Y-16.5.lo. PI. 54. L ParI of stem and knob missing. H. 0.09. 10lal H. pres. 0.115. D. ul lid 0.123. H. of 1001 0.019. Ocba..ed tonguc!> on base of knub. Laurel. hlack band. debased h1ngut.'!> on lid. ~ Black hand. n.'!oCf\'cd line aoole frieze: helo"'. resen'ed line. black band. Painlcr of London 0 12. women, ARV. %3. 91: HMFA 67 09(9) 83. figs. 15--18. b. ~)·dllt·-" 5.1.06 lex Fau\el). from Greece. PI. 55.2. Lid missing. H. 0.0635. D. at rim 0.066. mu. D. 0.087. Ih.",el'\(,-d line .:abo\e frieze: bl'ifJI" re"\cnlu lint'. bl.:ack band. Ui"K IU in base of slem for repair (knob a reSloration). H. 0.086. total H. pres. 0.091. D. at rim 0.089. D. uf lid 0.123-0.125. H. of fout 0.012. Lid' dehased wngue and dot. black band. laurel. hcrringbone. Silll' 01 /ill: reserved. LiII illt"riur: rc,crv~:d: 1"'"11/1/: rescl'\ed. mack glazed moulding. reserved groove above frieze: hl'/olI': re,erved line. black band. rt.'!>crved line. black edgt.'. HillJ: ./,nll: n:~crverl.
Wedding Painter, birth of Aphrodite: ARV. 924.34; BMMA 35 (]940j .17, lig. 2 and 39. lig. 4.
80
SAllY RUTHERFURD ROl:lERTS
COMPARE Berne Historisches Museum. Loaned by Christoph Clairmont. Fig.9c. Fragment of loop handle preserved. H. 0.092. total H. prcs. 0.123. D. at rim 0.077. D. of lid 0.105. H. offoot 0.019. Lid: sheep confronted by a panther and (ollo",.ed by another panther between two reserved circles. Sidf> of lid: herringbone. At base of lid a moulding. Interior of lid glazed: bottum: five concentric circles. Black band, reserved line above frieze; below: reserved line, I;Ilack line. Wedding Painter. Danac ill Scriphos; ARV. 924 . .15; AlA 57 (1953) 92·94, pis. SO·52. T.O.L. Webster, Polter ""d Putroll i" Classical Athem. 263. Notches of foot not indicated on profile drawing.
The Class of Harvard 1925.30.39 was decorated by artislli to the Pcnthesilea Workshop. The lids prt~r\'ed show patterns fanliliar from the Pcnthc!l.ilca Workshop I, and especially from the transitional stage of that workshop. The subject maller. female genre scenes placed in a frieze arrangement around the body of the pyxis. framed by simple resen'ed lines. is also typical of that workshop. The body has a long concave curve st~ngthened at the base. The striking and unusual feature of the class is the foot which is low. glazed and of ring formation totally unlike the concave tripartite ~served foot characteristic of the Penthesilea Workshop. The vases are small, slightly smaller than those of the Class of Ol:ford 1961.468. 40 with which most are contemporary. Five lids are preserved and a drawing of a sixth. which is now lost. The two knobs preserved are of a casually formed domed shape and the drawing of the lid. once belonging to Sydney 53.06. shows a knob of similar profile. The Harvard (no. I. PI. 54.3) and Toledo (no. 2. Ill. 54,2) pyxides 3re very close with respect to profile. measurements and decoration, The side of the lid of the Harvard pyxis continues the concave curve of the body. a canonical feature Qf the Penthesilea ~Ionging
8'
Worbhop 1. The sKle of the lid of the Toledo pyxis is slightl) con\U. The domed knob of uch is set upon a squat stem "'hich lopreads and blends into the sloping surface of the lid. The glazed ring foot is men'ed at the base in each. Except for the contour of the side of the lids the pyxides are counterparts, made by the same poner, decorated by the same painter. ooe in red·figure and the other on white ground, The pyxis in the Musee National Rodin (no. 3) is slightly taller than the Harvard and Toledo pyxides. The conca\'e curve of the walls is acceotuated towards the base. The curvature is noticeable in llle distortion of the columns. The glaz.ed ring foot is taller and makes a better basis for the vase, A pyxis by the Veii Painter in a private collection in Athens (no, 4. PI. 32.1) is very similar in profile and proportions to the Musee Rodin pyxis. The curve of the walls is accentuated towards the base, However, the reserved line below the frieze has been set a good distance in from the edge. minimizing the curvature of the columns of the frieze, One is reminded of a like treatment on a while gruund ppis in Ancona by Ihe Splanchnopt Painter of the Pt!nthesilea Workshop 1. 41 In bolh. room is left for a lower pattern border, though the space is oOt utiliz.ed. 1 he Exeter pyxis tno, 5. Ill. 54,1) is similar to those of Han'ard and Basle but possesse'li a ring foot so low that the pyxis appears to be balancing on the base of the vase itself. The flat upper surface of the lid is clearly differentiated from the base of the stem much as in canonical lids of lhe l'enthesilea Workshop I and may be l'nmpared 10 Athens 1288 (1'1. 21). and Baltimore 48,2019 (PI. 22). The S)dney pyxis (no. 6, PI. 55.2) is smaller than the olhers of the class and a little squauer. When the pyxis was published by St:lckelbcrg in 1837. it still retained its lid with a knob of similar prolile 10 the Harvard and Toledo pyxides, According to the dnl\\ing in Stackelberg· z the contour of the vase slopes from tile ba~e tuwards a flaring ring foot. The Han'ard py"is (no, I, Fig, 239. footnote 7. There is a discrepancy betv..een the style dated by Jacobsthal to around 460 D.e. and the shape which is old-fashioned. Most Attic pyxides ilb a base moulding date 10 before 520 D.e. Three later examples are Alhens 19271 ca. 490. London E 769 and Oxford 1965.130 ca. 480-470 D.e. (Figs. 2c. 2e and 2d). A similar discrepancy may be found in Ickythoi from the Thespian Pnlplldrion l;trhMil/ 65 [19401 9 and footnote I [Lulliesl; Pfuhl. \llller,·; /llId Zt'il'lmu"R J. 715; Demetrios Schil:trdi, The T1li'sp;ulI Po/nll/drillll. 424 D.e. (princcton Universu} disserlation, in prngre'i$). ell. 400 fI.C. 10. RomC', collection of the late Gisela M. A. Richter. Imel flange for lid, conca\'e wall continued and completed by ('u .... c of lid, ring fOOl with slanting connection to base of box. Lid l1at \\ith rounded L'Onvex moulding at outer edge separated from the center by a groovc. Acorn knob with moulding at base of sIem. Reserved: upper member of knob, flange for lid, underside of foot with dot and two glazed circles. m.ld. ARlIra XII, 174 and footnole 8. 381. A number of the singletons of this period show that potters \\erc a\\are of the canon del'e1oped in the PCnlhL'Silea Workshop. The long concave curve and slender proportions of the Curtius IJlack pyxis (no. l) as well as the red-figure examples by the Amphilrite lllo. 3. PI. 58.1) and Leningrad Pailller (no. 2) lI1akc this plain. The placement of reserved accents on Ihe Ceramicus pyxis (PI. 5l.J,2) arc clearly derived from red-figure practice. The resencd lines abon~ and helo"'" on the conca\'e wall are placed as if to frame a frieze. The resen'ed tripartite foot is punctuated with black bands at top and base and the foot profile also follows the Penthesilean
90
I HE
An-It PYXIS
norlll. The profile of the knob ~hould he compared "ilh LOUHC
L SS (nu. 4. PI. 60). b) a Penthc..ilean. the Weddin~ Painter. 1'00 black p)xis. type A. can be assigned Iu a red-figure class. From the e\'idence at hand it seems clear Ihat they \!left' not made in the nd-figure cup shops which also produced pyxides. At an earlier period. one would hale 10 stale that e'\idence is not plenliful enough to allow speculation. Howc\'er. the Early Classical period provides numerous examples especially from the Pcnthcl
W"rhh"ll· 15. ANV. Y6J.':lZ; I'. Ib7S.94 hi,. 11:1 rhc palmdlc ban"~ "n Ihe Berlin py.i, by the Vcii Pal1ltcr (no. HI. 1'1. 20). un anlllher uncanonical py.is in Athens b)' Ihc sam" maSlcr (1'1. J2.11. and on Br",,,n c:tle band of a mon.' ..labuTale rnnccption. CiKumscribed palmettC'o aK lln..ed ".. ilh tall. free palmeue'< and 1"'0 dOls aK placnl In ,he spandre1\. 11. Circumscribed palrllettcs oceur on Ne" York 07.28td6. Alhen •. Scrpieri. Ikrlin 2261. Alhens Agora P -I/~. Alhen•. private. Lou"re L 55 and Brau",n 28\Ja. 18. ANV. 924JJ. Wedding Pamler. A b.Jnd of ein:umscrilxd palmetln is hn"ed OtIC." .. 1\h IM 11 I poll...,', or p~il1t,·,·, signatu,," frum Il>e Pcmho,lea W".... shop and ~ .. John Rentle)'. b) kll.'r hI M,~\ rUkUll. Ocl. If>. 1%7. "indly cunfirmed Ih... fac' ,hal h... had ul"lI)' \·onsid... rcd 11 false. Variou\ rnrn.lderatlOn~. h'Wo·ocr. ,",c1udtn~ th.. \Om~,,1>31 ,,'phl'ilK"lIlnl plllnng 01 the In,,,ripllUn sccmcd 10 uS! duut>l on 11. MM Lu•.,. I urnbull. oflllc Unl'er,U) 01 Ml~;",ippt. undttloulro 10 1e'\1 Ilk" glair "lIh aknhol; Ih... kllc ..... dl~appc:an'd al un~. 27, H,ehlcr and lIall. rIO. 144 and 146. ph. 147·148. 211. CVA. AUSlm I. Vienna I. pI. 5U.3. 29. U-lIer from Dr. Lore Aschc. Arcl>lol~I>CS InsmuI der Un..·...nilll TUbmg.-n. JO. S"h'aIOfl: Aurigemma. L. N,rropoll J' S"."fJ ." VfJJI, T",hbo (,Rome 19trSI Vol. I. Pan 11. 'Iombs 27. 143. 200. 22J. 386. JII4. 475. 577. JI. ARV. 122J. 32. ANV. %3. 8i. O. also PlJflJliponr..,.". 4.14."5 Il'r. Itype unIiSlc'dl. 3J. ARV. 96J. 92; CVA. US.A. I. Huppin and Gallalin CoIkctions. pi. lJ.7. 34. AR V. 'l6.1. 118: Bps(lr",ibunll Ro",u("/r.., AI,.."amrr I,summr/, "61. figs. 1·6.
S.HLY RUTHEIlFURD ROBEIlU
?J
42. Bam.. 0 M 'on 5Iac....lhc'l!. l)u' GflJ"twr Jrr 1I,1l...,,,,, (Berlin 183'1 pi. 2tl.I.2. A sketch from ,he Nicholson Museum wnl .. "I> meaSuremel1lS ~ht)'''' a ,,,nlour hIM.' from bax to fOOl mOCoi.' in a\urffil\ 00-. .., ..... Iho:' lid C\>r1\C1o tn>nl lhe I' apex curves upv.'ard to the edge of the keel. an exaggeration of the conlour seen in Berlin 3J08 (no. I) and Munich (ex von Schaen. no. 65). The uniformity of patterns ornamenting the lids of these pyxides confirm and suppon the conclusions already reached as to the cohesiveness of the class. Debased tongue and dot forms the innermost pattern band around Ihe handle. followed by a wide black band between reserved circles. The main border, placed along the perimeter, is composed of a running palmelle scroll \\ith slanting connections all parallel forming a Vitruvian wave with palmettes aligned with the axis of the border. The palmelle scroll. of which there arc six variants, was created immediately after the invention of the red·figure technique around 530 a.c. n Howe\·cr. thc popularity of this pattern \\as greatest in the dec:lde 510-500 B.C., the so·called leagros period. 21 Then se\'en plump palmeues were usually employed. when the pelals were excx'U!ed in red. Thereafter interesl in Ihis type of ornament declined, only
103
fon~··two examplt:s being listed from the first three decades of the lilth century of which the lid of Cambridge 1933.1 (no. b) is one. After 470 B.C. the number of examples is so meagre Ihat they are considered as isolated sun'ivals by Dinsmoor. Only seventeen examples 3re listed for the remainder of the fifth and founh century and it is of considerable interest that three of the t'\:amples adorn lids of red.figured pyxides of our class (nos. 1 [pI. h~tll. 2. and J). To these mal' be added the lids of no. 5 (PI. b7.0 and no. 7 (PI. 68.2). This pattern appears thell in force on lid~ of ,hl' Cla.'>s of Berlin 3J08 in a period ¥ohen Ihe pattern ¥OM out IIf Ja\ol.lr. All belong 10 the vari~t)· of palm~tt~ scroll ~numerated by Din!>moor as IVA. Cambridge 1933.1 (no. 6) has the earliest form of the scroll for the class. apparent in th~ more rounded enframing tendril." The long oval frames and long stifT petals of nO'o. 2 and 3 are indicative of their later dat~: the form of the pallern ill no. 7 (PI. 68.2) i!> !>imilar to these. The palnleUe scroll on the Cl'riunk-us lid (nu. 5. 1~1. 67,1) is likl' that on the lict.. of the London pyxides. The leaf in lhe form howev~r is sometimes' attached rather than free and there is a leaf decorating the upper spandrel in the place of the spiral on the London examples. The running ~croll on Agatholl's pp.h. (PI. 68.0 differs only in the pointed central pelal of each palmette. The frames are long and there are spirals in all the spandrels with single petals at the f.lrh. Onl)' in the smallest details 3re there any different·cs: in the m'crall form the palmctle scrolls are strikingly uniform. The r",undcr frames show no. b. Cambridge 1933.1. to be earlier but the !>crull of Alhens 1586 (110. 7. PI. 6H.2) gives no l>ign of a l>lightly later date.
COMPARE THE SINGLETONS COfh'lIhag/'1I 4735. from Greece.
H. 0.0825. H. with lid. 0.1225. D. of rim 0.072·0.073. D. of lid H. of foot 0.009. Lid: reserved addorsed palmettes. obliquely placed and linked
O.l06~0.107.
104
I HE ATTIC' PvXIS
105
by tendrils springing from volutes. stopped interlocking maeandcT'li (black). Side oj lid: debased tongues. Lid imen'or: rescned; hotwm: dotted circle and t .....o concentric circles.
Below frieze: debased tongue and dot. black band. The Villa Giulia Painter. Peleus and Thctis; AR V, 625. 95; CVA Denmark 4. Copenhagen 4. PI. 162.4. The size.)O subject, choice and placement of framing elements are similar to the class. The concave curve of the wall is simpler and the profile of the lid totally different. The side of the lid is convex and runs counler to the concave curve of the vase:. The Villa Giulia Painter is connected wilh followers of Douris but
chiefly painlcd large pols rather than cups.JI MUllich (ex von Schoen, 65).
PI. 67.2. Fig. 10r.
H. 0.097. H. with lid 0,159. D. al rim 0.104. D. of lid 0.127. H. of fOOl 0.017. Lid; interruptM maeander 6n groups of five .....ith one of four and one of six) and cross square. Side of lid: black. Lid interior: black; bottom: same. Reserved line and .....ide black band below frieze. The Painter of Agora P 14384. women (Ilo'ith mUl>ictll inslru mems); A R V. 777.1: R. Lullies. Eille SUII/m/llng Rrif'Chisl"hl'r A/i'i"kllrw, pI. 24. 65 and pI. 25; Pur(llipuml'1lU. 410.
The profile bears a close relationship to the class. The painter is an outsider. The plain, black framing elements, though most effective. differ from the class as does the pattern on the lid. Note also Ihe non-mythological subject. Athens /4909. PI. 00.1\ H. 0.077. H. with lid 0.120. D. at rim 0.09. D. of lid 0.115. Lid: Woman seated. playing flutes by altar to which dance five women. column. woman; linked pomegranate. Side of lid:debased tongues. Tongue and dot above frieze; belo"": rays reversed. Black·figure, mistress and maid, woman dressing and woman
Iloith dthara, woman playing flutes for gtrl dancer and ""oman, door; RA J6 (1950) 40-75. figs. 1-2. 7·10. Size and proportions link this p)'xis to the class. It differs primarily in the form of the lid. The concave curve of the body is not completed by that of the lid; the cune of the side of the lid lies .... ithin that of Ihe body. The subject is nOI mythological. Profile and framing elements seem to sho..... the black-figure artist ~-nyni7a111 of the canon of the Class of Berlin JJ08 but choosing 10 go his own way.
,
Athens. Agora P 8985. from Athens. T",o frr .. one preserving about a quarter of the lid. the other pan of the edge only. Knob broken away. D. es!. 0.11. Tongue and line ending in dot, running palmene scroll (cenler petal pierces vine) Dinsmoor type IVB. Lid -"unge: maeanders in groups of 1.....0 once three separated by cru~s squares. Lid itltf'rlQr: lrace of circle at cenler lhen two circles and'" ide black band. Red-figure. Deposit C 9:6. Hespaia SlIpp!l'mem V. 136. The profile diffcr~ from that of the class. Ca. 450 B.C.
lOb
THE Arf/C PYX'S
NOTES, CHAf>'1 FR IV
I. H. R. W. Smith. D.., L ....·;sm,,'.'T (Lcipsic 1939) 19·22. 2. G. Ri..,htn and M. Mdn.,. Sit apt's und Names 0fAlneniatr Vast's (Ne'" York 19J5) 21-22 (1'Iem""hoe): CH. I nu. 55. plo XXV; Ago'" XII. pp. 1~-ISI ~KrJ\h('lnJ anll ""r"Tenre in IlK: represcnlatkm on London E 773. "Th" 'Iphigenda' may ha"" been thought of as a bride." noted Beat,",y in ANV, 805.89. J. Ppides nftyrt' B "11h loop handles: ARV. 963.98 I'ulda. Web.: ANV. 963.96 London D 12: A RV, 1()q4, 104 Louvre CA 587. Ther~ ii ahu a r~'tI·figurt py~is. Iy~ B. from the C~ramltUS gravt 115 2\7 dated 4o()·450 B.C. and a py~is. ly~ B. rrom HS 89 decoraled .. ith net palt~rn ..·hieh probably Ixlre such a handle dated ca. 420
R.e. 4. ANY. SOb. 90. 5. ,.-R, pI. 57.2 and p. 291. 6. AA 1008(5) 38. fig. 12. 7. ANY. lS63. 31 "Mrs. Callipo1itis·Fcytman~"a, nlll allowed to clean the ,ase:' It would only be by cleaning that ont CQlJld be sure .. heth"r 01' nUl lh"r~ was an anci"nl im.\:riplion undcr the modern l~l1~n. 8. Dc:l1ise Feytman~, LI'.1 "11.11'.1 g'('{'.1 dl' lu IhbUu/h:-qlll' Nl~\'/lll' d,·IJi·lgiqlll' (Brussels 1lJ4!\) p. 54 for dale and discussion or l~ ~illnalUre "'hich thc author considers IQ ~ a forgery. ~. ANV, IJbO. 1·3. 10. AllY. 458: 47~. 336. 11. B. Graef and E. Langlotz. Oil' Illl/ik,>" VU)I'It I'lm d," Akml")/'J ;" A/h,-" (Berlin 1(30) 11. n". St>O. pI. 43. 12. S~..., arnwc p. 70 urlll n"te 2b. 13. Karl Kuble•. "I\usgrauunll"n 1m KcramclkO!>:' AA 50 (1935) 2'N, till. 2.1. 1-1. AIlV. 431. 44; l.. 1\. Stella. llli/Ologia Gn-ell. 410; AR\'. 4-11. 185. School. pi\~?; Stella. 421 and 427. belo... The 110'>" i~ nut confined to Nc.";,k cf. 1\1hmtu un a .. bite ground Iek}1hos in Cl'eland of Ihe early middle period U'u,ulip","l'"u. .llh. 21>h bis: (·VA. U.S,I\. 15. C1evel3nd 1. pI,. 32·331 and lhe laler ar}hallO"i .. ilh a bu~ pur~ued bl botes lARV. 447.27-1: vreitenhag, Ej",- Sum",Ir"'g griff/llJch", Kleinhul.ll (Munich 1(55) pI. 26. 16. eVA, Denmark 4, Copenhagen 4. pi. Ib2.4. 17. Richter and Hall. 89. Numerous examples of use of this conventional running pose may be noted in pursuit scenes of the period 475-450 B.C. See ph. h9. 72. 73. 99. IUS. 18. The subject is here abbte~ia(ed as only neeing Nereids arc ponraycd. The same is true for Cambridge 1933.1 (no. 6). 19. R. Lullies. Ein" Sommlung gn·"chi, gnN:lr"d"-,, M"i'fl'nchul..n (Stul1gart 18(3) fig. oB and p. 026, 2-1. ARV. 447. 276; CVA. Gem1any 13. Mannheim 1. pI. 2b. l. 0·7 and pI. 32.5. 25. ARY, 798. 146 "'ale." 26. w. B. Din~moor. "The Athenian Treasury as Dated by il\ Ornament." AlA 59 (1946) 9JtT. n. find.. 97. 10-1 (onc hundred and e1ght uamples noted). 28. Ibid.. 109·111. fig. 12, \·2 and nQ!;, I54A. I54B and 152. 1'1. CVA. Gre:u Brilarn 11. Cambridge 2. pI. xxv!. Id. 30. Hel1e Salsko, Robe.1\ kindl)' eummcd tbe vase and .. rute as foHows: "Th~ glaze of rn,. -1735 (Villa Giulia Pamtel) is :;om"",ha1 une.enl) coloured, but l'Cems to ~ be ul' lhc same kmd on bolb lid and OOA. Although the lid is broken .nd a bit of lb~ ll10cr rim missing it lits e~tremdy .. ell and I dun't Ste any reawn fur ~uspecting thut it II".:s not belong:' Th~ meaSllrement~ listed in the eataluxue welT aiM! lak"n by lhe arnwe scholar.
108
THE ATTIC
Pvx,s
•
CHAPTER V Later Fifth Century Pyxides of Type A In the last thiny years of the fifth century the pyxis of type A is no longer the predominant type and the number of examples has dwindled down to a few. Those which art preserved arc exceptionally varied. Some follow the tradition of the Penthesilea Workshop 11 hUI show occasional influence of the domed formation of the lid of the pyxis type C. now preeminent in numbers and innuen~. A spirit of elaboration is evidenced in the form as well as in Ihe decoration; the first double pyxis appears around 430 D.e. This example stands at the head of a series which extends through the firsl half of the fourth century. Independent miniature pyxides appear of about the size of pyxis knobs. A few odd pyxides show a dependenc}' on the tradition of the Class of Berlin 3308 in their proportions. ring foot and knob typt. The number of odd pyxides rises in proportion to those belonging to classes. There is evKlen~ of py.l.ides being made in other materials during this period especially among those of type C. A curious reflection of this trend may be seen in a pyxis. type A, with a lid decorated in relief. The diversity of models being made is also shown by the fact that where two pyxides are painted by the same anist they are sometimes of quite different profiles. A single unifying feature is the contour of the wall which either has a shallO\\' concave curve or approximates a cylinder.
110
SAllY RUTHER~URD R081lRTS
THE KOINE CLASS I. Alhf'1IS 13676a. from Athens. PI. MU. Fig. Ila. Base of stem presen'ed. knob missing. H. 0.116. total H. pres.
0.128. D. at rim 0.09. D. of lid 0.127. H. of fool 0.034. Lid: egg and dot. wre.ath of h"}' lea\"es (black). egg and dot. LiJ j"terior: dot. circle. band. bottom: center damaged. trace of band. Black moulding. rescned irregular band abo\"c frieze: below: egg and dot betVocen reser\'cd bands. Painter of Athens 1585. "'oman seated \\ilh women (miSITe"iS and maids) and Nike; ARV. tJ60.J. Ca. 410 H.C. 2. Athens /585 (CC. 1561).
PI. 69.1. Fig. lib. Lid missing. H. 0.12. O. at rim 0.096. H. of foot 0.035. 801l0m: dOl and two concentric circles and outer circle. Black moulding. reserved irregular line abcn'c frieze: /xolow: egg
and dOl.
Painter of Athens 1585. woman St'ated with women (mistress and maids) and Ems: ARV. 1360.2: EAA. I 871. fig. 1091. 3. Athens. Cerumieus Museum, from HS 89. Fig. I le. H. 0.144. H. I"ith lid 0.213. D. at rim 0.124. D. of lid 0.179. H. of foot 0.038. Lid· egg and dot. circumscribed palmenes with raised hearts painted white. black glazed band. maeanders in groups of Ihree (once two) separated by saltire squares. Lid imen'or: dot and circle. wide outer black band between two circles; bottom: same. Sidp of lid: egg and dot. Black band. reserved band above frieze: below: reserved band. egg and dol. Red-figure. Eros and bride, women: Klaus Vierneisel. "Die Ausgrabungcn im Kerameikos." AA 1 {I 964) 432ff.. fig. 24. Ca. 4]0 H.C. 4. Lundun E 780. from Athens. PI. 70. Fig. lid. Knob missing. H. 0.13. lotal H. pres. 0.143. D. at rim 0.107. D.
III
of lid 0.1.34. H. of fOOl 0.031. Lid' debased longues. myrtle and berry. herringbone. Black moulding. irregular reserved line above frieze: bt'/ow' debased tongues. bet"'een resen'ed lines on sloping keel. Painter of Florence 4217. women: AHV. 1223.4: C. Smith. Ccl/ulopllt' of ,hI' Grt't'k and Etruscutl Vuses in thf' Bn'tlSh Musf'um. Ill. E 780. S. Cambn'dgt' 168. PI. 72.3. H. 0.125. H. I'ith lid 0.18. D. al rim 0.095. D. of lid 0.124. H.
..
01 foot 0.03. Lid' debased tongues. spirals. chevrons. Lid imt'n'or: circle and hand: bottom: dOlled circle. band. Hlad moulding. reserved band ahm'e frieze; below: debased IOngues between resen'ed lines. Painter of Florence 4217 ......omen: ARV. 1223.5: E. A. Gardner. A Cuwloguf' 01 the Gr"I'k VU~I'S ill ,he' Fit: .....U/ium Museum ClImlm·dRf'. 69.
6. Athens 13028. from Athens. PI. 71. H. 0.115. H. with lid 0.155. D. at rim 0.092. D. of lid 0.122. H. of fOOl 0.0.34. Litl· egg and dot. black band. tongue and line (black) between rcsern:d lines. egg and dot. Lid ;men'or: dOl, circle. band; bol/n".: same. Black moulding, irregular reserved band above frieze: below: egg and dot. Red-ligure. woman seated to right playing a tympanon. a woman coming from her left holds out a mirror while a woman approaching from her right extends an alabastron, an opened box and scarf in thc other hand. Next two women rush to the right looking back ovcr their shoulders. one with mirror and kalathos. the other with a taenia and a basket and taenia. Ca. 4/0 e.C.
PI. 69.3. 7. Arhens 1287. at rim 0.117. D. of lid 0.145. H. 0.145. H. with lid 0.214, D.
112
[nr ATTIC PVll:1S
Disk·like knob .....ith horizontal grOO\-C along lo\\,cr edge. crowned b)' conical member and supponed by stem s.... elling lowards apex. Slightly domed lid. Box: shalloy. COnC3\"C cunc 10 .... all.. wilh projecting lo.....er keel. Tall foot with three squared nUlches. Lid: egg pattern. panther and swan confronted. swan and panther confronted. lion left. egg and dot. cr. animal slyle to lid of Oxford 1934.330 (see footnole 9). Bottom: small central circle. circle. band. Black moulding. reserved band above frieze: bt'ic,JW: reserved line, egg and dot between black lines. Red·ligure. chain of Ii\C .... OO1el1 dancing rightward led by a .....oman playing [he double nute. Altar between fourth and fifth .....oman. Late 5th·early 4th century 8.C. The vases listed above are clearly dependent in their shape on the tradition of the Penthesilea Workshop 11. They are of Slandard size with a long body wh~ shallow concave curve \'aries in degree and in some approaches the cylinder, The lall resen'cd Iripartite foot echoes the contour of the wall and has the characteristic rounded or squared notches. These pyxides might y,ell ha\'e been appended to those of the Penthesilea Workshop 11 except for the formation of ~nain of the lids which show the influence of t~ of type C (nos. I. 4, 6-7). The painters are not connected with the Penthesilea Workshop: the shape has now become common property. Athens 13676a (no. t. PI. 69,2), by the Painler of Alhens 1585, is the key piece preserved almost intact but for the crowning knob. The surface of the lid is slightly domed with a ridge articulating the juncture with the outer rim, The lid is decorated with egg and dot borders flanking a graceful black ivy wreath. The ivy pattern is new and unparalleled on lids of type A but an almost exact counterpart may be seen on a fragmentary lid of a miniature p)Xis t}pe C from the Athenian Agora (P 13097. 1'1. 72.2).1 Here the h'y leaves are red with stem. tendrils and berries in added day. The wreath is enframed by narrow bands of egg and dol pallern as on Athens 1.3676.
SALLY RUTHEJtfliRD ROBEJtn
113
The foot profile is distincthe, its conca\'e cun"e being interrupted by a step below the apex. Athens 1585 and Ceramicus OIS 89) hne an identical foot profile. This is a variant on the usual profile of the Penthcsilea Workshop occurring earlier on Athens Agura P 24253 (Fig. Se) by the Veii Painter' and also on Cambridge 4.1943 by the Curtius Painter. J The shape of Athens 13676a is mirrored by that of Athens 1585 tno. 2. PI. 69.1 and Fig. lib). the name-piece of the painter. The:' lid unfortunately is missing but the measurements as well as the prolilt.~ are very close. The egg and dot border below the frieze is identical. It seems eenain that the same potter produced both ~asc~,
SUlllcwhal earlier than tht.'Se is a pyxis in the Ceramicus (no. 3. Fig. lie) found with a hydrill attributed to the eariy work of the Meidias Painter. a pair of lebetes gamikoi by the Washing Painter. a patterned pyxis type B and other \'ases in an offering tr~neh dated 10 the years around 420 B.C.~ The concave cun'e of the y, ails is more pronounttd than in nos. I and 2 and resembles more closely Ihat of LOIn're LP 2692 (PI. 42). from the Penthesilea Wurhhup 11. The disk knob on a high slender stem whose base is dirrcr~ntiated from the Ic\'el of the lid is familiar in a number of examples from the Pcnthesilea Workshop (PIs. 22 and 2(».s The lout profile is like that of nos. I and 2. The cuntour of the side of the lid is unusual and 1 have yet to find a c1O!1oe parallel among pyxides of types A and C: that of the fragmentary double PYXls. Athens Agora P 16924 (PI. 75.2) and also the fragmentary pyxis lid. type C. P 96.' 3re somewhat similar. London E 780 (no. 4. PI. 70) and Cambridge 168 (no. S, PI. 72.3) arc ascribed to the Painter of Florence 4217 who is also known to ha~e decurated a few pyxides of type B.' The lid of the Cambridge pp:is has a disk knob on a tall slender stem which blends into the sloping surface of the lid. characteristics typical uf mediocre work uf the Pcnthesilea Workshop. The lid of no. 4 resembles that of 110. I (Athens 13676a. PI. 69.2), There was a central knob (now broken ay,ay). and then a slightly domed section separated from the outer rim by a ridge-the two latter features borrowed from lids of type C. The contour of the side of the lid does not continue the line of
114
115
THE ATTIC PYXJs
the wall of the box as in Athens 13676 (Fig. Ilal and as is generally the rule. ho.....c\·er. the glazed and resen'ed areas ofbolh box and lid match in color and the two appear 10 belong. Not only are the new form and traditional Penlhesilean lids contemporary but they maJ be fuund side by side in pyx;des made in the same .....orkshop and painted by the 103mc an;sl.
"nob t)pe of Ihe C\lo York Pl'tis by the Penthesilea Painler (PI. 20.1) which slarted the canon. The knob of Athens 1287 dlffeTS in hllhtness and in il.'i conical crowning finial. In both the stem ~\\el1s to..... ards its apex. Athens 1287 forms a link between Ihis "'l'r;L'S or vases and the single ppides of type A of the first half of the fourlh century.-
VARIOUS TALL SINGLETONS
COMPARE
A,hms. AgorYl P 10573. from Athens.
Fig.7r.
lid. of which handle missing. H. pres. 0.036. 0.0.123. Lid: egg and dot, tongue and dot. herringbone. Black'patterned lid of a red-figured pyxis. type A; P. Corbeu. "Auk POllery of the Later Fifth Cenlu'1'," HesfWda 18 (1949) no. 54. pi. 91; AKnru XII, 384. DcpO!>it B IS: I dated ca. 425-400 a.c.
I he following pp.ides stem from the period ca. 430-420 D,e. I he) ha\'C' lal1. slender proportions and lids with tall. elaborate knobs. The fOOl \aries. The style of certain painters of Ihe laler lihh century has onl)' been recognized on pyxides. This is true of Ihe Painter of Athens 17191 (no. 2). and among others. the Painter of Athens 1585 (ARV. 1360. 1-5) and the Drouot Painter lA H V. 1223. 1-7). I. AmSll'rdam. Allard Pierson Museum 623. from Athens.
The profile of a lid from the Athenian Agora (Fig. 70 is like that of no. S. It comes from a well, the great proportion of ..... hose figured wares date in the lasl quarter of the fifth cenlury. The profile is also sinlilar to lids of Munich 2720 (Fig. 7a) and London E 774 (Fig. 7e). both of the Class of Munich 2120 and attributed 10 the Drouot Painter. The Agora lid adds additional evidence that lids uninfluenced by those of type C and following the older canon of Ihe PcnthesiJea Workshop and dependent ~'orkshops were still being made in the last quarter of the fifth century. Athens 13028 (no. 6. PI. 71) and Athens 1287 (no. 7. PI. 69.3) retain lids similar in profile 10 no. I (Athens 13676, PI. 69.2l. The base of the stem is formed in IWO degrees and the surface of the lid convex with a step down to the outer rim. The stem of the knob of no. 6 .....as once broken but it is certain that the knob belongs. I The heavy knob has a flattened domed upper member separated from the downturned rim of the lower by a reserved horizontal gron\'e. the whole surmounted by a low disk, It seems probable that this is a late fifth «ntury transformation of the
11,0,121. H. with lid 0.206, 0, of lid 0.138, H, of foot 0.018. Shallow concave cun'e to wall strengthened al base. lid slopes from center to outer edge. knob: conical member surmounting di! presened the t)PC became more popular in the first half of the fourth century. Ferrara. T. 27 C VP (no. I. PI. 73) has been preserved intact but for the lid of the p)'xidion of type e. The principal lid is slightly domed and the pyxis knob is joined to it by a slender stem which ,,"ell.. at the junctiun, The walls of the box approach the cylindrical and the lower keel is pronounced in its extension. The flaring foot i!> tripllftite, The lid of the pyxidion was undoubtedly slightly domed with a lower rim as in the lids of those of standard size. For a miniature lid of type C see Athens. Agora P tJ097 (no. 2. PI. 72.2) which is identical with the standard \'ersion exccpt that the smalll'entral clay medallion is not pierced to rccei\'e the u..ual ring handle. This miniature lid must have belonged either to such a pyxidton or to an independent miniature vase. The pyxis has been allributed to the Marlay Painter who also deroratt.'d pyxides of type C and an additional type A of another model. The vase dates to ca. 430 B.e. and thus prm'ides preeious c\idence for the production of such elaborate \'ases sixty years before the Kerch l>erK.~.1J A "fourth ccn!Ury' type b, thus shO\o\n 10 han' its origin in the later fifth century. Athens. Agora P 12975 (no. 3. PI. 72.1). is a fragmentary pp, id ion uf type C from such a double vase. The hastily painted wreath is the usual decoration of such boxes of standard size. The date is difficult to determine and unfortunalely the vase does not come from a numbered deposil. u
I'
No, 4 (Pis. 74.2-74.3. 75.2) is a fragmentary example uf the variety. a pyxis type A surmounted by a pyxidion of the same type. Of the box only the main lid is preserved whose com'ex central area. lower rim. 3nd broad two step stem-base as well a~ its modest diameter 01'0.014 show it to be from 3 ppis. type A. The !>tcm i~ broken just 3bo\'e the base. The pyxidion has slightly ('onca\'e walls and a sloping lower keel from "hich the contour ~crond
120
SALLY RUTHERFUJlD Ra.ERTS
lilT ATTIC PVXIS
slopes do" nward to join a thkk '>tern. 11 should be nOled Ihat thl.' ~tt'm of a double pp:i.. swells to\\ards its Junetun' with the pplis knob. Compare the slender stem of the Ferrara pyxis lno. 1) and al~() the thicker later (ourth ccntu'1' examples Leningrad et flange fur lid. slight CQncave cune to wall. resen'ed mnulding at base Central tondo of lid: representation in relief of a .... creid. holding a grea,'e, on a sea horse. Reserved, echinoid I
..,'ulnur la lid Ilange. Ring foot. 1';llOtl'r III Alhl'n' I 5. ",om3n ,>ealed and y;nmen: AN\'. 1.\0(1.1, ·1 he "1)le of Ihe relief has nothing to do .... ith that of the pit.ture:- P. Jacobsthal. /Jil' mef'$chl'" ReliefS. 184. figs. 55·56. 1 hI:' number in AR V is incorrect. 2.
>1'1\
Yurk 06.1021.123. from Attica.
PI. H2.1. Fig. ISb.
H. 0.00.1. H. Io\ith lid 0.102, D. at rim 0.076. D. of lid 0.093. Il;,>el !lange for lid. slight COllca\'e CUr'iC to wall, con\'ex base moulding separatt'd Irom '" all by a grou\e. Lid slopes from center 10 rounded con\'ex lid llange. Asymmetrienl knob. 1 id rays and dot ... black band. egg and dot. Rc!>ct"''. Alhcn, ISMS !PI. tllI.lJ .•md Athcn.. 13676a n'l. 04.2). I he great .lIn'''''II) 10 shape'> i.. l)pical 01 pfloduct.. m:lde al Ihi, tim..· I h~' 'llll\r~ P)'"'' d;" . .~ C:l. 410 D.e. A r)XI' in N...·Yo Yurk Inu. 2. Pl.l:S2:.I). Fig. ISb) alw.\ a h)IJnd. The Yoall is slightly concave and the low. ring foot has a moulded OUler face. The com'cx down-turned edge of Ihe lid corresponds to the base moulding. Thus far the body is constructed much as in a pyxis type D. The lid. however. slopes from Ihe ccnter outwards and is furnished with a knob. The deeoration in successive concentric pallern bands also is usual for the pyxis of type A. Ouite similar to no. 2 is a pyxis al Bowdoin College (no. 3, PI. 80.2). The convex clown turned edge of the lid corre..pomh to the cuntour of the base moulding and the two enframe the nearly cylindrical wall of the box. The ring toot, however, is sel well under the body of the pyxis and bears no relation to the foot of a p)'xis type D. The pyxis is by an artist near the Drouot Painter and dates ca. 430 D.e. A schematic rendering of folds of the himation draped O\'er the shoulder and arm of a woman running is comparable to the more skillful rendering of such elemenls on a
137
\\I'man standing holding a mirror on a p)'llis by the Eretria 1','lI1ler \PI. lS I. 11. dJ.tl'd ca 4JO B( NUI~' .d~11 the tJ.Il !>It:mkr pwportions of the l:rote!i on the Bowdoin pyxis and the Worce§ter h(!. ~I
-I ne sole deeoration of a p}"xis type 0 is placed in the lid tondo. TIll' \lall i\ simpl) gla7ed. 41 ln contrast, it is the wall of the p}xis. I}pc A. \lhich bears the primary decoration ill the form of a lillured frieze and the three h)'brids discus!>cd abo~·e follo\O.' the rulC' .
138
I HE ArTlC PYXI5 SALLY RUTHERf'URD ROBERTS
139
NOII-.S:CHAPIFH\
I 4C'ml XIL JIH, Dcpo!lll 0 19,-4 Wdlu\,' lilhn~ 1.'\1 quafltr lillh I.Tnlun" IluTlIp,.'t:I tilling ahhough tnr l~ mO"i1 PiU! I.·"n,i~lo:nrh .'1 thl." '.I"l~· ~n"d. .LJlII,Jn,:n11~ n", dcpo"!iUcd I'>ol:lt'fl" Ilk' 2nd I."cnrun B (. P i'll,jq- ., h"l1\ ,IK' ,IUnllll.."C! IiIhnt:. 1. ~l'\' p. 51 III 1nl. 1 See p. h] (11 1(')(1. 4. Klaus Vierncisel. "Dle Ausgrabungen im Kerameikos," AA I (1964) 432. fi~. 24-25.
5. It should ~ nOled that although the profiles of these an.- similar. in ~ion the,' diner in detaIl. the cenlral portion ~ithin the ero\l\ning ridge nf the knob being hollo.... t:d OUI in Ihe case of Ihe Ccramicu~ pp. is. 6. Lut)' Talcoll and olhen;, Smllll OtJj«ts Irum ".,. Pn)'x 11. Jlrs/Wn'u' Suppll'ml'tlt X IPnn~on '(56) no. 139. p. 35 and fig, J. There daled laIc fifth cenlut} -. ANV. 1222. '·3. 8. Mls~ Phihppaki undenook 10 unglue the parts of Ihe JOin. The join is all right. the gla:t.e is the same. 11lc knob belungs to the lid mnd it appears thal no part of the stem b mi\\ing. I am moch indebted to Miss Philippaki for reexamining this thtun:. 9. KarlXhefokt. Urul'n",ltulJ1!f'n =u df'n K""ucltr,. Vas,'n (Berlin 1934) 59-W. nos. 5t(2 I!). 5Mb and 5Ma Tllthe li\t 01 ,,'mple. 'lIIg1c p)xi,il''1 of I}JX' A ,hilI/Ill ",-. oI,hh:rl the follo\\ing examples: Athens 1324 (CC. 19(6) H 0.146, H. \\irh lid 0.245; Athens 1325 (Cc. 19(3), H. 0.134, H. 'Aith lid 0.22 (me:ll>un:ment'l SUPI>lied br Mi\'1 Philippakil; Athens 1320 (CC. 1%4) H 0.13, H 'Ailh hd 0.20; Athens. Ago... P 1(,10'" lid 1'111) D.O 14() IAgnru XII. 177.321S nn. IJ05, 1'1. 431: Halm 1%.1.10. H 0.10":, H. _nh lid 0.26: Oxford 1934.330. hd only, D. 0.118. The salu.:nt characterblll~ are: lid under influence of p)'llis, IlPC C tdomed \\lIh rim 011 IIJ'Aer klcll: ho, .. lightly l'\lIlCa\l~ 'Allh prujcl'linJ( Imwr l1al1)te; taflll:lrr\l" Pntfll,rti"n" !.l'.• H. "'ith lid greater Ihan Ihal recorded for mlXt I:Uer fifth l-cnIUr) ennlplC'!O: knob: comcill mc:mber surmountmg disk-l1kc: form on stem swelling tlWo,uds its apex. Tbc hd' ut GOllin~n \Sehefold no. 58..1), WUr/burg H 5333 tA",K I~ Il l r'2] 10. pi 5) ami Pn\ale Cnlkcllon f(arv11lJ Llld",,/( Cunill~. 148-150. pis. 51·5.1) an: mi.. \il1~ The black glue hd of the laller is alien. It should date ca. 440-420 H.C. and clearl)' dlXs not belong to the pyxis. The boldly extended lo\\~r ked of the boll requires a uTlln,ti:l~ pn'JCt·tin,ti: lid a!\o in Tororllu9195.32 (PI. 8·4,,, and 011\0 l'n:ater hel}!hllU the knob. TlM.'T\" ~m 10 be no cenam cnlcria b) 'AhK'h 10 Jud~ ~hcth~r tht.'\.t' thrl": hdk...\ p}\ldl"'> 'Aen: ul ~ingle or doubt.: fOf"m For dISCUS\IUn of Ih,' P'XI\ fll douh .... t}p..' sel'I). IlbffollclI. 10. ARV, 1277.22·25. I J. .xhefokl. Untt'nuchungf'lJ. 59. no. 583. prov'des a fourth ecntuf) czamplc of a double pyIis, l)-pr A. lI;th a pp:ic:hon of t)~ C. The lid of Ihe p)xidion is of brunl.t· (CVA. Iknmark 4. Cupenhagen 4, pI. 163. 5a-bl. 12. The context \uggest\ a date in lhe second quarter oflhe fourth l-entUf). 1.1, Schetold. U",aSIIl f/lll/}.!"". 59. no. 5R4 lpI'. 74. 70, gO. Ihcrl' d:Hl'l.l J70..l00 IH..1: ARV. ISOJ l'ollflm; MUII'n'ul po Adthl'l.J!Uj.!// RWi// 35. p. tl5. pI. Y 14. xhefold, Unt('nuchuRgt-n. 59, no. 580 (p. 76, there dated 370-J60 B.C.); Arr"Eph 09(2) pis. 5-6. Berlin 33iJ. Schdold. no. 581. pI. 17.2 (pp. 75, % and 9-
and then: dated J()()..3SO B.C.) show\ ,a pyxidion of a different Iype, supported by a tnpanl{e foot and so IS 01 a form ldenlical to the mam box. The knob of the p)xidion i.. \imilar in form to thos.e of the \ingle pyllides of lhe Kerch series. 15. Pder F. C~t, "Anle Pottery of the Later Fifth Century:' HOfNntJ 18 (19491 m. pk. i3.1; -0,2; --.3; 82.12; TalCOlt _od Othel"5. Small ObpclS}Tom the Pn)'x: 11, H('ipula Suppif'ml'nt X. pis, 4.29: 9.118; 13.158 lserond quarter of fourth century): Arias and Hirmer, pl\. 204. 205, 21& 1&, Scht:fold. Untt·nuchuflgt'lJ. 59. 00. 580, 581. 583a. 583b and 584. Unfonunatel}, I do not ha\'e \ufficlent information 10 Ir.""",. the form of no. 584a. As may be secn b). a comparison ~ith the list of slllgle pyxidn of type A of the Kerch \Cries tstt 3hl}\e n. 91 the latter appear to be shghtl) more numl;'n.u) in contradiclion to Schefold's indication. 1'. There is a dass of tall-stemmed. elaborately profiled. marble pyxidcs fe~ of ~hich a~ publishtd The diameter of the concave pyxis is lI'ider at lhe top than al h,l\ al1llrn,:ullenlal ring al the lllp and I flaring bax \UPPllned b} thTff 10-;1 f"'el. It ha\ .. narms: rtlund nm. the paralld edgee Bo London D I~. lhe name-piec~ of lhe artiu (ARV. 963.91>1: and London 0 I I b) the Splanchm'pt Painler l.ARV. 1199.14M; on" of Iype C: MilOSi,,~ippi (el RobinlOon). b)' the Snlhcb>' Pamtcr (AI. :he ~I\-Ie of the lid friele iodic:!te'> a dale around 450 8.C.; ,k(,Jlb. 01 shape set"m 10 gi\'c a slightly laler dale. The conca\e nll>c tlf the "aw :md debased laurel pallern are characleristic of lhc ~l"Cond generation ul the Penlhc~ilca W~'r",hop l'ommencing ,Lr,'umt +W B.C. d LoU\re CA bJ6 and LP 2bQ2 IPb. 41.1 and .121. HI,' t~ pe of fuol may also be lI}und ;n t)PC A 10 lhe Oi,h·li)l,lt Clas..
"I .. bi ThrtHle Wl. M5,2).'
146
TilE ATTIC PYXIS
THE A-C CLASS I. Alhens 17983.
P1.87.1. Fig.I6d. H. 0.05. H. with lid 0.07. D. at rim 0.145. D. of lid 0.181. H. of fool 0.008. Bronu ring handle preserved. Lid domed with two lightly raised rings around center, step down to rim articulated by a ridge. COnC3\'e cUO'C of wall e:raggerated at base. ring fOOl. Lid: egg and dart. frieze between reserved lines. laurel. Wall: black.
The Lid Painter. Helios. Selcne and Nyx: ARV. 1282.2. Cu. 4)0 B.C.
')"1 LV RLTH£RfLRD ROIIERn
147
Fig. IM. 1{1Il~ handle mi~slng. broken In many piece
Ik,.!il/ F 25/1J. from Athem.. PIs. 8tJ.3. 87.3. Fig. 16a. H. U.038. H..... ith lid 0.06. D. at rim 0.14. D. of lid 0.171. Hing handle prc~cned. Lid domed with two lightly raised rings around lhe center. step down 10 sloping rim. Rim grooved on euher ,ideo C0I1Ca\C cu","e to .....all exaggerated at ba~. ring fOOt. / Id do.:ba~cd IOllgUt.~. blllCk band. frieze bel.....een reserved lines. bl.lck ridge. debased tongues. W"f/ black; hUllom series of concentric circles and .... ide black bands. Rect-ligure. Helios. Selene and Np:: CVA. Germany 22. D.:rlin J. ilL 138.2-4. For the subjecl cf. Athens 17983 (no. I); Athens. ~rpieri (ex Vlao;lo); London 1920.12~21.1 VHS 41 !192JI pI. b); London E 776 and Oxford 1914.11 (CVA. Great Britain 3. Oxford I. pI. SO. Iq 8oeotian red·figure fr. of a pyxis lid). ell. ./30 RC b. N,-\\' Yllrk 06./0Z/./20. said to be from Attica. Bronze ring handle prcscT\·cd. H. 0.06. H......ith lid 0.076. D. at rim 0.127. D. of lid 0.165. H. of fOOl 0.009. Lid. domcd ..... ith step do.....n 10 slightly ~loping rim. Lightly rai~ed ring around center. Concave curve of .....all strengthened at baloc. ring fool. I id: debased tongue and dot. frieze bet.....een rcserved lines; rim: ckba..ed tonguclo.
148
SAllY
IllF Arrlc PVXIS
\VtllI: laurel paltern between reserved lines. base line reserved.
BmlOm: dotted circle and two circles. All reserycd
portions
reddened. Grafitto on unden;ide of lid and box match. Red-figure. Eros presenting swan to woman and woman; Eros !lying right after Nike. seated woman enframed by vertical bands 01" leaf and belT)' pattern; Richter and Milne. fig. 136: J. Noble. TIll' Tl'ch"iquf.'s of Puill/oo Aflk Pottery. 26. and note 93. fig. 161. LUJ"' quunf.'r jiflh century B.e. 1 he preceding pyxides have been loosely grouped together on the basis of certain common characteristics. The ~'all forms a concave curn: much streng1hened at the base. The side of the lid continues and completes the cur\'C~. a characteristic oorrowL'd from Ihe ppis of type A. The lid carries the frieze as is canonical for type C and ;n thi:. class the wall ;$ usually black. The proponion of ht'ight to the diameter of the lid varies and also the organization of the lid decoration. These pyxides date from ca.
4.10·400 B.C. The prome of Athens 17983 tno. J. PI. 87.1) is similar to that or no. 2 (Athens 1597. PI. 86.1): in both ont' may obsen'e the conca\'e curve of the wall exaggerated at the base. The side of the lid completes the curve of the box. The main piece (no. I) is intact. The foot type differs. The contour of the wall of no. J (Athens. Agora P 15572. PI. 86,2) is similar though the curve is less accentuated at the base. It is probable that the mi:.sing lid was decorated. as Talcott and Sparkes noted. for black examples arc rare. The pyxis from the Ceramicus (no. 4) is the only completely hlack example of type C which retains its lid. It is \'ery finely aniC'ulated, The lid is cClO\'ex with two lightly raised rings around the center such as would usually border a central paltern band as on Berlin (no. S, Fig. 16a). The wall of the Ceramicus pyxis forms l\ COnC3\'e curve accentuated at the base and the side of the lid complctes the curn' of the wall. The underside has three ridges. Greater care went into the potting of this black example than may
RUTHERfURD ROBERTS
149
be seen 10 the majority of red-figure pyxides of type C. Nu. S (Berlin F 2519. PI. bid. Fig.. 16a) like no. I is intact. The .... all is of a concnc cunC' much strC'ngthC'ned at thC' base and it ha:. the usual ring foot. The contour of the side of the lid differs from no. I ,md 2 ;n that it does not l'ompletc the cun'e of the wall but projectS horizontally. 111 this feature it comes closer to the characteristic side profile of the pyxis type C (cf. the lid of Athens 1243. Fig. 17a. or for a later fourth century example that of Munich 2725, Fig. 1%). Thc underside of no. 5 (PI. M7.3) is most elaborately moulded and decorated. A sequence of concentric circles and ever wider black bands covers the entire area. A black raised ring and the ring foot itself are incorporated in the design. In contrast the decoration of the underside or Athens 1597 (no. 2. PI. 87.2) b simple. The area within the ring foot i~ resen'cd "ith thn..~ concelllric circles. The area without the ring foot is glazed and moulded. The decoralion of Athens, Agora P 15572 (no. 3. P\' 87.4). i... :.Iightl) more elaborate; two (perhaps three) circles are cnframed b)' a wide black concentric band. The area without the ring fOOl is black and moulded. The underside of Copenhagen 5380 shows the most elaborate sequence of concentric mouldings. No. 6 (New York 06.1021.120). like the Berlin pyzis and no. 1 retains its original bronze disk and ring handle. The conca\'e cune or the wall is strengthened at the base and it has the usual ring foot. It differs. however, in a number of respects from the OIhers of the class. It is taller in proponion to its width. In addilion while the side of the lid is cun'ed it lies ....·ithin the contour line of the wall so thu there is an interruption or jog in the continuance and completion of the concave curve of the wall. Finally the .....all is embellished with a wreath of leaves, which is canonical for type C in general but odd for Ihis class.
COMPARE
Copenhage" 5380. from Athens. PI. 86.4. H. 0.03. H. with lid 0.063. D. at rim 0.119, D. of lid 0.157. lid domed. with central knob handle and IO\\-er rim. groo\'ed at
152
'53
THE ATTIC PYxIS
CLASS OF ATHENS 1243
1. Athens /243 (CC. 1960). PI. 88.1. Fig. 17a. H. 0.062. H. with lid 0.08. D. at rim 0.121. D. of lid 0.156, H. of foot 0.009. Domed lid with lightly raised ring around the center, step down 10 horizontal rim. Slight concave curve to waU with sloping keel. ring foot. Lid: frieze bet""een reserved lines. reserved ridgc!, rgg and dot (inverted). WDII- wreath of olive leaves. inverted egg and dot on lower keel. Botlom: dotted circle, circle. Yl'ide black band. rl5erved band. Matching mitt incised on Hd and bottom. Painter of Athens 1243. Aphrodite seated and woman; two Erolts making music al the altar of Aphrodite: ARV. 1319.2.
2. Athens, Agot'P P 23910, from Athens. Center of lid and bronze ring handle missing. Jnlored. H. 0.OS2. H. with lid 0.064. D. at rim 0.112. D. of lid 0.115-0.135. Domed lid with lightly raised ring around the center, step down to a horizontal rim. Very slight concave curve to wall. sloping lov..er keel. ring foot. Plain, Agoro XII. pp. 176 and 327, no. IJOI, plo 43. fig. 11. There dated 400-390 D.e. Deposit Q 15:2. 3. Athen.f, from Athens. Ring handle mining. H. 0.04, H. with lid 0.06, D. at rim 0.106, D. of lid 0.13. lid domed with two lightly raised rings around the center. flat rim offset by ridge. Wall slightly concave with sloping lower k«1. ring foot. Wall: myrtle and berry; lower keel: egg and dot. Boltom: dot, three circles and two black bands. Manner of the Meidias Painter. seated woman with Eros. seated woman and woman, dancing woman and Eros; ArchEph (1968) 17·19. pI. Z. fJ and y (D. Schilardi); Puralipome"a. 479. 96 bis. Ca. 400 B.C.
4. London E 782. from Athens. PI. 88.2. Fig. l7b. Ring bandle missing H. 0.032. H. with lid 0.043, D. at rim 0.082. D. of lid 0.102-0.103. H. of foot 0.003. Domed lid with rid~ articulating junction with sloping keel. Wall concave with ridge marking junction with sloping kn!o'er keel. 10V0 ring foot. Lid: egg and dot then vertical. circumscribed palmette5 with leaf below in interstices and above volutes bracket evrry other palmene. Odd man above head of &OS. Vertical palmene between two oblique circumscribed palmettes whose central petal pierces the tendril--this pattern repeated on other side of lid and in the mid spaces on one sKie a seated Eros and 00 the other a .·oman with a phiale. Egg and dot. Wall: myrtle and berry; egg and dot on lower keel. Bottom: dot and two circles•• ide black band. Manner of the Mcidias Painter. palmettes; Eros; maid: ARV. 1328.97; T. Panofka. Antique.f d" Cabinet d" Comtc de POUrTulf'$·Gorgiu. pi. 33.3-4. Ca. 410 B.C.
5. Car/sruhe 296 CB 1873).
PI. 88.3. Ring handle missing. H. 0.056. H. with lid 0.072. D. at rim 0.139. O. of lid 0.17, H. of foot 0.015. Low. domed lid with lightly raised ring around the centcr and flat rim. Wall concave with lower keel separated by a groove. Iow ring foot. Lid: frieze; n"m: egg and dot. Wall: olive wreath; lower flange: egg pattern. Manner of the Meidias Painter, Dionysos seated, and Eras; woman seated, and Eras; youth and woman (maid); ARV. 1328.95; CVA. Germany 7. Carlsruhe I. pI. 29.3-4. Ca. 390 B.C.
b. Dresden 385 rJ,V 1645). from Laurion. PI. 89.3. Ring handle missing. H. 0.047, H. with lid 0.06. D. of lid 0.145. H. of fool O.Qt. Domed lid with lightly raised ring around the eeoter and
154
IS>
I HE ATTIC PYXlS
sloping rim offset by a ridge. Wall concave with moulding at top and a sloping lo.....er keel at the base. ring foot. Lid- frieze between slightly raised ridges. egg and dot (inverted). Woll: black with egg and dot (inverted), on lowu keel. Manner of the Meidias Painter. woman sealed and ,>,oman: Ems and ....' oman: ARV, 1328.94.
7. London E 776. from Athens. PI. 90.1. Ring handle missing. H. 0.046. H. with lid 0.064. D. al rim 0.057. D. of lid 0.145. Lid domed with (....·0 lightly raised rings around ~ntu. double curved moulding and then step down to sloping rim. Wall. concave with moulding at top and a step down to projecting lmnr keel. low ring foot. Lid' debased tongues. black band. frieze between resernd lines. black moulding. debased tongue and dot. Wal/: wreath of mynle leaves and berries. Red·figure, Eos and Selene; Cecil H. Smith. Clua/ague of tllr Gre,,! and Etruscan Vases in tll,. Bn'tish Museum. Ill. E 776; JHS 41 (1921) 144. 8. Berlin 2720. from Attica. H. 0.08. D. 0.17. Flattened. domed lid with lower horizontal rim. wall cylindrical .....ith moulding at top and projecting lower keel. ring foot. Lid: frieze bttw«n reserved lines, black band. egg and dol. Wul/: addorst:d palmettes linked by a scroll. black band, egg and dot. The Painter of Athens 1585. woman seated. with ErO!i and woman; ARV. 1360,4; Furtwangler. La col/ectiOIl Sabouroff, pI. 64. Companion-piece to Athens 1242. Ca. 4/0 B.C. 9. Athe"s 1242 (CC. 1958). from Athens. PI. 89.2. H. 0.075. H. with lid 0.085. D. at rim 0.137. D. of lid 0.17. H. of fool 0.008. Lid domed with two raised ringi around the center and lower
horizontal rim separated by • r.ised ring. Wan concave with mOlllding at top and a projecting lower keel. ring foot:. Lid: debastd tongue .nd dot, frieze between reKrved lines, egg and dot. Inten'or of lid: black. Bottom; dot within two small circles. circ~ and wKle black band. Wall: addorsed paJmettes linked by • scroll. black band. egg and dot. Painter of Athens 1585. ""oman seated. with ""'oman (mistress and maid) and Eros; woman seated. with woman (mistress .nd maid); Eros and ,,·oman balancing sticks on their hands; ARV. 1360.5; EpltA,d (874) 485. Cll. 410 B.C.
10. Toronto 370. from Athens. PI. 89.1. Ring handle missing. H. 0.058. H. with lid 0.069. D. at rim 0.129. D. of lid 0.162. Flattened. domed lid with lightly raised ring around the eenter, flat rim offset by rKlgr. Wall slightly conrave with double ridge at base articulating juncture with sloping lower k«l. ring foot. Lid.- frieze. invrrted egg and dot on rim. Wall: vertical palmettr and spiral plant pattern punctuated by rtots and circles; lower keel: invened egg and dot. Manner of the Meidias Painter. woman seated. with Ems and woman; two women; woman seated and woman: ARV. 1328.%; Robinson and Harrum. pI. 58. 11. Wl';rzburg 543.
Bronze ring missing. H. 0.058. H. with lid 0.068. Low domed lid with ridge at junction with nat rim. Wall conca\'e with step down to convex lower k«l. ring foot. Wall: myrtle and berry; lower Iceel: egg pattern. Bottom:area within ring foot reserved with dotted circle. circle and black band. Wider circle of Meidias Painter. seated woman. Eros with woman: seated woman. woman running towards her pursued by Eros; LanglolZ. Gn'echische Vasen ill Wurzbu'l(, no. 543. pI. 202. Certain common characteristics distinguish the PY1ides of this
\5
da$S. The wall is cylindrical or slightly conca\'c and the lower keel I~ dislincth'ely set ofT from it. The fOOl is a variant OD the ring IYpe· A cun'M contour line connects the ring (001 with Ihe lowu nunge so that the lo.....er third of the pyz"is gh'es the appearance of a lo~ dish. The majority of artists connected with this class paint in the munner of the Mcidias Painter and the period covered is from about 410 to 390 D.e. A pyxis. type C. dose to lhe Meidias Painter and .... hich nlay be: by his own hand is of a different mode!.l. The profiles of no. I (Athens 1243. Fig. 17.) and no. 2 (Athens. Agara P 23910). afC much akin. The lower keel is distinctively set off from the wall. The lid is domed wilh a horizontal rim projecting above Ihe IOlA"er keel. A curved contour line connects the ring foot with the JaYo'er keel. Athens 1243 is the name-ptece of the artist. a follO\\er of the Meidias Painter. No. 2 is plain but polished: the finish has suggested the influence of pyxKles made in other materials.
The profile of london E 782 (no. 4. Fig. 17b) is close 10 that of Athens 1243 (no. l. Fig. 17a). though iu proportions are lower and broader. The lower keel is distinctively set ofT from the slightly concne wall. The ring foot is 10\\ and joined to the ~wer fl"nge by a curved contour. The base clearly echoes the shape of the lid. the conveJ:ity of one answering to the conH:J:ity of the other. The low broad proportions of the standard-sized Carlsruhe pyxis (no. 5. PI. 88.3) are similar as is the low dish·like foot. The fOOl, however. differs in detail having a moukting OUtside the ring. The London pyxis is small in contrast to the other members of the class. almost as small as the later pyxtdion. Athens. Agora P 12975. 15 The lid is completely articulated with a hole at the center to receive the usual ring handle. This is in contrast to a lid in Munich l l of comparable size ID. 0.105) whose central medallion is unpierced. The same is true for a miniature lid from the Athenian Agora (P 13097. PI. 72,2).u A pyxis (no. 3) of standard size in the manner of the Meidias Painter was recently found in a tomb near the Eriai Gates in
\57
Athens. It appears to conform to the characteristics of the class and 10 be quite sinlilar to London E 782. It has a ring foot joined by a cuned contour to the !ovt'er keel as is usual in this class. It has the ordinary egg and dot pattern ca the rim and I~er flange. Like London E 782 (no. 4,Pt. 88.2). the wall is embellished with a mynle wreath. The angle from which the photograph of the pyxis in Dresden (no. 6. PI. 89.3) has been taken, emphasized the foot while di!iltorting the shape of the profile. The ring foot is connected by a cun·«J contour line to the outer rather than the inner edge of the lower keel in contrast to no. I (Fig. 17a) and no. 2. London E 776 (no. 7. PI. 90.1) in its measurements and proportions comes very close to the pyxis in Dresden. It conforms to the characteristics of the class in its main features. The wall is !illightly concav~ and the lower keel is distinctly set off from it. The 10.... ring foot is connected to the Iowet'" keel by a curved contour. The profiling of the lid. however, is very individual. The lid is domed .....ith two lightly raised rings around the center bordering the pattern band. This is quite usual. but the double curved moulding setting off the rim from the main convex surface and the double curved profile of the side of the lid are refinements unparalleled in the class. The artist in additton is an outsider. not a member of the Meidian circle. The pyxis is unatlr;butcd. No. 10 [Toronto 370, PI. 89.1). has a domed lid some.... hat naUened in contour. The wall is slightly concave with a sloping lo.....er keel distinctly offset by a double ridge. There is a simple ring foot. at variance with the usuaJ foot type of the class. The rim and lower flange: are omamented by an inverted egg and dot pattem. This is a favorite pattern formula also found on Athens 1243 (no. I), Dresden 385 (no. 6), a lid in Heidelberg l l in the manner of the Meidias Painter. and a fragmentary lid Athens, Agora P 98. n This inversion of the usual egg pattern may also sometimes be obsen'ed on lebetes gamikoi and loutrophoroi. The profile of Wurzburg 543 (no. 11) is very close to that of the pyxis in Toronto. The wall is concave with a 100000-er flange distinctly offset by a ridge. The Hd is of a flattened domed
ISO
ISI
THIO ATTIC PYIlS
SALLY RUTHEllflillD ROB£IlTS
either edge. COnC3\'C curve of wall exaggerated at base. Low ring fool. Lid: Head of Athena, left. in central tendo. surrounded by two reserved circles. olive wreath, ulive wreath (only outer leaves and stalk depktedl. Wall: black. Bottom: elaborately moulded both within and without the ring foot. Group of the Athena·head Pyxidcs. Athena: AIlV. 1224.1; CVA. Denmark 4. Copenhagen 4. pI. 163.7.
The conca\e cune of the wall is much in..:reased at the base and there IS a low ring foot. The "'all is black. The side of the lid dOC'i not continue and complete the cune of the wall but projects almost horizontally above the lower nange. The profile of the btlCl) may be compared with Athens 1597 (PI. 86.1). Copenhagcn tPI. 86.4). and Alhens. Agora P IM8J5;u the latter is the dosest parallel for the contour of the wall. For another red-figure Boeotian pyxis lid compare Oxford 1914.11 which has a representation of cosmic deities. U
Ca. 410 R.e.
New Yurk 23.160.14. Fig.loc. H. 0.035. H. with lid 0.052. D. 31 rim 0.136. D. of lid 0.161. H. of foot 0.003. Lid domed with lightly raised ring around the ~n1er. sloping rim separall.-d b)' ridge. Conca,'c CUTYC of \\311 exaggerated al base. 10..... ring foot. Lid: debased longue and dol. Head of Alhena right in central tendo surrounded by two reserved circles. olive wreath (inner leaf and stalk), olive wreath (inner leaf and stalk). Wall: black. Boeotian red-ligure, Athena. ARV. 1224,2 (the inventory number there given is incorrect). 425-400 H.C.
The Copenhagen pyxis (PI. 86.4) shares many of the characteristics of this class. The wall is black and of a concue curve much accentuated at the base. The side of the lid is curved but lies slighlly inside the line of the wall. Thus there is a jog or interruption to the curved contour line of box and lid as in no. 6. The convex lid is furnished with a knob. instead of the customary ring handle. a The lid is decorated with a helmcted head of Athena in profile to the left. The knob is placed at ear level. The decoration of the lid of a Boeotian red-ligure pyxis l l forms a parallel to that in Copenhagen. The head of Athena is in profile to the right. Both olive crowns are halved instead of just the outer one and it is the inner leaves which are shOl\-n rather than the outer.
PYXIS TYPE C BY THE PAINTER OF LONDON E 777 MlIllich 2723. from Greece.
Fig. 16b. H. 0.042. H. ",ith lid 0.055. D. at rim 0.145. D. of lid 0.175. H. of foot 0.005. Low. domed lid with two lightly raised rings around the center. ridge at juncturc with sloping rim. Wall. cylindrical with moulding at tup ;lnd a ridge at junction with sloping lower keel. lu" ring foot. Lid: egg (double bordcr and black core) and dot. frieze; dm: egg (double border) and dot. Wall: laurel: 100H?r Ic.ul: black. Painter of London E 777. mistress and m3ids; ARV. 944.85; CVA. German) O. Munich 2. pis. qg.1 and 102.3. For the subject cf. Athens 13676a (PI. 69.2). The thcme looks like a footnote to a lebes gamikos. This is the only pyxis. type C. decorated by the hand of a Penthesilean. The pyxis while having a strong family resemblance 10 pyxides of type C in general does not fall into a class. The c\'idencc at hand suggests that the I'cnthesilea Workshop did 1101 become involved in the production of pyxides of type C. The low. broad proportions. the cylindrical wall. the projecting beaks of the rim of the lid and lo.....er nange indicate a date to\\ard~ the end of the fifth century.
158
I"," 1\ nil I'nlls
SAllY Rl,ITHERFURD ROIERTS
~'Ollligur3Iion_
h has a simple ring foot. The dimensions of the hod} aTC dose to those of Toronto. Unfortunatel)'. the pyxis .... as damag\'d in World War 11 and it is no longer possible 10 ~ l't'nain of the diameter of the lid. lO Langlotz attributed the pyxis 10 the cia-le of the Mcidias Painter and dated it around 400 B.e Ueazle}' did nOI include this pyxis in AR V and the style while dcriH'd from the Meidian manner seems further remO'o·ed Ihan those there listed. The egg and dOl pattern on the rim of the lid and on the lower keel is of the normal \'anety.
ODD PYXIDES l. Af/ll'l/s 1594 (CC. 1540).
PI. Ql.U. Fig. I k
H. 0.051, H. with lid 0.058. D. i1t rim 0.125. D. of lid 0,143. H. uf fOUl 0.003. Flattened domed lid with IwO lightly raised rings Mound the ccmer. rim with concan: face. Wu/l. slight concave curv~ wilh slvplng lo.....er keel. 1010\ ring fOOl. Lld. twO cocks confronted, tongues. frieze betwttn resen'ed lincs; rim: on upper fa~. tongues. on underside. egg and dart (im·er.ed). 'Wall: frieze: thrtt pairs of animals confronted and one ~Inglelon 10 right: lower ked. egg and dart. Red-figure. horscrace. BCH SQ (1965) 9Q-1OO. fig!>. 8-9 (Bruneau). 4JO·41O D.C.
2. LoulIN! CA 1586. PI. QO.J. AboUI half the wall and nearly a quarter of thc lid reslnred. Hillg handle preserved. H. 0.034. H. with lid 0.046. D. at rim 0.113. D. of lid 0.135. lid domed with lighl1y raised ring around the ('enter, rim with COnC3\'e face offset by a double ridge. Wall. concave with sloping lower keel. Lid: frieze: n'm: egg and dol.
ISO
Wall and lo..... ~r keel black; bOllom: black. Shmalov Painter. Eros pursuing a woman: Eras pursuing a Io\oman; ARV 1210.68.
J. I 0 .. ,'re CA 1589. Melal disk. loop and pan of ring presen'ed. D. 0.126. Lid. domed wilh t.....o lightly raised rings around the center. Light-weight and thin-walled. Lid egg and dot; vertical palmette and lotus flower linked by \l::roIl5. The scrolls cunc upward beneath Ihe palmcllcs and do\\ nward beneath the lotus flowers. the latter with an additional flourish. dOlled circles above; egg and dot; vertical circumscribed palmcllcs wilh leaf below in inlerstices and above volutes bracket evcry other palmette. Red·figure, patterned. lid only preserved. 4. f!t'ldtdbers: 69.5. 11.0.048. D. of lid 0.13. LoY. domed lid with lightly raised ring around c:enter and raised ring articulating junetu~ Io\'ith rim. Wall slightly concave with projecting lower k«l. Iow ring foot. 1nterior of ring: painted star; I'xlaior '!" ri"g: series of black mouldings articulated by raised ring... Lld.- black with resen'ed medallion at ~nler with N'O glazed circll..~ around ~ntral dot and OUler reserved band. Wall' \·enical. circumscribed palmettes alternating with lotus flowers joined by scrolls. The scrolls curve upward beneath the palmettes and downward beneath the lotus flowers. Dotted circles above lotus flowers. Red·ligure. patterned, R. Hampe. Kala/og der SummJung IIIII/h'r Klei"kullsr der U"il'ersi'ul Heidelberg: ll. Nl'lwrwuhunRI'I/ 1957-1970. no. 80. pI. 56. Cu. 430 B.C. S. Bruuro" MUSt'llm 97 fr .. from BrauroD. Ponion of wall and lower projecting keel preserved. Underside elaborately moulded (black worn). Egg shell fabric.
I(,()
l':l1mclte
SAllY RUTHERFURO R08ERTS
IUF!\III( PYl(],
a1terna[in~
with lotus Ou\\cr (addorsed: lotus abo'"e
f.l1r:lelle. palment' abovt' If'lus!. I ""T'- k"l>l: egg and dan. l\.'ll-ligurc. pattcrner!. ('/1. .f3f) H.C.
Ilwre arc sc\"cral odd thin-walled pyxides of a light and delicate ,.lhru: from the )"cars 4.10-420 B.C. Athens 1594 lno. I. PI. 90.2) has a Oallcncd domed lid \\11\1\1: rim halo a conca\'e face. The \\ all is cylindrical with a down-turned 1\lller keel. The low ring foot is joined by a CUfycd conI our 10 the ha~e of the IO\'ocr keel. "J he protilc is relah:d lO that of the 1;,\Il'r Cla" of Athens 1243 (er. Fig. l7a). The central medallion of the lid has cocks confronted y, ith (II,() drcb for pUn('iU:ltion between thenl. There is a !>li~hl bit uf "loratiun :H the "cry {'emer. 110 hole remains. It l>C('l1lS likely Ihal th" hd wa... unpierccd, for a brOIl?e di...k I'.ith a ring h:1I1dk IIIJllld h"I\." covered the tnmlo composition Egg and dart pattern ,'I nament') the side of the rim :.nd the lower keel, normal below and ilt\t:rted above making an effe{,tive Ibme for the delicately \,.'xecutl'd animal frieze. Thc domed lid 01 a pyxis in the I.ouvre (no. 7. Pt. ~.J) abn llil'i ,I rim with a concave face. The Wit]] is concave with a spreading, Cl'IUCX base moulding. There is no foot: the box rests on a low moulding lie! well in from the edge of the lower keel. Thc lack Ill' foot is a rare IcafUre for a clay pyx;s of type C, occurring also on the early white ground example in Misllissippi H but frequent on the related marble type. U The LOU\Te pyxis ill attributed to the Shuvalov Painter. Only four figures executed in a delicate miniature style people the lid. An Eros pursues a woman who looks back at him while neeing ane! the like. The few figures and amplt> space surrounding them are in contrast tll Ihe compositionll in the m'lnncr of the Mcidias I'ai Ilter. l1 .\ li~ht and fragile dOlIll.."
165
4. Vimna 1484. from Greece. Bronze ring handle presened. H. 0.075. 0.0.16. Low. domed lid. \\all slopes outward with moulding at top and a sloping. lo""er keel at the base. ring foot. Lid: frieze: rim. egg and dot. Wall. m)Tt.le: luwer kl!eJ: egg and dot. The Chalki Group..... oman seated .... ith Erotes. )'outh and ....omen: ARV. IS03.1. CVA. Austria I. Vienna t. pI. 50.1-2. 5. BirminRham /610.85. H. 0.06. H. with lid 0.065. D. at rim 0.10. O. of lid 0.142. H. of foot 0.012. Flattened. domed lid wilh two raised rings at center and a third articulating juncturc with ....-ide. lo.....er rim. Wall separated from sloping lower k«1 by a raised ring. Ud: black tondo. reseo'ed band between raised rings. frieze. n", egg and dot. Wull- myrtle: luwer k't'l· egg and dol. Chalki Group. head of Aphroditc ..... ith Ercs. youth and maid: seated woman. with Erns: ARV, 1503.4; Metzger. R .. pI. 6.4; Puralipomnlu. 499.
COMPARE
6. Athe"s /359. from Athens. PI.lJ4,1 and %.2. Lid broken and mended. H. 0.038. H. with lid 0.05. D. of rim 0.065, D. of lid 0.09. Lid domed with raised ring around central un pierced medallion. anOlher around frieze and a third articulating juncture between wavc and egg and dot pallcrll. Wall slopes outward slightly with a moulding al the top and a sloping. lowcr keel separated from the wall by a raised ring. Dish foot with low ring. Lid: medallion (tiny circle and circle), friez.e. wave. egg and dot. WuJl: myrtle. lower keel: egg and dot. BOl/om: circle with tiny circle within it. circle and black band . Chalki Group. miniature; Eros and seated woman with a
'66
THE ATTK PYXn
kibolion between ......oman right. Eros and woman. Underside of the lid groo\'ed. Fool differs from class. 7. Hun'ard 1927.152 (Gift of E. P. Warren).
Fig.I9d. Ring handle restored. H. 0.049. H. with lid 0.06. D. of rim 0.112. D. of lid 0.15. H. of foot 0.011. Lov. domed lid with sloping rim separated by a ridge. Wall cylindrical with sloping lower keel. ring foot. Lid: bead and reel. (rieu between reserved lines. egg and dot. Interior of lid black wilh reserved oult:r ring. Wall: white ground. myrtle wreath (fragmentarily preserved) at top of wall. lo ....er keel: traces of egg pattern. B01wm: dotted circle and circle. wide black band, circle. Unattributed. Eras pursuing woman to right and woman lleeillg left. youth pursuing woman to the left and Eras. In the field two scrolls and a plant. The diameter of the lid is slightly tOO large for the box: the lid probably does not belong. CVA. U.S.A. 8. Fogg Museum and Gallatin Collections. pI. 20. Sa-b. Pyxides of this class have a distincti\'e shape. The low. nattened domed lid has a .....idely projecting rim. whose underside has an indentation or groove. The wall has a moulding at the top and a projttling lower keel. Both the rim of the lid and the lower keel of the box project like beaks beyond the wall. There is a ring foot. The underside of the pyxis within and without the ring foot is not elaborately moulded. Measurements are moderate. quite like those of pyxides of type C of the last thirty years of the fifth century. Egg and dot ornament Ihe rim and lower keel. A myrtle wreath encircles the wall. The painters belong to the Chalki Group: the pyxides date ca. 400·390 a.c. Glass pyxides of a type closely related 10 clay pyxides of type C have lids of a very similar contourY The characteristics of the shape of the Chalki Class arc most clearly discerned in Munich 2725 (no. I, Fig. 19b). The articulation of the different parts of the London pyxis (no. 2. Fig. 19a. PI. 94.2) is less sharp. Onc might say the articulations are softer. less defined. This is particularly noticeable in the contour
'.7 of the lid. The slope from the domed portion to the rim is less abrupt. On the underside of the rim there is a groO\e next to the lnnennost portion which rests on the moulding at the top of the 'l\all. The stem and knob are restorations and must be subtracted. One may see the lightly raised ring around the center outside the stem on the photograph. On the underside of the lid a bit of metal still remains in the hole. The Bd therefore once had the metal disk and ring handle canonical for clay pyxides of type C. No. 4 (Vienna 1484). appears to be very close to the pyxis in Munich (PI. 91.2). The wall slopes outward slightly with a moulding :tI the top and at the base. a projecting lower keel. I ha\'e not had all opportunity to examine this vase but from CVA the lid appears ,imilar in conlour 10 thal in Munich. The articulation between the convex portion of the lid and the rim is not clear from the photograph. The underside of the rim is grooved. There is the uwal ring foot. A pyxis in New York (no. 3. Fig. 19 /lnl"-"''' J5 lI'liCibl &J. PI 27.... AIso!itt above p. 71 :tnd 1'1. 5.3J. Ji> ARV 1271.14·15.1718.22·25. r ARV. 1126·II2K and Illl.I9b; Purvlfpomrnll 454. J hl!\ Ind J tn. 3& AHV I.\IJ.8·IO; IJI.\. 1~-1l1 19 AIo:V, 1J22. 11-18; 1J22·l3. 1~·J2 1«; 1Jlt>·17.11'1O: 1J2!l.92-99: Pllrol."., m,nll 4~9. 14 hIS. 20 hIS. 91 blS Ind 96 b,~ 40. ARV. 1475.1-2.7,
~Onl" of
the: original bront" hand"'" aIT prnt""~. Joo;cph \ "ach l'-oblc:. TI,(' (:'\I ...... '01'''- 1%5) 16. fi~ 101. Ag<WIl XII. I-to and footlHJ(C' 22. 2 Ag._ XII. I7b-In. 327·328.
r",/""q,,1'} "/ P"III,..d Aoil' PulI,-,.,
J. IbId.. '-6.
175
'tilE ATTIC" PYXIS
"'fl'.
4. Bell 8· (l9bJl ~08. lig 14 {hIp 5. JGS I (IQ59J 11-11. lip. 1·19 iWcinbo:rg). n. AA (I9SS1 m. 14. Iig. -:. ~ lid In tn.: crnt"r ~Io•.- ,.,.." l. T1w:' affinil)" of lie -.; and col. 19-20. fig. 12 Is c\osl:. 10 marble ~,.. idt"S of the: 10-', broad l)'~. Compal"l' "","",,lut, P11Xles of the ttntra! boa..!> IllX VGS I 1195"1 fi!r'_ 2.l-14 and :lb' -. HMI-A 31 (l9J91 eo. fig 12 (rightly d1lltd In 5th ttnlul')" B.C.): JGS I (1'15'#) 10. fi,l. 25. !l SaIUh>f" Aur'K"'mma. L.. N''''''''f'f>l, d. 5,....u .n Vull.. T,..flba. 1.2. pp. b5·l'A. 1'1
,-
9. C. M A. RICh..: ., Tit.. St'Il/pI" .... Imf! S(M/plun ..J ,11" Grr..... 44th td.; Nc:lto Ha_cn 19-0) fil. 514, H ~, lhdr')"' TIt.. S......,.. S.)"I.· in Grn'l Sc"'pf,," lrrincdon 1970).so Ind bibhO(lllphICII T'l."f~1K'eS on p. 55. 10. MD. Hrlk Sahk... Robn1~ k'ndly m\p«1ed the lid ud ,"formed ITlt' in a inleT. Ma) I. 1969. that lhe ,"tenor of lhe lid is inlacl and the ~lem of t,", knub ur'Klnlll. The koob Itlol'lfall.o appra~ In hotlong. I am al ....' indebled 10 M~ R~"s for lhe mU.lun:mc:nli of Ihis pyl~. 11. I.>r. lhtlnrh von 80lhmcT In'Kn«Ith... P)'IIS:tS BorOlian.1 am l:n:atl)' 'ndebted 10 hIm for permiSSIon to nlmme thIS vase and OIhers at tht Melropolllan Mu~um. Dr. _on 80thntrr al,... ronlim,f((! that th", ... Ihr sam.: PP'~ menliono:d ,n ARV. 1224.2. 12. A,lIl,,"" XII . .127. no. I~. lig. 11. 'fhc,rr dated 4 ~ 8,C. IJ. 51'1«,. no. 99. pI. 8 and rd"erentt:S. Compare the treatment of the hair. 14. ARV. 1315 and U28.'Jti. IS. Sec abo'ot p. 117. 16. CVA. German)' 6. MUnlc:h 2. pI. 99.1. Tht:n: dale:d ca. 400 8.C. 17. 'Wx' aoo-e p. 117. 18. ARV. U28.9J; w. KraikrT, I(ll""oe d ..r Sll",ml""g ..n,iAc·, KIl'inAu"~f ./", Uni...·n;tat /ltid..l1x>rR. I. die rotfrgurigt:n allisch.en Vasen. n". 219. pi. 4.1. 19. Luey Talcoll and Olhe:D. Small Obfrru from fhl' l'''y;r 11. 1I.'Jpt'riu Suppl..ml'''' X. no. 1J8. pi. I1 and fig. I. "The poc:M i~ a favorite: onc: ",.jth the: Meidias painler and his follO'Aers ..." 20. I am indebtt.'d to Dr. Guntrllm 8eck",1 fur pllrtieulars eoncrrning Ihe shape of this pyxis. 21. ARV. 775.2; CVA. U.5.A. 4, The Robinson Collcction 1. pi. 47.2. 22. The marble pyltides 80stnn 86.54. 81.JS4 and 81..352 ha"e a widely projecting base: motlldinl!. That of 8~ton 81.J52 is elaboralely grOO\'t'd. Compare ah.. Hcraklt:,,,n Mu\O:um 11 and Brussels A 2215 V(i!, I [1'l5'lj t1g~. 2]·21». Onc In Ikrlin VIA 55 [19401 e(ll b28. liJo:. 10) b '''I") ~lmilar to Bust"n 86.~. The undcrsid,' of th""" I')~il't:ncs
of the brides Alcestis (seated befo~ the door of the thalamus) and Harmonia. a Another mythological paradigm of marriage is the abduction of Ordthyia by Uoreas (Athens 1586 [pI. 65,1): Chicago 92.1251. 11 This thcme could be s~'mbolic either of marriage or of death. 17 The wind gods were intennediaries betvoeen the world abo\"C and Hades. They were regarded as fenilizing or impregnating but were also regarded as destructive. A close association between death and weddings appears again and again in visual and literary imagery. There are two examples of the Boreas and Oreithyia theme on Illlllrllphoroi from the Sanctunry of the Nymph (Bride) in Athcns. 1I This sanctuary was not dedicated to the nymphs but to lhe Brirle anel ..he i....till called nymphc today un her ~elldillg day ill Greece. A boundary stone of the sanctuary, graffiti on vases, both shape and iconographic characteristics of the vases make the identification of the sanctuary C'Cnain. The majority of vases from the sanctuary were loutrophoroi. though other shapes were included as pyxides. The subjects ~Iated primarily to weddin~. The vases dated from the middle of the seventh centul)' to the third century 8.C. 1I Burcas and Oreithyia also appear on bronze hydriai. some of which ha~e been found in the graves of women. Indeed Picard believed all these hydriai 10 have been funerary in purpose,lO In this case the theme may represent hopes of immonality for the deceased. A tomb in Capua included a pair of stamnoi by the Deepdene Painter. one .... ith a representation of Al I:led in Attic classical drama. Admetus addresses the door of his house 011 hi~ relurn from his wife's funeral.
"a visage of nty hou!>e! How shall I enler you ... How great b the change! Once of old. I entered my house wilh marrhlge· songs and lorches of Pelion. hulding a IOl'ed woman by the hand. folJowed by a merry erowd shouting good wishes. Today in pla~ of marriage·songs are lamcnlations .. :·.S Always there is this dualily. Ihe wedding doorv.·a}' may tonlorrow become the ponal to Hades. On London E 774," with the wedding preparations of Nereids. two lebetes gamikoi are placed by the door and on one, minialure nick figures in black silhouelle approximale the wedding procession (groom leading the bride and a figure with wedding torches). Actually, the groom leading the bride, lUQ~ bti llQ{)7f'i'. is a scene rare on the lebes gamikos bur appears on Athens 1172 01 combined with a scene featuring women on the back. On :t pyxis, Munich 2720 (PI. 99.3, 100.1-2) Ihe frieze h3s become emblemalic." A door lakt.'s up a major pan of the composilion. A woman nees from it but turns gesturing. On the other side of lhe door a Nike, like those on the Icbes ~;lmikO\. Surely, here lhe door means the wedding.
IBJ
It may well be that in scenes as ordinary as those on Berlin 2261" one was supposed also to thlOk of the wedding. There is the door and to the right a woman holds a mirror, next t\\O .... omen stand one on each side of a kalalhos: next a seated and standing ....UI1l:lIl {PI. 2&1. In the f\Cld among other objects. ahere are sandah. and the~ probably arc significant. SCI On a few occasions ike appears among the .... omen. On lebetes ~;t1nikoi (PI. 101.1) t.... o symmetrically placed ikai hOl'er or ny beneath the handles. often sho.....n bringing gifts: a basket and a laenia. a kalatt'lm. ur ..n_-dding torches. SI Kc-nner has sho.... n Ihat these are not personifications of female beauty or Eos but a .....inged genius. probably called Nike .....ith a long history and connections .....ith demonic winged beings: Sirens. Sphinxes. Keres. Erin~. Gorgons, Harpys and Eos.u SirenS. Gorgons and such were often pl:lced by the handles to .....ard ofT evil on early vases of lhe seventh and sixth ccnturJ and the position of the Nikai on lebetcs gamikoi is deriH:d from this old usage. In other words the Nikai have chthonian origins and connections. At the time of the edding th.:,c mini!>lering spirits bring ble~sings from the nether orld to the ne" I)·- .....t:dded pair. In contracting marriage the pair prayed to ahe Tritopatores H or "great-grandfathers" and addressed them as ;{v4Ao1 or dcom>'Tat aV(/-lvJv and asked for the blessing of children. They .....ere concei..'ed a~ aeriform ancestor souls .....ho hal'e their seat in the ....·inds. There is a sanctuary of the Tritopatores ill Delos and another ill ahe Ceramicus.Sc lemalc .....inged 8enii are placed on ,'ases .....ith nuptial il.:ollography such a' IclJCtes gamikoi. loutrophoroi. lekanai and ppidt:!>. Hut the Nikai ha\e al!>o a connection "ith dealh. A fragmellt of the fourth century in Vienna Unh'ersityss 'ho.....s 1"0 r-:il.:ai l>lmilar to those on lebetes gamikoi hOl'ering placing a h"lctal ":lse. And il should be said in thil> connection thal in j-fe,;nd', TI,.·IIWmy Nike i~ said to be the daughter of Styx.~' 1 he nmnectioll of the Nikai Orl pyxide~ .....ith those on Icbctes gamikoi is most dearly sho..... n on Munich 2720,51 Here the Nike hovers. a taenia in front of her, by the doorv.·ay. in an exact quote of the position of those on lebetes gamikoi.
.84
185
THF ATTIC PYXIS
Many lebetes gamikoi depict a file of .....omen bringing presenlS 10 the bride in a ~'Clll' which ha~ been interpreted a~ Ep'ere no inscriptions it would be enlill«l women in the home or in German text. "Frauengcmach," But the inscriptions gi\'c us the names of Argh'c heroines. Helen, scated at a wool basket, and KI)1aimcstra; a woman (unlabeled) and Kassandra: Iphigeneia. binding her head for her bridal. stands in the doorway. while Danac brings her a chest. Now when an author ventures an opinion as to the destination of a pyxis it is usually said to be a wedding gift. But. however one 'Inderstands the SIOI'J of Iphlgencia. v. het her aetually ~acrili('Cd and killed at Aulis or snatched away by Anemis to become her priestess lir~l at TauTis and later 31 Brauron. it would \eem highl) unlikel)' in mid fifth-century Athens 10 proffer a p)'Iis with a represenlation of Iphigeneia 10 a young. neal·ankled bride, 'I he ppi" in Ihe Brilish Museum i" one ofa pair. the olher being London E 772 (PI. 63)." The profiles 3re similar bUI nOI idenlical. as Ihere are "right rh)'lhmical diffcrcnce" in det~til. The handle of the ~el'ond Tlllly om:e have been it Icrflll:Olla loop, The lids arc the same with circumscribed palmettt..'S placl.'d in a Vitruvian wave pattern. Beazley remarked "The lid ilo by Ihe same hand as in London E 773. bUI Ihe figure·work seems nol." Uoth are b~ followers of Douris. The representation on this pyxis is of the Hesperides (PI. 103.3) quite surely and withoul a question mark. though thought of in an unusual and delightful way. There is a Hesperid standing by a fountain waiting for her h)'dria to fill. another follows and a third runs loward the tree. while Thetis is Ihe one galhering Ihe apples. Then: is the Iree and the Hesperides. given fanc)' names. arc tending if. Thetis is not the name of a Hesperid bUI is a fa\'orite in depictions of mythological marriage. This is especially so in the decoration of pyxides of this class (Class of Berlin 3J(8). Onc might say that the representation of Ihe Hesperides pyxis is a paradigm of marriage as Apollodorus 7o and Olhers tell us that when Hera was wedded to Zeus. Ge gave a wedding present of the golden apples of immonalilY. But probably onc should inlerprel the iconography as a paradigm of immonality. Reading the twO
SALLY RlITffERFLaD RO.Ean
,"')h III~l·ther
187
nllo; undCr'ltand" Ihal tI llI,1iden. d~lIlg ~nUII~ ",-'Inn." Ihe age of marriage \loas given a picture of Iphigeneia as a bride and also hopes of immortality in the depiclion of lhe tree of Ihe Ik~pl'rHIo:"" III olh..... \\llrd". IIIl' 1"'0 \:l'~ \loefl' ;I IUller:l1 Jo!ilt 1\1 a \\'Iln~ \\llll!an .tIlll IIl'fl' prnhJhl} plal'c\ IkllO' H. Irnm"""3h" tni",,...il) or N"rlh ll1rolina. 11. H~ .. ~t"IU' h.ICJ.l. 12. Athens "cr. 560: ARV. 47'1. ,l,\l> ,,,"1 4~1l: l.a"lI J7.llJO'l; CVA Ft;J'wC 211. L..,'n
I.p1.I!.',], 13. ARV. 025. 95: CVA. IJcnmark 4. Co~nhaBcn 4. pI. 162.4; ARV. tI06. 'IJ: Lulhn. £h,'"" lhe) ...·"'re pe.ha", g"",n a) .edding pl'C'KntJi 10 )oung hrldn . liCK lhe qUl'SIMln arises if a ~uh;.:c-t .e1al.... 10 100'''' and ....~ddmg'l I'- lhe .a'of llC'e"uanl, a .'edding llift~ LtbC'IC1 Ramikoi appear in rcprcscntation$ of .. cdding prepata\lons (London E'iN; FR. pi. 57. JI and )'tlthey ha.·t bottn found mOSlly in lombs and In the sancluary of Artcmi$ ilrauronia on the Acropulls and al Htauron. 21. ARV. 498. 1. 5: AlA 49 U945) 157 (lkazlcyl; Philippaki. .,.1It A/IIe Swm"OJ tOdutd 1%7183; Web_In. 1'0//'" "'Id PUlm". 2'lfl. 22. RE ).~. Eos and cspceiall)' p. 1268; IOAI J I (19J9) 89; Hcrakldtos e. b8; OXlurd ("1111.1;(:..1 Oiclim,o,)' s.'·. F..o-.. 23. ARV. 957.45; Webster. Pmu" ulld PUI",n. 107. H. E. GOlt... F,uu 168 tARV. 122J. 5); Heldclhcrg 'i'LlI \ARV 'M4.84. HlImpe. N,...........,bot..k. lib: CVA vnman)' 22. Ikrl... J. pi. IJb. I. J4); LP 2b1l2 lItRV. lJ711. 911. London F 713 tANV. 805. S9; FR pi. 5·. I); Lond()fl F 7"'4 VlN\' 1250. .!2: FR. pt 57. J); Hcllldberg bt>.lO (Hampc. N..........·'rb.."k.." 1""'-·1"". pis. ~II; Alhen_. Apa P 2283 tANV. 122.1.5; 11",,,,,"" 4. 4~6. 2. a..1 -00. 21; Bu.:t1(1.. n rl eaampk from the TI\earemtH,rg·SaIlIiQ S.", Trhopaltels; John Tu_lo!>. Pr,,,,riul Vlmu"u,,· of '4Ilrinll )1I11I'1ls. 29':1. 302. 55. CVA. G~rmany 5. Vienna J. pI. 2b: JOAI Jl (939) fig. on p. t!1. ~. H"'''KI 1h''''K<J1n' 1111" .'llI.1H 57. ANV. 1223.4: CVA, Germany b. Munk'h 2. pI. %. b·t!. StI. A/IIMm 32 t19l) plo .l klulrophoros·hydna 01'; .. .,.. of 10mb: Hel)!a Gcneke. u"/'HJJur-s/dl""R"" u"f Rn, c·llis"',,,,, VIlSl'n Ilkrlin 19701 S9f1'. An unmatnC'd man .... ~ rerhap" ron.:e"ed of :I~ bridellroom of P~rsc:phone. a maiden a~ htlde of Hadn. 62. b". BSA 5~ t19b2J 1J1l. no. 46 Oeffe'1J: A/It...u Annals o} Arrll"rtJI"I(' 5 (lIP])
,,,,J
298·314. 6.1. He~iod CU/Q!ogu" oj Wornl'tl 7l. 64. Euripides /plti'~1l~itl i" TllurU L 1464l'f. I..oeb aL'l$kal libraI)'. b5. Tullia L",d~t<j. "Studies in lh~ Tn:.. ~utt' R~oonh of Arleml~ Braurunra F()llnd in A1hens" Aau "ut;!,,/; A!Jf"'UO'nsu 19119721 q·2J. 66. Euripldes JpJlIgMeitl in Aulis L. 609ff. Loeb Classical libraI)'. b7. ANV. 446. 266: Mmu4m 32 (1927) J,JI and pi. 94. 68. /oN. pI. 57.1: ARY. llO5.119: Bl'lI7.le)' rcl3led th" represc:nlalion to lhc l'ur~t: of Aphrudnc on lhe daughters 01 Tyndar~us (Hl:'Siod CUfulogut' of Wurnr'" bil "hieh made tn..-m ",,,I,,,, and lhri"", ,,'ed and deserters of their husbands." Thu~ HUller nMed that the name of Timandra .hould h.. ,~ been indudrd instead of Kassandra. 69. ANY. !IO&.lJO; FR. pI. 5i. 2. 70. Apollodorus 2.5.11.
'91
In
,.3 SElFCTED UIBlIOGRAPH' Bibliography rde-mog 10 special probleml, Of to indindual vases. lS given in t~ catalogue rrnm and DotC5 chapter by chapter.
PIUMARY SOURCES
Aristotle pcJilin Arislophancs Birds £CCh:JiQZNJQ~ (Loch aassical Library). vol. J. Lui.ururu Euripldes Akest;s IphiRent!ia in Aulis (phigt',wiu in Taun"ra Hesiod Tht! J/omeric Hymns and HomrricQ P1alo Symposium Xenophon Of'C'OIwmicus
ATTRIUUTIONS
Attic Bluck-jigun Vuse-pai"'f.'n;, Oxford, 1956. Auk Rtd-figurt' Vus('"ptli"un. OKfOfd, 1942. A/tic Rffi-jigllrt. VllSI'-paintuJ. 2nd W. Odord. 1%3. - - , "Groups of Early Attic Black-figure:' He-speriu 13 (1944) 38-57. - - . Purolipomf'1llJ. Orford. 1971. BEAZLEY. JOIIN DAVIDSON.
SIIAPES Of ATHENIAN VASES BFAZLEY. J.O. PfJ/fl'f' ,,/Id P"inlt" in Anrif"nf A,ht'n.L london. 1Q46. BOTHMEtI, DIETlurH YON. "Lids by (1 %4)
Andokides." 8rrli'lf'r MII$('.'n 14
38·4 l.
BI OFSCH. HANSIORG. FOrflwll ottiJrhl'r Srllo/nl. Berne, 1940. HASPEI s, C. H. E~ULlE. Af/ir Bfork·)i/llln.'d L.'JeylhOl: Paris, 1936. Thl' AI/ir S,anlllol. Oxford. 1%7, A. ASO TAIf·on. LucY. BlurJe and Plain Por,.'')' vi rhl' Sixth, Fifth and FVlmh C~nlllries B.C, Athrnian Agoi'll XJI. Princeton. 1970,
PtUlIl'PAKI. BAMtiARA..
SPARKU. BRIAs
194
19'
NAMES OF VASES
a
LILI_Y. "Quelqu~ vases du sanetuai~ d'Anl'mls Brauron:' Amii.. KUl1sr. Supplement I (l%J) 5-19 I'''OFM!>. I LlllA "Slu..he~ in Ihe Treasurc Rl~'unh 01 Atlcmi~ Brauronia I-ound in Alhcn..:· ,""tu ".)rttulI Ath.Il1f,u/I 1'1llq"ZI q·11
GHALI-KAliIL.
HlrllTER. G'~FI" M. A.. AND Mu NE. MAkJORIE M. Shtll"'S and N""wJ, 0/ A,Ir",,;,,,, Vast's. Ne .. York. JlUS. .
Blurk "nd Plui" Pot/.,I')· of ,h., 5;:011. fifth. "lid Fuu"''' C..I/lIIri,'J B.C. Athl'fliu" Agoro XII. Pr;ncl:lOn. 1970. Mu NE. MARJORII: J. "Kllichnb:' AlA 43 (1939) 241-54. St HI 181 ER. (NCEBORC. "EJ(a!ciplra:' Jahrbur:h un DeuHr:hl'tI ArchuQ(ugiu'"'''' hmif"'J. 7911964J 72·108. SPARKES. BM tAl" A •. AND "I Al rOTT. Lut'Y.
WU:-KERT. "hfJollWTQ4," Pouly- Wwo..·u. Rru/·Efll'yC'lQpQdi.. dt'r /duJJisehrn AItI'NUmJIO'J.j(·nJf'lruft. Vu\. XIII. Cols. Il·JJ.
,'HMII'I
MM \. S. L" ,\ •• "'1101, d/\I"lIu III \,,,11. T,.,..bbu \0J... I and 1.2. 1lJtl). 1%:',
Rom~.
CULT nIl K"LM. L. /J,..Al/luh., fnt". f-AR"FI •. I.. R, Th, eulll'" Ih" G,.".·k SIUI"~, Vol. 2
SITES
ICl Adonis, ca. J8(l a.C. Erita Simon. "Aphrodiu: and Ac;1onis Ent' NC\I~nc Pyllis in Wunbur,", AltlK 15 (1971) 20-26. PI. 6.
a.c.
Fig.la.
b.
d.
c.
e.